Bamberger Kunst und Antiquitäten GbR

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Works of Art

St. Vitus - Franconia, c. 1510/20

SAINT VITUS

Franconia, circa 1510/20 

Lime wood, full round sculpture, original polychromy

Height: 61 cm

Provenance: private collection, Southern Germany

The Last Supper

JESUS WITH ST. PETER, ST. PAUL AND ST. JOHN

High relief, originally central part of a sculpture group of the “Last Supper”

 

Franconia, circa 1510/20

 

Lime wood, reverse flattened, original polychromy, 

tracery pedestal later addition

Height: 51 cm / height without pedestal: 32 cm, width: 49.5 cm, depth: 12.5 cm

 

Provenance: private collection, Southern Germany

Old inventory number of the Bavarian National Museum on the reverse: 1828 M.A. K VI 1195

 

Literatur: Hugo Graf: Katalog des Bayerischen Nationalmuseums, 6. Band. Das Mittelalter. II. Gothische Alterthümer der Baukunst und Bildnerei [= Catalogue of the Bavarian National Museum, vol. 6], Munich 1896, p. 10, no. 1195. 

Beautiful Madonna

"MASTER OF THE HORBER MADONNA", also called "KREUZWINKELMEISTER"

(active in Horb am Neckar, from c. 1410/15)

 

VIRGIN AND CHILD

 

Swabia, c. 1430-1440

Lime wood, reverse hollowed out, old polychromy

Height: 100 cm

 

Literature: Hubert Wilm/Alfred Ehrhardt: Alte Kunst, Lebendig. Bildwerke einer Privatsammlung, Stuttgart 1942, pp. 29-30, ill. 111-114.

Provenance: collection Georg Schuster (1869-1937), Munich

Classic Yoruba mask of the ancestor god ''Egungun — Nigeria, around 1930

Small bowl with crucifixion scene — China, for export to Europe, M. 18th century

Großes chinesisches Bett — Qing-/Republik-Periode

Large cloisonné jug — China, Qing Dynasty - c. 1900

Musueal Tondo frame — Florence, beginning of the 16th c.

Fancy display case — Probably Veneto, 18th and 19th c.

Exceptional pair of rococo chairs — Venezia, 18th/19th c.

Pair of baroque fauteuils with tabourets — Northern Italy, mid of the 18th c.

Very fine baroque armchair — Turin, 1st half of the 18th c.

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Handicraft

Classic Yoruba mask of the ancestor god ''Egungun — Nigeria, around 1930

Small bowl with crucifixion scene — China, for export to Europe, M. 18th century

Large cloisonné jug — China, Qing Dynasty - c. 1900

Large candlestick — Munich, around 1910

Small lidded tankard — Nuremberg, 1630-36

Small Transylvanian Beaker — Early 17th c.

Stettner, Johann Thomas — Taler on the wars of liberation 1813

Square bottle in gilded mount — Probably Potsdam, end 18th c.

Plate of a Tazza ''The Hearing'' — Castelli, 2nd half of the 17th century, attributed to the family Grue or Berardino Gentili il vecchio

A rare tankard with a scene of a woman in childbed — Ansbach, 18th century

Strang, Peter — Wall Sculpture ''The Flying Carpet''

Stahl, Johann Baptist — Chorus of Spinners from the ''Flying Dutchman"

Handicrafts

Sculptures

St. Vitus - Franconia, c. 1510/20

SAINT VITUS

Franconia, circa 1510/20 

Lime wood, full round sculpture, original polychromy

Height: 61 cm

Provenance: private collection, Southern Germany

The Last Supper

JESUS WITH ST. PETER, ST. PAUL AND ST. JOHN

High relief, originally central part of a sculpture group of the “Last Supper”

 

Franconia, circa 1510/20

 

Lime wood, reverse flattened, original polychromy, 

tracery pedestal later addition

Height: 51 cm / height without pedestal: 32 cm, width: 49.5 cm, depth: 12.5 cm

 

Provenance: private collection, Southern Germany

Old inventory number of the Bavarian National Museum on the reverse: 1828 M.A. K VI 1195

 

Literatur: Hugo Graf: Katalog des Bayerischen Nationalmuseums, 6. Band. Das Mittelalter. II. Gothische Alterthümer der Baukunst und Bildnerei [= Catalogue of the Bavarian National Museum, vol. 6], Munich 1896, p. 10, no. 1195. 

Beautiful Madonna

"MASTER OF THE HORBER MADONNA", also called "KREUZWINKELMEISTER"

(active in Horb am Neckar, from c. 1410/15)

 

VIRGIN AND CHILD

 

Swabia, c. 1430-1440

Lime wood, reverse hollowed out, old polychromy

Height: 100 cm

 

Literature: Hubert Wilm/Alfred Ehrhardt: Alte Kunst, Lebendig. Bildwerke einer Privatsammlung, Stuttgart 1942, pp. 29-30, ill. 111-114.

Provenance: collection Georg Schuster (1869-1937), Munich

Bearded apostle — South Germany, around 1500

Putti couple with fruit bowl - Vienna - Theodor Friedl - around 1870

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.

Powerful female torso - Gerhard Schliepstein (Brunswick 1886-1963 Berlin)

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.

Impressive head of a Buddha figure - Khmer - Bayon period 1180-1230

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.

Sculpture of a young man - Mexico - Francisco Dumaine 1866

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.

Early baroque, fully plastic seated figure of Hercules - Probably Padua - 17th century

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 1st / 2nd century AD, which is kept in the antiques collection of the Kunsthistorisches Museum Vienna (Inv. VI 342).

Height 52 cm.

Extremely high-quality Madonna and Child - Southern Germany, 1st half of the 17th century.

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.

Great pair of putti - Landshut- Christian Jorhan the Elder (1727-1804)

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.

Saint George - Southern German, c. 1480

SAINT GEORG AND THE DRAGON

Southern Germany, Swabia, circa 1480

Lime wood, reverse hollowed out, original polychromy

Height: 77.5 cm

Sculptures

Paintings

Polke, Sigmar — Untitled

Jettel, Eugen — Piece of meadow at a brook

Guardi, Giacomo - Circle of — View of Santa Maria della Salute in Venice

Geerards, Jasper — Still life with lobster, oysters and wine glass

Still life with grapes in a faience bowl — Hanau school of the 17th century

Botticelli, Sandro - Successor: Tondo with the Madonna del Magnificat

Portrait of a Lady with a Snuff Box - Venetian school of the 18th century

A pair of high-quality baroque paintings - Signed Franz Christoph Janneck (Graz 1703-1761 Vienna)

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 18th 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 of Mecklenburg-Strelitz - In the manner of Johann Georg Ziesenis - around 1770

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", Joseph Ignace van Hoey 1879

"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 1660/70

"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.

Highly unusual, well preserved wooden picture - Bohemia, probably Prague 17th century

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.

Paintings

Furniture

Großes chinesisches Bett — Qing-/Republik-Periode

Musueal Tondo frame — Florence, beginning of the 16th c.

Fancy display case — Probably Veneto, 18th and 19th c.

Exceptional pair of rococo chairs — Venezia, 18th/19th c.

Pair of baroque fauteuils with tabourets — Northern Italy, mid of the 18th c.

Very fine baroque armchair — Turin, 1st half of the 18th c.

Exceptional Louis XV chest of drawers - Paris - François Lebesgue - around 1760

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.

Classicist pair of chests of drawers - Leipzig - Friedrich Gottlob Hoffmann - around 1780

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 18th 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.

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.

Louis XVI secretary - Paris - Martin Ohneberg around 1775

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.

Museum Spindler chest of drawers - Johann Friedrich and Heinrich Wilhelm Spindler - Berlin around 1765

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.

Artfully inlaid Rococo chest of drawers from the workshop of David Roentgen - Neuwied - around 1775

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 18th 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.

Furniture