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Lot Essay
Our knowledge of cabinet-making in Mainz in the 18th Century is mainly based on the survival of a large number of Meisterzeichnungen and corresponding Meisterstücke or masterpieces, which were submitted by a cabinet-maker joiner in order to become a master. These designs, of which 106 examples dated between 1676 and 1816 are known, demonstrate the stylistic development and characteristic features of Mainz cabinet-work as well as the continuous high level of execution , which was maintained under the scrutiny of the guild, much supported by the Court of the Elector. (H. Zinnkann, 'Das Schreinerhandwerk des Stadt Mainz im Vergleich mit Mannheim und Karlsruhe' in R. Strattmann-Döhler, Möbel für den Fürstenhof, Sigmaringen, 1994, p. 87).
In 1735, a new Meisterstuck was introduced, which was known as an Englische Schreibschrank or Cantourgen. The first example of this newly-introduced masterpiece, which consisted of a chest-of-drawers beneath a writing-flap and a cupboard, was submitted by the Hofschreiner Franz Anton Herrmann (1711-1770). (H. Zinnkann, Meisterstücke Mainzer Möbel des 18. Jahrhunderts, Frankfurt, 1988, p. 49)
The present Schrank from Schloss Niederstotzingen is closely related to a number of these Cantourgen which were executed in the 1760 and early 1770s. The central moulded divide of the doors, for instance, with its characteristic bulbous section in the lower half, features on the Meisterstücke of Johann Philipp Raab of 1764, of Franz Ortlauff of 1762 and of Franz Brandt (b. 1738) of 1766. In addition, the neo-classical composite capital of this divide bears a striking resemblance to the capitals of the pilasters on the 1774 Meisterstück by Johann Georg Schmitt (1740-1820) (H. Zinnkann, ibid. 1988, pp.122-123, pp. 130-133).
Not only Cantourgen from Mainz have been identified. Apart from the present piece, two Schränke from Mainz are known, which in type and form correspond to the Schrank from Schloss Niederstotzingen. The first is a Schrank in the Kunstgewerbemuseum in Berlin, which has a similar arched shape with a two-door front centred by a bulbous divide. The doors are inlaid with geometric parquetry, the lower panels with a cube pattern similar to that on the door-divide of the 'Maldeghem' Schrank. (H. Schulte, 'Ein Mainzer Kleiderschrank des späten Rokoko' in H. Zinnkann, ibid., 1988, pp 69-72). The second is of similar two-door arched outline, inlaid with tall marquetry panels in the doors, consisiting of C-scrolls surrounding two central shaped panels inlaid with similar cube-parquetry between further shaped panels with a herringbone pattern (H. Zinnkann, ibid., 1988, p. 143). Of these, the present piece is the finest and most richly decorated one.
See illustration
In 1735, a new Meisterstuck was introduced, which was known as an Englische Schreibschrank or Cantourgen. The first example of this newly-introduced masterpiece, which consisted of a chest-of-drawers beneath a writing-flap and a cupboard, was submitted by the Hofschreiner Franz Anton Herrmann (1711-1770). (H. Zinnkann, Meisterstücke Mainzer Möbel des 18. Jahrhunderts, Frankfurt, 1988, p. 49)
The present Schrank from Schloss Niederstotzingen is closely related to a number of these Cantourgen which were executed in the 1760 and early 1770s. The central moulded divide of the doors, for instance, with its characteristic bulbous section in the lower half, features on the Meisterstücke of Johann Philipp Raab of 1764, of Franz Ortlauff of 1762 and of Franz Brandt (b. 1738) of 1766. In addition, the neo-classical composite capital of this divide bears a striking resemblance to the capitals of the pilasters on the 1774 Meisterstück by Johann Georg Schmitt (1740-1820) (H. Zinnkann, ibid. 1988, pp.122-123, pp. 130-133).
Not only Cantourgen from Mainz have been identified. Apart from the present piece, two Schränke from Mainz are known, which in type and form correspond to the Schrank from Schloss Niederstotzingen. The first is a Schrank in the Kunstgewerbemuseum in Berlin, which has a similar arched shape with a two-door front centred by a bulbous divide. The doors are inlaid with geometric parquetry, the lower panels with a cube pattern similar to that on the door-divide of the 'Maldeghem' Schrank. (H. Schulte, 'Ein Mainzer Kleiderschrank des späten Rokoko' in H. Zinnkann, ibid., 1988, pp 69-72). The second is of similar two-door arched outline, inlaid with tall marquetry panels in the doors, consisiting of C-scrolls surrounding two central shaped panels inlaid with similar cube-parquetry between further shaped panels with a herringbone pattern (H. Zinnkann, ibid., 1988, p. 143). Of these, the present piece is the finest and most richly decorated one.
See illustration