A German gilt-bronze-and brass-mounted tulipwood, stained sycamore, burr wood, fruitwood, holly and marquetry cylinder bureau by David Roentgen (1743-1807), Neuwied, circa 1773-75

with a three-quarter galleried rectangular top above a roll-top depicting a chinoiserie scene with figures including a fisherwoman and a female with a parasol flanked by a parrot with three boys fishing on a jetty together with a female water carrier and a child above a pull-out inset tooled leather writing slide with a fitted interior with three pigeon holes and four short serpentine drawers above a long drawer panelled to simulate three drawers decorated with floral sprays including roses and tulips above brass fluting and two short drawers on cabriole legs terminating in gilt-bronze acanthus cast feet, the sides with the ribbon and rose marquetry intersected by a spear, the back with the inventory stamp in black ink H.Inv H.Inv 24 98

Most probably acquired by Johann Friedrich Alexander zu Wied-Neuwied (1706-1791, Neuwied), Graf zu Wied-Neuwied (1737–1784), Fürst zu Wied (1784–1791).
Thence by descent to William Frederick, Prince of Wied (Wilhelm Friedrich Hermann Otto Karl Fürst von Wied, (1872, Neuwied–1945)).
Professor Dr. Kurt Meyer purchased from the above in around 1924 to 1926.
Acquired approximately 50 years ago from him by the family of the present owner, a Private German Collector.

In overall good conserved condition. Colour less orange overall and the detail of the roll-top pp. 150-151 is less yellow and slightly darker with much more contrast of colours than in the catalogue photograph. The detail to the marquetry is very well executed and in excellent condition. There is also a restoration to the veneer on the top approx. 16 x 10.5cm showing slightly lighter in colour than the rest.Old minor restorations generally to the veneer especially along the top edge framing the roll-top which shows slightly different veneers of a slightly reddish colour than the rest. There have also been some restorations and replacements to the veneer. There is a push button release for the roll-top. The leather on the inside is worn. The mechanism for the roll top is now missing but the roll-top still functions without it. The sides have restored vertical construction cracks but these have been well executed and are not too noticeable.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Comparative Literature:
Wolfram Koeppe, Extravagant Inventions, The Princely Furniture of the Roentgens, Exhibition at the Metropolitan Museum of Art, New York, 2012, p. 106, fig. 65, p. 110-112.
Dietrich Fabian, Abraham und David Roentgen. Das noch aufgefundene Gesamtwerk ihrer Möbel-und Uhrenkunst in Verbindung mit der Uhrmacherfamilie Kinzig in Neuwied, Bad Neustadt, 1996, pp. 102-103, figs. 218 and 219 and 221.
Dietrich Fabian, Roentgenmöbel aus Neuwied, Bad Neustadt, 1986, p.105, figs 212-214, p. 109, figs. 224-229, p. 112, fig. 241, p. 114, no. 246a.
Josef Maria Greber, Abraham und David Roentgen, Möbel für Europa, Band 2, Starnberg, 1980, pp. 182-183, plates 363-366, pp. 192, fig. 381, p. 207, plate 411.
Hans Huth, Roentgen Furniture, Abraham und David Roentgen, European Cabinet-makers, London and New York, 1974.
Brigitte Langer et. al., Die Möbel der Residenz München, Vol. II, Die Deutschen Möbel des 16. Bis 18. Jahrhunderts, Munich-New York, 1996, no. 67, pp. 233-239.

The model:
This masterpiece in marquetry by David Roentgen is an exciting rediscovery and a new addition to his oeuvre dating to around 1773-75, with its extravagantly inlaid roll-top in the fashionable chinoiserie style and is a very fine example of David Roentgen’s inventiveness of design, superlative craftsmanship and skill of the marqueteurs in his Neuwied workshop.  

The elegant and sinuous form of this bureau is a reinterpretation of French Louis XV models, and the shape is reminiscent of the bureaux being made by Abraham Roentgen, David’s father, when he was in charge of the workshop. The simplicity of form and restrained interior serves as the perfect backdrop for the display of the virtuoso marquetry for which the Roentgen workshop was renowned and the sophistication of the marquetry reflects the innovations of the highly ambitious David Roentgen, who assumed control of his father’s workshop in 1772 and took the marquetry technique to new heights.

With its curved front and cabriole legs, this bureau may well have been inspired by a design, illustrated by Koeppe, op. cit., p. 106, fig. 65, dating to around 1740 by François Cuvilliés (1695-1768), the Bavarian architect and designer and the decoration on the legs was originally probably intended to be carved in wood. The various compartmentalised marquetry fields reflects English models that the Roentgens may well have seen during their English sojourn in late 1765. The roll-top mechanism is found on English as well as French prototypes and started to appear in the production from the Neuwied workshop in the late 1760’s.

These types of cylinder bureaux were held in high regard and an important part of the production of the Roentgen workshop, as evidenced by their presence in important Royal and aristocratic collections such as Catherine the Great, Louis XVI, the Dukes of Devonshire and the Grand Dukes of Hessen-Kassel. 

Although Roentgen produced several bureaux in both the rococo and neo-classical styles as well as other types of furniture with the same chinoiserie scene as on the offered piece, the closest recorded examples are the following:

-A cylinder bureau in the Staatliche Kunstsammlungen, Kunstgewerbemuseum, Dresden, of identical form and layout of the frieze drawers, with an identically inlaid roll-top and drawers, different marquetry on the sides with a floral spray surmounted by a parrot on a ribbon-tied hoop, the inside with six plain veneered drawers and pigeon-holes, illustrated by Fabian (1986), op. cit., p. 109, fig. 224-229, which was formerly in a Princely collection, (Fasanerie of Moritzburg), and in 1928 in Schloss Moritzburg, reproduced here in fig. 1.

-A cylinder bureau of very similar form with the same chinosierie scene on the roll-top and marquetry on the sides but with a frieze drawer and two deep drawers inlaid with birds on branches and with a differently fitted interior, is illustrated by Fabian (1986) op. cit., p. 105, fig. 212-214, (formerly in a Princely collections, now in a Parisian Private Collection).

-A cylinder bureau of very similar form with a galleried top, similar but not identically inlaid roll-top and drawers, differently inlaid sides with a ribboned knife and flowers is illustrated by Fabian, op. cit.,  p. 114, fig. 246a, (ex. Coll. E. Worch), now in the Museum für Kunst und Gewerbe, Hamburg.

-A related example in the Residenz, Munich, which is of similar form, with a galleried top, identical chinoiserie scene on the roll-top, chinoiserie figures on the drawers concealing further drawers and gilt-bronze mounts on the knees, is illustrated by Langer op. cit., no. 67, pp. 233-239, (Inv. Res. Mü. M158).

Furthermore, a mechanical cylinder bureau by David Roentgen, signed DR, circa 1775-79, with mounts attributed to François Remond and with the same chinosierie panel on the roll-top, sold, lot 24, The Exceptional Sale 2013, Christie’s, London, 4^th July 2013 (£625, 875).

Painting in wood-marquetry à la mosaïque (1769-80):
The Roentgen marquetry workshop led by Johann Michael Rummer (1747-1821), continually explored new ways of refining inlay techniques,`The result was the lush painterly quality of marquetry à la mosaïque’ as Roentgen termed it, due to its resemblance to hardstone mosaic particularly pietre dure. It is interesting to note that at the time of the Hamburg lottery in 1769, David described the first prize as a`bureau with a cabinet on top most artfully inlaid with Chinese figures in the manner of a mosaic in such a way that I would not hesitate, in view of the fine drawing, shading and colouring, to compare it to the work of a painter. But the most remarkable and unusual thing is that all the figures are made of wood’ (Koeppe, op. cit., p. 8).

As well as the traditional inlay technique, this new type of marquetry à la mosaïque did not involve scorching wood in hot sand to achieve the effect of shading nor engraving. The effect was achieved by fitting together small pieces of wood like a jigsaw puzzle. Larger sections of maple veneer were cut with a fret saw into small pieces representing shadows, half-tones and light areas. They were then placed in one of three concentrations of dye baths, where the colourants would penetrate into the front and back surfaces of the veneer as well as along the edges and this process was speedier and resulted in a more deeply dyed veneer guaranteeing a more intense and permanent colouring. Once the individually dyed pieces were fitted back together, the resultant almost seamless transitions of colour made it possible to translate the painterly effect of the design almost perfectly into marquetry according to Hans Michaelsen op. cit., p. 230, who also states that `this innovation in the 1770’s became a distinguishing feature of Roentgen furniture as did the increasing use of figural marquetry.’

Roentgen had an extensive repertory of chinoiserie scenes that he used repeatedly and they appear to have been derived in the main from engravings by Jean-Baptiste Pillement (1728-1808) and the Augsburg engraver Martin Engelbrecht (1684-1756). Koeppe in the Exhibition Catalogue of the Metropolitan Museum states op. cit., `Several of the motifs are influenced by the prints of Jean-Baptiste Pillement and by English pattern book’, see the same author op. cit., p. 112, fig. 67, for a Design with Chinoiserie Motifs, in The Ladies Amusement, or Whole Art of Japanning Made Easy, by Robert Sayer, London, 1762, pl. 40, (The Metropolitan Museum of Art, New York,  Thomas J. Watson Library), reproduced here in fig. 2. 

Furthermore, rococo naturalism pervaded the marquetry produced by the workshop during the transitional period at the time of the Hamburg lottery and Roentgen’s workshop used leaves, flowers and insects and the Moravian brothers described David’s work admiringly as follows:`His merchandise or (rather), new inventions for arranging (and inlaying) flowers is something quite magnificent’.

This characteristic 'rose-marquetry' motif on the side of this bureau was used by the workshop with different variations. Although it is known that several marqueteurs worked in the Neuwied workshop in addition to Michael Rummer, such as Heinrich Streuli (1752-1840) and Johann Antone Reusch (1740-1821) and that Janarius Zick (1730-1797), and Johannes Juncker (1751-1817) provided Roentgen with designs for figurative marquetry, the designer of this typical 'flower and ribbon' marquetry introduced in the 1770's remains unknown to date. However, it is known from several bills that the engraver Elie Gervais (1721-1791) made out to Roentgen in the years 1771 and 1772, that he and his employees Raillard and Schmoutz had drawn flowers for Roentgen-see Fabian, op. cit., 1986, p. 351, no. 2.102 and no. 2.103. 

It is interesting to note that both the delicate flowers on the front of the frieze drawers and the trelliswork parquetry on the internal drawers is very much in the style of the work of Abraham Roentgen and the offered bureau may well have been a collaboration between father and son.

Finally, a comparable Transitional roll-top desk circa 1773-76 by David Roentgen with chinosierie scenes on the roll-top and ribbon and rose marquetry on the drawers and sides and gilt-bronze mounts, (formerly in the collection of Sir Robert Henry Edward Abdy, fifth Baronet of Albyns, Essex (1896-1976), now in the Kravis collection) is illustrated by Koeppe, op. cit., no. 23, p. 107.

Johann Friedrich Alexander zu Wied-Neuwied (18th November 1706, Seeburg-7th August 1791, Neuwied):
Johann Friedrich Alexander of Wied-Neuwied, Graf zu Wied-Neuwied (1737-1784), was the first prince of Wied (1784-1791). His parents were Friedrich Wilhelm zu Wied-Neuwied (1684-1737) and Luise Charlotte von Dohna-Schlobitten(1688-1736), the daughter of Alexander zu Dohna-Schlobitten (1661-1728) and his first wife Emilie Luise Countess Dohna- Carwinden (1661-1724). Johann Friedrich Alexander of Wied-Neuwied was reigning count in the low county Wied-Neuwied. After studying in Strasbourg and Königsberg in 1737 he was instrumental in brokering the peace of Vienna, when the War of the Polish Succession ended. The title of prince was offered him in 1738 however, he had to decline due to financial reasons in 1739 he married Karoline von Kirchberg (1720-1795), Countess of Sayn-Hachenburg. During his reign he tried to advance the small territory of the county Wied-Neuwied economically and socially. His governance was characterized by openness and religious tolerance and in 1750 he allowed also the settlement of the Moravian Church-of which the Roentgens coincidentally were active members. The historian Max Braubach called him "one of the best representatives of enlightened absolutism in the Kingdom ". 

William Frederick, Prince of Wied (Wilhelm Friedrich Hermann Otto Karl Fürst von Wied; 27th June 1872, Neuwied– 18th June 1945):
William Frederick was born at Neuwied in the kingdom of Prussia, the first child of William, Prince of Wied (1845–1907),(son of Hermann, Prince of Wied and Princess Marie of Nassau) and his wife, Princess Marie of the Netherlands (1841–1910), (daughter of Prince Frederick of the Netherlands and his wife Princess Louise of Prussia). Through his father he was a descendant of George II of Great Britain. His great-grandparents were William I of the Netherlands and Frederick William III of Prussia. He was a nephew of Queen Elisabeth of Romania.

William Frederick, inherited the title of Prince of Wied after the death of his father in 1907. After the German Revolution in 1919 all noble titles were abolished. He became the titular Prince, or Fürst, until his death in 1945, and the title was inherited by his 14-year-old grandson Frederick William (1931–2000), his son Hermann died of wounds received in action during World War II in Rzeszów, Poland.

William Frederick married on 29th October 1898 in Stuttgart, Princess Pauline of Württemberg (1877–1965), only daughter of King William II of Württemberg and his first wife, Princess Marie of Waldeck and Pyrmont, daughter of George Victor, Prince of Waldeck and Pyrmont and the couple had two children.

David Roentgen (1743-1807), ébéniste-mécanicien du Roi et de la Reine 1785, received Master 1780:
David Roentgen was the most celebrated German cabinet-maker and certainly one of the most skilled ébénistes of the late 18th century. He was established in his father Abraham's workshop in Neuwied in Germany, who was also a fine cabinet-maker in his own right. David was determined to develop the family business and travelled to Paris, moving in with Brebant, a marchand-miroitier in rue Saint-Martin, to whom he entrusted the sale of his furniture. He set up a shop in Paris around 1781, which enabled him to develop an international clientèle:Louis XVI and Marie-Antoinette, the Comte d' Artois, Catherine of Russia and Frederick the Great were amongst his illustrious clients who praised the two main qualities of his furniture: beautifully executed pictorial marquetry en camaieu with trompe l'oeil of flowers and detailed figures and the clever use of mechanical devices. It is fitting to note that when Catherine of Russia took delivery of several pieces by Roentgen she herself wrote of his work,`his furniture is very finely made, especially those pieces with mechanical devices'.