Lot 125: - An important and rare German ivory painted and carved silvered wood schrank by Johann August Nahl (1710-1781), Potsdam circa 1760

with a swan neck pediment centred by a stylised palm frond suspending floral trails above a pair of cupboard doors with acanthus leaf, flower and rocaille carved cartouches with curved corners opening to reveal a later red painted interior above two frieze drawers interposed by piastre motifs terminating in scrolled feet; some retouching to decoration

245cm. high, 200cm., wide, 66cm. deep; 8ft.½in., 6ft.7in., 2ft.2in.

P. Meister and H. Jedding, Das schöne Möbel im Laufe der Jahrhunderte, Keysersche Verlagsbuchhandlung Heidelberg, 1958, plate 300.
Claudia Freytag, Bruckmann's Möbellexikon, 1978, plate 70.
H.Kreisel, Die kunst des deutschen möbels, Vol. II, Munich,1983, fig. 793, illustrated.

Fischer-Böhler, Munich

THE PROPERTY OF MR & MRS LEHMANN, FRITZLAR, GERMANY, TOGETHER WITH LOTS 112 - 148
Comparative Literature:
Gert Streidt and Peter Feierabend, Prussia Art and Architecture, Oldenburg, 1999, pp. 172, 192, 193 , 206. Until the reign of Frederick the Great, the Berlin palaces had been furnished in a rather conservative and sober taste. Soon after Frederick's accession, however, he appointed Georg Wenzeslau von Knobelsdorff as `Surintendant' of his palaces and under the latter's leadership, the so-called `Frederican Rococo' evolved which was characterised by bold contrasting curves and was developed by such craftsmen as Johann August Nahl and Johann Michael Hoppenhaupt and his brother Johann Christian. The most famous artist working for Knobelsdorff was Nahl who was invited to Berlin by Knobelsdorff where he was appointed `Director of Ornaments' in 1741. The sculptural quality of his furniture especially his chairs and stools is, according to the late Helena Hayward, `a clear indication that they are the work of a carver, and although they are of a somewhat heavy appearance, the freely flowing scrolls lend them a certain liveliness'. His most oustanding achievement was the Golden Gallery in the palace of Charlottenburg in Berlin. It is worthwhile considering the Library of Frederick the Great, in Charlottenburg Palace, Berlin decorated in various shades of green with silvered decoration, illustrated by Streidt, op. cit., p. 172, reproduced here in fig.1. However, the hand of Nahl on this armoire can be most clearly seem in its similarity with the decorative elements in the design for the decoration of the west wall of the Concert Room, circa 1746, at Sanssouci palace, Potsdam, (Staatliche Museen zu Berlin-Oreussischer Kulturbesitz, Kinstbibliothek, Berlin), illustrated by Streidt, op. cit., p. 193 and reproduced here in fig. 2. Clearly visible are the palm fronds, circular rocaille cartouches, floral swags, outline of the doors and bold rocaille frills on the wall panelling also found on this piece, all of which can be seen in the Concert Room at Sanssouci, illustrated by the same author op. cit., p. 92, reproduced here in fig. 3. One should not discount however, the influence of Johann Christian Hoppenhaupt the Younger, as Streidt, op. cit., illustrates, p. 206, a design for the longitudinal section of the theatre at the New Palace Potsdam, (1766), which has upright palm fronds similar to those upon this piece. Finally, one should also consider the bedroom of Prince Henry at the New Palace of Sanssouci, Potsdam, also illustrated by Streidt, op. cit., p. 207, again with silvered furniture and decorations, in particular his bed is in the similar tones of ivory and silver as on the present piece. Johann August Nahl (1710-81), the Elder:
He was a celebrated German designer, carver and furniture maker known for his exhuberant rococo decoration which he executed for Frederick the Great between 1741-46 at the latter's castles in Berlin and Potsdam. Nahl was first trained by his father the sculptor Johann Samuel Nahl (1664-1724), who had been court sculptor to Frederick I in Berlin. The son travelled to Paris in 1731, where he spent two years studying ornament and in 1734, he spent a year in Rome and then travelled around Italy. He also worked in the 1730's at Palais Rohan in Strasbourg. In 1741, on Frederick's orders he moved to Berlin, where he collaborated on the interior decoration of the New Wing at Schloss Charlottenburg. He then decorated the King's First Appartment: the Silver Anteroom, library and study. His style has greater fantasy than many of his French counterparts and his masterpieces are the Music Room at Potsdam and the Golden Gallery in Charlottenburg Palace. `Both as a sculptor of figures and a decorative sculptor Nahl was one of the most imporatnt stylistic personalities of the 18th century in Germany and as a decorator he was a stylistic pioneer and together with Knobelsdorff he created the interior decoration and furnishing of the Frederican era, which occupies a special position in European rococo.'