Bamberger Kunst und Antiquitäten GbR

The 25th Bamberg Art and Antiques Fair takes place from 24 July to 24 August 2020 in the World Cultural Heritage of Bamberg.

learn more

Works of Art

Very fine console table — Probably Ansbach, around 1750

Magnificent museum table display case — Probably Bayreuth, mid 18th century

Venini, Paolo — Tessuto mosaico

Bowl with frog — Daum Frères, Nancy - 2nd half of the 20th century

Art Deco Mocha Service on Tray — Vienna, after 1922, Circle of Josef Hoffmann

Cartier Tank Américaine wristwatch — Paris, late 20th century

Emerald-brilliant-white gold parure — 20th century

3-pieces. Necklace with matt-finished rectangular links, the middle section set with eleven brilliant-cut diamonds (each approx. 0.03 ct, SI-VSI quality) and a suspended faceted emerald drop with an entourage of 16 brilliant-cut diamonds (each between approx. 0.03 to 0.06 ct, quality SI-VSI); the bracelet also with frosted links, the center piece set with six oval-cut emeralds and a total of 24 brilliant-cut diamonds (each approx. 0.04 ct, quality VVSI-IF) in between; the earrings each on the stud head and the hanging entourage with emerald pendeloque richly set with 25 brilliant-cut diamonds (each approx. 0.03 to 0.06 ct, quality SI-VSI). White gold 18 ct. Bracelet and earrings with hallmark, ear stud clip also with star hallmark, ''1241'' and ''AL''. L. necklace ca. 42 cm, l. bracelet 18 cm, h. earrings 3.5 cm, total 67.3 g. - Emerald of the necklace partially scratched on the surface.

In unserer Herbst-Auktion vom 24. & 25. November 2023
In our Autumn Auction in November 24 & 25, 2023
https://schlosser.atgportals.net/auctions/8732/schlosser10031

Albarello with skeleton — Sicily, Palermo or Burgio, 17th century

Large figure of a wild duck — Meissen, around 1740/50

Lady on a Visiting Chair with Pug, Cavalier and Servant — Meissen, around 1970

Kern, Erasmus (attr.) — Saint Michael

St. George — Probably Umbria, around 1500

Our objects

New objects via E-Mail

We would be pleased to inform you about our new antiques.

 Sign up now 

Handicraft

Venini, Paolo — Tessuto mosaico

Bowl with frog — Daum Frères, Nancy - 2nd half of the 20th century

Art Deco Mocha Service on Tray — Vienna, after 1922, Circle of Josef Hoffmann

Cartier Tank Américaine wristwatch — Paris, late 20th century

Emerald-brilliant-white gold parure — 20th century

3-pieces. Necklace with matt-finished rectangular links, the middle section set with eleven brilliant-cut diamonds (each approx. 0.03 ct, SI-VSI quality) and a suspended faceted emerald drop with an entourage of 16 brilliant-cut diamonds (each between approx. 0.03 to 0.06 ct, quality SI-VSI); the bracelet also with frosted links, the center piece set with six oval-cut emeralds and a total of 24 brilliant-cut diamonds (each approx. 0.04 ct, quality VVSI-IF) in between; the earrings each on the stud head and the hanging entourage with emerald pendeloque richly set with 25 brilliant-cut diamonds (each approx. 0.03 to 0.06 ct, quality SI-VSI). White gold 18 ct. Bracelet and earrings with hallmark, ear stud clip also with star hallmark, ''1241'' and ''AL''. L. necklace ca. 42 cm, l. bracelet 18 cm, h. earrings 3.5 cm, total 67.3 g. - Emerald of the necklace partially scratched on the surface.

In unserer Herbst-Auktion vom 24. & 25. November 2023
In our Autumn Auction in November 24 & 25, 2023
https://schlosser.atgportals.net/auctions/8732/schlosser10031

Albarello with skeleton — Sicily, Palermo or Burgio, 17th century

Large figure of a wild duck — Meissen, around 1740/50

Lady on a Visiting Chair with Pug, Cavalier and Servant — Meissen, around 1970

Large, excellently preserved Imari plate

Japan around 1700

Porcelain, underglaze blue, and overglaze red and gold

Imari plates of this size were very popular, precious collector's items among many German Princely Houses around 1700 and met the taste and admiration for Far East culture. The ancient tradition of porcelain making in Asia was greatly admired in Europe, as they were not yet able to make porcelain themselves. This beautiful plate comes from the collection of the Dukes of Württemberg.

Diameter: 55 cm

Large oval tobacco tin, stone mosaic, gold mounted, by Johann Christian Neuber (1736-1808)

Dresden around 1780

A large oval lidded box with elaborate stone mosaic in the form of a straw braid in various, Saxon stones of the Ore Mountains. The top, bottom, and robe reflect the illusion of the braid in undulating bands and are centrally decorated on the lid and bottom with fanned rosette. The rosette even seems to mount the straw bands.

The bands are alternated according to their stone drawing. The golden mounting is decorated with fine chasing and the handle is decorated with a lush floral ornament.

Johann Christian Neuber learned the goldsmith's and stonecutter's craft in Dresden from his later father-in-law Heinrich Taddel. In 1762, he was admitted to the goldsmith guild in Dresden, from 1767 he worked for the court, was responsible for the Green Vault from 1769 and was appointed court jeweler in 1775.

His specialty was the manufacture of artful tobacco tins with a wide variety of stones, mostly local, in gold mounts, which were often given as precious gifts.

The box was in the Hallstein Collection until 1964, and is reproduced in Alexis Kugel: “Gold, Jasper and Carnelian: Joh. Chr..Neuber at the Saxon Court.” London: Paul Holberton 2012 on page 344 no. 60.

Width: 8.5 cm, height: 3 cm

Writing case of Carl Philipp of Greiffenclau

Probably Mainz, around 1725

On this double-locking, walnut-veneered cassette with an inner lid, the lush brass fittings are most eye-catching. Their engravings are filled with red and green composition, prefiguring an elaborate enameling. The plaque with the handle in the center of the lid shows the coat of arms of Carl Philipp Baron of Greiffenclau zu Vollrads (1690-1754), later Prince-Bishop (1749-1754) of Würzburg, and is inscribed: “CARL PHILIPP FREYHERR VON GREIFFENKLAU ZU VOLLRATZ”, and the lock bears the inscription: “Gemacht in G[...] Wolteræcken.” It has not yet been possible to find out more about the cabinetmaker.

Carl Philipp's parents were Johann Erwein of Greiffenclau and his first wife Anna Lioba of Sickingen. His uncle was Johann Philipp of Greiffenclau, who was Prince-Bishop of Würzburg from 1699 to 1719. He had already been a domicellar in Würzburg since 1705, then he studied in Mainz and was ordained priest in 1715. Although, he had been a member of the cathedral chapter in Würzburg since 1728, he continued to maintain ties with the archdiocese of Mainz, where he served as rector of the university from 1739-1749.

He introduced the general hymnal for the entire High Diocese of Würzburg and reformed the pharmacy and medical profession.

Carl Philipp of Greiffenclau continued Schönborn's patronage in Würzburg and, immediately after taking office, advised Balthasar Neumann again as chief building director of the Würzburg Residence.

He earned lasting renown as the commissioner of Giovanni Battista Tiepolo for the world-famous frescoes of the staircase of the Würzburg Residence. 

Height: 15.5 cm, width: 39 cm, depth: 26 cm

Large wall clock

Wood carved and gilded, Regensburg around 1790, Johann Christoph Seyffert

Gilded wooden case with openwork carved leaf and flower tendrils, figures and grotesque masks on the sides.

On the enamel dial with Roman and Arabic numerals inscribed Joh. Christ. Seyffert in Regensburg. Pendulum with thread suspension, striking mechanism on clay springs.

Johann Christoph Seyffert was born in the Margraviate of Kulmbach-Bayreuth and can be traced to Regensburg in the late 18th century. There is another signed wall clock in the collection of the Princes of Thurn and Taxis in the St. Emmeram Castle in Regensburg.

Height: 100 cm, width: 65 cm

Handicrafts

Sculptures

Kern, Erasmus (attr.) — Saint Michael

St. George — Probably Umbria, around 1500

Cupid is consumed with secret fervor

Charol, Dorothea — ''Dancing Chinese Woman''

Kneeling boy

Probably Landshut, around 1760, walnut carved, around Christian Jorhan the Elder (1727-1804)

The adoring putto is supported on a moving rococo pedestal. He is fully sculpted and probably was originally part of a larger architecture.

Height: 85 cm, width: 40 cm, depth: 23 cm

Bozzetto of a Maria Immaculata

Limewood with original frame

Würzburg. Around 1760

Mary, with scepter in her left hand stands on the earth globe sustained by an angel. On the high pedestal of rock-like moving rocailles, two putti fight against a dragon. Overcoming evil is expressed by the grace of Christ's birth with Mary crowned with stars.

This bozzetto could be the basis for a large Marian fountain or part of an altar.

Height: 42 cm

Baroque angel

Lime tree, with original frame,

Munich, Johann Baptist Straub's circle (1704-1784)

A winged putto head with a sideways turned look from the circle of Johann Baptist Straub's workshop.

Straub came from a family of Munich sculptors - he learned from his father and brothers in the workshop from 1718 and produced his first decorative works under Joseph Effner for the Munich Residence.

From 1726-1734, he went to Vienna and became court sculptor in Munich under Elector Karl Albrecht of Bavaria in 1737. He decorated many churches and monasteries in Upper Bavaria.

In Ettal monastery, similar angel heads have been preserved on the Korbiniansaltar.

Height: 40 cm

Mary Immaculate

Lime wood with original gilding and frame

Franconia, around 1730

The star-crowned Maria Immaculata (immaculate Mary) stands with her right foot on the serpent with the apple of knowledge, which enwinds the globe of the earth. This depiction formulates the threat of evil to the world and shows Mary as victress through the grace of Christ's birth.

Height: 45 cm

Female nude

Bronze burnished, inscribed, and dated Hans Hubert Dietsch - Sachsenhausen, Berlin 1926

Height: 64 cm

Four scenes of the Passion of Jesus Christ

FOUR SCENES OF THE PASSION OF JESUS CHRIST

Christ in the Garden of Gethsemane
The Scourging
The Crowning with Thorns
The Carrying of the Cross

South Germany/ Austria/ Upper Bavaria, around 1510-1520

limewood, original polychromy
Height: 44 – 26 cm, width: 27 - 28 cm
With frame: H: 66 cm, W: 45.5 cm

The Flight into Egypt

THE FLIGHT INTO EGYPT

Fraconia, circa 1500

Relief, Lime wood, old polychromy

Height: 61 cm, width: 43 cm

Provenance: private collection, Southern Germany

The Lamentation of Christ

THE LAMENTATION OF CHRIST

Saint John, the Virgin Mary, Mary Magdalene

Originally part of a larger group of sculptures

Franconia, circa 1510

Relief, Lime wood, original polychromy

Height: 30 cm, width: 37 cm

Provenance: private collection, Southern Germany

 

Sculptures

Paintings

Fuchs, Ernst — Apokalypse

Nolde, Emil — Steamer under a violet sky on the high seas

(Nolde 1867-1959 Seebüll) Watercolour. Signed lower right; label of the Stuttgart Kunstkabinett Roman Norbert Ketterer with the handwritten number ''461'' on verso. Visible size 33 x 46 cm; tanned under glass - Provenance: recent from a private collection in southern Germany. - A recent expert opinion by Prof. Dr. Manfred Reuther confirms that the watercolour is undoubtedly by the hand of the artist. As to provenance, it is stated that it comes from the collection of the Swiss pharmacist, merchant and wholesaler of pharmaceutical products Dr. Richard Doetsch-Benzinger, patron of the Kunstmuseum Basel. After his death, a large part of his collection, with which he had bequeathed the Kunstmuseum Basel in his will, was auctioned off by the Stuttgart Kunstkabinett under Roman Ketterer on 20/21 May 1960 due to family inheritance disputes, including eight paintings and 33 watercolours and drawings by Emil Nolde, among them the present sea watercolour with the smoking steamer, titled ''Dampfer mit großer Rauchfahne unter violettem Himmel''.

In unserer Herbst-Auktion vom 24. & 25. November 2023
In our Autumn Auction in November 24 & 25, 2023
https://schlosser.atgportals.net/auctions/8732/schlosser10031

Opie, John (Attribution) — Large portrait of a brother and sister

Small triptych with the Adoration of the Infant Jesus by the Magi — Dutch master, around 1520

Frederick the Wise - Lucas Cranach the Elder

LUCAS CRANACH THE ELDER

(Kronach 1472 - 1553 Weimar)

 

FREDERICK III (THE WISE), ELECTOR OF SAXONY

Wittenberg, dated 1532

Signature: signet of serpent with upright wings to the right

Panel painting, oil on hardwood

Printed inscriptions:

Upper right: "Friderich der Dritt/ Chur=Furst und Herzog zu Sachssen",

lower half of the picture with verses about the merits of Frederick the Wise

 

Height: 20 cm, width: 14.7 cm

 

Catalogue raisonné CORPUS CRANACH No.: CC-POR-160-069 – C1

 

 

Provenance: 

- Edmund Count de Pourtalès (* April 6, 1828 in Paris; † March 23, 1895 in Cannes) 

- auction Gallery Fischer, Lucerne, November 23-25, 1932 

as part of the inventory of Mauensee Castle, lot 1052 

- until 2017 private collection, Switzerland

 

Joos van Cleve - Virgin and Child

JOOS VAN CLEVE AND WORKSHOP

(Cleve? c. 1485/90 – 1541 Antwerp)

 

VIRGIN AND CHILD 

Antwerp, c. 1520

Oil on panel

Height: 23.6 cm, width: 17.8 cm

 

 

ArtLoss Register Ref: S00209337 

Expert report by Micha Leeflang, 27 October 2022

Dendrochronological report by Prof. Dr. Peter Klein, Hamburg University, 17 October 2021.

 

Literature: 

Otto H. Förster (ed.): Die Sammlung Dr. Richard von Schnitzler, 

Munich 1931, p. 29, no. 25, ill. plate IX, no. 25.

M. Leeflang: ‘Oog in oog met het Christuskind ; een devotiepaneel van 

Joos van Cleve’. In: Catharijne: magazine van Museum Catharijneconvent 

Utrecht, 1 (2019), p. 30-32, with ill.

 

Provenance: 

Dr. Richard von Schnitzler, Cologne (1855 – 1938).

Galerie Fischer, Luzern, 1971.

Sold to Mr. Wolter, Oberbecksen in 1971.

 

Private collection, Germany, since 1988.

 

Conrad Felixmüller - Child in front of blast furnace

Conrad Felixmüller

(Dresden 1897 - 1977 Berlin-Zehlendorf)

 

"Child in front of blast furnace"  (Kind vor Hochofen)

March 1927

Signed and dated: „Haspe März 1927. C. Felixmüller“ (lower right)

Oil on canvas

Height: 115 cm, width 75 cm

 

Provenance: 

Owned by the painter until 1974, then acquired by Ludwig Wulf, who himself is depicted as a child in the painting.

Exhibitions: 

„Verborgene Kunst in Kierspe und Meinerzhagen“ Ausstellung von Werken aus Privatbesitz (="Hidden art in Kierspe and Meinerzhagen" exhibition of works from private ownership), November 2-3, 1997.

Literature:

Ludwig Wulf: „Hell leuchteten die Abstiche“. In: Haspe gestern, heute, morgen. Verlags-Sonderveröffentlichung (Special publication of the newspaper publishing house), March 17, 1995, with illustration.

 

Sabine Loos: „Der blonde Knabe am Hasper Hochofen […] (= The blond boy at the Hasper blast furnace). In: Westfälische Rundschau (newspaper) from October 31,1997.

Italian landscape

Oil on canvas,

Stuttgart, signed and dated Adolf Friedrich Harper 1786

Large landscape in front of the sunset with resting wanderers on a river course with a large waterfall in the depth of the picture. In the background, you can see remains of a castle complex. The painting is made by the Württemberg court painter Adolf Friedrich Harper (1725-1806), who grew up in Berlin and learned there from his father in the workshop. He entered ducal Württemberg service in 1756, which enabled him to make several extended trips to Italy. Johann Wolfgang von Goethe called Harper a born landscape painter. Harper was appointed court painter in 1759, professor at the 'Hohe Karlsschule'in Stuttgartin 1761, and gallery director of the collections in 1784. Several paintings by him have survived in the ducal family.

This painting also comes from the private property of the Dukes of Württemberg and there are still significant works by him, for example, in Ludwigsburg Palace.

Height: 150 cm, width: 185 cm; (with frame)

Still-life - Balthasar van der Ast

BALTHASAR VAN DER AST
(Middelburg 1593/94 – 1657 Delft)

STILL-LIFE OF FRUIT WITH SEASHELLS

Signed lower left
Oil on wood
 

Height: 33 cm, width: 49 cm

Bauernsonntag - Alfons Walde

ALFONS WALDE
(Oberndorf 1891 - 1958 Kitzbühel)
 

BAUERNSONNTAG – FARMER’S SUNDAY
circa 1930, signed lower right
 

Oil on cardboard, original frame
Height: 70.5 cm, width: 49 cm, with frame: 91 x 71.5 cm

Bakhuyzen, Ludolf - Circa 17th century. — Coastal bay with arriving and anchoring sailing ships

Large river landscape

Frankfurt am Main, around 1755, assigned Christian Georg Schütz the Elder

In a large idyllic river landscape ancient ruins and a castle complex are depicted, the centre of the picture is enlivened by a resting shepherd, the right side shows rich vegetation in front of a hilly riverside landscape in the background.

Christian Georg Schütz the Elder (Flörsheim 1718- 1791 Frankfurt am Main) was a fresco and far;ade painter who worked at the courts of Hohenzollern-Hechingen and Nassau-Saarbrücken during his years of travel before settling in Frankfurt am Main in 1743. He undertook study trips to the Rhine and Switzerland.

Around 1750 he worked for the Duke of Brunswick—Lüneburg and the Landgrave of Hesse for the residences in Kassel. In Goethe's time, his mostly ideal, romantic landscapes, influenced by the Middle Rhine and often executed in oil on canvas, were very popular and widespread. Another work has been preserved in Wilhelmshöhe Palace in Kassel, among other places.

Oil on canvas.

96 x 171 cm.

Paintings

Furniture

Very fine console table — Probably Ansbach, around 1750

Magnificent museum table display case — Probably Bayreuth, mid 18th century

A magnificent chandelier with twelve flames — Meissen, 2nd half of the 20th century

After the design by Johann Joachim Kaendler, 1762, for the New Palace in Potsdam as a commission from Frederick II of Prussia. Two-zoned construction on a baluster shaft, in the lower part a large bulging cul-de-lamp in the style of baroque incense lamps with a partly lattice-like openwork corpus and a hanging bas-de-lustre of a large flower arrangement, inserted eight candelabrum arms formed of two opposite C rocailles with leaf-like spouts and eaves bowls, suspended from the arms eight ''pendulum soques'' of flower bundles, the upper level corresponding, but only with four chandelier arms and smaller ''pendulum soques'', between them four ladies playing music on the shaft with their instruments or singing. canaries are sitting on three arms. Porcelain with polychrome painting and gold decoration. Several parts with underglazed blue sword mark, model number ''79045''. H. approx. 150 cm, Ø approx. 90 cm.

Im Nachverkauf zu unserer Sommer-Auktion am 28 & 29. Juli 2023
In aftersale of our Summer Auction on July 28 & 29
https://schlosser.atgportals.net/auctions/8613/schlosser10030

Monumental Brunswick Baroque cabinet from Langenstein Castle

Coniferous wood, walnut, ivory, and pewter

Brunswick, around 1730

The female allegories of the virtues patience and bravery inlaid in ivory may be considered a characteristic of richly executed Brunswick cabinets of the early 18th century. On this cabinet, they are combined with other finely executed ornamental details in engraved ivory and pewter; equally remarkable are the floral carvings engraved in the center of the pilasters. These sculptural ornaments create an aesthetic connection between the capitals of the pilasters and the wide-spreading feet carved as double lion claws. The base of the furniture with the lion claws is unique and gives the cabinet its individual, impressive identity.

The inventory 'Langenstein' has been preserved on the back of the cabinet.

Langenstein manor and castle belonged to Prince Heinrich of Prussia, brother of Frederick the Great. Prince Heinrich sold the estate and the inventory to Maria Antoinette Baroness of Branconi in 1776.

Baroness Branconi was the mistress of Hereditary Prince Karl Wilhelm of Brunswick-Wolfenbüttel.

She was considered a great and remarkable personality and was called the most beautiful woman in Germany. She had a close friendship with Johann Wolfgang von Goethe, Baroness Branconi led an open, social life in Langenstein until her death.

Later, the furniture came to the Rimpau Collection in the Gleimhaus Halberstadt, where it survived all the turmoil of war.

The cabinet is published by Andrea Schneider,

“Braunschweiger Möbel des 18. Jahrhunderts”, Brunswick 2021, page 56-56, no. K 6.

Provenance: Prince Henry of Prussia ; Maria Antoinetta Baroness of Branconi ; Rimpau Collection in the Gleimhaus Museum, Halberstadt.

Height: 240 cm, width: 245 cm, depth: 95 cm

Rare salon table

Turin around 1750

Poplar with original lacquer painting

The richly carved salon table is decorated with lacquer painting on all sides, gilded "C" curves form the four legs. They end at a curved star base decorated by flowers.

With the table top in elaborate pietra-dura technique, the table represents a wonderful example of the rich Turin furniture art of the 18th century.

Height: 83 cm, width: 66 cm, depth: 58 cm

Rare miniature secretary

Lime, walnut, burr walnut and beech

Palatinate, around 1760-1770

The swingingly shaped, finely crafted small piece of furniture has two large and eleven smaller drawers and is operated by a central lock. Even in such a piece of furniture, which hardly served practical purposes but was intended for the owner's pure pleasure, the carpenter lived out the typically German predilection for complicated locks and sophisticated mechanisms.

Miniature furniture of this elaborate design was a great luxury in the 18th century and are very rarely preserved in such good condition.

Height: 78 cm, width: 56 cm, depth: 30 cm

French corner cabinet, transition, Paris around 1775

Oak, rosewood, amaranth, lemon, burnt, stained, marked with marking stamp, Charles Topino

This single-door, richly inlaid corner cabinet is very elaborately decorated with an artfully curved front and gilt bronze mounts.

The central door is decorated with a large bouquet of flowers in a tall vase.

The moving form and the quality decoration show the transition from Louis XV to French classicism. Charles Topino, (born 1735, master 1773) was highly respected already during his lifetime and known for mostly smaller furniture with highly qualitative inlays in precious exotic woods.

Height: 86 cm, depth: 41 cm

Pomp cabinet with painted scenes from Ovid's Metamorphoses

Antwerp around 1650

Padouk veneered with ebony, red underlaid tortoise shell, inlaid with composition and fittings of gilded copper

The two-door cabinet stands on its original stand with six richly turned ebonized legs and a tortoiseshell veneered frame hiding a large shelf.

Opening the central doors, the rich pictorial program surprises with painted scenes on 16 copper plates, mostly from Ovid's Metamorphoses.

The scenes are executed in a style influenced by Peter Paul Rubens - the city's most famous artist. Antwerp became the most important European center for the production of pomp cabinets in the 17th century. It took over the role of Augsburg, which had been a leader for such luxury furniture until the 30-year war.

As usual, the two large scenes in the door are the most carefully painted, the left door depicts Fama taking Hersilia to heaven, the right door depicts Apollo/Mercury spying Aglauros, Pandrosos, and Herse, the daughters of Kekrops. Both scenes can be interpreted as allegories of peace and probably refer to the end of the 80-year war in the Netherlands in 1648.

On the drawers and the middle doors are depicted popular metamorphoses such as Pan and Syrinx, Jupiter and Callisto, Procris and Cephalus, Meleager and Atalante, and Vertumnus and Pomona.

For the most valuable cabinets, the combination of ebony veneer, wavy moldings and tortoise shell, backed with red foil to better show off the tortoise shell, is quite typical. In addition, there are small ebony panels inlaid with artful motifs in an artificial, shimmering mass that imitates colored marble or stone. This technique, which was also used elaborately in the interior, made the Antwerp cabinets particularly precious.

The small doors in the middle of the display front are decorated on the inside in the same technique as on the outside. These small doors close a so-called perspective, a small room with mirrored walls and a very refined patterned floor in bone and tortoise shell, on which a small valuable piece of art or goldsmith's work could be placed; such perspectives distinguish Antwerp art cabinets.

Art cabinets of this type spread the fame of the city of Scheldt as an art center and were the most sought-after luxury goods throughout Europe. Very few pieces of this quality have been preserved and the cabinet presented here is a particularly precious example.

It is a great pleasure that it has been preserved in this condition in private ownership.

Height: 195 cm, width: 127 cm, depth: 54 cm

Canapé with Aubusson cover

Walnut, richly carved,

Lyon, around 1770, attributed to Pierre Nogaret

The artfully, richly carved walnut frame is typical for the work of Pierre Nogaret (1718-1771), a Paris-born menuisier working in Lyon. The original cover in Aubusson tapestry is very well-preserved and already shows elements of early classicism, for example, the laurel medallions hung on bows with representations of the seasons of spring and winter. The canapé is a very high-quality late work of Nogaret, which is also testified by the realistically carved flowers on the backrest.

Height: 100 cm, width: 200 cm, depth: 75 cm

Magnificent writing cabinet - Graslitz in Bohemia - around 1760

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.

Small work table or desk

Coniferous wood veneered with walnut elm rosewood and boxwood

Berlin, probably Spindler workshop, around 1765

The skillful use of the heavily grained wood, which has been applied to the front and back practically independently of the division into three fields, and the light, feathery rocailles in the corners of the top, are reminiscent of the Bayreuth period of the famous cabinetmaker Johann Friedrich and Heinrich Wilhelm Spindler. They worked for Margravine Wilhelmine of Bayreuth and, from 1763, for her brother Frederick the Great in Potsdam. The extremely elegant table dispenses almost entirely with fittings, allowing the beautiful forms to speak for themselves. The drawer has an unusual division into many compartments.

Height: 74 cm, width: 64 cm, depth: 50 cm

Writing bureau

Walnut, with various native woods

Probably Mannheim, surroundings Jakob Kieser, around 1775

This representative piece of furniture, derived in form from the Parisian 'bureau en pente', demonstrates with the greatest refinement the skills of the cabinetmaker. The intricately cambered furniture is largely crafted in walnut and veneered with the finest marquetry executed in many native woods. The center of the cover is decorated with a beautiful rococo cartouche with a bird in richly grained walnut. The writing furniture has several intricate mechanisms: for example, behind the cover is a sliding compartment that locks on two sides in a hard-to-find location, providing access for three carefully concealed drawers. The bottom right drawer houses a safe, which is again difficult to access.

Stylized lilies appear repeatedly in the marquetry; they even decorate the corners of the inner surface of the writing cover upholstered with oilcloth. Perhaps these heraldic lilies refer to the orderer of the furniture: richly executed writing cabinets were the furniture most identified with the ordering person at all in the 18th century.

Height: 100 cm, width: 118 cm, depth: 60 cm

Furniture