Bamberger Kunst und Antiquitäten GbR

Signed on the circlet.

A transversely oval white marble plinth hung with festoons carries the clockwork in a richly ornamented, openwork lyre. By looking at the mechanics in the center of the dial circlet, the technology becomes a confidential work of art on par with the lavishly gold-plated case.

With its eight bars, the pendulum imitates the strings of the lyre, which is crowned by the aureole of Apollo’s bust. Merra, a master craftsman since 1772, ran his workshop until 1791.

The sales inventory of the “fond de commerce” shows high-quality clocks made by the successful master watchmaker for the wealthy and discerning Parisian society of the late 18^th century.

Height 49 cm, width 22 cm.

Tardy, “Dictionnaire des horlogers français”, Paris 1972, p. 458.

Inscribed on the base “fecit T. Friedl” and “Gegossen J.C. Hennick”.

The large-format cast made of gold-plated metal shows two fully plastic, lively putti attentively carrying a bowl of fruit. In the spirit of baroque sculpture, that moment of movement is captured here with virtuosity in which the greatest tension lies - both physically and mentally. In the watchful eyes of the putti, the greatest concentration is on balancing the sweet but heavy harvest on the tray.

Friedl (Vienna 1842-1900 Kirchau / Lower Austria) studied at the Vienna Academy of Fine Arts and created numerous sculptures. His main works are the marble steed taming groups on Maria-Theresien-Platz in Vienna, other sculptures and architectural sculptures can be found in Hamburg, Budapest, Augsburg and Prague.

Height 92 cm.

Plaster, mounted and signed on the side.

The torso is listed in the catalogue of works of the artist currently being processed by Andrea Müller-Fincker. After completing his studies at the University of Fine Arts in Berlin, Schliepstein initially worked as a freelance artist. From 1911, he worked for KPM and from 1929 exclusively for Rosenthal.

His initially naturalistic figures were followed by more and more expressionistic, expressive designs during the 1920s, to which this female nude can also be assigned. Numerous museums exhibit Schliepstein’s work, including the Bröhan Museum Berlin, the Porzellanikon in Selb and the Museum of Applied Arts and Sciences in Sydney.

Provenance: From the property of the artist’s family.

Height 83 cm.

Lime wood.

Our Lady, standing on the crescent moon in an upright position, carries the baby Jesus on her left arm in front of her chest and supports it with her right hand. As a symbol of the Fall of Man, the apple in his hand anticipates his later death on the cross for the redemption of mankind. The lowered, introverted gaze in the delicate face of the Madonna contrasts with the gently smiling, plump child’s face with eyes attentively contemplating the world.

The virtuosity of the carving, the moving folds in the closed outline of the figure and the fine features of the sculpture provide important information about the creation of the Madonna in the vicinity of the famous Nuremberg sculptor Veit Stoss (1447-1533). Comparable with the sculpture shown here is the wall Madonna from the facade of his house in the Nuremberg Wunderburggasse, which is shown today in the Germanic National Museum. (Inv. PL.0 217).

Height 126 cm.

Finely hewn and polished, beige sandstone.

The implied smile on the face of the deity stands for the highest and noblest form of a Buddha’ laughing and can certainly be brought into accordance with the state of enlightenment. The flamed tip on his hair is also a symbol of his spiritual nature and enlightenment. The lowered gaze under the finely drawn brow line indicates his deep spirituality and inner calm.

Provenance: German private collection, acquired in 1996 from Venzke art trade, Berlin.

Height 34 cm.

Marble, signed and dated.

In front of two bundles of wheat at his feet standing naked man between childhood and adolescence, covered only with a leaf, with his right hand raised to his forehead. The aesthetics of the body refer to classic, Mediterranean works of sculpture. The sculpture has preserved a beautiful, naturally grown surface of the marble.

Height 124 cm.

Bronze casting with original, dark, almost black lacquer patina.

The athletic ancient hero sits leaning against a rock covered with a lion skin, presenting the three golden apples from the garden of the Hesperides in his outstretched right hand and leaning his left arm relaxed on his mace. The bearded head is crowned by a tied wreath, his gaze rests on the apples of immortality, which he was able to steal with a ruse from the garden guarded by a dragon - his impressively formed, muscular body was therefore rather irrelevant for these of his twelve heroic deeds.

The pictorial type of the seated hero goes back to a Hercules figure from the 1^st / 2^nd century AD, which is kept in the antiques collection of the Kunsthistorisches Museum Vienna (Inv. VI 342).

Height 52 cm.

Carved with fruit wood, with remains of the original paint finish.

The fine, early Baroque figure of Mary stands raised on a curved and stepped base. Mary holds her son in both hands, who carries the orb in his left hand and has raised his right in a gesture of blessing. The delicate, graceful facial features of the figures harmonize with the softly falling, detailed folds of the drapery.

Height 38.5 cm.

In the Bura-Asinda-Sikka culture, living in northwest Niger and the neighboring regions of Burkina Faso, urns made of terracotta were filled with items of clothing and souvenirs from the property of the deceased and placed in the grave with the opening facing down.

This traditional ritual demonstrates the popular belief in the continuation of life beyond death. While working in the fields, farmers first discovered the elongated vessels in 1975, many of which have a similar, characteristic head.

Typical are the eyes in the form of coffee beans, the distinctive, straight nose and the slightly open, stylized mouth. In the case of the container shown here, the decorations on the wall with indented notches and knobs are particularly elaborate. The age of the vessel was confirmed in 1999 by thermoluminescence analysis.

Height 94 cm.

Schaedler, “Erde und Erz – 2500 Jahre Afrikanische Kunst aus Terrakotta und Metall”, Munich 1997, p. 70 ff.

Wood with a very well-preserved, original frame. After training and working as a journeyman with the famous sculptors Johann Baptist Straub in Munich, Johann Josef Christian in Riedlingen, Joseph Anton Pfaffinger in Salzburg and Leonhard Riedlinger in Augsburg, Jorhan gained a reputation with his workshop in Landshut as an important Lower Bavarian Rococo sculptor with an individual, playful approach - refined style.

Among his numerous church fittings and redesigns, his most important commissions were those for the high altar of St. Peter in Pfaffenberg as well as for the altar figures and the original and magnificent nave’s pulpit in St. Martin in Altenerding.

Height approx. 80 cm.

JOACHIM HENNE, attributed to

(1630-1707)

A Pair of Figures

JESUS AND SAINT JOHN THE BAPTIST AS BOYS

Germany, around 1675

Ivory

Height: 15 and 14 cm, on round ivory bases

SAINT GEORG AND THE DRAGON

Southern Germany, Swabia, circa 1480

Lime wood, reverse hollowed out, original polychromy

Height: 77.5 cm

ATTRIBUTED TO THE WORKSHOP OF HANS HARDER

(active between 1465-1485 in South Tyrol, Sterzing) 

MAN OF SORROWS BETWEEN TWO ANGELS

South Tyrol, Sterzing, circa 1480

Plinth from the 18^th century

Height: 35 cm, width: 62 cm, depth: 9 cm

Literature: Erich Egg: Gotik in Tirol – die Flügelaltäre, Innsbruck 1985, compare page 235, 236, illustration No. 171.

Theodor Müller: Gotische Skulpturen in Tirol, Bozen/ Innsbruck/ Vienna 1976, compare page 25, illustration No. 87.

Provenance: private collection, Southern Germany, Munich. Illustrated in: Unbekannte Kunstwerke im Münchner Privatbesitz, No. 358, illustration No. 40.

Oil on copper.

In a festive atmosphere, a gallant, courtly company amuses herself on the terrace of a magnificent palace to music, dance and conversation over a lavish feast. On large-format murals in the background of the colorful scenery, mythological depictions of the hunting goddess Diana and the sun god Apollo reflect the demanding lifestyle of the characters and tell as allegories the dream of eternal beauty and youth, of seduction and love, but also of the burden of social expectations and moral demands.

In their brilliant colors and the excellent quality of the painting, these two counterparts are typical examples of baroque art in Austria. Alongside Johann Georg Platzer (1704-1761), Janneck is rightly considered the most important artist at the Vienna Academy. In his characteristic combination of Dutch and French ideals, he succeeded in excellent implementation of the unique, baroque attitude towards life of the noble society in the 18^th century. The pair of paintings was exhibited in the Residenzgalerie Salzburg in 1996 and published in the exhibition catalog (cat. no. 4 and 5).

Height 40 cm, width 52 cm.

Juffinger, “Reich mir die Hand, mein Leben. Einladung zu einem barocken Fest“ with pictures by Johann Georg Platzer and Franz Christoph Janneck, Salzburg 1996, p. 100-104.

Pucher, Franz Christoph Janneck 1703-1761, dissertation, Graz 1996, p. 196-197, cat. no. 109 and 110.

Grand Duchess Friederike Caroline Luise of Mecklenburg-Strelitz with the portrait of her first daughter, Charlotte Georgine Luise Friederike

Oil on canvas.

This picture, made in the tradition of courtly portrait painting, offers a symbolic insight into the private life of the depicted princess of Hesse-Darmstadt (1752-1782), through marriage the Duchess of Mecklenburg-Strelitz and mother of the Prussian Queen Luise. The elaborately gathered and embroidered, silk-blue dress, the artfully teased hairstyle, the subtle but expensive jewellery underline her representative function. As an allegory, the little dog refers to marital fidelity and, like the finely executed child portrait in her hands, illustrates the social role of the young duchess.

Commissioned on the birth or christening of their first child, this lovingly painted souvenir was created with the double portrait of mother and daughter. Charlotte (1769-1818), who later, together with her sisters Queen Luise of Prussia, Queen Friederike of Hanover and Princess Therese of Thurn und Taxis, was considered one of the most beautiful women of her time, married Duke Friedrich of Saxony-Hildburghausen at the age of 15.

Height 64 cm, width 46 cm.

"Malines - Vue des Canaux", (View of the canal in Mechelen), signed and dated by Joseph Ignace van Hoey, 1879, (Belgian painter born 1810-1892).

Oil on canvas

Height 48 cm, width 60 cm

"Hunting portrait", Johann Heinrich Roos (born 1631 in Otterberg, died 1685 in Frankfurt). Attributed to Johann Heinrich Roos in reference to the monography from Hermann Jedding abut the painter family "Roos"  from 1998.

Oil on canvas 

Height 106 cm, width 80 cm.

GABRIELE MÜNTER 

(Berlin 1877 - 1962 Murnau am Staffelsee)

DORFSTRAßE MIT HUHN  (Village Street with a Hen)

circa 1908

Oil on canvas

Estate stamp on the reverse, in pencil L 376

Height: 17 cm, width: 10 cm

Provenance:

Estate of the artist;

Leonard Hutton Galleries, New York (acquired from the above);

the Estate of Jane F. Sheets, Buffalo, New York

The work is listed by the Gabriele Münter and Hans Eichner Foundation as No. L376 of the Gabriele Münter Estate.

Nut wood, birds’s-eye-maple, and different fruit woods, partly engraved, coloured or with polychrome painting in watercolour.

Height 52 cm, width 63 cm.

LUCAS CRANACH THE ELDER AND WORKSHOP

(Kronach 1472 - 1553 Weimar)

HERCULES AT THE COURT OF OMPHALE

Wittenberg, circa 1535 - 1538

Signature: serpent with lowered wings in yellow colour,

on the upper right edge, above the shoulder of Omphale

Oil on wood

height: 83 cm, width: 120,8 cm, depth: 0,7 cm

Expert report by Prof. Dr. Gunnar Heydenreich, 19.09.2018

Cranach Digital Archive: http://lucascranach.org/PRIVATE_NONE-P321

Provenance: Collection Stemmler Cologne;

Kunsthaus Lempertz, Auction 468, Cologne, 17.05.1962, Lot 42;

Private collection, Bamberg, since 2007.

Probably Italy, 2nd half of the 18^th century

The panel is inserted in a profiled frame from the 18^th century with gilt strip.

On brown-ochre flecked ground are 42 with black slate strips offset arrays with differently coloured, partly veined kinds of marble.

Height 75 cm, width 57 cm.