Bamberger Kunst und Antiquitäten GbR

Germany, around 1730

In outline curved cartouche form with convex-concave chased walls and profiled rims.

The lid and base of polished translucent honey-brown agate slabs. On the walls matching reserves with chiselled shellwork and fine flowers. The delivered pusher is worked as a rocaille.

French import mark "Charancon" for fineness 750 (Tary 173).

Gold boxes in this elegant design were sought-atter collectors' items and were also

frequently given as gifts.

2,3 x 6,5 x 5,8 cm.

Flanders, around 1630

The tapestry, executed in wool and Silk, has been preserved with its original frame border. A courtly, oriental wedding ceremony is depicted in a palace setting.

The large-scale, perspective depiction of the room with the elegant wedding party shows the high level of Skill

of the Flemish Goeblin manufactories of the early 17th century, which explains the demand for these works throughout Europe.

Templates by famous artists, so-called cartoons, such as those by Peter Paul Rubens and Jakob Jordeans greatly inspired the manufactories.

337 cm x 455 cm.

Augsburg, Johann Heinrich Busch, 1807 to 1810

Silver, chased, cast, chased and gilded on the inside. Consisting of large coffee pot, hot milk pot and tea pot.

Marked with the BZ: Augsburg 1807/08 and 1809/10‚ MZ: Johann Heinrich Busch (1807-1810).

The vase-shaped pots with curved spouts and elaborately carved wooden handles are decorated with lush floral borders on their robes and are executed in very high quality.

A tureen by Johann Heinrich Busch is in the silver chamber of the Munich Residenz.

Lit. Seling Ill, No. 2940, 2960, 2662.

Height coffee pot 34 cm,

Height of hot milk jug 25 cm,

height of teapot 20 cm.

Total weight 2598 g.

Berlin, Joachim II Hübener, around 1750

Silver; partielly gilded. Conical cup with flared lip rim on indented foot.

The wall with flat chased Ieaf scallops and latticework between 18 Brandenburg and Polish coins, mainly of the 16th century.

Marks: BZ Berlin c. 1737 - 57, MZ Joachim Hübener II (1737 — 80), tremolo engraving.

The production of such coin cups was always particularly precious because solid silver coins were worked into the wall and thus became part of the decoration of the cup.

Another coin cup by the master has survived in a private collection in Berlin.

Lit. Cf. Scheffler Berlin, no. 5, tig. 10.

Height 10.5 cm,

weight 159 g.

Nuremberg, around 1600

The large wall arms are enriched by elaborate leaf decorations and the beIl-foot-like holders are florally decorated.

The Nuremberg brass guild was highly esteemed and very successful at this time. Their products were distributed from Nuremberg via international trade routes.

Depth 50 cm

Southern Germany, around 1780

This rare model cabinet is worked in walnut on all sides, has the original fittings, as well as lock and bowl.

The door is worked with profiled coflers and there are classicistic carvings on all sides. It is a piece of furniture for a doll‘s house and was made in Southern Germany around 1780.

Height 27 cm, width 30 cm, depth 15 cm.

probably Dresden, mid-18th century

Agate with finely engraved and original gilded fittings and mounts. Both the original snap lock and key are present.

The straight agate corpus with matching curved front and two drawers divided by cambered crossbars stands on gilded paw-shaped feet. The polished top is curved to match the body.

This is a precious showcase piece, an exclusive container in the form of a small chest of drawers in unusually noble, valuable material.

Height 9 cm, width 15 cm, depth 8 cm.

Paris, around 1820

The Parisian work is of very fine chiselled bronze quality and is fire-gilded to a very high

standard on all sides, with polished and upolished sections in places.

On a rectangular base and pedestal with appliqués stands a lyre-shaped clock case with richly chiselled decoration as a crowning festoon carried by two mythical creatures and with the bust of Apollo.

Openwork dial with Arabic numerals in enamel cartouches, half-hour striking mechanism on a bell.

53 x 18,5 x 12,5 cm.

Römhild (Thuringia), around 1640-50

The casket in the form of a miniature facade chest was made of ebonised wood with alabaster inlays.

In this way, the formed plinth contrasts in colour with the architectural facade above it with ionic columns at the corners, two round-arched niches with escutcheons and arabesque decoration. The lock with original key is spanned by two columns with architraves.

A special surprise is revealed when the box is opened: the right narrow side of the box can be pushed upwards, exposing three secret compartments.

The original interior Iining has been preserved.

A comparable example is in the art collections of the Dresden court.

Height 13.5 cm, width 24.5 cm, depth 18 cm.

Nuremberg, around 1450

The powerfully chased brass cymbal beater's bowl shows four shield-holding angels between humped petals.

Cymbal beater bowls were a sought-after product of the brass guild in Nuremberg and were valued as holy water and baptismal font bowls, as well as alms bowls.

They were sold throughout Europe via the known trade routes. Early works like this plate shown have survived very rarely.

Lit. Tamäs Egyeki-Szabö, Cymbal beater keys 2008.

Diameter 41 cm.

Paris, around 1775

A precious Japanese lacquer plate with an extremely high-quality bronze mount was designed as a presentoire, on which Japanese porcelain cups, trays for writing utensils and ink, are also mounted.

The tribute to the exotic and expensive product imported from the Far East was staged with lavishly gilded bronze ; as a desk set, it was an additional ornament to a valuable secretary.

A comparative piece is in the Staatliches Museum Schwerin.

Lit. Cf. Karin A. Möller, Meissener Porzellanplastik des 18. Jh. Die Schweriner Sammlung, Schwerin 2006, pp. 174-175, no. 87.

44 x 28 cm.

Augsburg 1791 -93

Two extreme high quality, classicistic silver jugs. Wrought, cast, chased, hallmarked and mounted, with original interior gilding and ebonised handles. From Southern German nobility.

MZ: CGS for Christian Gottlieb Il Schuhmann (1757-1794, master from 1784).

Another pair of jugs by the master has survived in Wittelsbach possession and is in the silver chamber of the Munich Residenz.

Lit. cf. BZ: Seling III, no. 276 and 2601.

Height 34 cm and 26 cm,

Naples, mid-18th century

The busts of the putti are made of fired clay and finely painted.

The chubby-cheeked pair of angels is equipped with strong wings and has the original setting from the period of origin.

The small sculpture shows the high artistry of the Neapolitan artists, who were famous in the 18th century for their cots, the accompanying figures, animals, architecture and accessories with bright colours.

Our pair of putti could have hovered as a crowning glory above the cot with the baby Jesus lying in it at the stable of Bethlehem.

Height 7.5 cm, width 7.5 cm.

Austria, probably Tyrol, around 1700

The very vividly carved recumbent Iion in walnut shows fine fur markings over its entire surface. The original patina has survived very well on the sculpture.

It is difficult to say whether this small sculpture was used for a work of art, an unusual piece of furniture or decoration in a room.

Length 40 cm.

Upper Swabia,around 1630, attributed to Jörg and Michael Zürn.

The fully sculpted Madonna of Iime wood stands on a richly curved pedestal with the Christ Child in her arms.

Lush folds of her garment frame the intimate depiction of the mother with her child. With a sceptre in her hand, she gracefully yet dignifiedly points to the miracle on her arm. The Christ Child looks at the viewer and, with the globe in his hand, is the expression of divine grace.

From the important workshop of the Zürn family of sculptors on Lake Constance, in addition to large ecclesiastical commissions, such as the altar of the Virgin Mary in Überlingen Minster and works in Salem Monastery, sculptures have survived that were more for private devotion.

Height 22.5 cm.

Mondsee Monastery / Salzburg, Meinrad Guggenbichler, around 1700

Lime wood, carved. The original colouring and gilding has been preserved.

Johann Meinrad Guggenbichler (Einsiedeln 1649 - 1723 Mondsee) was the son of a stone sculptor and master builder who was apprenticed in Dillingen. From 1678 he worked as a monastery sculptor for Mondsee Monastery. The successful, highly esteemed M. Guggenbichler received important commissions from the Prince-Bishop of Salzburg from 1700 onwards.

The large sculptures shown here could have been assistant figures from an altar or architectural elements of a profane, princely room decoration.

Height 70 cm, width 38 cm.

17th century, attributed to Adam Lenkhardt

Ivory, fully sculpted.

On an octagonal wooden base stands the goddess Venus, dressed only in a loincloth, looking down lovingly on the Armor boy who, smiling triumphantly, hands her the Apple of Paris.

This high-quality small sculpture is traditionally attributed to Adam Lenkhardt (Würzburg 1610—1661 Vienna), one of the important representatives of Baroque ivory carving.

After apprenticing under his father, Nikolaus Lenkhardt, Adam travelled through Italy and settled in Vienna in 1638, where he advanced to become the chamber sculptor to Prince Karl Eusebius of Liechtenstein from 1642 to 1660. He created very high-quality small sculptures with both profane and sacred motifs.

Height 31,5 cm.

SAINT ANTHONY

Franconia (Northern Bavaria), c. 1500/1510

Lime wood, reverse hollowed out, original polychromy

Height: 94 cm

Provenance: private collection, Southern Germany

SAINT ELIZABETH

Middle Rhine Region, Trier, beginning of the 16^th century

Sandstone, traces of the original polychromy

Height without base: 85 cm | base: 41.5 cm

Provenance: from the former “Sankt-Elisabethen-Mühle” (Mill Saint Elizabeth)

near Ruwer/ Eitelsbach, today city of Trier

St. Elizabeth of Thuringia (Bratislava 1207 - 1231 Marburg) has been one of the most venerated female saints since the late Middle Ages. The Hungarian princess, as Landgravine of Thurinigia, devoted her entire life to caring for the poor and sick in the hospital she founded in Marburg.

The sandstone sculpture of the saint giving bread to a beggar kneeling beside her, was probably created around 1520 for the monastery and hospital of St. Elisabeth, which was subordinate to the Abbey of St. Maximin in Trier. For a long time, the sculpture was located in the St. Elisabeth Mill near the small village of Ruwer, northeast of Trier, which had been in existence since the High Middle Ages and was part of the monastery's estate. 

SAINT CHRISTOPHER

Brabant, circa 1540/60

Walnut wood, reverse flattened

Height: 39 cm

Provenance: private collection, Southern Germany

MATTHÄUS KRINIS

(active in Upper Bavaria, first quarter of the 16^th century)

NATIVITY OF CHRIST

Upper Bavaria, circa 1518

High relief, lime wood

Height: 45 cm; width: 68 cm

Matthäus Krinis is a sculptor from the circle of the important Upper Bavarian artist Hans Leinberger. In 1511 he was granted citizenship in Mühldorf am Inn as an independent master.

Literature: M. Neumeister: Studien zu den Altöttinger Türen und ihrem Meister. Part III, Diss., University Hamburg 1996, p. 100-102, no. 8 with ill.

Schmitt/ Swarzenski: Meisterwerke der Bildhauerkunst in Frankfurter Privatbesitz. Vol. 1 [...], Frankfurt a.M. 1921, no. 163 with ill.

Provenance: collection Jacob H. Weiller, Frankfurt | auction October 21, 1930 at Hugo Helbing, Frankfurt (auction catalogue p. 19, no. 93, ill. Plate 16) | Gallery Dr. Benno Griebert, Meersburg, Lake Constance | private collection, Zürich, from 1952 to 2022

HOLY FAMILY

Swabia, circa 1520

Lime wood, full round sculpture

Height: 33 cm, width: 27.5 cm, depth: 11 cm

Provenance: private collection, Southern Germany

"DIVISIO APOSTOLORUM"

Swabia, circa 1500

Middle part of a relief of the "Dispersion of the Apostles" - Jesus with St. John the Evangelist, flanked by St. James with pilgrim's hat and a third apostle, possibly Simon or Judas Thaddaeus

Lime wood, with traces of the original polychromy

Height: 29 cm, width: 58 cm

Provenance: private collection, Southern Germany

SAINT CECILIA

Burgundy, first half of the 15^th century

Limestone, full round sculpture, 

with traces of the original polychromy

Height: 64.5 cm

Provenance: private collection, Western Germany

Cecilia, patron saint of musicians, is depicted as a graceful young lady. Her contrapposto pose, the fashionable coif and the dress falling in luxuriant folds around her feet, impressively reflect the subtle elegance of the beginning Late Gothic period.

With dreamily lowered gaze, Cecilia seems to listen to the melody she is playing on her portative. This characteristic attribute of the saint is the smallest form of portable pipe organ and was especially popular with traveling minstrels in the Middle Ages and Renaissance era.

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.

Flanders, around 1640

Oil on canvas, doubled.

From an elevated vantage point a wide view opens into a deep river landscape, enlivened with a castle complex and with a row of houses on the left half of the picture, as well as country people and a hunter on the right.

The depth of the green-blue background is enhanced by a strong round fortified tower standing in the river and reached by a wooden footbridge. In the foreground a treescape contrasts the depth with dramatic cloud formation in the background.

96 x 138 cm. In a partly gilded old frame.

Anton Raphael Mengs and workshop, around 1750

Oil on canvas.

This representative portrait shows the Electress of Saxony (1724-1780) in a precious brocade decorated dress with a blue ermine cloak and red sheath. She wears the star of the Russian Order of St Catherine and the Austrian Order of the Star Cross.

The Elector Princess was the daughter of the Elector and later Emperor Karl Albrecht of Bavaria and from 1747 was the wife of the Elector Friedrich Christian of Saxony, whose portrait was painted by Mengs as a counterpart.

The first version from Mengs' workshop has been preserved in the Dresden State Art Collections. Another version of similar quality is described in the painter's estate in 1779, so there is reason to suspect that the portrait shown here may have come from the painter's estate.

Anton Raphael Mengs (Bohemia 1728 - 1779 Rome) was born as the son of the Saxon court painter lsmael Mengs and received early support from his parents. From 1741 to 1744 he stayed in Rome with his father to study antiquities. From 1745 to 1761 he was court painter to August Ill, King of Poland and Elector of Saxony, and from 1761 to 1777 court painter to the Spanish King Charles III. Among his patrons were the Margravine Wilhelmine of Bayreuth, Tsarina Catherine ll and Cardinal Alessandro Albani.

Height 142,5, width 110,5 cm.

Carl Rothe, Breslau around 1834

Oil on canvas, marked on the back.

The family portrait shows the second wife of Duke Eugen II of Württemberg-Oels (Oels 1788 - 1857 Karlsruhe), Duchess Helene (Langenburg 1807 - 1880 Heinrichsruh near Schleiz) with three of her four children: Wilhelm (1828-1869), Nikolaus (1833-1903) and Alexandrine (1829-1913), later abbess of the noble ladies' convent in Oberstenfeld.

The painting was made before the birth of their fourth child Agnes (1835-1903) and is attributed to the court painter Carl Rothe (Dresden 1810-1865 Liegnitz), who worked as court painter to the dukes of Württemberg in Oels and Breslau. Several portraits of the family by have been preserved.

Height 136.5 cm, width 111 cm.

CRUCIFIXION OF CHRIST

Danube school, circle of Wolf Huber

(Feldkirch/ Vorarlberg, c. 1485 – 1553 Passau)

circa 1520

Panel painting, oil on wood

Height: 115 cm, width: 63.5 cm

Provenance: private collection, Southern Germany

REMBRANDT HARMENSZ VAN RIJN
(Leyden 1606 - 1669 Amsterdam)
LANDSCAPE WITH A COTTAGE AND A LARGE TREE
Signed and dated: Rembrandt 1641 (lower center right)
Etching on hand-made paper with watermark "coat of arms with feur-de-lis" Condition: trimmed on or within plate mark
Height: 12.5 cm, width: 32 cm
Literature:
Catalogue raisonné Bartsch/ Rovinski/ Seidlitz: 226
The New Hollstein Dutch & Flemish etchings, engravings and woodcuts 1450-1700. Rembrandt. Erik Hinterding/ Jaco Rutgers/ Ger Luijten, vol. II, p. 84, cat. no. 198.

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.

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.