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14 Frederik V’s Cabinet

ROOM 14: This is the first of the rooms occupied by Frederik IV’s brother, Prince Carl. With Christian VII’s Room and Frederik VI’s Room, it was designed in 1782-1784 by Johannes Wiedewelt. The walls are decorated with tapestries from Charles le Vigne’s factory in Berlin, representing garden scenes. The tapestries were made around 1750.

The settee and the two armchairs presumably originate from Fredensborg Palace, while the chest of drawers, in rosewood veneer, was possibly made at the studio of C.F. Lehmann. The amber chandelier was made by Lorenz Spengler from a design by Marcus Tuscher. The main part of the porcelain collection originates from Christiansborg Palace, where it was rescued from the fire of 1794.

Most of the exhibits in this room date from the second half of the 18th century, and are mainly associated with Frederik V and his Queens, Louise and Juliane Marie, and their children, Christian VII and Prince Frederik, the Heir Presumptive.

Room 15 ->

Objects in this room
1400-1409
1400. Queen Juliane Marie, bust in biscuitware, signed: Luplau fec. 1781, and made at the Royal Copenhagen Porcelain Manufactory. After a model by C.F. Stanley? The Queen ardently patronized the Manufactory during its first years.
1401. Chessboard with amber chessmen. Made by Lorenz Spengler, c. 1750.
1402. Mahogany commode with gilt carving and grey marble top. Altona, c. 1780.
1403. Frederik V’s Queen, Louise, born Princess of England. Full length, painted by C.G. Pilo.
1404. The Heir Presumptive, Prince Frederik. Biscuit statuette made in 1791 by A. Hald, after the model by L. Grossi. The Royal Copenhagen Porcelain Manufactory.
1405. Two vases with portraits in relief of Juliane Marie and Crown Prince Frederik (VI) respectively. The Royal Porcelain Factory, around 1780.
1406. Two vases of Royal Copenhagen Porcelain with portraits of Juliane Marie and Prince Frederik. C. 1784-86.
1407. Painted commode of wood, brown, originally blue, with fire-gilt bronzes representing i.a. sculpture, painting, music and architecture. Made for Fredensborg Palace c. 1765. Possibly designed by N.H. Jardin.
1408. Rod, with heights of Frederik V’s children.
1409. Gustav III of Sweden with his family. Etching by F.J. Martin, probably after Cornelius Høyer.
1410-1419
1410. Prince Ferdinand of Brunswick (1721-92), brother of Queen Juliane Marie, Prussian Fieldmarshal. Relief in biscuit. Royal Copenhagen Porcelain, c. 1781.
1411. Bird cage of bronze gilt with clock, musical works, and movable birds. Paris, c. 1780. Hung in Queen Marie Sophie Frederikke’s Audience Chamber at Christiansborg Palace.
1412. Christian VII. Enamelled miniature by G. Seiptius c. 1783.
1413. Christian VII; enamelled miniature, signed: C.F. Schrader.
1414. Queen Caroline Mathilde’s big travelling clock, signed: Mathias Schreiner. Friedberg.
1415. Queen Juliane Marie as a young woman. Enamelled miniature, possibly by J. Brecheisen.
1416. Frederik, the Heir Presumptive, as a seven year old. Enamelled miniature, signed: Brecheisen J. Copenhagen 1760.
1417. Frederik V. Relief in biscuit, made by L. Fournier, c. 1765.
1418. Gold watch signed: Murray, London.
1419. William Augustus, Duke of Cumberland. Made by Z.F. Zincke?
1420-1429
1420. Queen Caroline Mathilde’s sister, Princess Marie (married 1740 to Landgrave Frederik II of Hesse Cassel). Enamelled miniature, by unknown artist.
1421. The Empress Catharine II of Russia (1729 96). Enamelled miniature by Vigilius Erichsen c. 1755?
1422. Count Adam Gottlob Moltke (1710-98), painted on porcelain. Signed: J. Gylding pinxit 1763.
1429. Christ and the Apostles. Porcelain paintings, signed: J. Gylding pinx 1764: set in a gilt metal frame.
1430-1439
1430. Empress Catharine II of Russia. Relief in ivory. Russia c.1765.
1431. Enamelled box, with picture of Copenhagen harbour in the lid, c. 1750.
1432. Two enamelled boxes with child portraits of Frederik, the Heir Presumptive, and Christian VII; made by J. Brecheisen c. 1760.
1433. Two enamelled dressing cases, set in gold, with portraits of Frederik V and Juliane Marie. Made by Jørgen Gylding?
1434. Enamelled box with picture of King Friedrich II of Prussia (1712-86). Half-length after Pesne, signed: Brecheisen, 1757.
1437. Enamelled box with Frederik V’s portrait and allegories of the Fine Arts. Joseph Brecheisen, 1760.
1438. Box with allegories, Juliane Marie’s monogram and the inscriptions: Forever, and: For the Best Queen. Made for her birthday, 4.9.1781, at the Royal Copenhagen Porcelain Manufactory.
1440-1449
1442. Frederik V; relief portrait in biscuit, by L. Fournier.
1443. Christian VII. Portrait en grisaille, after Jens Juel; painted on porcelain. Royal Copenhagen Porcelain, c. 1785.
1444. Rod, bearing the measurements of the heights of Prince Frederik’s children.
1445. Princess Sophie Frederikke (1758-94) (née Princess of Mecklenburg Schwerin), painted by J.C.F. Viertel.
1446. Portrait of Queen Caroline Mathilde when young, oil on copper; possibly after F. Coates.
1447. Caroline Mathilde, painted by C. Sparkjær.
1448. Caroline Mathilde, by unknown artist.
1449. Portrait of Frederik V in his coronation robes. Three-quarter length painting by C.G. Pilo.

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Lehmann’s Large Musical Cabinet

The four metre high musical cabinet is not simply the most impressive example of the craft of furniture making made in Denmark in the 18th century; it also has a built in “music machine” with a mini orchestra. Frederik V was able to impress and enchant his guests in the golden dining room at Christiansborg Palace with the cabinet’s automated trumpet, flute, and cembalo mechanism. Every half hour a bell in the cabinet chimed, after which the finest music in the form of a trumpet fanfare played; the cabinet also played a piece for flutes and cembalos every hour. There was a choice of 14 different pieces for flute, and 7 pieces for trumpet. The cabinet is evidence of extravagant spending, and the price of 6,560 rigsdaler was the equivalent of buying a small palace. Frederik V ordered the piece himself in 1755, and it was already finished two years later. At that time Denmark was a major power, and it was important to display one’s wealth and position. With the cabinet’s virtuoso craftsmanship, noble varieties of wood, lavish gilt bronze fittings, and enormous size, nobody could be in any doubt about the king’s capabilities. Guests at the palace could also let themselves be enthralled by the fact that the court followed the newest fashions; the cabinet was made in the wildest and most advanced form of rococo. Simultaneously, the cabinet exemplified the age’s interest in mechanics. It was before the industrial revolution and there was a great fascination with machines and mechanics, which is for example known from clocks of the time. Automated objects were the preserve of the few, and pure mechanical art in a fantastic guise like the large musical cabinet’s exterior was worthy of a king. The cabinet was in every way a showpiece.