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Lot Essay
Jean-Pierre Latz, maître in 1741
An artisan privilégié du roi, Latz worked from the rue du Faubourg St. Antoine and his style is characterized by its sculptural vitality, extremely realistic floral marquetry and distinctive bronze mounts, which he cast himself in direct contravention to the guild regulations (H. Hawley, Jean-Pierre Latz, Cabinetmaker, Bulletin of the Cleveland Museum of Art, September/October 1970, p.207). Counting Frederick II of Prussia and Augustus III of Poland amongst his key patrons, Latz's style was fundamental to the development of the Rococo idiom in Potsdam and Berlin by the likes of the Spindler brothers.
A related pair of tables stamped by Latz and with the same distinctive open cabochon angle mount, formerly in the collections of Baron Erich von Goldschmidt-Rothschild and Sidney J. Lamon, was sold anonymously at Christie's London, 9 December 1982, lot 52.
An artisan privilégié du roi, Latz worked from the rue du Faubourg St. Antoine and his style is characterized by its sculptural vitality, extremely realistic floral marquetry and distinctive bronze mounts, which he cast himself in direct contravention to the guild regulations (H. Hawley, Jean-Pierre Latz, Cabinetmaker, Bulletin of the Cleveland Museum of Art, September/October 1970, p.207). Counting Frederick II of Prussia and Augustus III of Poland amongst his key patrons, Latz's style was fundamental to the development of the Rococo idiom in Potsdam and Berlin by the likes of the Spindler brothers.
A related pair of tables stamped by Latz and with the same distinctive open cabochon angle mount, formerly in the collections of Baron Erich von Goldschmidt-Rothschild and Sidney J. Lamon, was sold anonymously at Christie's London, 9 December 1982, lot 52.