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.

Elaborately veneered in Bois de Rose and mahogany as well as in numerous other partly colored, burn-shaded and engraved precious woods, splendid fire-gilded bronze applications and decorative edges, profiled, original Brèche d’Alep marble slab as a cover.

Signed with stamp under the slab.

The artfully inlaid ornamentation in the fourfold mirrored veneer base on the front “sans traverse” as well as the sides of the furniture meet the highest demands on a courtly parlor piece. In the veneer, large-area bundles of flower branches with an imaginative framing of shells and scaled ribbons predominate. The applications with movingly curved rocailles that flow along the edges of the furniture complement the inlaid motifs of the representative chest of drawers. From French aristocratic possession.

Height 86 cm, width 95 cm, depth 53 cm.

Salverte, „Les Ébénistes du XVIIIe siècle“, Paris 1934, p. 180.

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.

The finely divided decoration made of straw and bone has been preserved with a beautiful, original patina.

The doors, flanked by delicately twisted columns, are covered with original carved and engraved bone ornaments.

In addition to the six small drawers, the jewellery cabinet, which is lined with original, colored luxury paper, also hides two secret compartments for small curiosities, private treasures and souvenirs.

Height 24 cm, width 18 cm, depth 12 cm.

The framing of the mythological representation of wool and silk with the splendid columns wrapped in garlands of flowers is characteristic of the precious tapestries from the Royal Manufactory in the northern French city of Beauvais.

The tapestry with Venus and Cupid as the central motif comes from the heyday of the manufactory, whose management was handed over to an artist for the first time in 1726 after several changes of ownership: Jean-Baptiste Oudry (1686-1755), until then court painter under Louis XV, designed reams of new motifs and borders for high-quality, elegant wall hangings and tapestry covers for representative seating sets.

In very good condition with fresh colors. From a southern German aristocratic property.

Height 323 cm, width 311 cm.

A particularly beautiful and rare combination of cut crystal glass and gold-plated bronze and metal mounts, which can be attributed to the “Electoral Mirror Grinding and Polishing Manufactory”, the so-called “Spiegelschleife” in Dresden.

On the crown of the ceiling with glass droplets hanging all the way round, three chains hold the large glass lamp with notched cut decoration and the curved candlestick arms with plastic ram heads. Comparable luxurious lamps from the Dresden factory were presented several times in the “Journal des Luxus und der Moden” and advertised as “excellent lighting for a boudoir”.

Height 80 cm.

Silver, cast, embossed and chased with Augsburg inspection and master’s mark Johann Jakob Kohlern.

A very beautifully executed pair of early baroque candlesticks, in which the fine engravings have been preserved in a very good condition and artfully alternate with embossed, relief ornaments and rich profiles.

Height 17.3 cm, weight 580 g.

Mahogany, bog oak, maple veneer, key plates in bone and original, gold-plated fittings with elaborately enamelled badges.

That the Leipzig workshop of Friedrich Gottlob Hoffmann was rightly regarded as an important center of furniture production in his time is shown by this pair of chests of drawers, which is simple only at first glance. Elaborate and unusual details complete the selected veneer pattern of the three-drawer chests of drawers: the corner legs that merge into pilaster strips with veneered fluting, the finely inlaid bands on the edges of the furniture and the elegant fittings corresponded to the exquisite taste of court clients towards the end of the 18^th century. Century.

Hoffmann (1741-1806) was the first cabinet maker to have an illustrated directory of the pieces of furniture that could be ordered at his workshop printed and distributed at the Leipzig trade fair in 1789. Depending on the client’s taste, the designs could be varied in terms of veneer and finish, and despite ordering from the catalog, representative individual pieces were created for the nobility and the wealthy middle class. Wonderful furniture by Hoffmann has been preserved in the castles in Wörtlitz and Weimar, among other places.

Height 77 cm, width 68 cm, depth 45 cm.

M. Sulzbacher et al., Friedrich Gottlob Hoffmann (on the occasion of the exhibition “Most Noble Carpentry Work from Leipzig. FG Hoffmann - Court Carpenters and Entrepreneurs”), Dresden 2014, pp. 281 and 282.

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.

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.

Elaborately veneered in Bois de Rose and mahogany as well as in numerous other partly colored, burn-shaded and engraved precious woods, splendid fire-gilded bronze applications and decorative edges, profiled, original Brèche d’Alep marble slab as a cover.

Signed with stamp under the slab.

The artfully inlaid ornamentation in the fourfold mirrored veneer base on the front “sans traverse” as well as the sides of the furniture meet the highest demands on a courtly parlor piece. In the veneer, large-area bundles of flower branches with an imaginative framing of shells and scaled ribbons predominate. The applications with movingly curved rocailles that flow along the edges of the furniture complement the inlaid motifs of the representative chest of drawers. From French aristocratic possession.

Height 86 cm, width 95 cm, depth 53 cm.

Salverte, „Les Ébénistes du XVIIIe siècle“, Paris 1934, p. 180.

Mahogany, bog oak, maple veneer, key plates in bone and original, gold-plated fittings with elaborately enamelled badges.

That the Leipzig workshop of Friedrich Gottlob Hoffmann was rightly regarded as an important center of furniture production in his time is shown by this pair of chests of drawers, which is simple only at first glance. Elaborate and unusual details complete the selected veneer pattern of the three-drawer chests of drawers: the corner legs that merge into pilaster strips with veneered fluting, the finely inlaid bands on the edges of the furniture and the elegant fittings corresponded to the exquisite taste of court clients towards the end of the 18^th century. Century.

Hoffmann (1741-1806) was the first cabinet maker to have an illustrated directory of the pieces of furniture that could be ordered at his workshop printed and distributed at the Leipzig trade fair in 1789. Depending on the client’s taste, the designs could be varied in terms of veneer and finish, and despite ordering from the catalog, representative individual pieces were created for the nobility and the wealthy middle class. Wonderful furniture by Hoffmann has been preserved in the castles in Wörtlitz and Weimar, among other places.

Height 77 cm, width 68 cm, depth 45 cm.

M. Sulzbacher et al., Friedrich Gottlob Hoffmann (on the occasion of the exhibition “Most Noble Carpentry Work from Leipzig. FG Hoffmann - Court Carpenters and Entrepreneurs”), Dresden 2014, pp. 281 and 282.

Inlaid with fine grain birch wood, walnut, maple and plum colored in red and green, with original gold-plated fittings.

In terms of structure and decoration, the writing furniture corresponds to a group of comparable high-quality chests of drawers and cabinets summarized under the technical term "Erfurt furniture”. The inlays with two large, gallant shepherd scenes in landscapes with ruined architecture are framed by extremely fine rococo ornaments painted in black solder. If copper engravings were applied to the furniture in the Arte Povera manner - mainly in the case of Italian furniture - this secretary was decorated with a combination of inlay and artistic painting.

The necessary work steps were carried out by specialized artisans. This representative piece of furniture could only be manufactured to such perfection with the interaction of marketeer and painter. A counterpart of comparable quality from the possession of the princes and counts of Schönburg is kept in the castle museum in Glauchau. This secretary is shown at Kreisel / Himmelheber.

Height 200 cm, width 131 cm, depth 70 cm.

Kreisel, “Die Kunst des deutschen Möbels“, Munich 1973, vol. 2, fig. 904 as „Erfurt writing cupboard“.

Voigt, “Möbel aus schönburgischen Schlössern“, Glauchau 2003, p. 55-69.

Selected veneers in palisander, rosewood and other precious woods, high-quality, gilded bronze applications and decorative profiles, the original Brèche d’Alep marble slab as a cover.

Signed with stamp. The artful workmanship of the veneers, the use of bronze ornaments and its classic shaping testify the outstanding work of Ohneberg (born around 1738, master 1773), from which valuable chests of drawers in transition and Louis XVI style have been preserved and are proven in the literature.

A transitional style chest of drawers lavishly inlaid with musical instruments by Ohneberg is now kept in the Louvre. The secretary shown here has a removable, lockable cassette in the two-door lower part, the writing top is covered with gold-embossed leather and hides storage compartments and four small drawers. The fluting of the head drawer is particularly elaborate.

Height 142 cm, width 82 cm, depth 41 cm.

Kjellberg, „Le Mobiliare française du XVIIIe siècle“, Paris 1998, p. 623-628.

Kjellberg, Le Mobiliare française du XVIIIe siècle, Paris 1998, S. 623-628.

Walnut, king wood and maple as well as other colored, partly engraved and black contoured woods.

The top and front of the high-quality, two-drawer chest of drawers show the division into each three cartouches framed by rocailles, which is so characteristic of the Spindler workshop. The precisely crafted cube parquet is complemented by large bouquets of flowers tied with bows, on the front by a lush bouquet in a wicker basket and on the middle cartridge of the plate by a fountain with nereid and putto in front of a burl wood background. Original, fire-gilded and silver-plated bronze fittings with the coat of arms of the Barons of Plotho complement the masterful veneer.

Erich Christoph Edler Lord and Baron of Plotho (1707-1788) was appointed Prussian Minister of State by Frederick the Great in 1754 and was seconded to Regensburg as the Brandenburg envoy during the Seven Years War. From there he made numerous diplomatic trips to southern German and Austrian royal courts. These contacts not only influenced his political career but also led to a cultivated taste for luxurious furnishings and art objects, as this representative chest of drawers attests to. His wife Charlotte Wilhelmine Eleonore Baroness of Bodenhausen brought several properties located in the Margraviate of Ansbach and Bayreuth into their marriage in 1743, to which he withdrew from the service of the king after he left.

The chest of drawers is published and illustrated by Kreisel / Himmelheber.

Height 80.5 cm, width 140 cm, depth 64 cm.

Pictured at Kreisel, “Die Kunst des Deutschen Möbels”, Munich 1973, vol. 2, fig. 790.

Sangl, “Spindler?”, in: “Journal of the Furniture History Society”, Leeds 1992, vol. XXVII, p. 22-66.

Veneered in walnut, rosewood, cherry, plum and maple, Rouge Royal marble top. Adhesive label signed on the back.

The two-drawer body “sans traverse” with lambrequin-like hanging frame on elegantly curved legs, the front and sides are lavishly cambered and inlaid with extremely fine and high-quality flower arrangements tied with bows. The original handle with a wreath of flowers shows a female portrait bust in the medallion.

The fine, light flower inlays, which were developed in the Neuwied workshop under the direction of David Roentgen, corresponded more to the taste of luxury-spoiled buyers in the last third of the 18^th century than the splendid decors of the Baroque and Rococo, for which his father Abraham was appreciated by courtly clients. The mostly floral motifs are based on models by Jean Bérains the Elder. (1640-1711), Jean Baptiste Oudry (1686-1755) or Jean Pillement (1728-1808).

The impressive effects of color, three-dimensionality as well as bright and dark contrasts are only created through the use of differently colored woods and only the carpenters of the Roentgen Manufactory have mastered these elaborate veneering techniques to such perfection. A very similar but slightly larger chest of drawers from an order by Landgrave Frederick II of Hesse-Kassel is kept in the Kassel State Museum.

Height 80 cm, width 78 cm, depth 41 cm.

See Huth, “Abraham und David Roentgen und ihre Neuwieder Möbelwerkstatt”, Munich 1974, fig. 238.

Walnut.

The carved frame with four curved cheeks and richly decorated with rolled acanthus leaf ornaments, the profiled plate is made of so-called Salzburg “trout” marble.

A similar, probably a little later produced table by Stephan Jegg with tapestry embroidery inserted into the top is in the Imperial Room of St. Florian Monastery near Linz.

Height 85 cm, width 105 cm, depth 79 cm.

Solid mahogany and veneer, with stylized carvings on the front, saber-shaped legs, the transverse board of the trapezoidal backrest with applied rosettes and elegantly backward-turned, volute scrolls as the upper part completion. Padded according to the historical model and with renewed, green horsehair covers. The chairs look very filigree in their construction and were an appealing part of the furniture in an elegant salon.

Height 89 cm, seat height 44 cm, width 49 cm, depth 43 cm.

Tulip wood, amaranth, maple and other fine, lavishly fire-shaded, engraved and colored woods, the bronze fittings finely chiseled and fire-gilded. Signed with stamp under the plate. The body is supported by graceful round legs, the veneered fluting of which is continued in the side pilaster strips. The door panels are each adorned with a bound bouquet of naturalistically inlaid flowers in a braided ribbon frame.

A delicate, applied ornament band runs under the original, gray-purple marble slabs - characteristic of works from Letellier’s workshop. Letellier’s (born around 1745, master 1767) mastering of the art of inlay is demonstrated by the few chests of drawers and tables he signed, on which he preferred to combine ornaments in the Greek style with typical Louis XVI motifs.

Height 88 cm, width 72 cm, depth 53 cm.

Salverte, “Les ébénistes du XVIII siècle”, Paris 1934, p. 213-214.

This French masterpiece, "Bureau Mazarin" - named after the diplomat and politician Cardinal Mazarin (1602 - 1661) was one of the most fashionable and exquisite pieces of furniture of Louis XIV.

Originally designed as a desk, it was used as a showpiece to show the reputation and the wealth of the owner. The Bureau Mazarin is made using the Boulle technique with pewter inlays in amaranth wood.

A "Cabinet en armoire", that is exhibited in the Musée des Arts Decoratifs in Paris (Inv 38042, aquired in 1958) was made by the same cabinet maker.

The oval table top with the original pull-out technique and three inlay plates, each approx. 50 cm wide.

Solid cherry wood and veneered, gilded sabots on the legs.

Height 75 cm, the top 120 x 105 cm, frame 63 cm.

(table extended see enlargement picture 2)