Antiques

421 Elemente

Very rare Empire settee of the highest quality — Imperial and Royal Monarchy, around 1810

Very rare Empire settee of the highest quality — Imperial and Royal Monarchy, around 1810

11-pieces. Comprising three armchairs, four chairs, three tabourets and a round salon table; the tabourets on claw feet and arched legs connected by crossbars, arched frame curved in opposite directions, tapering upwards into volutes and connected by carved crossbars, upholstered seat, beech and other hardwood ebonized, partially gilded, 59 x 44 x 62 x 42 cm, insignificant signs of age; Chairs on curved front legs with carved ''ball and claw'' feet, horseshoe-shaped frame with upholstered seat, the vertical supports of the backrest ending in sculpturally carved eagles, the strongly concave curved backboard with inlaid tendrils and central cartouches with mythological depictions of women; Hardwood ebonized, maple inlaid, black solder painting, partially gilded, 89.5 x 47 x 49 x 42 cm; Armchairs on claw feet, tapered legs, horseshoe-shaped frame with upholstered seat, the carved caryatids of the armrests merging into the semi-circular curved, upholstered backrest, inlaid and painted in black solder with tendrils and mythical creatures, 82 x 47 x 70 x 58 cm, the table on a tripod base, the central column carved into three legs with acanthus foliage and stylized dolphin heads, round top, richly decorated with flowers and tendrils in maple inlay and black solder painting, h. 77 cm, Ø 103 cm. - An almost identical table can be found in Wetzdorf Castle in Lower Austria. - Two chairs, one with an identical base, the other with an identical backrest, are published in the magazine ''Vernissage. Die Zeitschrift zur Ausstellung. Das kaiserliche Hofmobiliendepot.'', vol. 34 (December 1998, 17/1998), under ''Eleganz und Geschmack. Sparsamkeit und Tradition. Möbelkunst am Hof Franz I.'' (II.)'', p. 28. The chairs illustrated are from Maria Ludovica's apartments, dated around 1810.

Im Nachverkauf zu unserer Herbst-Auktion vom 22. & 23. November 2024
In after sale of our Autumn Auction in November 22 & 23, 2024
https://schlosser.atgportals.net/auctions/9096/schlosser10034

 

Courtly Meissen porcelain tobacco tin

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

Monumental Brunswick Baroque cabinet from Langenstein Castle

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 18th 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

Pomp cabinet with painted scenes from Ovid's Metamorphoses

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 17th 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

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

Mahogany, bog oak, maple veneer, key plates in bone and original, gold-plated fittings with elaborately enamelled badges.

That the Leipzig workshop of Friedrich Gottlob Hoffmann was rightly regarded as an important center of furniture production in his time is shown by this pair of chests of drawers, which is simple only at first glance. Elaborate and unusual details complete the selected veneer pattern of the three-drawer chests of drawers: the corner legs that merge into pilaster strips with veneered fluting, the finely inlaid bands on the edges of the furniture and the elegant fittings corresponded to the exquisite taste of court clients towards the end of the 18th century. Century.

Hoffmann (1741-1806) was the first cabinet maker to have an illustrated directory of the pieces of furniture that could be ordered at his workshop printed and distributed at the Leipzig trade fair in 1789. Depending on the client’s taste, the designs could be varied in terms of veneer and finish, and despite ordering from the catalog, representative individual pieces were created for the nobility and the wealthy middle class. Wonderful furniture by Hoffmann has been preserved in the castles in Wörtlitz and Weimar, among other places.

Height 77 cm, width 68 cm, depth 45 cm.

M. Sulzbacher et al., Friedrich Gottlob Hoffmann (on the occasion of the exhibition “Most Noble Carpentry Work from Leipzig. FG Hoffmann - Court Carpenters and Entrepreneurs”), Dresden 2014, pp. 281 and 282.

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

Oil on copper.

In a festive atmosphere, a gallant, courtly company amuses herself on the terrace of a magnificent palace to music, dance and conversation over a lavish feast. On large-format murals in the background of the colorful scenery, mythological depictions of the hunting goddess Diana and the sun god Apollo reflect the demanding lifestyle of the characters and tell as allegories the dream of eternal beauty and youth, of seduction and love, but also of the burden of social expectations and moral demands.

In their brilliant colors and the excellent quality of the painting, these two counterparts are typical examples of baroque art in Austria. Alongside Johann Georg Platzer (1704-1761), Janneck is rightly considered the most important artist at the Vienna Academy. In his characteristic combination of Dutch and French ideals, he succeeded in excellent implementation of the unique, baroque attitude towards life of the noble society in the 18th century. The pair of paintings was exhibited in the Residenzgalerie Salzburg in 1996 and published in the exhibition catalog (cat. no. 4 and 5).

Height 40 cm, width 52 cm.

Juffinger, “Reich mir die Hand, mein Leben. Einladung zu einem barocken Fest“ with pictures by Johann Georg Platzer and Franz Christoph Janneck, Salzburg 1996, p. 100-104.

Pucher, Franz Christoph Janneck 1703-1761, dissertation, Graz 1996, p. 196-197, cat. no. 109 and 110.

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

Veneered in walnut, rosewood, cherry, plum and maple, Rouge Royal marble top. Adhesive label signed on the back.

The two-drawer body “sans traverse” with lambrequin-like hanging frame on elegantly curved legs, the front and sides are lavishly cambered and inlaid with extremely fine and high-quality flower arrangements tied with bows. The original handle with a wreath of flowers shows a female portrait bust in the medallion.

The fine, light flower inlays, which were developed in the Neuwied workshop under the direction of David Roentgen, corresponded more to the taste of luxury-spoiled buyers in the last third of the 18th century than the splendid decors of the Baroque and Rococo, for which his father Abraham was appreciated by courtly clients. The mostly floral motifs are based on models by Jean Bérains the Elder. (1640-1711), Jean Baptiste Oudry (1686-1755) or Jean Pillement (1728-1808).

The impressive effects of color, three-dimensionality as well as bright and dark contrasts are only created through the use of differently colored woods and only the carpenters of the Roentgen Manufactory have mastered these elaborate veneering techniques to such perfection. A very similar but slightly larger chest of drawers from an order by Landgrave Frederick II of Hesse-Kassel is kept in the Kassel State Museum.

Height 80 cm, width 78 cm, depth 41 cm.

See Huth, “Abraham und David Roentgen und ihre Neuwieder Möbelwerkstatt”, Munich 1974, fig. 238.

Classical top-mounted cabinet - Bremen, masterpiece around 1785

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.

Rare, museum-like pair of globes - London, 1816/1828 - Both globes are inscribed and dated and were manufactured by the brothers John and William Cary.

London, 1816/1828

Coloured and lacquered copper engravings, the three-legged ones

Mahogany brackets and each

with a compass. Both globes have a

Equatorial ring with monthly data as well as a

Meridian ring made of brass with indication of the pole height.

The earth globe has an additional

Eight of equation showing the celestial globe

the signs of the zodiac and a legend for star sizes.

Both globes are inscribed and dated

and were manufactured by the brothers John and

William Cary. John (1745-1835) worked his way up as a

cartographer as well as engraver and publisher of

maps and globes an outstanding

Ruf, William (1760-1825) was interested in manufacturing

scientific instruments.

The first globes brought this from the brothers

founded in 1791 and was considered to be the

soon to become London's leading globe manufacturer.

For these two London-made globes.

in Bamberg, the association with the

Prince Bishop Franz Ludwig von Erthal

Natural History Cabinet in the North Wing of the Jesuit College

which is not only close to teaching

of the Bamberg students, but of the

should be open to the entire population. One

impressive, in the year 1807 lost

Earth globe stood here at an exposed location on the

specially designed, semi-circular grandstand

the gallery at the front of the hall and so on.

the idea was born, to use our globes in this

Germany's unique natural history museum

with its high glass cabinets and the oversized

parts still preserved from the 18th century.

to photograph the specimens.

Height 115 cm.

Extremely rare, small Ladies Lid Pumpkin - Bayreuth, circa 1710 - Marked "SR" for Simon Richter (master 1675)

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.

pair of silver menagen for vinegar and oil as well as for tea and sugar - Gdansk/ Augsburg, c. 1760/70 - Johann Gottfried Schlaubitz (master 1733) and Johann Jakob Adam (master 1748)

Gdansk/ Augsburg, c. 1760/70

Johann Gottfried Schlaubitz (master 1733) and Johann Jakob Adam (master 1748). These two silver menages are extremely precious and skilfully worked in typical rococo forms. The double set consists of a total of six parts: a holder with two silver containers for tea and sugar and a frame for silver-mounted glass bottles for oil and vinegar. The holders and the silver cans were made by the Gdansk goldsmith Johann Gottfried Schlaubitz, while the Augsburg silversmith Johann Jacob Adam mounted the glass bottles. The parts are hallmarked with the respective master stamp and the city inspection.

These refined silver menages were part of an extremely luxurious table decoration with valuable porcelains and other precious silver objects such as chandeliers or centrepieces, and at the same time fulfilled all functional requirements.

In 1965, the tea and sugar set was exhibited at the Munich Stadtmuseum on the occasion of the centenary of the Munich Altertumsverein, where it was exhibited together with other art treasures from private collections in southern Germany.

Height 25 cm, width 25 cm, depth 10 cm.

Blatner, Josef, 1965, art treasures from Munich private property, Munich.

Rosenberg, Marc, 1923, Der Goldschmiede Merkzeichen, Frankfurt a.M., vol. 3, no. 1596.

Seling, Helmut, 1980, The Art of Augsburg Goldsmiths 1529-1868, Munich 1980, Vol. 3, MZ 2385.