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Lot Essay
The richly carved frame of rocailles and C-scrolls and sinuous outline of this settee relates to the work of the celebrated rococo designer Johann Michael Hoppenhaupt II (1709- circa 1755), who in 1746 was made Directeur des ornements at Potsdam by Frederick the Great. Hoppenhaupt's style developed under the influence of Johann August Nahl (1710-1781), who was Hofbildhauer between 1741 and 1746. They had worked together on numerous occasions, including the decoration of the concert hall at Sanssouci, designed by Nahl and carried out by Hoppenhaupt circa 1746-'47. Hoppenhaupt’s designs were typical of the Friederizianische Rokoko pioneered by Johann Michael Hoppenhaupt (1709-1769) and his brother Johann Christian Hoppenhaupt (1719 - 1786) under King Frederick II of Prussia (1740 - 1786). Johann Michael Hoppenhaupt designed lavish rococo interiors for Frederick the Great at Potsdam, such as the Music Room in Schloss Sanssouci and other work at the Stadtschloss, before retiring from the royal service in 1750.
Their generous proportions, bold a-symmetric ornament, and exaggerated organic lines, especially to the arms and legs are characteristic of this style. Supplying seat-furniture and wall furnishings such as mirrors and console tables for Schloss Charlottenburg, Neues Palais, Schloss Sanssousi and other castles of the Friderizianische Rokoko, their designs are well-known and well documented. A design for a settee of a similarly curvaceous outline by Hoppenhaupt, engraved by J.W. Meil, is illustrated in H. Kreisel, Die Kunst des Deutschen Möbels, Munich, 1970, vol. II, fig. 742 (see fig. 1). A similar settee at Schloss Sanssouci, Potsdam, by Lucas Mayer clearly influenced by Hoppenhaupt's designs, is illustrated op. cit., fig. 743. A nearly identical canapé attributed to Hoppenhaup was sold at Sotheby's, London, 8 July 2008, lot 153 where we see the virtually identical and very unusual play of twin feet present. Furthermore, another related settee was offered Christie’s, London, 21 June 2000, lot 143. Here we see strong similarities with the exuberantly carved frame and exaggerated curves of the legs.
Their generous proportions, bold a-symmetric ornament, and exaggerated organic lines, especially to the arms and legs are characteristic of this style. Supplying seat-furniture and wall furnishings such as mirrors and console tables for Schloss Charlottenburg, Neues Palais, Schloss Sanssousi and other castles of the Friderizianische Rokoko, their designs are well-known and well documented. A design for a settee of a similarly curvaceous outline by Hoppenhaupt, engraved by J.W. Meil, is illustrated in H. Kreisel, Die Kunst des Deutschen Möbels, Munich, 1970, vol. II, fig. 742 (see fig. 1). A similar settee at Schloss Sanssouci, Potsdam, by Lucas Mayer clearly influenced by Hoppenhaupt's designs, is illustrated op. cit., fig. 743. A nearly identical canapé attributed to Hoppenhaup was sold at Sotheby's, London, 8 July 2008, lot 153 where we see the virtually identical and very unusual play of twin feet present. Furthermore, another related settee was offered Christie’s, London, 21 June 2000, lot 143. Here we see strong similarities with the exuberantly carved frame and exaggerated curves of the legs.