Bamberger Kunst und Antiquitäten GbR

SILVER TANKARD

AUGUSTIN III. HEYNE
(1602–1631)

Breslau (Wroclaw), dated 1613

Dated 1613 above the figure of Charity
City hallmark and maker's mark on the base and the lid; later control mark of Lemberg (1807–1866)

Silver, cast, chased, engraved, parcel gilt;
faceted, octagonal body, engraved with allegories of the seven heavenly virtues and patience, based on engravings from 1595 by Jacob Matham (1571–1631, active in Haarlem), after Hendrik Goltzius (1558–1617).

Height: 19 cm, Weight: 730 g

Literature:
E. Hintze, Die Breslauer Goldschmiede, Breslau, 1906, pl. III, no. 71 and p. 82.
M. Rosenberg, Der Goldschmiede Merkzeichen (Vol. 1), Frankfurt am Main, 1922, p. 284, no. 1400.

Exhibition:
Altona Museum, M. Meinz, Altes Tafelgerät. Sammlung Udo und Mania Bey, Hamburg, May 11 to June 16, 1966, Cat. no. 25.

Paris, Jean Baptiste Baillon around 1765 

Fire-gilded bronze case with playful, asymmetrical Louis XV decoration made of finely divided, plastic and relief flower garlands, fine latticework with shell-shaped rocaille crowning and curved acanthus leaf ornaments. The white enamel dial with black, Arabic hour numerals and red minute track, finely sawn, gold-plated hands.

Both the dial and the back work plate bear the signature of Jean Baptiste Baillon, a member of a famous Parisian watchmaking family who enjoyed an exquisite reputation not only at the Parisian court and who made numerous orders for the European nobility, including the Spanish royal family. High-quality pendulum of Baillon are kept in the Palace of Versailles, the Louvre or the Museo Galileo in Florence. 

Height 69 cm

Fabergé, Moscow 1899-1908

Silver, stamped Fabergé under double-headed eagle, initials K F, Moscow 1899-1908, 84 Zolotnik

Small aneroid for the desk. The circular inscription band with weather indication is written in Cyrillic script, has blued steel hands, and is connected to the measuring mechanism. The cover is made of crystal glass, the clock hand handle for setting the display value is set with a red garnet cabochon. The base of the barometer is decorated on the side with a classicist rosette frieze between entrelac bands above an acanthus border.

An aneroid measures the air pressure by the weight of the air pressing on several coupled, thin-walled, airless cans containing a spring. Depending on the air pressure, the cans are deformed to a greater or lesser extent and the tension is transferred to a hand. This type of barometer is particularly suitable for indoor use.

Height: 6 cm, diameter: 10.8 cm

We would like to thank Alexander von Solodkoff for his expertise.

David Roentgen workshop, Neuwied, around 1780

Oak body with mahogany veneer, with its original fire-gilt bronze fittings, carrying handle and lock.

The design, dimensions, and layout of this oak veneered mahogany casket are similar to a casket dated around 1785 in the Berlin Museum of Decorative Arts: simple rectangular shape with carrying handle, the body divided by gilt brass strips, bands and profiles, the keyhole uncovered. Inside, an insert closed with a roll-top lid and side pedestal drawers that pop out at the touch of a button as secret compartments.

Between 1755 and 1790, significantly over a hundred different models of the highly popular caskets from the Roentgen workshop are documented. The importance of this item in the workshop's range is demonstrated by the portrait of Susanna Maria Roentgen, wife of Abraham and mother of David Roentgen, in 1772 with a casket made by her husband's hand.

Length: 29.5 cm, width: 16.5 cm, height: 17 cm

Cf.: State Museums, Foundation for the Cultural Heritage of Prussia, Berlin, Arts and Crafts Museum, Inv. 35.93

Dietrich Fabian, “Roentgenmöbel aus Neuwied”, Bad Neustadt 1986, p. 280 ff., esp. figs. 672 and 673

Nuremberg, around 1520

A central quatrefoil motif with stylized floral bundles is chased from the beaten sheet brass.

Cymbal beater bowls were an export hit of the Free Imperial City until the beginning of the 16^th century. They were produced in accordance with graphic motifs from Schedel's World Chronicle, printed in Nuremberg in 1493, and with designs by the Nuremberg masters Albrecht Dürer, Sebald and Barthel Beham or Georg Pencz.

Diameter: 37 cm

from the property of Duke Clemens August of Bavaria, Archbishop of Cologne and Elector of the Holy Roman Empire (1723-1761)

Bautzen, around 1740, probably Johann Adolf Borns (1689-1760)

Silver, inspection mark Bautzen, around 1740, master's mark JB, assayer's mark (“Tremolierstich”).
All four candlesticks wear the armorial engraving of Elector Clemens August.

Upper Lusatia, with its old capital Bautzen, was home to the only united Catholic, mostly Sorbian settlements under Saxon rule. The Apostolic nuncio responsible for these Catholics living in the diaspora was based in Cologne after 1715, until another Apostolic Vicariate was established in Saxony in 1743.

Height: 14.5 cm, total weight: 822 g

Marc Rosenberg, “Der Goldschmiede Merkzeichen”, 4 vols., Frankfurt a. M. 1922-1928, no. 1141 and 1145

Porcelain, with underglaze sword mark with star (1774-1813), Neu-Brandenstein form (from 1744), press marks 3^rd and 42^nd, overglaze painting in bold colours, and gilding.

The tureen and salver belong to the form with plaited relief patterns developed by Eberlein in 1741 for the head chef at the Saxon court, Friedrich August von Brandenstein. The impressively lifelike decoration with native birds appears to have been inspired by Albin's ornithological work, which is documented in the manufactory's library and which the editor illustrated from life together with his daughter Elizabeth Albin.

Plate: length: 46 cm, width: 28 cm

Tureen: length: 40 cm, width: 22 cm, height: 30 cm

Total height: 32 cm

St. Petersburg, around 1900

Cat sitting upright with raised head, the bushy tail curled around the front paws, the fur carved in detail from the stone, the eyes made of faceted green demantoids.

In the original wooden case, the silk lining with the court supplier's mark of Peter Carl Fabergé (1846-1920) and the names of the branches: Moscow, St. Petersburg, Odessa. Fabergé opened the Odessa branch in 1890, and it existed until 1918.

Purpurin, like obsidian, is a volcanic rock glass. However, purpurin is artificially produced from glass that is fused with pure gold, giving it an opaque, bright red colour. The production of porporino was discovered in the Vatican mosaic workshops of Alessio Matteoli in the 18^th century but was then forgotten. An employee of Fabergé rediscovered the old production process around 1890 and improved it. Purpurin was then used exclusively by Fabergé.

A similar cat figurine made of agate with emerald cabochon eyes - a gift from the Tsarina's mother Maria Feodorovna to her sister Thyra - is depicted in Habsburg.

Height: 2.9 cm

Cf. Géza von Habsburg: “Fabergé-Cartier, Rivalen am Zarenhof”, exhibition catalogue, Munich 2003, no. 326

We would like to thank Alexander von Solodkoff for his expertise.

Faience, probably Hollitsch, around 1770

Framed oval tray, marked on the underside with a green cross, with floral decoration in overglaze, arranged with lifelike shaped grapes on leaves, and with fire salamanders as a display dish on a late Baroque table.

Width: 40 cm, depth: 30 cm

Christian von Hansen (1716-1792), Gdansk, around 1760

Silver, hallmark Gdansk c. 1760, master's mark CVH in trefoil.

Large, smooth-walled lidded tureen on four feet, the curve of which continues into the strong rocaille handles, and the lid knob is designed as a large, lifelike lemon, with leaves and a branch.

Width: 45 cm, height: 35 cm, weight: approx. 5,500 g

Attributed to Elias Adam (1669-1745, Master 1703), Augsburg 1708-1710

Silver, fire-gilt, with enamelled outer wall that is decorated with three cartouches depicting Cupid between fine floral tendrils on a red background.

Augsburg, and Elias Adam in particular, was famous for high-quality painting on enamel.

Numerous works of this type by Elias Adam have been preserved in important European collections.

Height: 5 cm, diameter: 6.5 cm

Helmut Seling, “Die Kunst der Augsburger Goldschmiede” 1529-1868, 3 vols, Munich 1980, BZ 165, MZ 1964, cf. also pic. 866-870

Simon Lang (1608-1671, master 1645), Nuremberg, around 1660

Silver, engraved and partially gilded, Nuremberg hallmark around 1660, master's mark SL.

The large shell-shaped goblet with fanned tongue is supported by a shaft in the shape of the goddess of victory Fortuna with a palm of victory, and a wreath on an oval, upward curved, and humped foot. A small putto, also standing on a sphere with a palm and a victory wreath, crowns the shell goblet, which is elaborately engraved on the outside with tulip, carnation, and rose blossoms.

Several almost identical examples of this model by the same master have been preserved: for example, in the collection of the Margraves and Grand Dukes of Baden, in the possession of the Germanisches Nationalmuseum and one half this size in the Städtisches Museum Schloss Rheydt. It is likely that this model was created in connection with the Peace of Westphalia in 1648.

Height: 41 cm Weight: 515 g

cf.: “Germanisches Nationalmuseum Nürnberg” vol. 1, part 2, in the Cologne City Museum, No. 646

CC BY-NC-SA @ Städtisches Museum Schloss Rheydt

Karin Tebbe, “Nürnberger Goldschmiedekunst - Formtypen und stilistische Entwicklung”, within: “Nürnberger Goldschmiedekunst”: 1541-1868, 2 vols, Nürnberg 2007, vol. II, p. 183 f.

MASTER OF THE KEFERMARKT ALTAR
Upper Austria, active c.1470 – 1510

CORONATION OF THE VIRGIN

c. 1490/1500

Lime wood, high relief

Height: 90 cm, Width: 54 cm

Literature: Clemens Sommer: Der Meister des Kefermarkter Altares und Passau. In: Zeitschrift des Deutschen Vereins für Kunstwissenschaft 2 (1935), pp. 260-273. See fig. 9, p. 269.

Provenance: Private collection, France

THE ANNUNCIATION 

Tyrol, circa 1500

High relief, lime wood, old polychromy and gilding

Height: 49 cm, width: 47 cm, depth: 8 cm

Provenance: private collection, Southern Germany

Provenienz: Privatsammlung, Süddeutschland

Franconia, around 1520

High relief in lime wood. Mother of God standing on a crescent, dressed in a long robe and richly pleated cloak, holding the infant Jesus in her hands with great grace.

Height: 73 cm

of Joseph Karl Franz, Duke of Reichstadt (1811-1832)

Vienna around 1830, white Carrara marble on a round plinth.

The King of Rome and later Duke of Reichstadt was the only legitimate descendant of Napoleon from his second marriage to Marie-Louise of Austria. He was the subject of numerous depictions due to his tragic fate.

The fully sculpted portrait bust in its antique robe was probably created around 1830. It can be attributed to the circle of artists around the Bonaparte family and the Viennese court, such as Pompeo Marchesi (1789-1858).

Height: 69 cm, width: 43 cm

Cambodia, from the time of the Chenla Empire, 7^th/8^th century

The small Buddha statue was probably made shortly before the beginning of the Khmer Empire (802-1431).

Height: 50 cm

Adrien-Etienne Gaudez  (1845-1902), Paris um 1895

Adrien-Etienne Gaudez (1845-1902), Paris c. 1895

Bronze sculpture, inscribed on the base “LE DEVOIR, par A. Gaudez, Hors concours”, original lacquer patina.

Bronze sculpture of a young warrior in a heroic pose.

Height: 60 cm

Cf: Harold Berman, Bronzes, Sculptors & Founders 1800-1930, 4 vols, Chicago 1974, vol. III, p. 723, ill. 2627

Circle of Tilman Riemenschneider
(circa 1460 in Heiligenstadt - 1531 in Würzburg)

Jesus Christ and the Apostles

Lower Franconia, circa 1505/1510

Relief, originally predella of an altarpiece,

linden wood, carved, flattened at the back

Height: 43 cm, width: 118 cm, depth: 6 cm

The Nativity of the Virgin Mary

Spain, 1st quarter of the 17th century

‘St Anne in the childbed, the first bath and 
preparation of the cradle of Mary’

original polychromy
Height: 90 cm, width: 230 cm

Alfons Walde, born 1891 in Oberndorf, died 1958 in Kitzbühel, around 1923

Oil on canvas, signed, dated and inscribed on the reverse, framed.

The painting originates from a Tyrolean private collection and is listed in the catalogue raisonné under no. D-LA-272, expert opinion Prof. Gert Ammann.

Dimensions: 79 cm x 100 cm without the frame

Alfons Walde, born 1891 in Oberndorf, died 1958 in Kitzbühel, 1934

Oil on cardboard, signed, dated and inscribed on the reverse, and framed.

The painting originates from a Tyrolean private collection and is listed in the catalogue raisonné under no. D-LA-273, expert opinion Prof. Gert Ammann.

Height: 48.5 cm, width: 69.5 cm without the frame

Alfons Walde, born 1891 in Oberndorf, died 1958 in Kitzbühel, 1934

Oil on cardboard, signed, dated, and inscribed on the reverse, framed.

The painting comes from a Tyrolean private collection and is listed in the catalogue raisonné under no. D-LA-595, expert opinion Prof. Gert Ammann.

Height: 50.2 cm, width: 77.8 cm without frame

MAX LIEBERMANN

(1847 Berlin 1935)

STUDY FOR "SCHULGANG IN LAREN"

1897

Pencil on paper

Signed upper right: M. Liebermann

Height: 37 cm, Width: 27.3 cm

Provenance:
- Kolb Collection, Zurich, probably acquired directly from the artist before 1930
- since then private collection, Zurich

Literature:
- Hans Rosenhagen: Liebermann, Bielefeld/Leipzig 1900, p. 100, ill. 108.
- Matthias Eberle, "Max Liebermann. Catalogue Raisonné of Paintings and Oil Studies 1865-1899", Vol. I, Munich 1995, cf. No. 1898/2, p. 479-482.

MARIANNE VON WEREFKIN

(Tula 1860 – 1938 Ascona)

AT CUNO AMIET

Dated 1919

Gouache on paper

Signed and titled on the artist's label on the reverse:
Bei Cuno Amiet / Marianne von Werefkin

Dedication below: Doctor Trog in freundschaftlicher / Erinnerung an unser Zusammentreffen / im Herbst 1919 / Marianne v. Werefkin / Ascona. (Doctor Trog in friendly / memory of our meeting / in the fall of 1919 / Marianne von Werefkin / Ascona.)

Height: 48.5 cm, Width: 31 cm

Provenance:
- Dr. Hans Trog, Zurich, received directly from the artist in 1919;
- Since then in the family's possession