The passage beautifully captures the dynamic nature of artistic trends and how some exceptional works transcend time and shifting tastes. It highlights how artistic craftsmanship, particularly in furniture, can achieve a timeless quality, ultimately regarded as classics. The focus is on Georg Haupt in Sweden and the Roentgens in Germany, both of whom are revered for their superior quality and influence in the art of cabinetry.
The piece goes on to introduce a remarkable Roentgen secretary from the workshop of Abraham and David Roentgen, dating back to around 1775-1777. This particular secretary, veneered in walnut, rosewood, and maple with brass fittings, is attributed to the master craftsman Januarius Zick, who worked for the Roentgen workshop at that time. Zick likely drew inspiration from the chinoiserie designs of Jean-Baptiste Pillement.
David Roentgen, having taken over from his father, elevated the workshop's production, known for its meticulous details and innovative mechanical features like swivel drawers. The clientele included European aristocracy such as Louis XVI and Catherine the Great, emphasizing the workshop's far-reaching prestige.
The secretary on auction, once owned by the sculptor Karl Adalbert Wolf, holds a rich history, having been safeguarded in Eastern Germany during World War II and passed down through generations.
The invitation to Crafoord Auktioner Stockholm not only serves as an opportunity to purchase such a piece but also to admire a masterpiece of rare distinction and craftsmanship.
