Commode à vantaux. Culture : l'allemand, Neuwied am Rhein. Décorateur : Dessins au pochoir et tampon-découpage de la marqueterie Elie Gervais (1721-1791) et son atelier. Designer : modèles de marqueterie de dessins par Januarius Zick (allemand, Munich avant 1730-1797 Ehrenbreitstein). Dimensions : 35 1/4 x 53 1/2 x 27 1/4 in. (89,5 x 135,9 x 69.2cm). Bouilloire : David Roentgen (allemand, Herrnhaag 1743-1807 Wiesbaden, master 1780) ; supports de Frise attribué à Pierre Rémond (français, Paris 1747-1812 Paris). Date : ca. 1775-79 Modifications à plus tard. Cette importante commode de Roentgen, ainsi qu'un autre exemple dans le Victoria
Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.
Commode à vantaux. Culture: German, Neuwied am Rhein. Decorator: Stencil drawings and stamp-cutting of marquetry Elie Gervais (1721-1791) and his workshop. Designer: Designs for figural marquetry by Januarius Zick (German, Munich before 1730-1797 Ehrenbreitstein). Dimensions: 35 1/4 x 53 1/2 x 27 1/4 in. (89.5 x 135.9 x 69.2cm). Maker: David Roentgen (German, Herrnhaag 1743-1807 Wiesbaden, master 1780); Frieze mounts attributed to Pierre Rémond (French, Paris 1747-1812 Paris). Date: ca. 1775-79 with later alterations. This important Roentgen commode, as well as another example in the Victoria and Albert Museum, London (W 51-1948), both have an illustrious provenance. Their histories may have begun in the royal apartments at Versailles. During the nineteenth century this example now at the Metropolitan Museum belonged to Baron Mayer de Rothschild, a member of the distinguished banking and art-collecting family, who kept it at Mentmore Towers, his palatial and splendidly appointed residence in Buckinghamshire. In 1964 it went under the hammer in London and fetched the highest price ever paid at auction for a piece of furniture, attracting tremendous media attention.[1] The New York and London commodes are related closely to each other and to the latter's nearly identical counterpart at the Bayerisches Nationalmuseum in Munich, with which it once formed a pair in the collection of the grand duke of Sachsen-Weimar.[2] All three pieces are so-called commodes à vantaux, which means they have three doors concealing interior drawers; however, they all include a shelf compartment, rather than drawers, behind the central door, which transforms the type into a combination of the commode à vantaux and a variation called commode en bas d'armoire.[3] All three commodes have six feet. The feet of the New York commode, however, represent a unique departure in Roentgen's oeuvre. Although the four outside feet are square as usual, the two front middle feet are trapezoidal and deco
