Perücke Schrank (Cabinet de Coiffure). Kultur: Deutsche, Künzelzau. Abmessungen: 16 × 18 × 13 cm. (40,6 × 45,7 × 34,3 cm). Hersteller: Johann Daniel Sommer II (Deutsch, 1643-1698?). Datum: Ca. 1685. Diese Perücke Schrank ist eine der aufwändigsten Beispiele ihrer Art, ein Werk von großer Eleganz und höchste Handwerkskunst.[1] Die äußere mit extrem feinen Boulle Marketerie, die viele der ursprünglichen Details behält graviert verziert ist.[2] Darüber hinaus ist es ein frühes Beispiel der Migration dieser Art von Metall-und-schildpatt (oder Horn) Intarsien und die hohen Barocken Stil im französischen Möbeln zu t
Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel
Wig cabinet (cabinet de coiffure). Culture: German, Künzelzau. Dimensions: 16 × 18 × 13 1/2 in. (40.6 × 45.7 × 34.3 cm). Maker: Johann Daniel Sommer II (German, 1643-1698?). Date: ca. 1685. This wig cabinet is one of the most elaborate examples of its kind, a work of great refinement and supreme craftsmanship.[1] The exterior is decorated with extremely fine boulle marquetry, which retains many of the original engraved details.[2] Furthermore, it is an early example of the migration of this type of metal-and-tortoiseshell (or horn) marquetry and the High Baroque style in French furniture to the German-speaking cultural areas (see the catalogue entries for acc. nos. 1986.38.1, 1986.365.3). It is obvious that the creator of this cabinet, Johann Daniel Sommer II, occupies a key position in the history of European furniture-making. Unfortunately, the most important facts about his career remain obscure. He was born in 1643 into a dynasty of craftsmen. His grandfather was a carpenter, and his father, Eberhardt Sommer (1610-1677), worked as a carpenter, master builder, and gunmaker in the Franconian town of Künzelsau beginning in 1642. Other members of the family are documented as skillful craftsmen and gifted sculptors.[3] Johann Daniel married in Künzelsau in 1667 and lived there until 1679. Then he sold his properties and moved to an unknown destination. One of his elaborate pieces, a traveling apothecary made for Karl August, margrave of Brandenburg-Kulmbach (1663-1731), contains silver utensils stamped with the Augsburg town mark for 1692-1700. One of these objects, a mortar, is dated 1692. By the late 1600s, however, Augsburg silver, especially sets of toiletry and pharmaceutical items, was esteemed all over Germany; thus, the assumption that Sommer lived in Augsburg must remain speculative. Besides, in Augsburg Sommer could not have used painted horn as a substitute for tortoiseshell as is done in the Museum's piece. The town guaranteed the quality of its luxury