Bamberger Kunst und Antiquitäten GbR

Group of seven Indian dancers — Rajasthan, 19th century

Traditionally dressed female figures standing on a round plinth with four feet, most with various musical instruments, one dancing, the clothing finely ornamented and heightened in green or red. Carved ivory, inlaid with gold and partially painted in polychrome. H. 20 - 23 cm. - According to information from the consignor, groups of this kind in the finest carving were intended exclusively for the prince. - 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.

Utagawa Hiroshige II. — Album with forty-eight famous views of Edo (Edo meisho yonjûhakkei)

(1826-1869 Yokohama) 48 colour woodcuts and title mounted as fanfold; c. 1860/61. Artist's signature 'Hiroshige ga', publisher Tsutaya Kichizô (Kôeidô). Chûban format 25 x 17.5 cm. - One sheet with longitudinal fold, margins and corners soiled, wormholes in the upper corners, first view and title with corner defects.

Pair of wall appliqués — 19th century

On a rectangular alabaster plaque depicting a Chinese gentleman standing on a dragon and a lady with a scroll, both floating above cloud bases, the two candlestick arms and the mirrored frames with foliage crowning made of gilded copper, rock crystal hanging. 34.5 x 21.5 x 6 cm. - The plaques Chinese, the mounting French.

Large solifleur vase — Emile Gallé, Nancy - early 20th century

Bellied, slightly square body, long narrow neck with stepped mouth; etched and polished decoration in relief with flower stems and foliage. Colorless glass, underlaid and overlaid in milk opal, purple and dark red. Sign. ''Gallé'' on the wall. H. 32 cm.

Vase with deciduous forest — Daum Frères, Nancy - around 1910

Slender, ovoid shape with a short neck; all-round sculptural etched decoration in relief with tree trunks and dense foliage. Colorless overlay glass with powder meltings in dark orange, red and yellow as well as overlay in shades of green, finished with wheel. Incised signature ''Daum Nancy'' and Lorraine cross on the stand. H. 29 cm. - Comparable example illustrated in C. Bacri: Daum, 1992, p. 152.

Imposing vermeil sailing ship ''Santa Maria'' — 20th century

On an oval, profiled base with inlaid plate of blue Macaubas marble on two pedestals large three-master with hoisted sails and twisted ropes, equipped with anchor, steering wheel and rope ladders; completely made of extremely filigree ornamental work. Sterling silver, gilded, approx. 10 kg, the base approx. 48 kg. Ship ca. 100 x 98 x 34 cm, total ca. 112 x 90 x 50 cm. - Artist's unique piece, masterful quality work. - Insurance appraisal in the amount of 140,000 Swiss francs from 2002 is available.

Pair of large baroque candlesticks — 18th century

On a high arched, six-humped foot, protruding multi-pass cuff, above an edged shaft and spout with an insertable eaves bowl; decorated with rocailles and fruit all over. Silver with partial gilding. Austrian liberation stamp 1809/10 with official mark 'D'. H. 30.5 cm; total weight 1,865 g.

Tankard with shell decoration — Nuremberg, 1645-50

Hans Frühinsfeld (master 1644-71). The cylindrical body with flat, hinged lid above a bulging stand, the wall decorated in two zones with chased shells and cartilage, the lid engraved with a depiction of a knight on horseback, the handle with a winged female bust and split thumb rest. Silver. Master's mark 'HF' ligated on the base. H. 15.5 cm; 804 g. - Nuremberg goldsmith's art MZ0251, BZ18.

Turtle brooch — Modern

Shell densely set with faceted sapphires totaling approx. 26.50 ct, body set with small diamonds totaling approx. 1.29 ct, ruby eyes. Silver, yellow gold 14 ct. Fineness stamp ''56'' with ''AP''. L. 5.5 cm, 18.3 g.

Magnificent baroque pendant — 18th century

Openwork rocaille work set with diamond roses (including 1x approx. 0.60 ct and 1x approx. 0.34 ct), in the center an octagonal faceted emerald (approx. 13.79 ct) with a diamond surround, drop-shaped diamond and pearl pendant. Silver, yellow gold. H. 8.8 cm, 33.6 g.

Four figures from an allegory of the seasons — Wallendorf, around 1780/85

Each standing on a natural plinth and holding their attributes in their hands, cavalier with flowers, lady with ears of corn, lady with fruit, cavalier with muff. Porcelain with coloured painting. Two with round blue marks on the base H. 28.5 - 29.5 cm. - Wear, parts broken off, restorations. - Cf. the 'Winter' in Scherf/Karpinsky: Thüringer Porzellan, fig. 203; Renate Krumbach-Müller attributes the figures to the modeller Johann Heinrich Haag in her book 'Die Sammlung in Schloss Belvedere bei Weimar' (according to information from the Langeloh art dealership).

Rare ensemble of six large baroque chandeliers — 18th century

Rising, profiled round base, baluster shaft and flat eaves bowls with forged iron spike. Bronze. H. 74.5 cm. - Signs of use, minor chips and cracks.

Apostles Peter and Paul — Franconia, 17th century

The apostles Peter and Paul as half-length figures in colorful and pleated robes, their hands raised in gestures. Hardwood. H. 41 and 44 cm. - Traces of age, attributes lost, base later. - Original, uncovered coloring with remnants of gilding, on the back recess for relics.

Gothic Madonna — Swabia, probably Ulm School, around 1500

In a blue cloak and red and gold undergarment, standing upright, holding the child in her left arm. Limewood, painted in color and gilded, hollowed on the back. H. 120 cm. - The crown possibly an old addition.t.

Crescent Moon Madonna — Nuremberg, around 1490

On a cloud base and crescent moon, Mary as a half figure, dressed in a blue cloak and red dress, holding the unclothed baby Jesus with both hands. Wood, carved and painted. H. approx. 65 cm. - Signs of age. - Age damages.

''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.

Riemenschneider, Tilman - Workshop — Head of a bishop

(Heiligenstadt c. 1460-1531 Würzburg) With organically modeled facial features, including accentuated cheeks, chin and nasolabial folds, as well as the spirally curled locks of hair. Limewood, remnants of polychrome paint. H. 41 cm. - Signs of use and larger chips. - From a Franconian private collection. - An expert opinion by the art historian Prof. Dr. Hartmut Krohm from 2015 is available. - It is not certain whether it is a bust or the head of a figure. - Lit. exhib. cat. Tilman Riemenschneider: Frühe Werke, Mainfränkisches Museum, Würzburg 1981, pp. 360-361; exhib. cat. Tilman Riemenschneider: Werke seiner Blütezeit, Mainfränkisches Museum, Würzburg 2004, p. 169, ill. 129 and p. 262, ill. 17.

Willing, Martin
"Sphere, tangential"
(born Bocholt 1958) Swinging sphere. Duraluminium, water jet cut, bent, polished on stainless steel plate. Monogrammed and dated on the plate. "MW 2008", numbered "5/10". H. total 27 cm, Ø 25 cm, base 26 x 26 cm. - Works by the artist can be found in numerous museums, private and public collections as well as large sculptures in public spaces.

Pasqua, Philippe — Monumental portrait of a young man

(Grasse 1965 b.) Oil on canvas. Verso sign. and dat. ''2008''. 250 x 200 cm; framed under plexiglass. - The painter and sculptor, fascinated by Lucian Freud and Francis Bacon, developed into one of the most important artists of his generation.

Koch, Joseph Anton — Portrait of his wife Cassandra

(Obergiblen 1768-1839 Rome) Oil/oakwood. Titled 'Ritratto della moglie Casssandra' and 'Ritratto di Cassandra Ranaldi' on labels verso, old label of the exhibition 'Koch & Dante'. 34 x 27 cm. - Fine, vertical drying tear. - Provenance: from the artist's family. - See Otto R. von Lutterotti: Joseph Anton Koch (1768-1839), Leben und Werk, with a complete catalogue raisonné, here cited on pp. 285/286: 'The tradition of the artist's descendants leaves no doubt about the hand of Koch, who otherwise 'could never decide to paint portraits, partly because people usually wanted to appear different than they are, partly because such a painter has to dance to everyone's tune' (Jaffé, op. cit., p. 115). The portrait was probably painted during the Vienna period of 1812-15 or soon afterwards, which would correspond to the age of Mrs Cassandra (born in Olevano in 1783). In letter 1s of 20 October 1812 Koch writes to Langer from Vienna: 'I will try to paint portraits with the same strength of colour as the landscapes. Should I succeed in this endeavour, I would be quite lucky here. There are some exquisitely beautiful portraits by van Dyck in the Liechtenstein Gallery, which I often look at with pleasure.' Perhaps we are looking at such an attempt by Koch. Ludwig Grote refers (in a letter) to the old German pictorial form of the portrait, which has a Nazarene flavour and could almost be by Friedrich Olivier. This could be explained by inspiration from Koch's circle of friends at the time. Around 1804, the artist had already painted a portrait of the young Cassandra Ranaldi, whom he brought home on 1 September 1806, in Sketchbook ,86 (Rome), p. 62. A portrait study for the painting is preserved in Z 1075 in Neuburg a. D. - Cf. exhib. Cat. Rome 1936, no. 87; exhib. Cat. Berlin 1939, no. 12; L. 1940, ill. 2; exhib. cat. Bern 1947, no. 240'. And: exhibition catalogue Pier Andreas De Rosa: Joseph Anton Koch nel 250° anniversario della nascita, ill. p. 64.

Füger, Heinrich Friedrich — Miniature portrait of Princess Pauline Salm-Auersperg

(Heilbronn 1751-1818 Vienna) In a landscape with a waterfall, executed as a kneeler with a book in her hand. Gouache, c. 1785, visible size 18.5 x 13.5 cm (oval), in contemporary gilt frame. - Frame with minor bumps and repaired tear at top. - Enclosed and illustrated there: Eduard Leisching: Die Bildnis-Miniatur in Oesterreich von 1750 bis 1850, Vienna 1907, num. Expl. 312/400, there K. no. 38, ills. between pp. 94/95, text pp. 112/113, catalogue pl. No. XVIII, formerly in the possession of Hugo Graf Kálnoky.

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.

Frangipane, Niccolò - School of: — Bacchanal

(Padua or Udine active 1565-97) Bacchus as the main figure with musicians and attendants grouped around a table with sheet music. Oil on canvas. 91 x 128.5 cm. - Three patches. - The Venetian artist created numerous paintings with the same theme, the faces distorted in an equally caricature-like manner.

Panel painting with the Nativity — Probably by a Tyrolean master, around 1470/80.

In a brick-built but ruined stable, the kneeling Mary in the centre, the infant Jesus lying in a halo at her feet, Joseph enters the building through the door with a candle in his hand, a landscape with architecture is visible in the background, the sky has a golden background. Oil/needlewood, parquetted. 139 x 53 cm. - Provenance: Acquired in the Würzburg art trade and since then in family ownership for three generations. - Probably the inside of the wing of an altarpiece. With expertise by Dr Michaela Schedl, 2019.

(Trevellas 1761-1807 London) Full-length figures standing in a landscape beside a thistle, in the background a view into the distance. Oil on canvas, relined. 130 x 104 cm. - Lit. Thieme/Becker 26.