Antiques

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.

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

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

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

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

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

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

Berlin or Potsdam, around 1750

Chest of drawers with three drawers and all-side cambered body veneered on softwood, walnut, burlwood, and maple, with powerful bronze fittings, its original fire gilding, and a curved top.

Height: 81 cm, width: 103 cm, depth: 57 cm;

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

Abraham Roentgen workshop, Neuwied, around 1745/55

Walnut, solid, veneered, and upholstered.

The chairs correspond in their character to the earliest phase of Abraham Roentgen's work and are oriented to the English style of the Queen Anne period: the slanted legs stand on cudgel-shaped feet with flat carvings on the knee, the wooden nails of the rear legs which are mortised to the frame remain visible, and the backrest with curved backrest board is rolled backwards.

Height: 110 cm, width 53 cm, seat height 48 cm

Cf. Dietrich Fabian, “Roentgenmöbel aus Neuwied”, Bad Neustadt 1986, p. 249 ff., pic. 589 and 596

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

Workshop of the Spindler brothers, Potsdam, around 1765

Chest with three drawers with an all-side slightly cambered body, veneered in mahogany, kingwood, maple and rosewood with remnants of the original coloration, and fittings with remnants of the original fire gilding.

The chest of drawers displays numerous features of the Spindler workshop in the Potsdam period: The top panel, front and sides are masterfully veneered with large floral bouquets in curved cartouches held by bow ties. While the shape of the body and the veneer pattern are still Baroque, the fittings already point to the Louis XVI style.

Johann Friedrich Spindler (1726 - approx. 1799) and his younger brother Heinrich Wilhelm (1738-1788) had fulfilled numerous commissions for furniture and room furnishings for the New Palace and the Hermitage until the death of Margravine Wilhelmine of Bayreuth in 1758. After the death of his favourite sister, Frederick II of Prussia summoned the brothers to Potsdam in 1765. There, after the victorious end of the Seven Years' War, they were to work on the interior design and furnishing of the New Palace.

Height 80 cm, width 114 cm, depth 68 cm

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

with its original embroidered panel cover

Régence, Paris, around 1720

Armchair, walnut, richly carved, with its original cover in wool and silk, in gros-point and petit-point embroidery.

Height: 113 cm, width: 70 cm, seat depth: 56 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.

François Mondon (1694-1770, master around 1730), Paris, around 1750

Chest with two drawers on high legs, stamped MONDON JME, rosewood and kingwood veneer, the maple and boxwood inlays are partly engraved, coloured or fire-shaded, with a marble top from the period.

The delicate body with the accentuated corner racks is extraordinarily richly decorated. The front and sides are adorned with floral cartouches, complemented by high-quality, fire-gilt fittings.

Height: 88 cm, width: 62 cm, depth: 50 cm

Cf.: Pierre Kjellberg, “Le Mobilier Français du XVIIIe Siècle. Dictionnaire des Ebenistes et des Menuisiers”, Paris 1989, p 583 f.

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

Pierre Denizot (1715-1782, master since August 1^st, 1740), Paris, around 1775

Small salon piece of furniture stamped P・DENIZOT, with marquetry in varying woods, and original bronzes with remnants of old fire gilding.

Elaborately ornamentally marquetry-marked, sophisticated transformable piece of furniture with four drawers and top: the top drawer conceals a hinged and swivel-mounted reading desk, the top with roll-top closure.

This delicate piece of ladies' writing furniture with top and storage compartments was introduced by the Parisian Marchands-Merciers from 1760 under the name Bonheur-du-Jour and became one of the most popular pieces of furniture of the century: light, versatile, versatile, elegant and surprising.

Height: 92 cm, width: 44 cm, depth: 38 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

Jacques Dubois (1693-1763, master since 1742), Paris, around 1750

Stamped JDUBOIS, Vernis Martin with Chinese depictions, original fire-gilt bronze mounts and its original marble top.

On all three sides of the chest with two drawers with very well-preserved depictions of generous Chinese garden architecture in a hilly landscape with figural staffage, and the black-ground cartouches contrasting with the framing with a golden lattice pattern.

Height: 91 cm, width: 122 cm, depth: 56 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

Jacques Philippe Carel, master since 1723, Paris, around 1750

Veneered on oak, royal wood, and rosewood, partly coloured, engraved, and fire-shaded, with its original fire-gilt fittings, and a plate of Breche d'Alep marble.

Works by Carel can be found in the Munich Residence, the Palace of Versailles, the Louvre in Paris, and the Carnavalet museum in Paris

Height: 90 cm, width: 148, depth: 65 cm

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.

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

David Roentgen, Neuwied 1785-90

Working table in mahogany, solid and veneered, with brass galleries, rosettes, and mouldings.

Oval transforming table with shelf, the central drawer under the top conceals a leather-covered writing surface, which triggers the mechanism of drawers that spring open at the sides when pulled out. The top must be moved backwards to make the work surface usable and the legs must be unscrewed, as with many pieces of furniture from the Roentgen workshop in Neuwied, which were stowed away in the most space-saving and careful way for the enormously long distribution routes throughout Europe and as far as Russia.

An identical table has been preserved in Schloss Fasanerie near Fulda from the estate of the Landgraves of Hesse-Kassel: Philippine von Brandenburg-Schwedt (1745-1800), the second wife of Frederick II of Hesse-Kassel, owned numerous pieces of furniture and clocks from David Roentgen's workshop.

Height: 76 cm, width: 72 cm, depth: 50 cm

Cf: Exhib. Cat. Schloss Fasanerie 2019, “Die Möbel der Mächtigen. Meisterwerke der Schreinerkunst und ihre Besitzer”

Cf: Wolfram Koeppe, “Extravagant Inventions: The Princely Furniture of the Roentgens, New Haven and London” 2012, p. 180

Cf.: Dietrich Fabian, “Roentgenmöbel aus Neuwied, Bad Neustadt” 1986, p. 85, pic. 160

Bayreuth, around 1765

Carved softwood painted white and gold on a red bolus and chalk ground, with its original red and white marble top.

Height: 86 cm, width: 61 cm, depth: 44 cm

Cf. Heinrich Kreisel, Hans Kuhn and Georg Himmelheber, “Die Kunst des deutschen Möbels”, 3 vols. Munich 1970, vol. II, p. 217, pic. 704

Gold, with applied honey-coloured agate

The mounting with extremely fine decorated depictions of floral ornaments, hunting dogs, foxes and rabbits in a forest landscape.

A miniature portrait of Peter Theobald, Esquire, is set into the inside of the lid and on the base, the crowned coat of arms of the portrayed figure is engraved, dated 1740, George II, London, around 1740

Width: 7 cm

Northern Italy, probably Milan, around 1815

Walnut, solid and veneered, with drawers in the socles.

Height: 150 cm, width: 60 cm, depth: 40 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

Paris, around 1765, attributed to Germain Landrin (1738-1785)

Artful salon furniture, with amaranth and rosewood veneer, and rich floral inlay, coloured, engraved, and fire-shaded, the rolling lock is hidden behind book covers, and two drop-front drawers are hidden on the sides.

Height: 76 cm, width: 55 cm, depth: 36 cm

Johann Christian Neuber (1736-1808), Dresden, around 1780

Tobacco tin, stone mosaic, and mounted in gold.

Large, oval lidded box with elaborate stone mosaic of various Saxon stones, imitating straw braid in the most precise trompe-l'œil manner, considering the stone pattern. The discreet gold mounting is finely ornamentally chiseled, the handle lavishly floral decorated.

This tobacco tin, which creates the illusion of a simple, finely crafted straw tin mounted in gold, beautifully demonstrates the outstanding mastery of the Dresden court jeweler Neuber: Trained as a goldsmith and stone cutter by his future father-in-law Heinrich Taddel in Dresden, Neuber was accepted into the local goldsmiths' guild in 1762, worked for the court from 1767, was responsible for the Dresden Green Vault from 1769, and was appointed court jeweler in 1775.

Width: 8.5 cm, height: 3 cm

Alexis Kugel, “Gold, Jasper and Carnelian. Johann Christian Neuber at the Saxon Court”, London 2012, No. 60, p. 344.

Provenance: 1964 in the Hallstein Collection

with their original tapestry upholstery

Louis XV, Paris, around 1760

Armchairs, beech, richly carved, with their original tapestry upholstery with animal motifs and floral framing in wool and silk from the Manufacture Royale d'Aubusson.

Height: 100 cm, width: 75 cm, seat depth: 58 cm

Paul Hannong, Strasbourg, around 1770

Faience, underglaze blue mark P H, and overglaze painting.

Green olives lie in a round bowl richly decorated with floral painting.

Very good condition.

Diameter: 25 cm

probably Ansbach, around 1750

Softwood, richly carved, with original gold and silver frame on a red bole and chalk base, as well as its original gray-white marble top (old restoration).

A comparable pair of corner console tables has been preserved in the Ansbach Residence.

Height: 85 cm, width: 78 cm, depth 43 cm

Cf. Christoph Graf von Pfeil, “Die Möbel der Residenz Ansbach” (Catalogues of the Art Collections / Bavarian Administration of State-owned Palaces, Gardens, and Lakes), Munich/London/New York 1999, cat. no. 67

Paris, around 1760

Floral “Vernis-Martin” decoration on oak and with elaborate fire-gilt bronze appliqués

14-day movement, converted to spring suspension with lock disc control and half-hour strike on bell. Signed “LEMAIRE À PARIS” on the dial.

Literature: Cf. Kjellberg, “Encyclopédie, de la pendule française du Moyen Age au XXe siècle”, Paris 1997, p. 82.

Height: 121 cm, width: 44 cm, depth: 22 cm

J. S. Magnin (1772–1812), Geneva, around 1790

Oval gold box, Geneva hallmark around 1790, master's mark J. S. Magnin & Cie, yellow gold with translucent and opaque enamel and a flat body with hinged lid.

Oval body circularly structured with translucent blue enamel on a needle etched background, the lid with an oval enamel miniature of a finely drawn love scene, is embedded in a blue background.

Height: 2.7 cm, diameter: 8.2 cm, weight: 125 g

Nicolas Petit (1732-1791, master since 1761), Paris, around 1765

Elegant bureau with two drawers and fire-gilt bronzes, old leather writing surface.

Stamped N・PETIT, satiné on oak, strapwork in padouk.

Height: 73.5 cm, width: 110 cm, depth: 57 cm

France, around 1790

Pie pan, faience, overglaze painted on a manganese violet dotty ground, the hare's body with finely executed fur pattern.

Height: 21 cm, width: 26 cm, length: 48 cm

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 

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

Martinus Vogt, Olomouc, around 1740

Veneered with walnut, birch, plum, and bog oak, and inlaid on all sides with strapwork. Rope movement with lever escapement on striking mechanism with two bells and date display.

Height: 240 cm, width: 63 cm, depth: 31.5 cm

Vienna, around 1800

Cream-coloured marble with a subtle pattern and fire-gilt bronze mountings.

Height: 25 cm, width: 24 cm, depth: 13 cm

John (1745-1835) and William Cary (1760-1825), London 1816/1828 inscribed and dated.

Earth and celestial globes are covered with coloured and lacquered copper engravings, in three-legged mahogany stands on castors, each with an equatorial ring with month indications, a brass meridian ring with indication of the pole height and a compass in the base. The terrestrial globe has an additional equation eighth, while the celestial globe shows the zodiac signs and a key for star sizes.

John Cary enjoyed an excellent reputation as a cartographer, as well as an engraver and publisher of maps and globes. His younger brother William specialized in the manufacture of scientific instruments. The company founded jointly by the brothers brought out the first globes in 1791 and was soon regarded as the leading globe manufacturer in London.

Height: 115 cm, diameter: 60 cm

Peter Ohr I. (1647-1662), Hamburg, around 1660

Partly gilt silver, Hamburg inspection mark from 1654-1674, and master's mark Peter Ohr I.

The cylindrical body is chased with a roundelay of playing cupids in half relief, framed by a frieze of naturalistic tulip and daffodil blossoms in flat relief on the base embossment and the lid, the latter is crowned by a small male figure (wineskin and grape lost), with a handle in Mannerist style. The later engraved helmet decoration with five ostrich feathers under the lip rim.

With his high-profile goldsmith work, Ohr was one of the most important North German masters in the second half of the 17^th century. One of his most important commissions, a large table fountain for Tsar Alexei Mikhailovich, is now in the armory of the Moscow Kremlin.

Height: 27.5 cm, weight: 1,607 g

Cf. Erich Schliemann ed., “Die Goldschmiede Hamburgs”, 3 vols., Hamburg 1985, MZ no. 36 I, 190, no. 262.

Carl Hernmarck, “The Art of the European Silversmith” 1430-1830, 2 vols., London 1977, vol. I, p. 122.

Venice, around 1750

Carved, polished mirrors in carved, gilt wooden frames, each with two curved candlesticks.

The mirrors are a fine example of the exuberant Venetian Baroque style: outstanding carving and centuries of mastery in glass production and processing complement each other perfectly.

Height 100 cm, width 54 cm, depth 27 cm.

François Lebesgue, Paris, around 1760

Lavishly veneered in rosewood and mahogany as well as numerous other precious woods, some of which are coloured, fire-shaded and engraved, with splendid fire-gilt bronze applications, decorative bronze edges, and a profiled original brèche d'alep marble top as a cover.

Signed with a marking stamp under the plate. The ornamentation on the front “sans traverse” and the sides of the furniture, artfully inlaid into the fourfold mirrored veneer back, meets the highest standards of a courtly salon piece. The veneer is dominated by large flowering branches with imaginative framing of shells and imbricated ribbons. The fittings with moving curved rocailles complement the inlaid motifs of the representative chest of drawers. From a French aristocratic estate.

Height 86 cm, width 95 cm, depth 53 cm.

Salverte, “Les Ébénistes du XVIIIe siècle”, Paris 1934, p. 180.

Berlin or Potsdam, around 1750

Elegant wall mirror, richly carved with original frame, gilding and faceted glass from the period.

Height: 110 cm, width: 34 cm

Johann Kroll, Mainz, around 1790

Solid mahogany and veneered, with gilt brass border, fluting, and rosettes.

Two half-height corner cabinets with strictly structured, closed fronts, the avant-corps-like protruding middle section flanked by fluted pilasters. The drawers can be opened using a hidden push mechanism - a refinement that Kroll learned in David Roentgen's workshop.

Born in Riga, Kroll studied in Neuwied from 1779, soon set up his own business with David Roentgen's approval and received important commissions from the Elector of Mainz as early as 1781, later also for Johannisburg Palace in Aschaffenburg.

Owner's inventory label of Frhrn. v. Thon Dittmer on the reverse.

Height: 92 cm, width: 59 cm, depth: 59 cm

Maerten de Vos
(1532 - Antwerp - 1603)

Archangel Gabriel

Antwerp, circa 1580
Oil on wood
Height: 47 cm, width: 59 cm

Literature: Armin Zweite: Marten de Vos als Maler. Ein Beitrag zur Geschichte der Antwerpener Malerei in der zweiten Hälfte des 16. Jh., Berlin 1980, compare cat. 43, p. 281, ill. 52 and cat. Z 7, p. 327, ill. 152.

Johann Amandus Winck
(1748 Rottenburg near Neckar - 1817 Munich)

A Pair of Still Lifes
FRUITS AND FLOWERS

Dated 1807
signed lower left, oil on wood
Height: 20 cm, width: 32 cm

Literature: Horst Ludwig (ed.): Münchner Maler im 19. Jahrhundert, 
Bruckmanns Lexikon der Münchner Kunst, Vol. 4, 
München 1983, p. 390-392, compare with No. 580
Provenance: private collection Southern Germany

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

The Entombment of Christ

Lower/ Upper Austria, circa 1510

High Relief, linden wood, old polychromy
Height: 42 cm, width: 135 cm, depth: 11 cm

Candle-bearing Angel

Swabia, circa 1520

Lime wood, traces of the original polychromy
Height: 33 cm

TONDINO DI GUERRINO AND ANDREA RIGUARDI, attributed to
(active in the 1st half of the 14th century in Siena)

Reliquary

Siena, circa 1320-1330

Gilt, embossed and engraved copper, chiseled silver, translucent enamel and glass
Height: 34 cm, diameter: 15 cm

Exhibitions:
- Tokyo, Museum Azabu, 1991
- New York, New York University, 1992
- Buenos Aires, Museo National de Bellas Artes, 1994
- Siena, Palazzo Pubblico, 1995

Saint John the Baptist

Lorraine or Burgundy, 14th century

Savonnières limestone, carved three-quarters in the round, reverse flattened, remains of old polychromy

Height: 91 cm

Alfons Walde
(Oberndorf 1891–1958 Kitzbühel)

A Cheerful Female Skier

Mixed technique on paper
Estate stamp on the reverse: “Aus dem Nachlass von Prof. A. Walde, Kitzbühel” confirmed by the signature of Guta E. Berger-Walde
Height: 22 cm, width: 15.2 cm
Listed in the Alfons Walde Archive
Provenance: private collection, Vienna

Sculpture from a Tree of Jesse

Upper Rhine/ Swabia, circa 1490/1500

Lime wood, reverse flattened

Height: 47 cm, width: 32 cm

Maria im Ährenkleid

Southern Germany, circa 1480

"Virgin wearing a dress with ears of grain"

Lime wood, full round sculpture, old polychromy

Height: 35 cm

SAINT BARBARA

Tilman Riemenschneider and workshop

Würzburg, c. 1510

Relief, lime wood, original polychromy

Height: 142 cm

Exhibition: Mainfränkisches Museum Würzburg, 1980

Paris, around 1715-1730

The cast, costly chased Régence chandeliers are worked of an unusual and sophisticated design. The octagonal base is connected to the round grommet by a three-sided shaft. The candlesticks are characterized by silver work from their period.

Height: 25 cm

around 1740

Walnut, plum, yew, birch vein

The elegantly curved front and the rounded corners are decorated with rich strapwork, thoroughly characteristic of the high-quality furniture art of Austria in the mid-18^th century.

The original, gilt key plates are worked in fine Régence-ornamentation, influenced by the Viennese goldsmith's art of their time.

Provenance: Art trade of Josef Bierstorfer, Munich, shown in the catalog of the 14^th Munich Art and Antiques Fair, 1969, p. 131.

Literature: Heinrich Kreisel and Georg Himmelheber, Die Kunst des deutschen Möbels, part II, Spätbarock und Rokoko, Munich 1983, pp. 226-227, figs. 683-685. 

Height: 245 cm, width: approx. 200 cm, depth: 70 cm

Nuremberg, around 1600, signed on the movable strip covering the lock: “MICHEL MANN”

This fully signed, particularly beautiful small box, an example of the great specialty of the Nuremberg gunsmith and art locksmith Michel Mann, is engraved on all sides. On the lid, a gentleman greets a lady; perhaps the box was made as a love gift. Dancing and musical figures adorn the sides, and a leaping deer is depicted at the bottom - a reference to hunting.

Inside the lid, there is a costly lock with four latches, typical of Mann's production. This miniature version of a treasure chest was possibly intended for the storage of jewels or precious stones, but is rather conceived as a refined art object, suitable to be picked up and admired in all its peculiarities.

Brass, copper and iron, partly fire-gilt and blued

Height: 4.6 cm, width: 7.3 cm

Paris, around 1750

stamped Jacques Dubois (around 1693-1763, master since 1742)

Lacquer furniture was a specialty of the famous cabinetmaker Jacques Dubois. He used lacquers from Japan and China as well as French imitations in the so-called vernis Martin. The red lacquered corner cabinets are veneered with unusual French lacquer panels. Although their black background is reminiscent of Asian models, the realistic scenes with large Turkish figures however are completely European in character. The elegantly gilt bronzes are characteristic of Dubois' work.

Height: 82 cm, leg: 40 cm, depth: 38 cm

Berlin 1825

The large, crater-shaped vase has a base imitating lapis lazuli and is richly and diversely gilt on all sides with polished and engraved ornamentation. The gilt Prussian eagle on the front of the magnificent vessel bears the profile portrait of Princess Luise of Prussia, daughter of Frederick William III and Queen Luise, who was married to Prince Frederick of the Netherlands in 1825. The central medallion “Biscuit” is framed on the outer garb with a lush, very delicate, fully sculpted rosary.

The model for the portrait “en relief” was created by Leonhard Posch in 1825 for Princess Luise's wedding.

Wilhelm III ordered the vase for himself; it is listed in the KPM archives in Berlin with the invoice date August 5, 1825.

After the king's death in 1840, the vase was inherited by his daughter Luise and came from her to the House of Wied upon the marriage of her daughter Mary, Princess of the Netherlands, to Prince William of Wied on July 18, 1871, where it remained in the possession of the Wied Princes until a few years ago.

Marks: Sceptre in underglaze blue, KPM with eagle with sceptre and crown in purple.

SPSG, KPM-Archiv (Land Berlin), file no. 353, Prestiosa 2, Conto Buch Sr. Majestät des Königs. 1818 - 1850, fol. 120v

Height: 43 cm, diameter: 28.5 cm, foot 16.5 cm x 16.5 cm

set with diamonds and rubies

Dresden, around 1725-1740

The downwards-tapering tobacco tin has an architectural form. The base and lid are cut from one agate and the handle is set with precious stones. The golden wall is finely chased with a surrounding garden landscape, with pavilions, a fountain designed as a swan and strolling guests.

Marked with: unidentified master's mark “LM”

Height: 3.8 cm, width: 5.5 cm, depth: 4.5 cm

probably Kassel around 1755-1765

The Rococo mirrors are designed individually asymmetrical but mirror each other and therefore form a harmonious ensemble as a pair. The fine, feather-like carving of both mirrors is influenced by the Rococo style of Frederick the Great.

Johann August Nahl worked in Potsdam until 1755 and then moved to Kassel, where he worked for Landgrave Wilhelm VIII of Hesse; these two frames could have been produced in Nahl's workshop.

The original faceted mirror glass and the gilding have been preserved.

Literature: Heinrich Kreisel and Georg Himmelheber, Die Kunst des deutschen Möbels, part II, Spätbarock und Rokoko, Munich 1983, pp. 253-256, cf. figs. 746, 748.

Height: 76 cm, width: 42.5 cm

France, around 1730-1745

The large, richly carved console table is decorated with detailed engraved rocailles intertwined with olive branches. In the center of the base is a lavish cartouche decorated with flowers and leaves, which echoes the movement of the entire table.

The original marble top and gilding are well preserved.

Height: 85 cm, width: 150 cm, depth: 70 cm

Design by Karl Frederick Schinkel

Berlin, probably manufactured by Carl August Mencke, around 1835

The chandelier is made of wood, wood bronze and cast metal. It is originally gilt and decorated with crystal hangings.

This combination of materials is typical for the works of Mencke's manufactory, who had patented a process for producing a wood-like mass, so-called wood bronze, by King Frederick Wilhelm II in 1815.

A comparable chandelier, also attributed to Schinkel, can be found in the living room of the “garlic house” in Berlin (Berlin Municipal Museum Foundation).

Provenance: From the estate of the descendants of Frederick Ludwig Mecklenburg (1821-1884), ennobled in 1871, who was probably a son of Grand Duke Frederick Franz I of Mecklenburg-Schwerin and married to Bertha von Hünerbein.

Cf. Klappenbach/Hartmann/Kropmanns, Kronleuchter des 17. bis 20. Jahrhunderts, Regensburg 2019, pp. 188-189 and 195-200, fig. 113.

Height: 120 cm, diameter: 120 cm

Paris around 1780

Attributed to Godefroy Dester (master from 1774-1805)

Godefroy Dester, probably of German origin, produced a series of stamped and unstamped desks of exactly this form and a number of cylindrical bureaux, whose the lower part follows the same model. The elegant, restrained form of the furniture, the very high-quality mahogany veneer and the gilt fittings on all sides are characteristic of the English-influenced Parisian furniture production of the late "Former Regime".

Literature: Pierre Kjellberg, Le mobilier français du XVIIIe siècle, Paris 1998, cf. p. 260, fig. C.

Height : 77 cm, width : 164 cm, depth : 75 cm, drawers on both sides 40 x 60 cm

Paris, around 1750

stamped Jean-Charles Saunier (Master since 1743)

The powerfully curved chest of drawers is veneered with lush floral marquetry, which decorates the body with its large flowers on a beautifully grained ground in curved frames.

Both drawers merge “sans travers” in their movement and refined decoration. The strongly backward curved sides conceal the imposing size of this elegant piece.

The Saunier family of artists was one of the best-known furniture makers in the exclusive Parisian furniture scene.

Jean-Charles Saunier worked in his father's workshop in the Rue du Faubourg-Saint-Antoine and was also frequently commissioned by colleagues. This particularly high-quality chest of drawers could also be a delivery to his colleague Jean-François Oeben, who in turn often delivered to the cabinetmaker Jean-Pierre Latz (1691-1754). Several high-quality chest of drawers by the Saunier family have been preserved in public collections.

Provenance: Old private collection, Geneva; Sotheby's Zurich auction, December 10, 1997, lot 795 (figure on catalog cover); Swiss private collection

Oak, veneered with rosewood, amaranth, satinwood, ebony and rosewood, original fittings in fire-gilt bronze, original top in marble Rouge de France.

Height: 87 cm, width: 147 cm, depth: 61 cm

Jean-Francois Hache

France, Grenoble, mid-18^th century

The small salon table is made of solid cherry and has a gray and white scagliola top with marbled, engraved seal-red ornaments and tendrils.

Since the 17^th century, scagliola has been a costly method of producing a more lightweight substitute for marble. It was highly appreciated for columns, fireplace frames, and table tops and could be artfully colored to suit the desired rooms.

The table was originally owned by the Gailand banking family.

Height: 75 cm, width: 75 cm, depth: 64 cm

around 1720

The large cabinet, veneered in walnut and burr walnut, shows the allegory of Strength and Loyalty inlaid in ivory on the doors. The two allegorical figures stand on pewter pedestals and are framed by birds, busts and small ornamental motifs, also in ivory.

Ivory gives the high-quality veneer work an additional exotic and value-enhancing accent and was a sought-after feature of 18^th century Brunswick furniture art.

The engravings on the ivory, on the pewter consoles and on the strapwork have been excellently preserved to this day. The cabinet comes from a noble estate in Lower Saxony.

Height: 235 cm, width: 211 cm, depth: 73 cm

Venice, circa 1750

This delicate pair of chests of drawers with their three drawers and artful heavily crownings show the refined and typical Venetian style of the mid-18^th century.

The pair of furniture is veneered in walnut and plum; the original bronze fittings have remnants of old gilding.

Height 73 cm, width 70 cm

with the enamel portrait of Prince Frederick Augustus of Saxony

Dresden, before 1694

The enamel portrait of Prince Frederick Augustus of Saxony (1670-1733), painted by Georg Frederick Dinglinger, is framed in solid gold with rich diamond setting and fine engravings on the back side.

The young prince with the ribbon of the Order of the White Elephant is depicted before 1694, because he became Elector of Saxony and King of Poland as “Augustus the Strong” after the death of his brother.

The medallion is probably a very early, precious gift from the prince to one of his first mistresses.

Measurement: 6 cm x 5.5 cm.

Flanders, around 1680-1700

The martyred saint, pierced with arrows, stands tied to a tree trunk.

The martyr looks up to the sky with his mouth open in agony. A formerly winged putto stands by his right leg, painfully and lovingly tending to his wounds.

Ivory, sculpturally carved, ebonized wood, brass.

Height: 37 cm

Rome, probably by Andrea Locatelli (1695-1741)

This romantic Italian landscape shows a group of fishers and trees struck by lightning in the foreground, standing on the banks of a river. The state of nature is reminiscent of a thunderstorm that has damaged the trees.

In contrast to the past dramatic natural event, the change in the weather seems to give the fishers hope of a good catch.

Oil on canvas.

Height: 112 cm, width: 146 cm

signed Johan Frantz Miller, 1771

The writing cabinet with two drawers bears an adhesive label with the inscription 'Johann Frantz Miller Anno 1771, May 25 in Berlin' and is therefore a rare example of signed Berlin furniture from the second half of the 18^th century.

It can be assumed that the piece of furniture is Miller's masterpiece, as it corresponds very closely to the design drawing executed by master cabinetmaker Hager in 1768, which was required by the Berlin cabinetmakers' guild to obtain the title of master craftsman.

The writing cabinet is one of the few surviving masterpieces. Hager's design drawing and the high perfection of the construction of our piece of furniture, as well as the very high-quality selection of the veneer patterns, speak for a masterpiece.

Walnut, walnut burl, maple, rosewood, fire-gilt brass fittings

Height: 230 cm, width: 132 cm, depth: 72 cm

France around 1815

The large, monumental portal clock is made of white marble with rich, fire-gilt bronze applications. Original 14-day clockwork with thread suspension and half-hour strike on bell.

The clock is signed by the master clockmaker Doll the Younger, who took over the workshop in the Rue du Temple from his father in 1800.

Height: 60 cm, width: 40 cm, depth: 12.5 cm

Paris around 1810

attributed to the workshop of Georges-Alphonse Jacob-Desmalter (1790-1870)

The chairs of antique models vary in an artistic manner. The backrest and the sabre-shaped front legs are based on the Greek type of the Klismos chair. The richly carved refined seating furniture probably originated from the leading Parisian chairmaking workshop of the Jacob dynasty, which was run by Georges-Alphonse Jacob-Desmalter from 1803.

Height: 89 cm, seat height: 44 cm, width: 49 cm, depth: 43 cm

Bruchsal, attributed to Johann Wolfgang Elias Weinsprach (1712 Öhringen - 1776 Bruchsal) around 1770

Walnut, plum, pear, maple, boxwood, bog oak, and ivory, partially engraved and fire-shaded;

This magnificent, very richly processed cylinder bureau shows a garden hall in the center of the cylinder with a view of a landscape.  The hall shows the interior of a castle, which is depicted above the cylinder. The theme of a country castle amid nature dominates the entire front of the piece of furniture. The central scene is flanked by bouquets of flowers and vases.

The middle drawer front shows a manor house with a sawmill, while the side drawers are veneered with marquetry of everyday scenes and festive scenes that take place in front of or inside the farm buildings.

The furniture probably made for the Bruchsal castle is attributed to Johann Elias Weinsprach, who was the courtly cabinetmaker for Franz Christoph von Hutten, Prince-Bishop of Speyer.

Other opulently constructed writing cabinets from Bruchsal castle have been preserved in public collections.

A relationship to the famous Roentgen furniture for Johann Philipp von Walderdorff, Archbishop and Elector of Trier, is given.

Literature: Heinrich Kreisel and Georg Himmelheber, Die Kunst des deutschen Möbels, part II, Spätbarock und Rokoko, Munich 1983, pp. 205-208, figs. 574-579.

Height: 115 cm, width: 113 cm, depth: 60 cm

Würzburg, around 1750

The beautifully curved, carved table has a rich, partially engraved marquetry top. It is inlaid with garden architecture in various native woods, in which an elegant shepherdess strolls with sheep.

The scene is probably influenced by Johann Esaias Nilsson, the famous Augsburg copper engraver whose imaginative designs were popular models from the middle of the 18^th century.

Height: 70 cm, width: 98 cm, depth: 68 cm

Paris, around 1760

stamped R.V.L.C.

The small salon table has a curved top on four elegant legs, under which a drawer is hidden and an additional veneered and inlaid tray as a cruciform base. The table is veneered on all sides in Satiné and amaranth and decorated with a costly diamond-shaped marquetry in the style of a fabric pattern of its time.

Roger van der Cruse was born in Faubourg Saint-Antoine in 1728 and died in Paris in 1799. He was a Parisian cabinetmaker whose extremely refined furniture included the Rococo and early Neoclassical styles. According to F. de Salverte, he was one of the great cabinetmakers of his generation.

Height: 72cm, width: 36 cm, depth: 28.5 cm

sign. Ernst Waegener

Berlin around 1910

The sandal binder was sculpted in bronze by Ernst Waegener and originated in Berlin around 1910.

E. Waegener was born in Hanover in 1854 and is proven sculptor since his training at the Royal Prussian Academy of Arts in Berlin. After completing his studies, he went to Rome on a scholarship and took part in the major Berlin art exhibitions from 1893. His works are shown in the exhibitions of the Berlin Secession, where he is listed as a full member until 1912.

Several monumental works have survived in Berlin, Hanover and on the town hall in Osnabrück.

Height: 32 cm, length: 37 cm, width: 14.5 cm

Italy 1662

This blue decorated spout jug was created in a manufactory for a monastery pharmacy and was used to hold a medicinal essence, inscribed on a painted inscription “AQ(UA)DI LATTUCA”. Below the painted inscription is shown a portrait of a Jesuit, probably of St. Ignatius of Loyola, in an oval medallion dated 1662.

The impressively balanced shape of this ovoid ceramic jug with spout and double ear handle, which ends with double spiral tendrils, is highly unusual and very impressively harmonious.

Height: 35 cm

Tyrol around 1650

The frame of the table, manufactured with four exotic mythical creatures, is made of walnut. The table is flexibly arrangeable.

It carries a solid marble top and was probably intended for the presentation of an artful cabinet or for use in a library.

Height: 73 cm, tabletop: 90 x 50 cm

Ansbach, around 1740

The legs of this richly with rocailles carved console table are entwined with dragons, giving the lush carving an impressive character. Very similar motifs from around 1740 have been preserved on various console tables in the residence in Ansbach.

Literature: Heinrich Kreisel and Georg Himmelheber, Die Kunst des deutschen Möbels, Part II, Spätbarock und Rokoko, Munich 1983, pp. 184-187, cf. figs. 484-490.

Height: 84 cm, width: 100 cm, depth: 48 cm

Drouot à Paris, around 1780

The French mantel clock is fabricated on top of a white marble base with fire-gilt bronze and depicts a winged Cupid being welcomed by Aurora with a wreath of flowers. Cupid lovingly caresses her chin. His quiver with its arrows, the bow and the burning fire of love lie on a cloud below him. The shaping of the figures is reminiscent of Francois Vion's work.

A comparable pendulum clock was owned by the Tsar's family.

Height: 35 cm, width: 28.5 cm, depth: 13 cm

from the estate of Margrave Ludwig Georg von Baden

Meissen, around 1750

painted by Johann Jakob Wagner (1710-1797), the diamond-set gold mount Dresden, around 1750

The extremely high-quality Meissen tobacco tin is finely painted on all sides with delicate scenes of shepherds and loving couples, framed by rocailles “en relief” that are also colored. They were executed by Johann Jakob Wagner, who was head painter at the Meissen porcelain manufactory from 1745. The precious gold tobacco tin set with diamonds was presented to Margrave Ludwig Georg von Baden by King Augustus II of Poland, Elector of Saxony. The occasion was his marriage to Mary Anna, Princess of Bavaria, in 1755.

The tobacco tin remained in the possession of the House of Baden and was exhibited in the art chamber of the Grand Ducal Residence Palace in Karlsruhe from 1883 onwards and was displayed repeatedly until the great Baden auction in 1995.

Literature: Karl Koelitz, Beschreibendes Inventar der Allerhöchsten Privatsammlung kunstgewerblicher Gegenstände (Zähringer-Museum), Karlsruhe 1883, no. 1889 (the tobacco tin bears an adhesive label with the number 1889)

Marc Rosenberg, Die Kunstkammer im großherzoglichen Residenzschloss zu Karlsruhe, Karlsruhe 1892, plate 25

Galeriedirektor Richter, Inventar des Zähringer-Museums, Neues Schloss, Baden-Baden 1919, no. 934 (the tobacco tin still bears this inventory label today).

Provenance: Auction Collection of the Margraves and Grand Dukes of Baden, Sotheby's, Baden-Baden, October 5-21, 1995, lot 808.

Height: 4.2 cm, width: 8 cm, depth: 6.3 cm

Munich around 1825

Workshop Johann Georg Hiltl (1771-1845)

The powerfully designed table is veneered with veined walnut. Its special feature is the three maple fills on the shaft. They are painted in the Renaissance style with angel figures rising from acanthus leaves, each holding a letter of the monogram ESB.

In his Munich workshop from 1818, Joh. Gg. Hiltl developed a technique of transferring prints onto wooden surfaces and became very successful with it.

Height: 77 cm, diameter of the plate: 117 cm

Paris around 1760

stamped Wolff

The free-standing table is veneered in Satiné, kingwood and rosewood on oak and decorated with elaborate floral marquetry.

Christophe Wolff (1720-1795) was born in Germany and has been listed as a master of Parisian furniture art since 1755. He ran his workshop in the Rue de Charenton and produced very high-quality furniture with elaborate marquetry.

A lady's desk has been preserved in the Nissim de Camondon collection by Wolff.

Height: 70 cm, width: 40 cm, depth: 30 cm

London, 1813
William Elliott

The extremely high-quality, crater-shaped vessels from the Regency period are worked in heavy sterling silver with naturalistically modeled elements, some of them “en relief”, as well as fully sculpted in antique form as wine coolers. Horns of plenty with fruit serve as powerful handles and lush vine leaves with grapes decorate the garb.

On June 18, 1872, the vases were presented as a gift for the marriage of Prince Hermann of Hatzfeld zu Trachenberg to Countess Natalie of Benckendorff in Berlin. Duke of Hatzfeld was an important Prussian politician, civil servant and major general from Silesia. He was chairman of the New Faction of Big Landowners and a hereditary member of the Prussian House of Lords from 1878. His wife served as the Empress Frederick's Mistress of the Robes.

Natalie's older brother, Count Alexander von Benckendorff, was Russian ambassador in London and gave the vases to his sister as a wedding present.

Height: 32 cm, total weight 5100 g

Gold mounting probably Dresden, around 1750

The large porcelain tobacco tin is exquisitely painted on all sides with scenes of families enjoying the attractions presented by market traders. On the lid, children look into a peep-box, on the inside a poster hung on a tree is explained to them with pictures, and on the bottom is a scene with a rat catcher. The designs for the illustrations were created by the Dresden court painter Christian Wilhelm Dietricy. The scenes are framed in pink-colored, relief rocailles.

Height: 4 cm, width: 8.7 cm, depth: 6.8 cm

Paris around 1770
Attributed to Nicolas Petit (1732-1791), master since 1761

The three front sides of this transitional chest of drawers are veneered with tall, rectangular panels. On the front, the two drawers are cleverly combined to form a picture

"sans travers".

The gilt fittings and the marble top are original.

Literature: Pierre Kjellberg, Le mobilier français du XVIIIe siècle, Paris 1998, cf. fig. p. 645.

Height : 82 cm, width : 95 cm, depth : 45 cm

LUSTERWEIBCHEN 

Bavaria, around 1540

Chandelier, wood, carved, old polychromy, antlers

Female figure in urban dress of the period, wide skirt, slit sleeves, high collar and crowned headdress, with heraldic shield.

Dimensions: 40 x 60 x 57 cm

Literature: Theodor Müller, ‘Die Bildwerke in Holz, Ton und Stein’ Catalogue of the Bavarian National Museum Munich, vol. XIII, 2, cf. illustration. p. 122.

Provenance: Private collection, Basel (Switzerland)

SAINT SEBASTIAN

Lower Bavaria, circa 1515-20

Lime wood, flattened at the back, original polychromy 

Height: 132.5 cm

Provenance:

private collection Southern Germany, Franconia

CHRIST BEFORE PONTIUS PILATE

Originally part of a Way of Sorrows: Station 1 – Jesus is condemned to death

Tyrol, dated 1507

Relief, lime wood, original polychromy

Height: 50 cm, width: 47 cm

Provenance: private collection, Southern Germany

SAINT MICHAEL

Upper Rhine Region, c. 1470/80

Lime wood, reverse hollowed out,

original polychromy

Height: 97 cm

Provenance: private collection, Northern Germany

Dining room cupboard from the „Festliches Speisezimmer“ („festive dining room“)

Design: Bruno Paul (cabinet body) and Ulla Schnitt-Paul (marquetry), 1937,
 

manufactured by Deutsche Werkstätten Dresden-Hellerau,
Type no. 42010 from the series “Handgearbeitete Möbel” („handmade furniture“).

Makassar-ebony and palisander, root wood, maple wood, gaboon and other exotic woods, veneered on soft wood and ply wood

Literature: Staatliche Kunstsammlung Dresden (ed.): Gegen die Unsichtbarkeit. Designerinnen der Deutschen Werkstätten Hellerau 1898 bis 1938, ex.-cat. Kunstgewerbemuseum Dresden, Nov. 3, 2018 – March 3, 2019, Munich 2018, p. 90, cat. no. 188.

Height: 160 cm, width: 195 cm (below 215 cm), depth: 40 cm

Ulla Schnitt (1908 - Berlin - 1957) was a painter, wood marquetry artist and textile designer who helped shape the style of the Deutsche Werkstätten Hellerau in the 1930s and 40s. She worked closely with the architect and interior designer Bruno Paul, whom she also married in 1941.

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

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

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 18^th 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

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 18^th century.

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

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 18^th century and are very rarely preserved in such good condition.

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

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

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

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 18^th 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

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 17^th 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

Marked Philpp Plapert, 1643-1646, silver, partly fire-gilded

Silver, gilded columbine goblet, fourfold designed with six humps on the lid, the dome, and the foot. A large Schmeck decorates the masterly Nuremberg silversmith's work as a crowning.

Today, Plapert's particularly high-quality hump goblets are in various public collections, including the Victoria and Albert Museum in London, the Hermitage in St. Petersburg, and the Museo Palazzo Venezia in Rome.

BZ Nuremberg for 1643-1646, MZ Philipp Plapert (1637-1665) GNM no. BZ17, 655);

Height: 34 cm, weight: 294 g

Probably Dresden around 1750

Rectangular heliotrope plates are mounted here in a gold cage frame, so that the semi-precious stones are shown to their best advantage. The frame of the precious stone is made with lush rocailles and flowers in the best goldsmith's art.

The special pleasure of the Saxon court in the use and processing of beautiful, mostly local stones is also shown since the 17^th century in the combination of these stones with the most precious frames. Our tobacco tin is a wonderful example of this.

Height: 3.7 cm, width: 6.0 cm, depth: 4.5 cm

Limewood with original gilding

Mainfranken, around 1755-1765

The mirrors are framed with a fascinating variety of rocailles. The leaf and flower ornamentation forms a striking decorative element. It adds an asymmetrical accent to each of the mirrors, making the compositions of the carvings a true pair. The carvings are powerfully executed in great detail and the pair is an impressive example of the commissions of the Würzburg court and its surroundings.

Height: 150 cm, width: 60 cm

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

Partly fire-gilded, marked Augsburg, around 1763-1765, by Gottfried Bartermann

This unusually richly decorated tureen, a late work by the famous Gottfried Bartermann (approx. 1705-1769), is a top product of Augsburg silversmithing of the Rococo period. In Succession of the most important Parisian goldsmiths, such as Thomas Germain, Bartermann has decorated the lid with lifelike vegetables such as asparagus, cabbage and celery root, crowned by an artichoke; a string of strawberries forms a particularly original motif. The large cartouche, spreading on both sides over the body and the lid, shows a turnip and other vegetables in the center. Besides centerpieces, tureens were the most important showpieces of a representatively set festive table. The sporadic fully plastic vegetables possibly indicate the ingredients of the dish prepared in the tureen.

Helmut Seling has written about this piece: "We know a whole series of tureens by Gottfried Bartermann, which consistently document his masterly skills. Among them is this oval tureen, made between 1763 and 1765, whose successfully produced shape forms a unity with the decoration."

Literature: Helmut Seling, "Die Kunst der Augsburger Goldschmiede 1529-1868", Munich 1980, vol. I, p. 164; vol. II, fig. 736

Height: approx. 36 cm, width: 50 cm, weight: approx. 4630 g

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

Tyrol, probably Innsbruck, around 1700

Walnut, burr walnut and maple, engraved, partially colored and fire shaded.

On all sides outside, inside and on the lid, the casket is decorated with elaborate inlays. The depictions show lush flower and fruit arrangements. The lid is centrally decorated with a parrot. Unusually rich and elaborately engraved brass fittings have survived on all sides. The lock is decorated with a princely crown, the elaborate interior with many compartments and a hidden drawer in the bottom are in good original condition.

Height: 18 cm, width: 38 cm, depth: 25 cm

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)

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.

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

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

Limewood with mostly original, conserved grey and gold frame

France, around 1780

The table decorated with high-quality carved flower garlands and a vase dates back to the classicism. The sides and the front are decorated in good proportions.

The profiled original top is made of white marble.

Height: 84,5 cm, width: 96 cm, depth: 57 cm

Solid walnut, Paris around 1750

The mismatched pair is walnut carved and gilded. They have been preserved with their old upholstery and are representative examples of sophisticated room decoration.

Height: 95 cm, width: 70 cm, depth: 80 cm

Würzburg, around 1750

Oak and coniferous wood, walnut, burl walnut, maple veneered

The elegant, quality writing furniture standing on high legs represents the combination of artful veneers with very well-crafted carvings of lush rocailles combined with floral and foliage work typical of Main-Franconian furniture of the Rococo period. The original fire-gilded fittings possibly come from the workshop of the famous Würzburg court locksmith Johann Georg Oegg (1703-1782).

Height: 180 cm, width: 124 cm, depth: 72 cm

The top probably Rome, the cast iron frame probably Russia around 1800

The top forms a rich assortment of marbles, intricately mounted in a radiating pattern. Such tabletops were precious souvenirs for travellers from all over Europe visiting Rome; they were also exported by merchants. The classicist frame, processed in cast iron and featuring many gilded details, was probably made in Russia for the Italian tabletop. The elegance of the artful base shows the international appreciation of this Italian Pietra Dura work, perhaps brought to Russia from a Grand Tour.

Height: 75 cm, diameter: 56 cm

Paris, around 1755, attributed to Pierre Migeon II (1701-1758), veneered on oak and inlaid with satiné, amaranth and boxwood.

The original furniture veneered on all four sides with floral marquetry has two original tops made of Brèche d'Alep marble. One drawer is hidden on the side. All inlays show remnants of colorations and elaborate fire shading. The gilt bronze fittings remained preserved.

Height: 90 cm, width: 50 cm, depth: 33.5 cm

Bronze, cast and chased, burnished and fire-gilded
Paris, around 1800, in the style of Claude Galle (1759-1815)

On a pedestal with partly figural, openwork appliqués, a slender vase with lateral ornamental handles held by birds supports the five-flame candelabrum with the centrally raised spout.

Height: 62 cm

Oak, rosewood, dyed maple, kingwood, ebony, boxwood, bronzes, Paris around 1775, attributed to Pierre Macret.

This French chest of two drawers is veneered in rosewood on all sides and inlaid with elaborate cube marquetry in dyed maple and kingwood.

The three sides are framed with ebony bands and boxwood. The gilt bronzes and the marble top are original. The high-quality, well-crafted furniture is attributed to the workshop of Pierre Macret.

Macret was born in 1727 and became a master in Paris in 1756. He made very high-quality furniture in the Louis XV style in his workshop in the Rue Saint Nicolas. In 1785, he gave up the workshop.

The elegant chest of drawers presented here is an example of the transition from Louis XV to Louis XVI style, Macret's later creative period.

Height: 84 cm, width: 90 cm, depth: 48 cm

Meissen around 1723/1724

Very rare octagonal box with bevelled corners and original lid, decorated with varied onglaze colours as well as gold decoration on the wall, Indian flower branches, insects and gold lace border, the lid with two opposite chinoiseries and an unusual as well as rare iron-red vine frieze.

This exceptionally high-quality early box is particularly fine decorated and on the bottom labelled next to the mark with swords "KPM" (“Königliche Porzellan Manufaktur”), a designation that existed only in 1723/24. Another box of this quality is part of the collection of Dr. E. Schneider, Lustheim Castle near Munich, and was formerly part of the collection of the Margraves and Grand Dukes of Baden.

Height: 7.8 cm, width: 11 cm

Augsburg, dated 1674

The rare small piece of furniture, solid walnut and partly veneered has recesses and arches surrounded by wavy mouldings on the front side, typical for Augsburg furniture of the late 17^th century. The cabinet is decorated with very finely drawn and executed cartilage-like motifs in ivory, dated 1674 in the frieze. Due to these fancy decorations, the furniture was a gem of an art chamber or even an unusually rich furnished doll's house. On the inside, the original Augsburg coloured paper on gold background is preserved. The doors have finely engraved, blued iron fittings as known from large cabinets.

Height: 46,5 cm, width: 44 cm, depth: 15,5 cm

Probably Nuremberg, around 1700

in walnut, plum, yew, and boxwood

The casket (top left) rests on twelve turned, profiled feet and impresses with its refined architecture and highly skilled workmanship. The high quality is matched by the different opening possibilities of the casket and the beautiful geometric marquetry inside. A slightly larger, very similar piece, certainly from the same workshop, has survived in a private collection.

Height: 21 cm, width: 30 cm, depth: 19 cm

18 carat gold, papier mâché, Paris circa 1780

The round lidded box is very finely decorated on all sides in polychrome painting and overlaid with clear lacquer. The original tortoise shell lining has been preserved inside. The lid is decorated by a reclining Cupid with a dove. On the bottom of the box, you can see once again the Cupid's quiver filled with arrows.

Profiled golden mounting rings, not clear Parisian stamp, probably Julien Alatarre, 1768-74.

Height: 2,5 cm, diameter: 5 cm

Paris, mid-18^th century, Vernis Martin

The pair of wig boxes is made in black lacquer and finely decorated in gold, partly sculptural, with East Asian architecture and vegetation.

The fittings are finely engraved and chased as well as fire-gilded in the style of 17^th and early 18^th century Japanese models.

Both boxes probably made in Paris in the Martins' manufactory around 1750.

Width: 29 cm, height: 10, 5 cm, depth: 21,5 cm

Probably Stuttgart around 1790

On oak veneered with rosewood, ebony, and lemon; bronzes

The elegant salon table is veneered on all sides with rosewood and has fine inlays in ebony and lemon. The fields on the frame are intricately mirrored veneered. The bronzes are original. This small Louis XVI classicist table was probably made in Stuttgart around 1790 and comes from the estate of the Dukes of Württemberg.

Height: 77 cm, width: 57 cm, depth: 40 cm

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

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

TANKARD WITH DEPICTION OF PLANETS

Creussen, dated 1663

Saltglazed stoneware, enamel painting,

Reliefs, pewter mountings

Height: 19.5 cm

Paris, around 1780

Beech and oak, set and gilded, with red and white marble.

Two finely gilded pieces of furniture with semi-circular openwork frame on two fluted tapering column legs. Each with a double-handled vase with rich floral decoration on the lower crosspiece.

Consoles in this size as a pair have survived very rarely and with their high-quality carvings are an enrichment of an elegant interior.

Height 80 cm, width 44 cm, depth 26 cm.

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.

Lyon, around 1775

This elaborately carved chair is a good example of low seating furniture for children or Iapdogs of the kind that has rarely survived.

It is attributed to the famous Nogaret workshop in Lyon, which was highly regarded for its high quality in the 18th century.

Fortunately, the old Silk covering has survived.

Height 88 cm, width 58 cm, depth 48 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.

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

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.

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.

Genoa, around 1740

The four-Iegged, sturdy console tables are decorated with rich carvings and elaborately reinforced bases.

The bases are painted walnut on all sides to deceive the eye, and their raised carvings are gilt-leafed.

The original marble tops take up the curves of the moving frames in their profiles.

Height 78 cm, width 102 cm, depth 64.

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.

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.

Grenoble, Jean-Francois Hache assigned, around 1770

The two-bay chest of drawers veneered on oak with rosewood and rosewood shows large single panels on the side and the front, meanderingly framed and end-grain veneered.

The three fields of the front go "sans travers" over the drawers and structure the architecture of the chest of drawers like a central risalit. The original bronze fittings still have old gilding and the original marble top is presewed.

The Grenoble-born ebenist Jean-Francois Hache (1730-1796) learned in the workshop of his father Pierre and succeeded in taking over his parents' business to become one of the court suppliers to Duke Louis-Philippe d'0rléans, governor of the Dauphiné.

Lit. Pierre Kjellberg, Le Mobilier Francais du XVIII-éme Siécle 2008.

Height 87 cm, width 115 cm, depth 55 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.

Frankfurt am Main, around1730

On a coniferous carcass‚ the large cabinet is veneered With walnut and burl walnut on all three sides. It has preserved the original fittings in the centre with remnants of old gilding.

The elaborate shape of the wave construction is reinforced by the particularly strong corner solution. The name "Frankfurt nose cabinet" is due to these corner solutions.

The furniture shown here is of particularly high quality cross veneered in the most beautiful, valuable burl wood and the movements of the wave and nose architecture give it great strength.

Lit. Kreisel/Himmelheber, Die Kunst des deutschen Möbels, vol. 1, fig. no. 550.

Height 228 cm, width 220 cm, depth 80 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.

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,

probably Munich, around 1735/40

A very elegant pair of consoles in the original gilding, richly carved with engraved foot crosses. They are to be classified in the environment of the Munich court workshops.

On the aprons, one of the medallions bears the monogram ”MA". One of the two marble slabs was added in the 19th century.

Height 77-80 cm, width 80-84 cm, depth 50-51 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.

Augsburg, Jakob Anthoni, 1605-10

Silver gilt, hallmarked Augsburg 1605-10 and master mark of Jakob Anthoni (1559-1623, master from 1585).

The very high-quality high relief shows the Holy Family: Mary with the infant Jesus, Joseph in the background, and the childlike John the Baptist presenting a bowl of fruit.

Jakob Anthoni was a very talented goldsmith who also served as a member of the city's Grand Council. Works by him can be found in the rich chapel of the Residenz in Munich, which he made by order of Elector Maximilian | of Bavaria, as well as another plaque in the Bavarian National Museum.

Lit. Seling III, no. 25 and Seling, no. 1002.

With frame 28,5 cm x 31,5 cm.

France, Paris, stamped Jean Georges Schlichtig, around 1765.

Oak body, rosewood, veneered with various precious woods, partly with floral markings. Signed and stamped on the end-grain.

The German ebonyist J.G. Schlichtig (1726-1782) became a master in 1765. He settled in Paris around 1760 and also worked for the French court, as indicated by the monogram of Queen Marie-Antoinette in the marquetry of a chest of drawers now in the Musée du Louvre. His surviving works show the transition from Louis XV style taste to the Louis XVI era. This secretary is still very conventionally made in the Louis XV taste and shows Schlichtig‘s sure hand for elegant furniture of his time.

The original marble top has been preserved.

Height 144,5 cm, width 99,5 cm, depth 39,5 cm.

Magdeburg, around 1775

Faience with white glaze and painted with sharp fire colours in manganese and green. Marked "M" on the bottom.

The curved vase bodies are spanned by a white net with pink flowers at the nodes.

ln the centre of each wall are three rocailles with architectural and pastoral scenes, which the pair identity as counterparts.

The reliefed, overlaid latticework, as well as three small rocailles, are also found on the lids. The lid knob is designed as a white flower bud.

Height 34cm.

Meissen 1737-40

Large porcelain candlesticks with elaborate gold decoration on all sides, showing the polychrome alliance coat of arms of the Empress Dowager Wilhelmine Amalie of Brunswick-Lüneburg in the base on all four sides. She married the future Emperor Joseph I in Vienna in 1699, who died in 1711.

Three children were born of the marriage, her eldest daughter Maria Josepha married in 1719 the later Elector of Saxony, King of Poland, August III, son of August the Strong.

The commission from the Meissen manufactory was a gift to the empress dowager mother-in-law. The pair of candlesticks shown here has survived in private hands. There are four pairs in the world, three are in the Ecclesiastical Treasury in Vienna. The use of the candlesticks was probably not only intended for an altar, but possibly also for a festive laid banquette, as the depiction of coats of arms on all four sides suggest.

The model is by Johann Joachim Kaendler and Johann Friedrich Eberlein.

Height 53,3 cm.

Nicolas Sageot, Paris around 1720

The furniture is decorated on oak with tortoiseshell and brass. The brass veneer parts show extremely original, fine chiselled ornamentation after the pattern of Jean Bérain (1640-1711) with engraved depictions of people, animals and mythical creatures.

This technique was developed by André-Charles Boulle (1642-1732), who was court assistant to Louis XIV and strongly influenced the furniture style in the royal manufactories in Paris and Versailles.

The "Boulle" technique was also further developed by other ebenists, including Nicolas Sageot (16664731 ), from whom a small group of furniture in this style can be traced. Two almost identical desks by him have survived in the Royal Palace of Stockholm, as well as in the Drawing Room of Berrington Hall, Herefordshire.

Nicolas Sageot was born in 1666, the son of a wine merchant, and can be traced to Paris from 1690, where he opened a workshop in the Faubourg Saint-Antoine in 1706.

Height 80 cm, width 120 cm, depth 70 cm.

Augsburg around 1665, Peter Winter

Silver, hallmarked, Augsburg around 1665-1669 and MZ by Peter Winter (1642-1702, master around 1651).

The two powerful scenes refer to the Metamorphoses of Ovid: one shows Venus mourning the dead Adonis with hunting dog. The other depicts the nymph Daphne fleeing from Apollo and transforming into a laurel tree.

Due to the quality of his work, the Augsburg-based artist enjoyed a high reputation. Other examples of his work have survived, including a silver crucifix with altar chandeliers in the Green Vault in Dresden, and a gilded goblet from the collection of Baron Karl von Rothschild, Frankfurt am Main.

Lit. Seling III: MZ No. 1537, BZ No. 100.

With frame 27 x 28 cm.

Würzburg, around 1750

Coniferous and fruitwood, walnut and burr walnut veneered and carved, with rich inlays in maple, cherry and ebony.

The richly curved commode base on all sides carries a tapering superstructure on a drawer compartment. The incised fields on the drawers are inlaid with Iavish rococo elements on the chest and the top, which are engraved and coloured.

The central door of the attachment is decorated on a parquetry with a large ornamental vase, which is decorated with engravings and red-green colouring.

The top of the chest of drawers and the puII-out shelf below are geometrically inlaid in a three-dimensional eye illusion. The rare furniture type of the chest of drawers has been preserved here in the most precious execution and is to be located in the circle of the Würzburg court.

Height 220 cm, width 128 cm, depth 70 cm.

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.

Wroclaw, Tobias Meyer and Gottlieb Benjamin Vogtmann, 1792

The imposing pair of silver tureens stands on the original presentoires. Both tureens have

preserved the original interior gilding. The pair was commissioned by Duke Friedrich August of Brunswick-Lüneburg-Oels in 1792 and made in Breslau by Tobias Meyer and Gottlieb Benjamin Vogtmann.

Duke Friedrich August married Friederike Sophie, Princess of Württemberg-Oels, in 1768 and was enfeoffed with the Lower Silesian Duchies of Oels and Bernstadt in 1792 after the death of his father-in-law.

A single additional tureen from the workshop has been preserved in the Germanisches Nationalmuseum in Nuremberg.

Hallmarks on all parts (Hintze Breslau, Hallmark. No. 22, year letter K, master's marks No. 173 and 175).

Lit. Hintze, Die Breslauer Goldschmiede, 1906, plate V, no. 173 and 175.

50 x 42 x 32 cm, weight approx. 11400 gr

Michael Müllner 1609-1629

Silver gilt, the conical cup with profiled lip rim stands on a narrow stand ring. The wall is decorated with chased diamond bosses which taper downwards to match the cup. On the underside of the cup is the Nuremberg city hallmark, the master's mark and the tremolo line.

Other works by Michael Müllner have survived in the Germanisches Nationalmuseum, the Swedish National Museum in Stockholm and in the Oetker Collection. In the early 17th century, the workshop of Michael Müllner and Hans Petzold enjoyed a high reputation for the production of elaborate hump cups.

Lit.: Nürnberger Goldschmiedekunst 1541-1868, GNM 2007.

Height 11 cm,

Weight 173 g

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.

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

Saxony, circa 1490

Lime wood, reverse flattened, original polychromy

Height: 126 cm

Provenance: private collection, Southern Germany

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.

The finely divided decoration made of straw and bone has been preserved with a beautiful, original patina.

The doors, flanked by delicately twisted columns, are covered with original carved and engraved bone ornaments.

In addition to the six small drawers, the jewellery cabinet, which is lined with original, colored luxury paper, also hides two secret compartments for small curiosities, private treasures and souvenirs.

Height 24 cm, width 18 cm, depth 12 cm.

The framing of the mythological representation of wool and silk with the splendid columns wrapped in garlands of flowers is characteristic of the precious tapestries from the Royal Manufactory in the northern French city of Beauvais.

The tapestry with Venus and Cupid as the central motif comes from the heyday of the manufactory, whose management was handed over to an artist for the first time in 1726 after several changes of ownership: Jean-Baptiste Oudry (1686-1755), until then court painter under Louis XV, designed reams of new motifs and borders for high-quality, elegant wall hangings and tapestry covers for representative seating sets.

In very good condition with fresh colors. From a southern German aristocratic property.

Height 323 cm, width 311 cm.

A particularly beautiful and rare combination of cut crystal glass and gold-plated bronze and metal mounts, which can be attributed to the “Electoral Mirror Grinding and Polishing Manufactory”, the so-called “Spiegelschleife” in Dresden.

On the crown of the ceiling with glass droplets hanging all the way round, three chains hold the large glass lamp with notched cut decoration and the curved candlestick arms with plastic ram heads. Comparable luxurious lamps from the Dresden factory were presented several times in the “Journal des Luxus und der Moden” and advertised as “excellent lighting for a boudoir”.

Height 80 cm.

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 18^th 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.

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.

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.

Mounted on wood core with embossed, engraved and gilded copper.

The cross has been the central symbol of Christianity since the early Middle Ages and follows a fixed iconographic imagery. The crucified one in the center is depicted in the three-nail type, on the curved ends of the cross reliefs of God the Father, Mary, Johannes and Mary Magdalene are applied and, on the back, the blessing God the Father is surrounded by the symbols of the four evangelists at the ends of the cross arms.

During processions, pilgrimages or solemn entries to Holy Mass, precious crosses like this one were carried on poles and placed near the altar so that they could be seen by all believers during mass. Even in private, festively decorated living rooms, crosses of this high quality were used as blessing and devotional crosses and are rarely so well preserved.

Height 53 cm.

Fire-gilded bronze.

Engraved signature on the back of the work plate. Amid the artfully intertwined, filigree broken leaf ornaments, the case with the clockwork seems to float. The dial shows Roman hours and Arabic minutes, the half-hour strike sounds on a bell.

Height 36 cm, width 27 cm, depth 16 cm.

Tardy, “Dictionnaire des horlogers français”, Paris 1972, p. 227.

The large baroque mirror shows the coat of arms of the Lords of Hausen in the gable and the crowned monogram “BGH” in a polished mirror cartouche on the base.

Provenance: Formerly owned by the Salem Monastery, then passed to the Grand Dukes and Margraves of Baden.

Height 148 cm, width 72 cm.

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.

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.

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.

Generously painted with flower branches on landscape plinths in iron red and gold. The service includes eleven small drinking bowls and six cups, ten saucers or small plates, a teapot, a milk jug and two hexagonal confectionery bowls with a wavy rim.

Only very rarely have such extensive children’s or doll services from the Far East been preserved. In the 18^th century, they were a symbol of the highest level of luxury, which was passed on to the next generation with such sophisticated toys.

With these valuable objects, the children learned how to handle objects of everyday, courtly life.

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 18^th 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.

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

Height 52 cm.

Silver, cast, chased and engraved, with the original gilding.

Marked with Nuremberg hallmark for 1609-1629, master’s mark Heinrich Mack (1581-1626, GNM no. bz13, 545) and assay line.

A finely structured shaft, supported by three delicate volute braces, rises above the curved, hunched foot. The funnel-shaped cup opens over two rows of offset humps into an eight-sided vessel, the walls of which are engraved with ornamental festoons, fruit decorations and insects.

Height 18.5 cm, weight 182 g.

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.

Early Baroque lid case decorated with rich, gilded profiles with tortoiseshell veneer, with ornamental and gilded tin fittings embedded on the lid. Inside with old paint and a mirror preserved on the inside of the lid.

Height 9.5 cm, width 21.5 cm, depth 17 cm.

Silver, cast, chased and engraved with an elegantly curved, carved handle. Marked with Liège inspection for 1784-1792 and the additional stamp with the coat of arms of Prince-Bishop Caesar Constantin Franz von Hoensbroech (1724-1792, Prince-Bishop since 1784).

The extravagant, deeply bulbous shape of the jug looks very modern and is complemented by high-quality borders, garlands and rosettes.

The unusual lid knob in the form of an exotic fruit underlines the exquisite taste of the wealthy client.

Height 33 cm, weight 1415 g.

Rosenberg, “Der Goldschmiede Merkzeichen”, vol. 4, p. 97.

Silver, cast, driven and chased, with Parisian inspection for 925 silver and the master’s mark Abel-Étienne Giroux. On three ebonized wooden feet the urn-shaped heater, above the ovoid body with relief leaves and elegantly raised handles, the spout with ebonized wooden regulator, as a crown on the lid a naturalistic parrot. The precious execution of the large samovar in solid silver speaks for the high demands of the client.

Height 56 cm, weight approx. 2500 g.

Such boxes, tins and candies for tea, playing cards and tokens or other personal treasures decorated with artistic lacquer painting were popular souvenirs for the well-heeled spa guests of the city of Spa, whose medicinal water springs attracted numerous famous and crowned visitors from all over Europe in the 18^th century.

The outside of the curly lidded box is completely painted using an elaborate lacquer technique. The scenery, executed in grisaille with colored accents, shows a couple of courtly lovers in an arcadian landscape in the manner of François Boucher. The painting is in very well condition.

Height 8 cm, width 23 cm, depth 16 cm.

Huth, “Lacquer of the West: History of a Craft and an Industry”, Chicago 1971, p. 307ff.

Grain walnut and walnut veneered with floral maple inlays.

Signed on the front plate. Cambered base supported by ball and claw feet and a single-door, rectangular pendulum case with an openwork and gold-plated application of Chronos, the curved head with sawn and carved ornaments. Atlas, carrying the celestial globe on his shoulders and flanked by two angels blowing trumpets, crowns the finely veneered case.

The partly gold-plated dial is decorated to an exceptional quality with openwork applications, engraved and needle etched ornaments as well as painted seasonal allegories and other figures that are assigned to the month and day of the week display. In addition to the Roman hours and Arabic minutes, the eight-day movement with a half-hour strike on two bells displays the date, the phases of the moon and an alarm function. The complicated technology places just as high demands on the master watchmaker as the high-quality case on the cabinet maker.

Height 293 cm, width 60 cm, depth 32 cm.

Silver, cast, driven and chased with Leipzig inspection and other marks. Above the base, which is engraved with leaf ornaments, the body is decorated on all sides with splendid, detailed tulip and daffodil blossoms. The domed lid is framed by a corrugated band and crowned by a three-dimensional petal as a knob. Since the tulipomania had already reached its peak in the first half of the 17^th century, this box was not used to store the valuable, sought-after flower bulbs. It was probably used as a sugar bowl or a confectionery bowl.

Height 13 cm, width 16 cm, depth 12 cm

weight approx. 580 g.

Silver, cast, chased and engraved, with remains of the original gilding. Marked with Augsburg inspection for 1707-1711, the spouts with the master’s mark Albrecht Biller (around 1681-1720, Seling no. 1777), the feet also with the Augsburg inspection and the master’s mark Johann II Pepfenhauser (1697-1754, Seling no. 1350, 1919). An elegant baluster shaft with Régence decoration on a chased base with a decorative frieze above the passig curly foot, the cylindrical spout surrounded by a wreath of godrones. The rich ornamentation stands in balanced contrast to the smoothly polished areas.

Height 22 cm, weight 1044 g.

Cf. a pair of candlesticks from Pepfenhausers at Seling, “Die Kunst der Augsburger Goldschmiede”, Munich 1980, no. 817.

This French masterpiece, "Bureau Mazarin" - named after the diplomat and politician Cardinal Mazarin (1602 - 1661) was one of the most fashionable and exquisite pieces of furniture of Louis XIV.

Originally designed as a desk, it was used as a showpiece to show the reputation and the wealth of the owner. The Bureau Mazarin is made using the Boulle technique with pewter inlays in amaranth wood.

A "Cabinet en armoire", that is exhibited in the Musée des Arts Decoratifs in Paris (Inv 38042, aquired in 1958) was made by the same cabinet maker.

IVORY CUP WITH HUNTING SCENE

German, 19th century

Ivory, gilt brass and copper mounts.

Cylindrical shape, relief depiction of hunting lodge and game.

On the lid three-dimensional dog. 

Height: 17 cm

ATTRIBUTED TO THE WORKSHOP OF HANS HARDER

(active between 1465-1485 in South Tyrol, Sterzing) 

MAN OF SORROWS BETWEEN TWO ANGELS

South Tyrol, Sterzing, circa 1480

Plinth from the 18^th century

Height: 35 cm, width: 62 cm, depth: 9 cm

Literature: Erich Egg: Gotik in Tirol – die Flügelaltäre, Innsbruck 1985, compare page 235, 236, illustration No. 171.

Theodor Müller: Gotische Skulpturen in Tirol, Bozen/ Innsbruck/ Vienna 1976, compare page 25, illustration No. 87.

Provenance: private collection, Southern Germany, Munich. Illustrated in: Unbekannte Kunstwerke im Münchner Privatbesitz, No. 358, illustration No. 40.

Annunciation Mary, Northern France, first half of the 15th century.

Expressive sculpture of French cathedral Gothic with fine patina. Chalklimestone with flintlocks on the back (occurence of these stones on the coast of Nothern French). Stone analysis available.

Polychrome frame remains.

Height 122 cm

"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 (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.

SAINT QUIRINIUS OF NEUSS

Rhenish, circa 1520

Lime wood, reverse flattened, original polychromy

Height: 76 cm

Provenance: private collection, Basel/ Switzerland

THREE RELIEFS FROM A CRUCIFIXION SCENE

Antwerp, circa 1520/1530

These three reliefs are probably from a larger crucifixion

scene which would have formed the central panel of an altarpiece.

Wood, reverse flattened, old polychromy

Height: 112, (64) cm, width: 25 cm, depth: 7 cm

JÖRG LEDERER, circle of

(c. 1470 – Kaufbeuren – c. 1550)

SAINT MARY MAGDALENE

Allgäu, circa 1520

Soft wood, reverse hollowed out, old polychromy

Height: 107 cm

SAINT SIGISMUND OF LUXEMBOURG

Burgundy, 15th century

Sigismund of Luxembourg (1368 Nuremberg - 1437 Znaim, Moravia) was Prince-elector of Brandenburg, King of Hungary and Croatia and Holy Roman Emperor from 1433 until his death.

Oak wood, full-round sculpture

Height: 96.5 cm

Saint Catherine

Austria, Villach/ Carinthia, circa 1520

Lime wood, reverse hollowed out, original polychromy

Height: 86 cm

MICHEL ERHART, CIRCLE OF

CHRIST AS MAN OF SORROWS

circa 1495

Lime wood, reverse hollowed out, original polychromy

Height: 157 cm

Provenance: private collection, middle Germany

Exhibition: On loan in the Museum Catharijneconvent Utrecht as part of the exhibition “Body Language: the body in medieval art” from 25 September 2020 – 17 January 2021.

Literature: Body Language: the body in medieval art, exhibition cat. Museum Catharijneconvent Utrecht (25 September 2020 – 17 January 2021), Rotterdam/ Utrecht 2020, p. 34, ill.1.20.

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.

Nut and beech wood, the wide cushion seats and back rests with the original, well preserved tapestry covers. Legs, frame, arm rests, and the frame of the back rest are generously engraved with decoration of foliage, shells, and fine flowering twigs.

Height 93 cm, sitting height 44 cm, width 70 cm, depth 60 cm.

Like a cascade, the original hanging made of numerous sanded and interlinked prisms falls over differently large, gilt hoops and peaks in a heart-shaped broken gallery with twelve curved chandelier arms for candles, of whose broken trays hang down glass drops.

Height 140 cm.

Silver, driven, chased and punched, partly gilt on the inside and fully gilt on the outside.Marked twice with master brand Friedrich Simon Agatz (master 1689), on the bottom with engraved owner’s monogram. The wall is decorated with artistically rolled acanthus foliage, receiving an even bigger plastic effect through the partly gilding of the even parts.

Height 19cm.

Rosenberg: “Der Goldschmiede Merkzeichen”, Frankfurt am Main, 1923, vol. 2, no. 1970

Attributed to René Dubois (master 1757, died 1799). Mahogany massive and veneered with original bronze fittings, the marble plate is framed by a broken brass gallery. In 1763, Dubois took over the renowned workshop of his father Jacques (died 1764). A nearly identical counterpart signed by René Dubois of the same collection has been published in our catalogue of 2019 (page 45).

Height 83.5 cm, width 65 cm, depth 30 cm

Carved from hardwood with rests of the original gilding. The socket with mythical creatures and coats of arms stands on paw-feet and carries the richly divided and with foliage, flutes, and volutes decorated shaft.

Fully plastic and finely worked, winged sirens carry the round baptismal basin. The basic shape of the Torchère complies with the typical candelabra such as shown in numerous Italian palaces and castles. The qualitative work and the centered attachment of the emblem suggest though an extra representative, courtly order. 

Height 180 cm.

Schottmüller: “Wohnungskultur und Möbel der italienischen Renaissance“, Stuttgart 1921, images 468-471.

The body of Christ with its wounds is only dressed in a loincloth and covered in a curved cape, which is artistically draped around shoulders, arms, and legs in deeply carved creases. The face shows the peaceful and absent-minded expression of Jesus who overcame death and agony and who is showing a gesture of blessing with his right hand.

Height 82 cm.

Der belgische Ort Spa erlebte im 18. Jahrhundert nicht nur eine Blütezeit als berühmter Kurort – seinen zahlreichen Mineralwasser-Quellen wurden wichtige Heilkräfte nachgesagt – sondern auch als Zentrum europäischer Lackkunst. Mit kunstvoller Lackmalerei dekorierte Schachteln aller Art, Bonbonnièren, Dosen für Tee, Puder, Zigarren und Tabak oder Toilettengarnituren waren bei den betuchten und nicht selten bekrönten Kurgästen der Stadt, die bald den Beinamen „Café de l‘Europe“ erhielt, beliebte Sammlungsstücke.

Besonders kostbar waren kleine, in Lacktechnik verzierte Möbelstücke wie dieses prunkvolle Kabinett, allseitig in Schildpattmanier grundiert, großzügig brokatartig dekoriert und mit galanten chinoisen Szenerien bemalt. Da sowohl die Innenseiten der Türen und die Fronten der dahinter verborgenen Schübe verziert sind, als auch die Rückseite des Möbels, kann es sowohl geschlossen als auch geöffnet und frei stehend in einem Salon präsentiert werden. Die aufwändig in Goldlack gestalteten Chinoiserien spiegeln die exotischen, märchenhaften Vorstellungen eines hochkultivierten Reiches wider. Das in Europa nach dem Vorbild asiatischer Luxusgegenstände dekorierte Kabinett zeugt von der enormen Begeisterung für die exquisiten originalen Porzellane, Seidentapeten und Lackarbeiten aus Fernost.

Höhe 39 cm, Breite 46 cm, Tiefe 31 cm.

Huth, Lacquer of the West: History of a Craft and an Industry, Chicago 1971, S. 307ff.

The detailed worked sculpture of sandstone shows typical characteristics of the soft style of Northern France/the Burgundy. The fine face, the carefully placed plications of the robe and the elegantly curved body ensure a graceful charisma of the statue. Holy George is already been associated with the legend of the dragon killer in the 12^th century, who freed the country from evil while fighting the dragon and symbolizes knightly virtues like courage, strength, and bravery. The forearm was added later.

Height 92 cm.

The brown, beige and ochre marbled glaze of the vases affects a more precious material than stoneware, their production was though very complicated and the preserving of the thin-walled and unusually large vessels is remarkable. To help Kassel to shine in new splendour as a porcelain city in the same way as famous Meissen, five factories were simultaneously producing works of porcelain, faience of stoneware during the 18^th century. Even though several of them had to close soon – because of financial difficulties or out of a lack of orders, the vase and stoneware factory of Steitz, founded 1771 by Heinrich Steitz could make a name for itself especially through its artistically excellent articles. A comparable vase from an order for the landgrave of Hesse is been shown in the collections of Castle Wilhelmshöhe (inv. no. sm 4.1.2738).

Height 50 cm.

Bronze with beautiful, dark brown patina. Both charming statuettes are characteristic for the figurative style of sculptor Niccolò Roccatagliata (1593-1636), who mainly worked in Venice. Next to larger orders by the church, he is especially known for his numerous statuettes of allegoric and mythological themes. Both winged companions of Amor, strong and graceful in the same time, stand each on a shell and thus refer to Venus born of sea foam – goddess of love and beauty.

Height 37 cm.

Planiscig: “Venezianische Bildhauer der Renaissance“, Vienna, 1921, page 597-628, image 667-692.

The exquisitely worked bureau from the workshop of the electoral courtly cabinetmaker Johann Jakob Kieser (1734-1786) marks the transition from the domed, curved forms of the Baroque to an elegant Classicism with linear, restrained marquetry details and the medallion-shaped gilt bronze fittings above the hidden keyholes. The cranked cornice, the curved writing clap and the fine profile along the frame are typical features of the Mannheim furniture carpentry. In combination with the conspicuously grained veneer, a representative and still restrained piece of writing furniture with a beautiful interior had been formed. The counterpart to this courtly bureau from the collection of elector Karl Theodor from Palatinate was acquired through a heritage by the electors of Thurn und Taxis and is now in the castle of Emmeran, Regensburg.

Height 220 cm, width 118 cm, depth 70 cm.

Cf. Schwarze: “Antike deutsche Möbel“, Wuppertal 1977, page 174.

The body is cast of bronze, chased and fire-gilt, decorated with playful ornaments and the surface is partly polished. Complexly tied leave garlands frame the vase-crowned dial with the fine cut out and engraved hands of the clock. The work is signed “Colin dela Glizières” for Jean-Baptiste Colin de la Glizière, who is mentioned as a master watchmaker for the first time in 1729. The early assignments of the master, for example a splendid pendulum clock made of Boulle technique from the collection of Rothschild, were produced under the influence of the High Baroque. The here shown cartel clock originates from his late works and can stylistically be assigned to the Louis-seize.

Height 70cm.

Ottomayr/Pröschel: “Vergoldete Bronzen”, Munich 1986, vol. 1, page 182-185.

Attributed to the workshop of Matthias Ortmann (around 1700-1757). Nut wood furnished with splendid, original gilt bronze fittings. Also gilt are the richly carved socket, the niftily swung profiles of the door panels and the crowning carved part in the broken pediment cornice. Behind the writing cover are storage compartments in between two rows of small drawers. Ortmann is one of the most popular cabinet makers of the 18^th century in Northern Europa and had been named purveyor to the Danish court after the opening of his workshop. After his dead, his widow took charge of the workshop.

Height 255 cm, width 115 cm, depth 66 cm.

Kreisel/Himmelheber: “Die Kunst des deutschen Möbels“, Munich 1970, vol. 2, images 852-854.

A fully plastic sculpture of the saint carved of oak wood. On the embodiments from the Gothic Age, the attention lies on the suffering and wounded body. On this sculpture from the early 16^th century, the focus lies on the strength and beauty of the muscular, male saint. The fact that Sebastian did not die because of the arrows shot at him but the ordeal of his faith survived – to which he later again confessed – is the basis for the representation of the harmonic and strong body.

Height 95 cm.

Origin: Countess of Fürstenberg-Heidingen

Attributed to the workshop of Pierre Gouthière (1732-1813, master since 1758). The bronze flame urns with original fire-gilding are standing on stepped, dark red marble pedestals with bead and reel application and overhanging acanthus foliage. The splendid decoration with neoclassical elements such as fluting, plaited bands, ornamental handles with mascaron base and flame crowning refers to the “époque transition”, the transition from Louis-quinze to Louis-seize in France. The expressive mascarons and the precious, partly matt gilding are characteristic for the works of Gouthières. The popular Ciseleur with the bronzes has been assigned by Marie Antoinette during the 1780s for her apartment in the Palace of Versailles and for the royal loge at the Paris Opera.

Height 48cm.

Cf. an andiron in the noble saloon of queen Marie-Antoinette in the Palace of Versailles, image at Ottomeyer/Pröschel: “Vergoldete Bronze”, Munich 1986, vol. 1, no. 3.14.8 and vol. 2, page 443 ff.

ENTHRONED MADONNA

Cologne, circa 1420

Walnut wood, reverse flattened

Height: 41 cm

TANKARD

Annaberg/ Dippoldiswalde, 17^th century

Stoneware with brown slip glaze, enamel painted polychrome relief decoration, crucifix surrounded by hunting motifs, pewter mountings.

Hight: 15.5 cm

ADORATION OF THE MAGI

Tyrol, circa 1480

High relief, lime wood, original polychromy,

originally part of an altarpiece

Height: 148 cm, width: 67 cm

Provenance: private collection, Southern Germany

WORKSHOP OF HANS KLOCKER

(before 1474 – South Tyrol - after 1500)

ADORATION OF THE MAGI

South Tyrol, probably Brixen, circa 1490

High relief, lime wood, traces of the original polychromy and gilding

Height: 123 cm, Width: 115 cm, Depth: 27 cm

Provenance: Museé von Stolk, auction Amsterdam, May 1928.

Literature: Musée van Stolk, fondé à la Haye en 1902: 300 sculptures et tableaux Xe - XVIe siècles, objets de vitrine, art textile, etc; la vente aux enchères publiques aura lieu à Amsterdam dans la Grande Salle de Ventes de Frederik Muller & Cie., les 8 et 9 mai 1928 - Amsterdam, 1928, Lot 86, p. 14, ill. 86.

Theodor Müller: Gotische Skulpturen in Tirol, Bozen/ Innsbruck/ Vienna 1976, compare no. 153, p. 440.

SAINT CECILIA

Antwerp, circa 1520

Oak wood, reverse flattened, old polychromy

Height: 72 cm

Provenance: Weinmüller Exhibition catalogue, Plastik, Gemälde, Kunsthandwerk, Nov. 3 to Nov. 12, 1966, cat. No. 43.

LUCAS CRANACH THE ELDER AND WORKSHOP

(Kronach 1472 - 1553 Weimar)

HERCULES AT THE COURT OF OMPHALE

Wittenberg, circa 1535 - 1538

Signature: serpent with lowered wings in yellow colour,

on the upper right edge, above the shoulder of Omphale

Oil on wood

height: 83 cm, width: 120,8 cm, depth: 0,7 cm

Expert report by Prof. Dr. Gunnar Heydenreich, 19.09.2018

Cranach Digital Archive: http://lucascranach.org/PRIVATE_NONE-P321

Provenance: Collection Stemmler Cologne;

Kunsthaus Lempertz, Auction 468, Cologne, 17.05.1962, Lot 42;

Private collection, Bamberg, since 2007.

Augsburg around 1620

Master Georg Brechtel (born in Nuremberg, died 1632, Master since 1594).

Silver, gilded on the inside and outside.

Height 27 cm

Seling, Augsburg goldsmiths, Bd.III. MZ Nr.1100.

Probably Italy, 2nd half of the 18^th century

The panel is inserted in a profiled frame from the 18^th century with gilt strip.

On brown-ochre flecked ground are 42 with black slate strips offset arrays with differently coloured, partly veined kinds of marble.

Height 75 cm, width 57 cm.

China, around 1775

Painted in the colours of the “famille rose“, mostly in rosy tones, light blue, green and gold.

In the mirror each a big, convex vase with handle strap and a flower arrangement, on the flag with fine brocade borders and blossoms.

Diameter 44 cm.

Augsburg, early 17^th century

Ebonized fruit wood with gilt and partly silvered bronze applications, on the inside wallpapered with its original marble paper.

Above the socle-zone with one wide drawer, two doors are hiding the elaborate interior decoration with eight little drawers on the side of the central aedicula, in whose shell-shaped niche stands a almost fully plastic figure of Lady Justice.

In the stepped upper finishing is a hinged respectively deferrable case.

A secret case on the back side is unlockable with a hidden mechanism upon the figure.

The pompous, finely chiselled and broken applications on the fronts and door fillings in the form of lush flower bouquets are of very high quality.

The wonderfully preserved miniature piece of furniture probably served the storage of precious valuables, letters and souvenirs.

Height 34 cm, width 28,5 cm, depth 22,5 cm.

Himmelheber/Kreisel. “Die Kunst des deutschen Möbels“. Munich 1973, Volume 1, pictures 358-363.

Probably by Augsburg prince bishop majolica factory Göggingen, around 1750

Faience glazed white. A Turk sitting cross-legged and smoking pipe, clothed with harem pants and turban.

Height 26 cm.

Around 1730

Workshop of Andrea Brustolon (1662-1732).

Wood, carved, with rests of its original frame and its original cushioning of purple, shaven silk velvet.

The representative throne is all-over richly and partly broken carved in strong moving lines and engraved with rocailles, shells, leaves and chased details.

The highly swung, cartridge-shaped backrest ends in a pompous, plastic crowning with rocaille-framed shield, therein crown and sword.

It cannot be proven, whether the armchair had been produced for the highest judge or a doge of the Venetian Republic.

Height 156 cm, sitting height 52 cm, width 92 cm, depth 60 cm.

Rome, around 1730

Made by Amedeo (working 1712-1734 in Turin and Rome) or Pietro Seyter (born 1687 in Rome).

Scagliola actually served as substitutional material for marble and had been primarily used for architectural decoration for example upon pillars or chimneys.

The Augsburg family of artists Seyler (also Sayler, Seuter or Seytter) perfected the handling with that material in such delicate and artful images.

The crumpled vedutas of the "Piramide di caio cestio“, of the “Tempio di Bacco“ and the „Spelonca della Ninfa egeria detta volgamete la cafarella“ that are fixed on marble with adhesive strips seem remarkably realistic – they are recreated from contemporary pictures with views of the eternal city.

Height 33 cm, width 37 cm.

Marked Landshut, around 1760

Made by Master Josef Ferdinand Schmid I. (mentioned 1741-1790).

Silver with its original fire gilding.

Richly profiled, by swung creases decorated foot and baluster shaft, the goblet and the pointed lid with driven volute decoration and ball-shaped knob.

Height 38 cm, about 1.100 g.

Venice, around 1865

Wood, carved, framed and partly gilt.

On a pedestal with four kneeling servants that is decorated with lancet leaves and a circumferential frieze with animal motif is shown the body of a charming, richly decorated Egyptian beauty carrying a tray on her head.

Since Napoleon ‘s Egypt campaign in 1798, the orient inspires numerous academics, writers and artists.

An Egyptomania developed, that though had mostly been spurred by romanticised fantasies about the stranger exotic culture than by provable sources.

Figures of senseful odalisques or revealing dancers drive the orientalism in the occident of the 19^th century.

Height 210 cm.

Schrezheim, around 1770

Faience with naturalistic painting in grouch colours.

The box with lid in the form of a ripped melon with laid-on leaves and lying in a white blade shell, probably rather served decorative issues of a table and the representation of the noble host in front of his guests than the storage of dishes.

Astonishing his guests at table with surprises was a fixed component of a great feast at court, especially replications of porcelain of Faience were popular, therefore.

Length 28 cm.

Silver, Southern Germany, dated “1627“

Above a profiled foot on the cylindric wall between strapwork with three images of allegoric female figures as personifications of Spes, Caritas and Fides.

The lid with a thumb rest out of split-up leaves and emblem engraving of the Franconian-Palatine royal families of Wirsberg and Schirnding, with owner’s monogram (“H V V[on] W[irsberg] E V[on] W[irsberg] G[eborene] V[on] S[chirnding] “) and the date “1627“.

Height 11 cm.

Vienna, end of the 18th century

Limewood, carved and with its original gilding.

The extremely rich decorated watch case in the form of a classicist fountain stands on a finely structured socle decorated by a macaron with pillars.

The apertureof the clock cabinet is flanked by two mythical creatures, the dial is hanged with elaborate fruit garlands and horns of plenty.

The crowned, detailed trophy bundle is made of guidons, canons, a shield, as well as armour and helmet with a panache and is a symbol for military achievements and fortunes of war.

With quarter-hourly chime mechanism on two clocks.

Height 84 cm, width 53 cm, depth 14 cm.

Neapel, first half of the 19^th century

Mahogany massive and veneered.

The legs are carried by pawn-feet with across fluted border, rectangular upholstered seats and backrests.

The fully plastic carved sphinxes on the ends of the armchairs, whose stretched back wings lead over to the backrest, are impressive.

With spectacular excavations and rediscovered wall paintings, Neapel became a cultural attraction for art connoisseurs and artists from all over Europe at the turn of the 19^th century.

The ordered furniture at that time for residences in town and in Caserta show typical Empire decoration like sphinxes, winged lions, amphoras or palms – though in moderate proportions and more with focus on elegance than on exuberant pomp.

Height 96 cm, width 60 cm, depth 75 cm.

Probably Lombardy, around 1820

Nut wood veneered, originally grey marble plates.

The simple commodes with three drawers stand out for the chosen, mirrored veneer as well as for creative details like the quarter-rounded differently placed front edges, the double round arches on the middle drawer or the outstanding front drawer that is chamfered like a cornice.

From royal, Italian private property.

Height 84 cm, width 125 cm, depth 57 cm.

Probably South German around 1660

Gilded bronze.

Foot with richly divided shaft, the shape of the goblet is mounted in three straps, which are decorated with elaborately poured mascarons and qualitative portraits.

An exuberantly floral engraved tire forms the transition to the lid with a plastic figure of an arrows-shooting Amor.

Height 25 cm.

Probably Straubing, around 1460

With rests of its original, polychrome frame.

The picture of crowned Maria Iactans flanked by two angels is a common type of the picture of the Virgin Mary in devotional pictures since the Middle Age.

The Lower Bavarian area around Landshut and especially around Straubing is known for this kind of extraordinarily fine works of terracotta.

Height 31,8 cm, width 26 cm.

Bremen, masterpiece around 1785

This straight-lined front piece of furniture is characterized by ornamentation that was adapted from antique architecture.

Stout, fluted feet and a frame with elegant, floral carvings carry the substructure-commode with original, exquisitely gilt fittings, on which lies the monumental double door upper part.

A constructively forward moving middle avant-corps positioned over the full height of the cabinet connects the upper part with the substructure.

The bevelled corners of the commode part are decorated with flutings between carved acanthus leaves.

Distinct mouldings, pearl or laurel stick and rosettes structure the door fillings.

Despite its width, the upper part appears very slim due to the salient middle part and the delicate columns on the side edges.

The crowning closure of the top-mounted cabinet is a richly carved, classical amphora vase on a small socle decorated with hangings in the middle of the burst triangle gable.

The gilt applications and fittings result in a beautiful contrast on the supported veneers of pyramid mahogany.

An identic piece of top-mounted furniture is preserved together with a Bremen masterpiece of 1785 in the Frankfurt museum for applied art.

Height 290 cm, width 200 cm, depth 60 cm.

Himmelheber/ Kreisel, “Die Kunst des deutschen Möbels“, Munic 1973, volume 3, image 61.

Bauer/ Märker/ Ohm, “Europäische Möbel von der Gotik bis zum Jugendstil“, Frankfurt am Main 1976, page 132-133.

Venice, around 1600

Attributed to the workshop of Girolamo Campagna (1549-1617). Campagna settled in Venice in 1572 and soon run an important sculptor’s workshop who was primarily known for its high-quality small bronzes.

Especially his mythologic figures, often produced as decoration for andirons, served as models for numerous venetian bronze foundries.

The ideal of the Ancient World are shown here in the picture itself as well as in its excellent treatment.

The spear was added later.

Height 27 cm.

Volker Krahn, “Bronzetti veneziani”, Cologne 2003, Cat. No 36. Page 144

MASTER OF THE ROCKELFINGER/ WARTENBERGER ALTARPIECE 

(active in the Munich region, c. 1510)

A PAIR OF CANDLE-BEARING ANGELS

Munich, c. 1510/15

Lime wood, sculptures in the round, originally unpainted

Height: 79 cm and 85 cm

Provenance: 

Collection Benoit Oppenheim, Berlin (1842-1931); Collection cat. Nachtrag, 1911, no. 120/121. - 

1939 on loan to the World Exhibition in New York -

1948 sold to the Saint Louis Art Museum -

since 2017 in private collections

Expertise: Dr. Benno C. Gantner

Literature: Benno C. Gantner: Die bewegte Geschichte des Gnadenbildes von Aufkirchen am Starnberger See. In: Ars Bavarica, vol. 89, Starnberg 2021, pp. 32 f.

Originalbildwerke in Holz Stein Elfenbein usw. Aus der Sammlung Benoit Oppenheim Berlin, Benoit Oppenheim (ed.), Nachtrag, Leipzig 1911, plate 63, no. 120 and plate 64, no. 121.

Christian Wilhelm Ernst Dietrich ((Weimar 1712 - 1774 Dresden)

"Galante Gesellschaft beim Blinde-Kuh-Spiel"

Öl auf Holz, 46 x 36 cm

Links unten Reste einer Signatur

Alter Rahmen

Pietro Liberi (Padua 1614 - 1687 Venedig)

Sehr bedeutender venezianischer maler, der 1638 nach Rom kommt und dort insbesondere durch die werke Michelangelos, Raffaels, A. Carraccis beeinflusst wird. Um 1643 kehrt Liberi nach Venedig zurück und setzt sein Werk insbesondere in Fresken und Ölbildern fort, wobei er den Spitznamen "Il Libertino" erhält, da die Motive seiner Gemälde oft erotischer Natur sind.

"Diana entdeckt die Schwangerschaft Callistos"

Öl auf Leinwand, 184 x 257 cm

Provenienz: Schloss Seehof bei Bamberg

Expertise: Prof. Ugo Ruggeri

Wohl die beiden Flügel eines Marienaltares, hier mit den vier Szenen "Verkündigung an Maria", "Anbetung des neugeborenen Jesuskindes", "Beschneidung Jesu im Tempel" und "Flucht nach Ägypten"

Süddeutsch, datiert 1576

Vier Lindenholztafeln, beschnitzt und polychrom gefasst

Rahmung später

Auf der zweiten Tafel (zweite Szene) rechts das Stifterwappen, wohl der fränkischen Familie Schenk von Reicheneck

Auf der vierten Tafel (vierte Szene) rechts am Baum das Stifungsdatum "1576"

Maße der Tafeln (incl. Rahmung): Höhe 150 cm, Breite 70,5 cm, Tiefe 8 cm

Expertise: Dr. Markus Hörsch

Franz Christoph Janneck (Graz 1703 - 1761 Wien)

"Waldlandschaft mit jungem, liebenden Paar"

Öl auf Leinwand, 54 x 71,5 cm

Unten mittig auf dem Felsen signiert

Geschnitzter und gefasster Holzrahmen

Werkstatt Erasmus Grasser (Schmidmühlen (Oberpfalz), um 1450 - 1518 München)

Bedeutender Bildhauer, der nach Abschluss seiner Wanderjahre 1472 nach München kommt und 1480 bereits zum Vorsteher der Mahlerzunft gewählt wird. Da er nicht nur ein begnadeter Bildhauer, sondern auch technischer Sachverständiger ist, stirbt Grasser als einer der reichsten Bürger Münchens

Wohl München, um 1485/90

Lindenholz geschnitzt und gefasst

Weitestgehend originale Fassung

Höhe: 81 cm

Expertise: Dr. Markus Hörsch

Wohl ein sog. "Hochzeitslüster", der zur Vermählung eines hohen Adelspaares angefertigt wurde

Süddeutsch, um 1510/15

Lindenholz geschnitzt und polychrom gefasst

Rothirsch-Geweihstangen mit Eisenkettenaufhängung

4-flammiger Lüster mit eisernen Kerzenhaltern

Maße (incl. Hängung und Montierung): Höhe 78 cm, Breite 105 cm, Länge 86 cm

Gabrieél Dreer (Hechingen(?), um 1580 - 1531 Admont (Obersteiermark))

Bedeutender Maler, der besonders durch Peter Candit und Friedrich Sustris geprägt wurde. Tätig u.a. in München, Chur, Ottobeuren und Admont

Um 1600/15

Öl auf Leinwand, 181 x 124,5 cm

Gefasster Holzrahmen

Provenienz: Privatsammlung Kurt Bösch, Schweiz

Expertise: Dr. Matthias Kunze, M.A.

Braunschweig, um 1735

Weichholzkorpus mit Nussbaum furniert

Feine ornamentale, figurale und florale Intarsien in Esche, Palisander, Zwetschge, Ahorn, Olive, Nussbaum, Permut und Elfenbein

Brandschattiertes Ahorn und graviertes Elfenbein

Reiches Innenleben mit Schüben, Briefablagen, Fächern und Geheimfächern

Eisenschlösser und Messingbeschläge

Fachgerecht restauriert und Schellack handpoliert

Maße (max.): Höhe 219 cm, Breite 121 cm, Tiefe 54 cm

Expertise: Wolfgang L. Eller

Österreich oder Norditalien, um 1750

Lindenholz, allseits beschnitzt und polychrom gefasst

Fein geschnitzter, vergoldetet Sockel

Höhe (incl. Sockel): 95 cm

Bayreuth, um 1755

Lindenholz geschnitzt und polychrom gefasst

Feinste ornamentale und florale schnitzerei

Orignale Fassung, altes Spiegelglas

Maße (max.): Höhe 70 cm, Breite 33 cm

Dresden, um 1745

Weichholzkorpus mit Nussbaumfaser, Nussbaumwurzel und Nussbaumstamm furniert

Reiches Innenleben mit Schüben, Lesepult, Briefablagen und Geheimfächern

Eisenschlösser und Messingbeschläge

Maße (max.): Höhe 223 cm, Breite 106 cm, Tiefe 70 cm

Lit: G. Haase, Dresdner Möbel des 18. Jahrhunderts, Leipzig 1983, Abb. 88

Prof. Fritz Bayerlein (1872 - Bamberg - 1955)

Bedeutender Landschaftsmaler

Originaltitel: "Im fränkischen Jura"

Öl auf Leinwand, 131 x 170 cm

Rechts unten signiert: "Fritz Bayerlein"

Originaler, versilberter Holzrahmen

Rückseitig originale Klebezettel

Provenienz: Ausstellung im Haus der Kunst, München, 1939; Herr Dr. Hayke, Oldenburg, um 1960; Herr Bölter, Oldenburg, um 1989

Österreich, um 1750

Buchsbaum, sehr fein beschnitzt

Rückseitig signiert: "Jo(hann) Crisianus Noe F(ezit)"

Höhe: 30 cm

Ovaler Loorbeerkranz mit bekrönendem, österreichischem Doppeladler auf Weltkugel, seitlich auf Adlern reitende Putten mit den Königskronen von Ungarn und Böhmen, sowie unten zwei Putten die Kaiserkrone haltend

Oberrheinischer Meister, vermutlich Straßburger Bildschnitzter, zugeschrieben dem Bildschnitzer Heinrich Iselin (um 1450 - 1513 Konstanz)

Spätgotischer Bildschnitzer, der vermutlich aus Regensburg stammt und seit ca. 1470 in Konstanz ansässig ist (ab 1481 hat er das dortige Bürgerrecht). Iselin verwendet die Formensprache Nikolaus Gerhaerts, die er nach Oberschwaben bringt. Bedeutende Arbeiten im Chorgestühl des Konstanzer Münsters, in Bregenz und der Abtei Weingarten

Um 1490

Lindenholz geschnitzt und polychrom gefasst

Höhe: 105 cm

Expertise: Dr. Markus Hörsch

Johann Nikolas Treu (Bamberg 1712 - 1786 Würzburg), zugeschrieben

Bedeutender Bamberger Maler aus einer großen Malerfamilie des 18./19. Jahrhunderts. N. Treu ist der Bruder von Marquard Treu. Unter Fürstbischof Adam Friedrich von Seinsheim kam er nach Würzburg, wo er als fürstbischöflicher Hofmaler, Kammerdiener und Galerieinspektor wirkte

"Der Probeschuss"

Öl auf Leinwand, 75 x 58 cm

Norditalien, Anfang 17. Jahrhundert

Buchsbaum-Relief, sehr fein beschnitzt

Rückseitig geflacht

Höhe: 24 cm

Francesco Pisante

Napolitanischer Zeichner und Kupferstecher, gest. 1889 in Neapel

Pisante ist um 1830/33 Schüler des "Instituto del Belli Arti" in Neapel und seit 1861 Lehrer am selbigen Institut

Pendants: "Eruz. Dell 1838" und Napoli da mare" (Originaltitel)

Gouache/Aquarell auf Papier, 50 x 70 cm (mit Rahmen)

Links unten Reste der Signatur: "Pisa..."

Franz Heckendorf (Berlin 1888 - 1962 München)

"Hafenlandschaft in Dalmatien"

Öl auf Leinwand, 100 x 118 cm

Unten links signiert und datiert: "F. Heckendorf (19)23"

Gefasster Holzrahmen

Johann Eliazar Schenau (Groß-Schönau 1737 - 1806 Dresden)

Maler und Radierer, Mitglied der Dresdner Akademie, seit 1765 hat er sich als Genre-Maler in Paris durchgesetzt, ab 1770 wieder in Dresden

Nach diesem Gemälde hat der Kupferstecher Johann Schwab (geb. 1737) im Jahre 1763 den Kupferstich "Moletrina Fallax" gefertigt, der sich heute im Kupferstichkabinett Dresden befindet

"Der missglückte Versuch"

Öl auf Leinwand, 32 x 24 cm

Unten links signiert

Österreich, um 1750

Weichholzkorpus mit Nussbaum furniert

Bestehend aus Kommodenunterteil, Schreibteil und Tabernakelaufsatz

Marketerie in Nussbaum, Nussbaumwurzel, Birke, Morreiche, Zwetschge und Ahorn (teils gefärbt)

Äußerst qualitätsvolles Intarsienbild mit "barocker Gartenanlage" auf der Schreibklappe und einer "Loggia-Architektur" auf der Tabernakeltüre

Zentralverriegelung im Tabernakelaufsatz

Messingbeschläge und Eisenschlösser

Fachgerecht restauriert und Schellack handpoliert

Maße (max.): Höhe 195 cm, Breite 131,5 cm, Tiefe 73 cm

Aus einem Schloss von August II. dem Starken (1660-1733)

Polen/Sachsen, wohl Dresden, um 1700

Weichholz/Lindenholz massiv, herrlich beschnitzt und dunkel gebeizt

In der Tischplatte oben Bein- und Zinneinlagen, mittig ein Monogramm:

"ADSRP" für Augustus Dux Saxoniae Rex Poloniae

Tischgestell mit gegenläufigen Volutenbeinen, die mit Arkantusblättern verziert sind

Zwischen den vier Beinen verläuft horizontal ein Volutensteg, der mittig ein Kissen zeigt, auf dem zwei geflügelte, kniende Engel die polnische Königskrone tragen, die August im Jahr 1697 erlangt

Großer, bedeutender und musealer Bibliotheks-Tisch

Originalzustand mit Patina

Provenienz: Niedersächsischer Schlossbesitz

Maße (max.): Höhe 77 cm, Breite 138 cm, Tiefe 111 cm

Süddeutsch, wohl Baden, um 1760

Allseits bombierter Weichholzkorpus mit Nussbaum furniert

Marketerie in Nussbaum, Nussbaumwurzel, Zwetschge, Ahorn und Mooreiche

Florale Schnitzereien in Nussbaum massiv

Eisenschlösser und feuervergoldete Messingbeschläge

Fachgerecht restauriert und Schellack handpoliert

Maße (max.): Höhe 190 cm, Breite 126 cm, Tiefe 64 cm

Caspar Netscher (Heidelberg 1639 - 1684 Den Haag), zugeschrieben

Bedeutender niederländischer Maler und Porträtist

"Junge Adelige mit Kind im weitläufigen Barock-Schlossgarten"

Öl auf Leinwand, 87 x 72,5 cm

Geschnitzter und gebeizter Lindenholzrahmen

Oberrhein, wohl Karlsruhe, um 1760

Allseits bombierter Weichholzkorpus mit Seidenholz furniert

Fadeneinlagen in Palisander

Furnierbild auf Kreuzfuge gestürzt

Dreischübiges, geschweiftes Kommodenteil

Schreibteil mit reichem Innenleben, kleinen schüben und Briefablagen

Zweitüriger Aufsatz mit 11 furnierten Schüben

Feine ornamentale und florale Schnitzereien im Kranzgesims

Originale, feuervergoldete Beschläge

Maße (max.): Höhe 216 cm, Breite 131 cm, Tiefe 65,5 cm

Frankreich, 2. Hälfte 15. Jahrhundert

Holz geschnitzt und polychrom gefasst

Weitgehend originale Fassung

Höhe: 178 cm

Expertise: Dr. Markus Hörsch

Lucien Adrion (Straßburg 1889 - 1953 Paris)

Französisch-deutscher Maler und Radierer

"Landschaft mit Bäumen und Häusern"

Öl auf Leinwand, 40 x 52 cm

Rechts unten signiert: "L. Adrion"

Lucien Adrion (Straßburg 1889 - 1953 Paris)

Französisch-deutscher Maler und Radierer

"Dorfstraße mit Kapelle"

Öl auf Leinwand, 50 x 65 cm

Links unten signiert: "Lucien Adrion"

Trier, um 1770

Allseits bombierter Korpus in Nussbaum massiv

Feinste ornamentale und florale schnitereien

Eisenschlösser und Messingbeschläge

Fachgerecht restauriert und Schellack handpoliert

Maße (max.): Höhe 235 cm, Breite 99 cm, Tiefe 55 cm

Jürgen Prinz von Anhalt (Frankfurt/M. 1942 - 2010 Palm Beach)

Deutsch-amerikanischer Action-Künstler

"Jet-Art", Palm Beach, 1983

Öl auf Leinwand, 118 x 120 cm

Rechts unten signiert und datiert: "J.P.v.A (19)83"

Rückseitig bezeichnet, signiert und gewidmet: "für meine Freunde - Ingrid & Manfred - herzlichst Jürgen, Prinz v. Anhalt, Palm Beach 1983, Jet Art T/R 10"

Provenienz: Fränkisch-amerikanischer Privatbesitz

Friedrich Brentel (um 1580 - Straßburg - 1651)

Bedeutender Miniaturist in Straßburg

Gouache auf Pergament, 17,6 x 25,8 cm

Links unten signiert und datiert: "Brentel 1625"

Provenienz: Oberfränkische Privatsammlung

Expertise: Dr. Walter Bernt

Flämischer Maler, Meister ab 1689/90, gestorben 1700

Um 1695

Öl auf Leinwand, 58 x 84,5 cm

Rechts unten signiert: "Victor Mahu"

Ebonisierter Holzrahmen

Vom elsässischen Bildhauer Hans Bongart, der in Colmar zwischen 1511 und 1544 nachweisbar ist

Spätgotische, sehr qualitätsvolle Arbeit

Lindenholz geschnitzt mit minimalsten Resten einer ursprünglichen Fassung

Rückseitig gehöhlt

Höhe: 152 cm

Provenienz: Ehemals Sammlung Ludwig Marx, Mainz

Expertise: Dr. Albrecht Miller

Als Gegenstücke sind hier eine alte und eine junge, weibliche Sphinx dargestellt, wobei im 18. Jahrhundert die Sphinx als Symbol der Ewigkeit, der Unsterblichkeit und des Rätzenhaften galt (vgl. J.G. Herder, Der Sphinx, von 1785)

Werkstatt / Umkreis von Ferdinand Tietz (Holzschitz/Böhmen 1708 - 1777 Schloss Seehof/Memmelsdorf)

Franken, um 1765

Lindenholz, allseits geschnitzt und polychrom gefasst

Die beiden Sockel sind später

Maße (max.): Höhe 17 cm, Länge 24 cm, Tiefe 11 cm

Werkstatt von Hans Leinberger (Niederbayern, um 1470 - um 1530, Landshut)

Süddeutsch, um 1520

Lindenholz geschnitzt, ungefasst

Rückseitig gehöhlt

Kleinere Holzergänzungen

Höhe: 122 cm

Expertise. Dr. Markus Hörsch

Sog. "Seelentrösterlein"

Deutsch, 2. Hälfte 17. Jahrhundert

Lindenholz geschnitzt und polychrom gefasst

Allseits ausgearbeitet

Flachshaare, Nimbus

Höhe (max., incl. Sockel): 40 cm

Deutsch, wohl Thüringen, um 1470

Lindenholz geschnitzt und polychrom gefasst

Weitgehend originale Fassung

Ursprünglich die Schnitzfiguren einer Predella

Maße (max.): Höhe 58 cm, Breite 98 cm

Expertise: Dr. Markus Hörsch

Süddeutsch, um 1490

Lindenholz, allseitig fein ausgearbeitet und gefasst

Auch rückseitig ausgearbeitet

Reste der originalen Fassung

Höhe: 44,5 cm

Wohl ursprünglich aus einer Flurkapelle stammend

Franken, Raum Steigerwald/Haßberge, um 1750/65

Aus der Werkstatt/Umkreis von Auvera

Schilfsandstein, geschlämmt und dreiseitig bearbeitet

Erhabene, fein ausgeführte Bildhauerarbeit

Im Zentrum ist dargestellt das thronende Jesuskind auf einer Wolke, darum die 14 Nothelfer (Hl. Barbara, Hl. Vitus, Hl. Christophorus, Hl. Aegidius, Hl. Cyriakus, Hl. Dionysius, Hl. Eustachius, Hl. Achatius, Hl. Erasmus, Hl. Pantaleon, Hl. Georg, Hl. Margareta, Hl. Blasius, Hl. Nikolaus)

In den Seiten des Auszuges stehen die Hl. Barbara und der Hl. Zacharias (wohl die Namen des Stifterpaares)

Sekundäres  Postament

Höhe (incl. Eisenkreuz): 118 cm

Expertise: Dr. Georg Habermehl

Venedig/Rom, 1754

Originaltitel: "Juno gibt Aeolus den Auftrag die Flotte des Aeneas bei Libyen zu zerschlagen"

Öl auf Leinwand, 81 x 65,5 cm

Rechts unten signiert und datiert: "B. Rode p. 1754"

Spanien oder spanisches Königreich Neapel, um 1560

Laubholz geschnitzt und polychrom gefasst

Weitestgehend originale Fassung

Feinste Goldmalerei (sog. estofado), Hl. Michael mit Glasaugen

Höhe: 102 cm

Vase Dahlias, Charles Schneider 1923-26. Base layer with pink powder melting. Decorative layer with violet powder melting that changes to mauve at the top. Motive etched out. Signature: "Le Verre Francais" Charles Schneider 1923-26. Height 45 cm.

Virgin Mary with Christ and the Infant Saint John framed by a flower wreath.

Around 1640.

Cornelis Schut (Antwerp about 1597-1655) was Master of the Antwerp Lukasgilde since 1618 and created numerous altarpieces for churches all over Belgium.

The influence of Peter Paul Rubens, with whom he collaborated for a while, is apparent in many of his works.

Particularly inventive and of the same high quality as the pictorial presentation is the garland of flowers with cherries and other fruits created by Daniel Seghers (Antwerp 1590-1661), who had been trained in flower painting by Jan Brueghel.

Oil on wood.

Height 84 cm, width 69 cm.

Freiburg im Breisgau, c. 1750

Master Johann Christian Wentzinger (1710-1797), who is considered one of the most important sculptors from Baden of the Rococo period.

He created numerous altarpieces, choir stalls, baptismal fonts and tombs in the Freiburg area. For some years he worked at the cathedral in St. Gallen.

On the richly structured pedestal with acanthus leaves, a rock crystal and a putto head, the Madonna is standing in a dynamically draped garment on the globe with the snake.

Wood, carved with a very well preserved, in parts slightly restored, lustre polychromy.

Height 43 cm.

Augsburg, c. 1740

At first glance, the very austere cabinet captivates with the contrast between the linear, profiled fillings and playfully carved details such as the open-worked rocailles at the cornice, the volute feet of the upper cupboard section and the slightly curved front of the chest of drawers.

Walnut, veneered and partly solid.

Height 243 cm, width 130 cm, depth 65 cm.

High-quality Still Life with Fruits, c. 1810

Signed lower left.

Mayrhofer (Oberneukirchen 1764 - 1832 Munich) was renowned as extremely precise flower painter.

Besides the artistic he also showed scientific interest in plants and published numerous botanical lithographs and an "Instruction manual to the flower drawing".

Also in the case of this still life he attached great importance to the exact reproduction of the various blossoms and fruits.

Oil on canvas, in original frame.

Height 71 cm, width 61 cm.

Venice, circa 1725

The framing is extraordinarily plastic carved with moving, pierced rocailles, Angels' heads and animal figures One of flanked by flaming torches, the female bust forms the high-sided crowning.

Very well preserved, original gilding. The glass in the 19th century.

Height 205 cm, width 100 cm.

Italian regènce console

Probably Rome, around 1725

The vividly patterned marble top is supported by intricately carved legs on goat feet. Original version in green and gold.

Height 88 cm, width 115 cm, depth 62 cm.

Abraham Roentgen, Neuwied, c. 1755

The small chest is based on the so-called "teacaddys" in which the valuable exotic tea leaves were kept.

Such fine caskets are at least as well suited for storing jewelry and other personal treasures.

Walnut and kingwood veneer, maple veins, gold plated brass profiles and bronze fittings.

Height 14.5 cm, width 23 cm, depth 17.5 cm.

David Roentgen, Neuwied, c. 1765/70

Plane wood veneered on oak, inlays in partly coloured woods, brass decorative strips.

Height 91 cm, thigh depth 49 cm.

Cf. the illustrations in Fabian, D., Abraham, and David Roentgen. The complete oeuvre still to be found [...], Bad Neustadt/ Saale 1996, pp. 226-227.

around 1760

With this courtly chest of drawers with elaborate carved frame and elegantly curved front, the fittings harmonise perfectly with the the selected veneer pattern from walnut and

Masernut wood. Comparably crafted furniture are located in the Main Franconian Museum in Würzburg.

The high quality, open-worked Bronze fittings probably originate from the Workshop of Johann Georg Oegg (1703-1782), since 1733 prince-bishop court locksmith. Oegg manufactured not only ornamental grids and gates for the courtyard garden and the outer front, but carried with artful Wall and ceiling chandeliers, fireplace grills and fittings also play a decisive role in interior decoration to the residence.

Height 85 cm, width 118 cm, depth 68 cm.

Johann Kroll, Mainz, c. 1790

Johann Kroll, who was born in Riga, had been learning in the Roentgen workshop since 1779.With the permission of David Roentgen, he later set up his own business and in 1781 received an order from the Elector of Mainz, Friedrich Karl von Erthal, for a cabinet furniture with a built-in clock.In 1783-84 he delivered a larger ensemble to Schloss Johannisburg in Aschaffenburg.

The front of the semicircular, three-door body is structured by protruding, fluted pilasters.The gilded strips and finely chiseled rosettes set further elegant accents.The extraordinarily harmonious design of the half cabinet refers to the creation under the influence of David Roentgen.

Mahogany veneered and solid, fire-gilded Bronze fittings and decorative strips.

Height 84 cm, width 107 cm, depth 54 cm.

late 17th/ early 18th century

Embossed on both sides with emblematic or allegorical depictions, portraits of European rulers and historical events, which are commented on.

Maple and plum, eight stones ebonized.

Diameter 5.5 to 6 cm.

(Amsterdam 1792 - 1844 The Hague)

Below right monogrammed "AB".

The overripe figs, peaches, grapes and plums, which have already been visited by insects remind us of the transitoriness of everything earthly - entirely in the tradition of the golden ages. This also corresponds to the high picturesque Quality and balanced composition of the overflowing fruit basket of the Dutch Master.

Oil on canvas.

Height 54 cm, width 65 cm.

Southern German, c. 1720

Box tree, sculpture group, full-round sculptures

Height: 19 cm, width: 23 cm, depth: 17 cm

Circle of Hans Leinberger (c. 1475/1480 – c. 1531)

Lower Bavaria, Landshut, circa 1520

Lime wood, reverse flattened, traces of the original polychromy, originally part of a crucifixion group

Height: 71.5 / 72.5 cm

Munich, after 1756

Johann Paulus Graf (working 1756 – 1788 in Munich, from 1772 on court clockmaker of Maximilian III Joseph, Elector of Bavaria)

Case wood, carved, polychrome, with floral tendril decor, surmounted by a putto with little dog (Bichon Frisé) and snail;

Dials gilt brass, enamel

Musical clockwork with repeater

Large dial showing time, small dials for striking mechanism (carillon clockwork), lower dial showing date and weekday, decorated with allegories of the seven days of the week

Height: 124 cm, width: 56 cm, depth: 25 cm

Johann Paulus Graf is documented as clockmaker in Munich between 1756 – 1788. From 1772 on he was court clockmaker of Maximilian III Joseph, Elector of Bavaria.

The wooden case of this bracket clock shows an elaborate, accurately carved floral tendril decoration, polychrome, surmounted by a putto with little dog (Bichon Frisé) and snail. The dials are gilt brass and enamel;

the large dial showing the time, small dials for striking mechanism (carillon clockwork),

lower dial showing date and weekday, decorated with allegories of the seven days of the week.

The musical clockwork with repeater is in excellent condition and fully functional.

Probably Venice, around 1600.

Bronze with beautifully preserved old patina. The

Workshop of the Niccolo Roccatagliata (Genoa around

1550 - Venice after 1636) attributed to. The

boldly striding putto holds in his hands

Flowers and fruits.

Height 85 cm, width 120 cm, height 21 cm.

Paris, L. Péridiez, circa 1770

Stamped Louis Péridiez (born 1731, Master

1764). Rosewood and Mahogany on Oak

veneered with the original, fire gilded

Bronze applications and restored, original

Marble slab. The apparently to a minimum

reduced veneer appearance achieves an exciting

Effect due to its natural, exotic colouring

and the generous processing "sans

traverse". The flat design offers an

the effective basis for the success of the

the frame and the curvature of the front edges

Fittings.

Kjellberg, Le mobilier français du XVIIIe siècle, Paris

1998, S. 640-642.

Height 90 cm, width 130 cm, depth 65 cm.

Probably Augsburg, 17th century

Ebonized fruitwood, partly veneered, partly solid,

engraved and silver plated fittings. The structure

of doors with profiled strips and

of small gables, reminiscent of the

in aedicula architectures, hide inside

ten differently sized, some with preserved,

old coloured paper lined shops

for collector's items and small treasures.

Another compartment is hidden in the gable top.

Height 40 cm, width 40 cm, depth 25 cm.

Zöblitz, second half 17th century

Due to the economical decoration of the lathed

and polished walls with faceting,

diagonal cannelures or diagonal grooves

the natural veining of the dark

Serpentine rock with its greenish inclusions

especially beautiful to the Geltung. With the

original tin screw caps, two of the

Handle with relief decoration.

Height 24 to 28 cm.

Southern Germany, c. 1760

The workshop of the important sculptor and

Stuccoer attributed to Joseph Anton Feuchtmayer

(christened on 6 Mar 1696 in Linz,

died on 2. January 1770 in Mimmenhausen

at Salem). The mirror is framed by a

fine, partly hatched profile, at the bottom as well as as a

He is crowned with splendid carvings,

plastic protruding and perforated rocailles

decorated, which on top turns into a kind of blown up

and from the fine gables to the

leaf branches are entwined. The one Joseph

Anton Feuchtmayer created confessionals

for the pilgrimage church in Birnau (today in

St. Martin in Seefelden) and for the Mimmenhausener

The Liebfrauenkirche (Church of Our Lady) below the

Cornices just as artistic rocaille carvings

on. The mirror glass dates back to the 19th century.

Century.

Height 170 cm, width 130 cm.

Netherlands, around 1650

The curved, front cheeks are

adorned by one plastic reliefed female bust each

with curly hair and pearl necklace. The

unusually powerfully designed balusters are characterised by

in its structure the transition from

to the disc chandeliers of the Renaissance.

early baroque Nodus forms with spheres and

Balusters.

Height 75 cm.

Flanders, around 1700

Wool and silk in finely graded blue, green,

Beige and brown tones. Between two imposing

and imaginatively structured columns will be

the view of a southern park is unobstructed

with exotic orange and fig trees.

To the delicate Corinthian column in the middle.

two putti are transformed into lavish garlands of fruit

bound.

Height 310 cm, width 210 cm.

Paris, J.C. Ellaume, circa 1775

Stamped "J.C. Ellaume" for Jean Charles Ellaume,

Master 1754. With the original fittings

and the original, restored marble slab.

With generous over the entire surface of the two-sided

Front "sans traverse" inlaid, by

meandering bands of framed fields,

on the protruding center a landscape in the

oval, flanked by musical instruments and on the

the pages with large, splendid vases under the

Draperies. The domestic and exotic woods

partly engraved, shaded by fire or coloured.

Height 90 cm, width 120 cm, depth 60 cm.

Bayreuth, around 1760

The high rectangular, faceted mirror is made by

a profiled strip with the centers placed on it,

carved flowers framed and crowned

of imaginatively carved and hatched,

and intertwined and intertwined

Rocailles, through which a grapevine and

rose twigs tendril, sitting in the middle a full plastic

carved birdie. The original

Frame in white and delicate shades with gold-plated

Ornaments has proven to be particularly good

received.

Height 110 cm, width 60 cm.

Probably Vienna, about 1750

Carrara marble with original profiled bronze framing.

The bust in relief shows the profile

the Archduchess Maria Theresa of Austria

(1717-1780), married since 1736 to Franz I. Stephan

of Lorraine, which was born in 1745 thanks to your support

elected Roman-German Emperor

and was crowned. Maria Theresa was considered to be

its comprehensive reform policy as one of the most

most popular and at the same time most influential monarchs

of enlightened absolutism in Europe.

Height 60 cm.

Antwerp, around 1700

The mirror captivates by the charming

Contrast between simple forms and precious

Materials. The smooth, sloping

Carnies profile of the framing is decorated with exotic

tortie shell, the finely chased, fire-gilded

Bronze applications on the

Corners and mids are lavish with putti

and leaf ornaments. With the

original facetted mirror glass.

Height 41 cm, width 36 cm.

Japan, early 18th century

Porcelain, decoration in underglaze blue, iron red and

Gold. In the mirror on white background in strong

Colorite a flower basket, on the flag in

fourfold repeat alternating flower ornaments

on a blue background and architectural fragments.

Particularly remarkable about this very good

the show plates also the ones with finely painted,

flowering branches on the back.

Diameter 48 cm.

Franconia, around 1775

Sandstone. One next to an overturned

Wine jug sitting Putto is accompanied by a small

Satyrn fed on grapes. The almost life-size

sculpture belonged - so is on reason

of the weather tracks - next to the

amorous characters, elegant muses or

further allegories with childlike putti to the

figural program of a lavishly equipped

rococo garden and refers to the 1775-77 by

Peter Wagner, famous depictions of children, and the

at the balustrade of the castle

Veitshöchheim.

height 97 cm, width 80 cm, depth 40 cm

Vase "Poppy", Legras and Cie, Verreries de Saint-Denise around 1900.

Colourless, gradient amber-yellow underlayed optically blown glass with coloured opaque enamel decoration. Flowers, buds and capsules of the poppy.

Height 25 cm

Vase Legras & Cie, Verreries de Saint-Denis, 1920s. Colourless glass. All-round etched decoration painted in violet enamel colour on a ground partly etched like ice glass: hanging twigs with leaves and fruits.

Height 35 cm

Kulmbach, first half 17th century

Master "EB", probably Elias Behringer (since 1634 citizen of Kulmbach). Silver, with the original, quality fire gilding.

On high arched, ornamentally engraved base and Nodus socket the elegant, slightly conical Kuppa with winged putti's heads, surrounded by from decoration of rolled foliage in front of punctuated rear, the slip lid with groove decorated Pommel.

Height 40 cm.

Brunswick, c. 1765

Probably Stobwasser manufacture. With the fine ones,

original and gilded rococo fittings.

Chest-shaped box with flat, hinged

Lid. Then in fine lacquer painting a

elegantly dressed nobleman on a landscape pedestal.

Height 6 cm, width 12.2 cm, depth 8.2 cm.

Augsburg, c. 1685

Marked with Augsburg Review for 1685-87,

Master brand Jacob I Warnberger (c. 1677-90),

Tremolo line. silver, chased, chiselled and

engraved with the remains of the original fire gilding.

On the broad flag between strongly driven

Trophy bundles three portrait medallions with emperor busts.

In the pearl ribbon framed

mirror a finely engraved fruit still life with

Pomegranates, grapes and berries.

Diameter 25.5 cm, weight 220 g.

Seling, The Art of Augsburg Goldsmiths

1529-1868, Munich 1980, BZ 0870, MZ 1751.

Extremely rare, small Ladies Lid Pumpkin

Bayreuth, circa 1710

Marked "SR" for Simon Richter (master 1675), engraved owner monogram "S.A.V.R." Silver, driven, engraved and punched. On stand with diagonal godron decoration and pearl frieze the cylindrical wall with mostly planar punched background, strap handle with two-part Thumb rest. The lid at the edge also decorated as the stand and with ornamental engraving.

According to the previous owner of Reitzenstein´schem ownership.

Height 9 cm.

Scheffler, goldsmith of Upper Franconia, Berlin 1989, p. 77.

Quality lidded tankard with snake skin decoration

Probably Frankfurt am Main, around 1600

Driven and punched, fire gilded.

About Stand ring with narrow ornament ribbon the conical, area-wide finely punched wall, on the handle pearl decor. The high arched lids with baluster shaped Knob on ornamented, flat cylinder.

Height 15.5 cm, weight approx. 332 g.

Small baroque lidded tankard

Prenzlau, around 1710

Marked Master Conrad Friedrich Wilpert (Berlin 1675-1720, since 1699 citizen in Prenzlau), Austrian Repunzierungsstempel from 1806/07.

Silver, chased and punched, partly gold-plated.

Over arched stand with fine acanthus leaf volutes the cylindrical wall, top and bottom with circumferential ribbonwork decoration at the bottom and Leaf fans. The strap handle with godronized Ball trigger, repeated on the cover the ornament of the pedestal, in the middle St. Andrew's coin.

Height 11.5 cm.

Scheffler, goldsmiths of Central and Northern Germany, Berlin 1980, pp. 169 and 271-272.

Antwerp, around 1600

A narrow, ebonized viewing ledge is followed by a

wide, with red backed tortoiseshell veneered

Carnies profile with fire-gilded bronze applications

in the form of flower arrangements on

in the middle and as a crowning glory, at the corners in the

of flowers framed cartouches solid silver

Badges, with sea monsters riding on

Putting. With the original mirror glass.

The high-contrast combination of valuable

Materials makes this cabinet mirror

to a special luxury object. In such

magnificent framing his own face

to be able to look at was only a few a

Privilege.

Height 60 cm, width 47 cm.

Attributed to Karel Borchaert Voet

Oil on canvas, doubled. Against a neutral background

arranged in bright colors

Fruit still life with pineapple, aloe, coral tree plant,

Grapes and nasturtium, and

two white cabbages.

Voet (Zwolle 1670-1744/45 Dordrecht) was an insect

and flower painter and dedicated

prefers exotic, exotic fruits

and plants, he paid particular attention to the

the correct reproduction of all details. 1735 published

he was commissioned by the Earl of Portland

the "Codex Bentingiana", a magnificent catalog

of all flowers and insects in its homonymous

Garden.

Height 80 cm, Beite 66 cm.

Thieme/Becker, General encyclopedia of the visual arts

Artist, vol. 34, p. 472.

Padua, around 1600

Model by Tiziano Aspetti (1559-1606). bronze casting

with remains of the original varnish patina.

Each on a natural pedestal in contrapost

standing nudes. At the feet of Venus, the

Grass sleeping cupid boy and nestled to her leg

a dolphin who sees the goddess as being from the

Foam born characterizes her upper body

she tends in the sense of the manneristic "figura

serpentinata" exaggeratedly to the right, while

her eyes are turned to the left. The god of war,

only with a helmet and one in front of his chest

knotted cloth, supports himself with his

Left on a sign with the head of Medusa,

with his right hand he reaches for the slung one

Sword.

Aspetti became a bronze foundry family from

Padua born and learned in the family business

the Technique of casting. Later he studied sculpture.

at Girolamo Campagna, the most famous

Venetian sculptor of the outgoing

16th century.

Height 42 cm.

Thieme/Becker, General encyclopedia of the visual arts

Artist, Vol. 2, pp. 190-193.

Krahn, Bronzetti veneziani: The Venetian

Renaissance small bronzes from the Bode Museum

Berlin, Cologne 2007, pp. 25-28 and 152-158.

Richard Friedrich Reusing, 1913

In one with different cloth draperies

filled interior portrayed

Reusing a lady in elegant, shoulderless

Evening gown. The soft falling one,

iridescent fabrics correspond to the virtuosic

and loosely placed, pasty brush strokes.

Reusing (Mühlheim on the Rhine 1874-1956 Haan)

studied at the Kunstakademie Düsseldorf

and received already as a master pupil the first

orders for portraits, for which he will soon also be

was appreciated and in demand nationwide. In

his characterful, impartial style of painting

he portrayed numerous famous contemporaries

from art and society, among others

Richard Strauss, Joachim Ringelnatz, Albert

Einstein, Gustav Krupp or August Thyssen.

Height 194 cm, width 126 cm.

Thieme/Becker, General encyclopedia of the visual arts

Artist, vol. 28, p. 196.

Meissen, around 1780

The Presentoir with curved edge and

rocaille handles, on the flag scattered flowers

and in the mirror extraordinarily finely painted

Flower bouquet with tulip. The oval terrine

also with blossoms and bouquets, on which the

lid is a fully plastic, kneeling boy as a

Knauf, a horn of plenty with flowers and fruits

emptying. The lateral, purple heightened

Rocaill handles with Brussels sprouts and asparagus.

Total height 32 cm, length of the plate 44 cm.