Bamberger Kunst und Antiquitäten GbR

Spindle pocket watch — Jean-Robert Soret, around 1770

Round double case, white dial with Roman numerals for hours, railroad minute scale and Arabic numerals, Louis XV hands, case set with stones and enameled portrait of a lady on the back. Gold 18 ct (tested). Signed plate with no. 26232. Ø ca. 4.2 cm, 65.8 g. - Signs of age, dial and portrait slightly damaged. - Key enclosed. - Not tested.

Cloisonné lidded box — 2nd half of the 20th century

Quadrangular shape with an inlaid rectangle and circle; the lid decorated with orientalizing tendrils in cloisonné technique in blue and black, the center with a guilloché circle with translucent enamel. Silver, gilt. Stamped with 88 Zolotniki and master's mark ''AH''. 2.4 x 10.3 x 9 cm, 274.5 g.

Aquamarine and diamond bracelet — 2nd half 20th century

Centerpiece with large emerald-cut aquamarine (approx. 17.3 x 14.6 x 9.5 mm), set with 30 diamonds and the side parts with 22 diamonds, totaling approx. 0.25 ct, fine-meshed bands with box clasp and clasp night. Stamped with fineness ''585'' and master's mark ''AMU'' (for Adolf Merath, Ulm). L. 19 cm, 24.2 g.

Aquamarine pendant — Circa 1940

Aquamarine drop (approx. 25 x 11.5 x 7.5 mm) surrounded by opulent foliage, crowned by a small diamond. Yellow gold 14 ct. Stamped with fineness ''585'' and maker's mark. 4 x 2.3 cm, 7.2 g.

Tête-à-tête with mythological scenes — Capodimonte, 19th century

Coffee pot with animal head spout (h. 17.5 cm), two double-handled cups with lids (h. 12 cm), two saucers (Ø 14.5 cm), cream jug (h. 14.5 cm) and sugar bowl with lid (h. 10 cm) on a tray (2.5 x 38 x 31.5 cm). Richly decorated with multi-figure depictions of Roman mythology in relief, such as the Bacchanalian festival and others, cup lid with sculptural putti. Porcelain with polychrome painting and gold heightening. Blue bottom mark 'N' under crown.

Rococo centrepiece in gilded bronze mounting — 18th century

In the centre a round basket with latticework walls and branch handles decorated with flowers, in an open, rectangular frame with pointed leaves and on four scrolled feet, seated in the corners are figures of the seasons, each with a putto with the corresponding attribute flower, ears of corn, grapes and a coal basin, flanked by colourfully painted, plastically designed Vincennes flowers. Porcelain with polychrome painting, bronze, gilt. 20 x 29 x approx. 25 cm. - Hairline crack in the wall, figures restored.

Group with three gardener and shepherd figures — Vienna, 18th century

Shepherdess and shepherd with lamb sitting on a rock, gardener with birdcage and fruit in his hands, gardener with birdcage in her apron, all on a natural plinth with tree support in front of an apple tree. Standing figures with blue bandage shield and incised mark 'O' verso. H. 18.5 - 23 cm. - Some leaves restored.

Picture plate 'Rape of the Daughters of Leucippus' — KPM Berlin, around 1900

Rectangular plate with mythological depiction of the abduction of Hilaeira and Phoibe, the daughters of King Leucippus of Argos by the Dioscuri Castor and Pollux; after the 1618 painting by Peter Paul Rubens, now in the Alte Pinakothek in Munich. Porcelain with fine polychrome painting. Verso impressed mark Zepter and 'KPM' with '237 138', dealer's label Giuseppe Melli in Florence. 24.2 x 16.2 cm; in a two-zone open-worked, gilt stucco frame with acanthus decoration.

Christ Pantocrator — Lithuania, Vilnius, 1857

Christ in a half-figure pantocrator depiction with ornamentally designed robe, holding his right hand raised in a gesture of blessing and holding an open book in his left hand; inscribed in Cyrillic script, egg tempera/wood, enamel, silver oklad with embossed vine decoration. Stamped several times, including the city mark probably for Vilnius (1857). Approx. 31.5 x 26.1 cm. - Minor traces of age to the corners and nimbus, enamel cracked with gold partially rubbed.

Églomisé with the Adoration of the Magi — Venetian School, 18th century 

Pentagonal panel with pediment, containing the biblical scene in rich detail with two angels with wheels hovering above, in a wide ivory frame with inlaid floral decoration and coat of arms. Etching behind glass with gold foil, wooden panel on the reverse. Approx. 26 x 20 x 3 cm. - Frame glass plates partly cracked, minor traces of age. - Due to the current regulations, a sale can only take place within the European Community, CITES is available. This item is also not legal to sell in the UK!

Large relief with the Assumption of Mary — Franconia, beginning of the 16th century

The ascending Mother of God on a large cloud, surrounded by the twelve apostles with folded hands. Limewood, carved. 63 x 63 cm. - Cloud with crack and eruption; traces of age and woodworm, leached paint.

Figure of a basilisk — Alpine, 16th/17th century.

Hybrid creature with elements of a bird of prey, such as a feathered neck, beak, wings and the tail of a snake. Carved stone pine wood, minimal remnants of black paint. H. approx. 80 cm. - The figure was probably originally mounted on the wall or above a door.ht.

Bust of a praying man — Around 1600

The robe with engraved foliage and ruff. Marble. H. 45 cm. - Signs of age with cuts and chips. - Possibly part of an epitaph.

Two female saints — Franconia, around 1500

In high relief, St. Catherine of Alexandria standing on a natural base, holding a sword on a broken wheel in her right hand, the other saint (Margaret?) also standing, holding a book in her right hand. Wood, carved and painted. H. approx. 72 and 74 cm. - Losses of color; drying cracks; spikes of the crowns and martyr's palms broken off.

''Four Seasons'' group of figures — Southern Germany, around 1700.

Two women and two men as allegories of spring, summer, fall and winter. Wood, carved and polychrome painted, the bases gilded. One with handwritten paper label. H. approx. 27 cm. - Paint und gold rubbed.

''The day and the night'' — Italy, late 18th century

After Michelangelo Buonarroti's reclining figures from the new sacristy of the Medici Chapels in the northern transept of the Basilica di San Lorenzo in Florence. Finely executed sculptures in Carrara marble, the upper edge of the plinth gilded. H. 61 cm, base area 63 x 25 cm. - Small chips to the base.

Klinger, Mario — Pendants: blue and red roses

(born 1978, lives in Munich and Basel) C-print. Each fully signed, dated and edition 'Mario Klinger 06/2005 / 1/4' verso. Visible size 75 x 50 cm; in passepartout and framed under glass.

Tiepolo, Giovanni Battista — Adoration of the Infant Jesus by the Magi 

(Venice 1696-1770 Madrid) Pen and India ink and red chalk/paper. Signed verso. 'Di Giovanni Batt. Tiepolo Veneziano 88 Dipinto al sig Sandro Varota da Gat' (?). Visible size 48 x 35.5 cm; framed in passepartout and under glass - According to the accompanying expert opinion by Privy Councillor Dr Heinrich Zimmermann (Director General of the Staatliche Museen Berlin) from 1962, the red chalk drawing was created during his work in Würzburg around 1753. There are similarities to the altarpiece for the Benedictine monastery of Münsterschwarzach. See the 1996 exhibition catalogue 'Heaven on Earth - Tiepolo in Würzburg', pp. 128-131.

Coccorante, Leonardo - attributed to: — Capriccio of ruins and southern harbour with anglers.

(Naples 1680-1750 ibid.) Oil on canvas. 76 x 129 cm. - Small missing part in the sky. - The almost identical motif of the same size was auctioned at Tajan in Paris in 1998.

Both, Jan (attribution or circle of) — Tondo with ruin in a southern landscape

(Utrecht 1618/22-1652 ibid.) River landscape with shepherds and their animals on the bank and resting by the ruin. Oil/wood. Ø 47 cm. - Thieme/Becker 4.

Church interior with Orientals — Flemish school of the 17th century

Interior of a Gothic church without Christian symbolism, with incense lamps in the aisles and Arabic lettering on the vault. Oil on canvas, 90 x 120 cm.

Late Gothic panelled cross with Christus patiens — Tuscany, end of the 14th / beginning of the 15th century.

The crucified Christ between the mourning Virgin and St John the Evangelist in the centre of the wider tabulone, two apostles with scrolls as half figures at the end of the widened cross arms (tabelle), crowned (cimasa) by a tondo with the blessing Christ above the inscription 'INRI'. Tempera/wood over a gold ground, punched halos. 109.5 x 89 cm. - The treatment of the subject and the execution suggest an anonymous Tuscan master with the notable name 'Master of Montefoscoli', a polyptych by whom is in the church of Santa Maria in Montefoscoli; he is also sometimes referred to as 'Maestro di Ristonchi', a polyptych by whom is in the San Clemente Museum in Pelago. The work is influenced by Lorenzo Monaco and in its colour treatment by the Master of the Madonna Straus. Expertise by Prof. Miklos Boskovits.

Tischbein, Johann Heinrich the Elder — Portrait of Johann Jacob von Uckermann II.

(Haina 1722-1789 Kassel) Kneeling portrait en-face in justeau corps with blue velvet waistcoat and lavish silver-coloured embroidery, in an interior with armchair and desk. Oil on canvas. 160 x 117 cm. - Thieme/Becker 33 - We would like to thank Dr Marianne Heinz, Kassel, for confirming the authenticity and identification of the sitter.

(Honjo 1786-1865 Edo) Colour woodblock print from the series The Flowers of Edo with pictures of famous views (Edo no hana meishô-e); 1863. Artist's signature ''Toyokuni ga'' in red Toshidama cartouche, secondary images by Kawanabe Kyosai (1831-89) and Utagawa Kunisada II (1823-80). Oban format 35.6 x 24.6 cm - Margins slightly soiled. - Thieme/Becker 22.