old handwritten paper labels to the underside inscribed 'SB lot #650/aRT #35', one encoignure stenciled in ink with an inventory number 16940, the majority of the ormolu mounts of a later date stamped with the monogram L.T. on the reverse

The Collection of Princess Paley, St. Petersburg, Russia

Acquired from Mr(?) Symons, presumably the connoisseur Henry Symons, whose collection was sold at Anderson Ga𝔉lleries, New York, January 💞27-February 3, 1923, by French & Company, New York

Acquired from French & Company by William Randolph Hearst, June 10, 1930 for $11,000, possibly for San Simeon, California, and subsequently sold at Parke-Bernet Galleries, New York, The William Randolph Hearst Collection, Part IV, January 5-7, 1939, lot 192.
Acquired at the Hearst sale by French & Company, New York
Sold Sotheby's London, May 15, 1998, lot 194
Sold Christie's New York, October 23,𒐪 1998, lot 79

 

Henry Hawley, 'Jean-Pierre Latz, Cabinet-maker', The Bulletin of The Cleveland Museum of Art, September/October 1970, pp. 245-7, fig. 39.
'Une paire d'encoignures estampillée Latz et Boudin', L'Objet d'art/L'Estampille, December 1992.

Marble tops possibly original and now with restored breaks, small chips and losses to edges, and areas of infill. Largest chip to marble approximately 1 in. by 1/2 inch to back edge. Mounts are later, probably second half of the 19th century, but of high quality and with nice chasing, most are marked with an LT bronzier mark. Apron mount appears to be original. Mounts now with some oxidation, surface dirt, and rubbing but in good condition. Veneers with some surface restorations and small patches. Usual small nicks, scratches, and small losses consistent with use and age but overall in very good condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This pair of encoignures has been firmly attributed to Jean-Pierre Latz by Henry Hawley,The Bulletin of The Cleveland Museum of Art, September/October 1970, pp. 245-256 based on a number of stylistic similarities to his known pieces. Specifically, the marquetry to the encoignures, especially the lozenge-shaped diaper pattern at the center, is very similar to the decoration of a bureau en pente stamped Latz in the collection of Stavros Niarchos, illustrated M. Jourdain, “An Exhibition by the British Antique Dealers’ Association,” The Burlington Magazine, Vol. 52, No. 301, April 1928, pl. 3 and to the frieze of a sécretaire illustrated Pierre Kjellberg, Le Mobilier Français du XVIIIe Siècle, Paris, 2002, p. 527. The elongated deeply shaped apron hiding the back leg is also characteristic of Latz's production. In their overall proportions and decoration, these encoignures can be seen as closely related to a pair stamped Latz formerly in the Ojjeh collection and sold Sotheby’s Monaco, June 25-26, 1979, lot 44 and sold again Christie’s Monaco, December 11, 1999, lot 40. They also bear a striking resemblance to a pair formerly in the collection of the Duc de Vendôme, currently in a private collection and illustrated Hawley, op. cit., fig. 22.

Jean-Pierre Latz was born in Cologne and moved to Paris in 1719 after his apprenticeship. In 1741, he is listed as an ébéniste privilégié du Roy, which permitted him, as a foreig𝓰ner, to work as an independent ébéniste without having to become a member of the guild. Like many other ébénistes who disregarded guild rules, Latz made many of his own mounts and continued to run into conflicts with the guild of fondeurs-cisleurs. Despite this and his status as a foreigner, his workshop prospered in the 1740s, as his clients included the King of Prussia Frederick II, the King of Poland and the elector of Saxony Augustus III and the duchess of Parma Louise-Elisabeth, the daughter of Louis XV.