Antiques

309 Elemente

Quality, courtly rococo chests of drawers from Franconia - Bayreuth, circa 1765 - From the workshop of the Spindler brothers

Silver Tankard with Rulers

Silver Tea or Spice Vessel

Silver Tankard - Augsburg

Madonna

Tankard Weaver's Guild - Annaberg

Tankard - Annaberg

Tankard with the Twelve Apostles - Creussen

Crucifixion with Donor - Follower of Hans Leinberger

Saint Barbara

Adoration of the Magi

"Throne of Mercy"

Alexander von Humboldt - Filippo Biganzoli

Adoration of the Magi - Hans Klocker Workshop

Saint George - Valentin Lendenstreich

Saint Cecilia

The Adoration of the Magi

ANTWERP MANNERIST, circa 1520

Panel painting, oil on wood, cradling on the reverse

Height: 109 cm, width: 70.5 cm

Provenance: private collection, Southern Germany

Literature: Max J. Friedländer: Die Antwerpener Manieristen von 1520. In: Jahrbuch der königlich preußischen Kunstsammlungen 36 (1915), pp. 65–91.

See the publications of the exhibition ExtravagAnt! A forgotten Chapter of Antwerp Painting 1500-1530, Koninklijk Museum vor Schone Kunsten Antwerp, 15 October – 31 December 2005, Antwerp 2005. URL: https://www.codart.nl/guide/agenda/extravagant-antwerpse-schilderijen-voor-de-europese-markt-1500-1525/

The painting of the Adoration of the Magi was created around 1520 by a painter from the group of the so-called Antwerp Mannerists.

The scene is set in the ruins of a richly decorated temple, which offers a view of a city with a surrounding mountainous landscape in the background. In the centre sits Mary, with brown hair and a dark blue cloak. The Infant Jesus on her lap seems touchingly small and delicate. Joseph, with grey hair and beard, is standing behind the two of them, obviously absorbed in conversation with one of the companions of the Wise Men. The holy kings, who present their gifts in filigree decorated gold vessels, symbolize both the three continents known at that time and the three ages of men. The king kneeling to the right in front of mother and child stands for Europe and the old age, the king placed on the left, with turban and an orientally dressed servant in the background, represents Asia and the middle age, while the black king at the right side embodies Africa and youth.

The term Antwerp Mannerists, introduced by the art historian Max J. Friedländer, covers a number of artists from the first third of the 16th century who practiced an extremely decorative and detailed style, which was not, however, influenced by the Italian Mannerism of the time, but had developed from the late Gothic traditions of early Netherlandish painting, which is characterised by its attention to detail, up to the quasi-photorealistic reproduction of surface structures and landscapes.

The great success of Antwerp Mannerism was closely linked to the rise of Antwerp to one of the most flourishing commercial centres in Europe. Around 1500, the city was a central hub of international trade. This also fuelled the art market and offered ideal conditions for painters who created their altars and panel paintings specifically for export.

The theme of the Adoration of the Kings was particularly suitable for this, as it was very popular and in demand throughout Europe. The depiction of the three wise men opened up a multitude of creative possibilities, starting with the imaginative design of exotic garments, which wrapped the figures in extravagant drapery, to the splendid gifts, to the fantastic architecture, which combined Gothic and Renaissance motifs in eclectic splendour.

The style of these compositions is ornate and extravagant, naturalistic reproduction or even realism took a back seat in favour of the decorative effect. Antwerp Mannerism created representative and highly modern showpieces of the period between 1500 and 1530 - a "fashion statement", so to speak, of this turbulent epoch of transition from late Gothic to Renaissance.

The painterly execution is technically virtuoso. The Antwerp Mannerists paid more attention to the meticulous depiction of a variety of details, some of them densely packed, than to the monumental overall effect of their pictorial compositions. This was and is the secret of the paintings' success: they offer the viewer the opportunity to immerse him or herself in an abundance of interesting supporting scenes and to discover numerous surprising subtleties.

The painting presented here is an excellent example of the artistic skill, precision and inventiveness of the Antwerp Mannerists, who did not sign their paintings and therefore, with few exceptions, are to this day not known by name.

Hercules and Omphale - Lucas Cranach the Elder

Utagawa Kunisada (Toyokuni III) — Leporello with the 12 signs of the zodiac

Nain Schisch-lah — Iran, 20th c.

Two baroque tabourets — Franconia, 1st half 18th c.

Large Art Nouveau ceiling lamp — Verrerie Schneider, Epinay-sur-Seine - around 1930

Pair of Georgian Sauceboats — London, 18th century

Pair of angel head appliqués — Franconia, 18th century

Hirschmann, Johann Baptist — Biedermeier portrait of a gentleman

Family portrait with three children — Austria, 18th century

Dutch master of the early 17th century: Ecce homo

Early baroque goblet with lid - Augsburg around 1620

Fine varnish-Martin-casket - Paris, mid-18th century

Huge deer head - Southern Germany, around 1660

Sample picture “Pietra-Dura“ - Probably Italy, 2nd half of the 18th century

Massive silver samovar “à la Montgolfière“ - Stockholm, around 1800

Pair of exquisitely preserved, big porcelain plates - China, around 1775

Fine Renaissance miniature cabinet - Augsburg, early 17th century

Rare oriental figure - Probably by Augsburg prince bishop majolica factory Göggingen, around 1750

Impressive Venetian pomp armchair - around 1730 Workshop of Andrea Brustolon (1662-1732)

Big, very high-quality Hamburg Schapp (cupboard) - around 1700

Three Scagliola pictures with effect “trompe l’oeil “ - Rome, around 1730 - Made by Amedeo (working 1712-1734 in Turin and Rome) or Pietro Seyter (born 1687 in Rome)

Big rococo ciborium with lid - Marked Landshut, around 1760 - Made by Master Josef Ferdinand Schmid I. (mentioned 1741-1790)

Big Guéridon figure of an Egyptian - Venice, around 1865

Pair of elaborately decorated Empire armchairs - Paris, around 1810 - workshop of François-Honoré-Georges Jacob-Desmalter (1770-1841)

Pair of precious urn-shaped vases with lid - Birmingham, 1770-80 - Probably from the Soho manufactory in Birmingham

Masterpiece of a baroque writing cupboard - Berlin, 1771 - with adhesive label “Johann Frantz Miller Anno 1771 dem 25. May in Berlin“

Public banquet in the form of a melon - Schrezheim, around 1770

Gilt beaker with lid and alliance emblem - Silver, Southern Germany, dated “1627“

Big, ideal river landscape - first half of the 18th century - Workshop of Andrea Locatelli (Rome 1695-1741)

Rococo armchair - Berlin or Potsdam, around 1775

Big, pompous pendula - Vienna, end of the 18th century

Pair of extraordinary Empire-armchairs - Neapel, first half of the 19th century

Splendid courtly chandelier probably designed by Karl Friedrich Schinkel - Berlin, around 1835

Pair of elegant, Italian commodes - probably Lombardy, around 1820

Renaissance coconut goblet - probably South German around 1660

Gothic terracotta relief - probably Straubing, around 1460

Rare Biedermeier – Globe desk - Mainz, around 1830

Large tapestry from the collection “La Tenture Chinoise“ by Johann Bernhard Fischer of Erlach - Aubusson, around 1740

Exquisitely high quality pair of regency candleholders - Augsburg, around 1711-1715 - master’s mark for Peter Kick (Augsburg 1672 – 1721, Master since around 1700)

Major baroque pompous closet - Brunswick, around 1720

Portrait of Maximiliana Amalia Countess of Perusa and Criechingen, née Countess of Kreuth - Johann, Michael Kaufmann, around 1760

Figural cartel clock “L‘Astronomie” - Paris, around 1780 - designated “Waltrin Fils À Paris”, “Hger. Du Roy”

Rare goblet with lid, ball socket, and etched decoration for the Nuremberg council of physicians - Nuremberg, end of the 17th century

Classical top-mounted cabinet - Bremen, masterpiece around 1785

Renaissance small bronze of Apollo - Venice, around 1600 - attributed to the workshop of Girolamo Campagna (1549-1617)

Mischa Fritsch - Namibia I and River

Eckart Schädrich - Abendnebel im Donautal

Mark Taschowsky - Projektor

Mark Taschowsky - Amazone

Twelve Relief Medallions of the Apostles of Jesus

Triptych „Virgin and Child“ - Circle of Friedrich and Michael Pacher

Triptych “Virgin and Child”

South Tyrol, circle of Friedrich Pacher (South Tyrol, c. 1435 – after 1508 Bruneck)

and Michael Pacher (Tyrol, c. 1435 – 1498 Salzburg)

circa 1475

Panel paintings on gold ground

Central panel: The Virgin and Child with musical angels;

Wings, the inner faces: Saint Catherine of Alexandria; Saint Barbara;

the outer faces: The Annunciation; inscribed on the outer wing

(on the Archangel Gabriel’s banderole): ‘Ave maria Gr’

Measure closed: 47.4 x 38.5 cm; open: 47.4 x 78 cm;

central panel: 40.2 x 30.6 cm

Provenance: J.P. Weyhe, Cologne. - Achillito Chiesa, Milan; his sale, part IV, American Art Association, New York, 23 November 1927 (2nd day), lot 112, as 'School of Cologne'. - with Kleinberger, New York, 1928. - William Randolph Hearst (1863-1951), Hearst Castle, San Simeon, California. - Drey collection, until 1951. - with Paula de Koenigsberg, Buenos Aires, until 1961. - Since 1961 private collection.

Literature and Exhibitions:

Art Objects & Furnishings from the William Randolph Hearst Collection: A Catalogue Raisonné comprising illustrations of representative works, New York, 1941, p. 26, no. 1247-4, central panel illustrated, as 'Master of the Holy Kinship'.
Listed in the William Randolph Hearst Archive (the original held at Long Island University, New York), XX, p. 13, as 'The Master of the Holy Kinship'.

Exhibition New York, F. Kleinberger Galleries, Catalogue of a Loan Exhibition of German Primitives for the benefit of the American Red Cross, November 1928, p. 8, no. 12, with illustration.
Buenos Aires, Museo Municipal de Arte Hispano Americano, Exposición de obras maestras, siglos XII al XVII: colección Paula de Koenigsberg, May-July 1951, p. 19, no. 16, as 'The Master of the Holy Kinship', illustration plate V.
Nuremberg, Germanisches Nationalmuseum; Münster, Landesmuseum für Kunst und Kulturgeschichte, Sammlung Heinz Kisters: Altdeutsche und Altniederländische Gemälde, 25 June-17 November 1963, p. 12, no. 57, as 'Tiroler Meister um 1480', with illustrations.

Achim Simon: Österreichische Tafelmalerei der Spätgotik: der niederländische Einfluß im 15. Jahrhundert. Berlin 2002, p. 274, ill. 45.

The triptych with the central motif of Virgin and Child, flanked by two angels playing music and the Saints Catherine and Barbara, was created around 1475 in the circle of the South Tyrol artists Friedrich and Michael Pacher. The small, representative work with its precious gold ground served as a house altar for private devotion.

Positioned in the center is Mary, who keeps her son, who has already grown up beyond early infancy, on her lap. The little Jesus leafs through his mother's prayer book in a playful way, providing a charming image of lively toddler behavior. This composition is based on the so-called Durán Madonna by Rogier van der Weyden (today in the Museo Nacional del Prado, Madrid), which was created around 1435-1438 and quickly became widespread among the artists of the era through circulating pattern drawings and later copies.

The creator of the winged altar presented here has probably also used one of these highly popular templates, as an examination of the underdrawing suggests. A comparative analysis of other works that relate to Rogier's image creation suggests that the painter of this triptych used a follow-up version of the Durán Madonna as a model, which must have met the original in many details (see Achim Simon, 2002).

The not yet identified artist, however, by no means simply copied the image motif, but confidently translated it into his own style, which was strongly influenced by Friedrich and Michael Pacher. In doing so, he essentially implemented his own creative ideas. While for instance in Rogier's composition both mother and son are looking at the prayer book, in this triptych Christ actively seeks his mother's eyes, as if to make sure that his play with the book is allowed by Mary. This exchange of glances accentuates the natural innocence of the small child and at the same time emphasizes the deep bond between mother and son.

The inner faces of the wings depict on the left St. Catherine with her instruments of torture, the wheel and sword, and on the right St. Barbara with the martyr's palm and the attribute of the Eucharistic chalice and Host, which from the second half of the 15th century on increasingly supplemented, or, as in this case, even replaced the tower traditionally associated with her. The two Holy Virgins belong to the circle of the "Fourteen Holy Helpers", who were particularly venerated in the late medieval and early modern period. Among other things, St. Barbara was invoked for her protection against an unexpected death. St. Catherine was believed to be an intercessor of girls and women and patroness of schools and universities.

The facial features of mother and child, but also of the two saints, are reminiscent of South Tyrolean works from the sphere of influence of Michael Pacher. Also the frail, almost skinny infant Jesus corresponds to a type common in Tyrol. In contrast, the clearly structured execution of the body proportions, in particular the distinct plasticity and static attitude of the female saints, points to the Flemish influence through the popular antetype.

When closed, the triptych shows an Annunciation scene, which stylistically indicates a Tyrolean origin even more strongly than the motifs on the inside. Mary kneels at the prie-dieu, her gaze lowered humbly, while the ageless Archangel Gabriel, his right hand pointing to the Holy Spirit, delivers the good news to her. The fine hair and the round face with a high forehead give the Virgin an aura of youthful innocence, while the voluminous folds of her blue cloak emphasize her royal dignity.

The iconographic topics of Virgin and Child, the female saints and the Annunciation to Mary are not only thematically, but also in their artistic implementation characterised by a feminine tenderness. So it seems likely that the work could have been commissioned by a woman.

This makes the small triptych not only an impressive testimony of personal piety in the late Middle Ages, but also a vivid example of the lively exchange and the widespread dissemination of artistic ideas within Europe.

Veit Stoss workshop - A Pair of Candle-bearing Angels

House Altar with the Assumption of Mary

Barbara Rosina Lisiewska-Matthieu-de Gasc - The Markgrave of Brandenburg-Schwedt with dancing Barbarina

Barbara Rosina Lisiewska-Matthieu-de Gasc

(Berlin 1713 – 1783 Dresden)

"Frederick Henry, Margrave of Brandenburg-Schwedt with his Wife

Leopoldine Marie of Anhalt-Dessau, Members of their Household,

Dancing Barbarina and the Self-portrait of the Painter"

Berlin, circa 1747

Signed: „peint par Rosine Matthieu nee Lisiewska 174-“ (last digit not legible)

Oil on canvas

Height: 82 cm, width: 99 cm

Literature: Bärbel Kovalewski: „Es ist [...] eine Ehre, sich auf dem Niveau der

großen Kunstler zu sehen [...]“. Malerinnen der Familie Lisiewsky. In: Helmut Börsch- Supan, Wolfgang Savelsberg (ed.): Christoph Friedrich Reinhold Lisiewski (1724-1795),

Berlin/ Munich 2010, pp. 95-105, ill. 92 and 93, pp. 98, 99.

Ekhart Berckenhagen: Anna Rosina Lisiewska-Matthieu-de Gasc. In: Niederdeutsche Beitrage zur Kunstgeschichte, vol. 31, 1992, pp. 77-114, ill. 10, p. 83, cat. no. 25, p. 97.

Provenance: House of Hohenzollern; private collection, Austria

Expertise: Prof. Dr. med. Helmut Börsch-Supan, Berlin, 25.09.2018.

Artloss Register, Ref. No. SOO142243.

The gallant scene shows a courtly party in the midst of a park with a water basin and a large rococo fountain. Margrave Frederick Henry of Brandenburg-Schwedt (1709 - 1788), a cousin of King Frederick the Great of Prussia, stands, clad in a blue coat, right next to the central chair, on which his wife Leopoldine Marie of Anhalt-Dessau (1716 - 1782) has settled down, wearing a magnifcent white robe with gold embroidery.

Together with members of their household they enjoy a dance performance of the fa- mous ballerina Barbara Campanini (1721 - 1799), shown third from the left in a white and blue dress. After her meteoric career on the opera stages in London and Paris, the young Italian was considered the best ballet dancer in Europe. Between 1744 and 1749, "The Barbarina" was the most celebrated star and the highest paid artist of the Royal Court Opera in Berlin, and an infuential protagonist of social life in the Prussian capital.

The representative piece was created by the exceptional painter Barbara Rosina de Gasc, neé Lisiewska, widowed Matthieu (1713-1783), who portrayed herself on the far right, in a light brown dress and pen and paper in her hands. As the daughter of the Prussian court painter Georg Lisiewski, wife of painter David Matthieu, also employed at the Prussian court, and step-mother of the famous engraver and portraitist Georg David Matthieu, Barbara Rosina was one of the few professional female painters of the 18th century.

Trained by Antoine Pesne in Berlin, the talents of the gifted portraitist Barbara Rosina were highly valued in aristocratic circles. She worked, for example, at the court of the Prince of Anhalt-Zerbst, and was court painter of the Duchess Philippine Charlotte of Brunswick-Wolfenbüttel, a sister of Frederick the Great. Furthermore she was the frst female painter to be an honorary member of the Dresden Academy of Fine Arts. Among the numerous portraits of members of the European nobility, which she created in the course of her life, is also the famous large-sized double portrait from 1756, depicting the Russian Grand Duke Peter III. and his wife Catherine II., later known as Empress Catherine the Great (now in the Swedish National Museum Stockholm).

Bayerlein, Fritz - The Minerva figure in the castle park of Seehof

Dickinson, Anna - Vase

Decorative diamond emerald brooch - 20th century

Italian Short Sword - Around 1520/30

Karl Möbius (Borna/Leipzig 1876 - 1953 Friedenau/Berlin)

Bedeutender Bildhauer und Mitglied der Berliner Bildhauerschule

"Speerwerfer", nach 1912

Bronze, gegossen (Hohlguss) und allseits ausgearbeitet

Alte Patina

Auf dem Sockel bezeichnet: "Bildhauer K. Möbius Berlin Friedenau" und "Guss v. Heinze-Barth-Berlin"

Höhe: 151 cm (ohne Speer) und 181 cm (mit Speer)

Provenienz: Ostdeutscher Privatbesitz

Der "große Bruder" des hier angebotenen "Speerwerfers" ist die überlebensgroße Bronzefigur (Höhe 285 cm) des "Speerwerfers", die der Berliner Bildhauer Karl Möbius im Jahre 1912 geschaffen hat. Schon ein Jahr danach, im Jahre 1913, zeigt Möbius diese Plastik auf der großen Berliner Kunstausstellung und dann 1914 auf der Baltischen Kunstausstellung in Malmö, wo der "Speerwerfer" mit dem Staatspreis ausgezeichnet wird.

Auf der "Ausstellung feldgrauer Künstler" im Jahre 1921 in der Akademie der Künste in Berlin wird diese überlebensgroße Plastik durch die Herren Maaß, Hedicke und Denkler angekauft, dem Wilmersdorfer Magistrat zum Geschenk gemacht und daraufhin auf einem hohen Sandsteinsockel im Wilmersdorfer Stadtpark an der Kaiserallee aufgestellt. Dort bleibt diese Plastik, bis sie in den Wirren des II. Weltkrieges im Jahre 1944 für die lebenswichtige Kriegsproduktion eingeschmolzen werden muss.

Nach dem Krieg, 1951, bittet der nun schon über 70jährige Möbius das Bezirksamt den "Speerwerfer" neu gießen und aufstellen zu lassen. Und Möbius verweist dabei darauf, dass die alten Gussformen noch in seinem Besitz wären. Die ganze Angelegenheit kommt amtsüblich erst nach Möbius Tod in Bewegung und so wird das Denkmal am 20.05.1954 im Wilmersdorfer Volkspark an der Bundesallee (ehemals Kaiserallee) wieder aufgestellt.

Der hier angebotene "Speerwerfer", also der "kleine Bruder", ist von Karl Möbius in der Zeit nach 1912 in Auftrag gegeben worden. Dies bestätigt sich auch darin, dass der kleinere "Speerwefer" bei der Berliner Firma Heinze-Barth gegossen wird, die durch Gustav Heinze und Gustav Barth im Jahre 1912 gegründet wird und bis zum Ende der 1920er Jahre existiert. Dieser Bronzeguss ist etwas kleiner als der "große Bruder", aber sicherlich genauso schön und ausdrucksstark.

Interssant ist auch das sehr ähnliche Schicksal der beiden "Speerwerfer", denn laut Vorbesitzer sollte der hier angebotene "Speerwerfer" zu Kriegsende ebenfalls eingeschmolzen werden und er war auch schon zu einer nahegelegenen Gießerei abtransportiert worden. Das jähe Kriegsende verhindert jedoch seine Zerstörung und so lag er über viele Jahre hinweg unentdeckt auf einer Ostberliner Gießerei, bis zu seiner glücklichen Rettung durch einen Kunstliebhaber.

Das Vorbild dieses athletisch-nackten "Speerwerfers" geht eindeutig auf die griechisch-römische Antike zurück. Sein junger, muskulöser Körper ist gespannt wie entspannt und dabei diagonal zur rechten Seite verlagert, wobei sein ganzes Körpergewicht auf seinem rechten, abgewinkelten Bein ruht. Sein linker Fuss berührt nur leicht und fastspielerisch mit dem Ballen und den Zehen den Boden. In seinerrechten Hand hält er den Speer, bereit zum Wurf. Sein linker Arm ist entspannt. Dabei erscheinen beide Arme wie eineArt Balancierstange, nicht ganz gestreckt, einmal die Handfläche nach oben und einmal nach unten zeigend. Das Gesicht ist durch einen heroischen Ausdruck und durch Ernsthaftigkeit charakterisiert, wobei sein fokusierter Blick auf das anvisierte Ziel gerichtet ist.

Dieser "Speerwerfer" ist eine wunderschöne Symbiose aus Kunst und Zeitgeist, aus Kraft und Geschmeidigkeit, klassischer Schönheit und heroischer Ausdruckskraft.

Breu, Jörg - School of: Gothic panel with the crowning of thorns of Christ

Landscape with Herdsmen - Roman School of the 17th century

Hannot, Johannes - Attributed to: Opulent fruit still life

Urlaub, Jeremias August: Large Empire picture clock

Blaas, Julius: Scuffle at a Styrian Horse Market

Greiner, Anton: "Entwurf für Kirchendecke Burgebrach" (Design for church ceiling Burgebrach)

Beuys, Joseph: Blackboard I, II und III

Pair of Vases with Portraits of Landgrave Friedrich II. of Hessen-Kassel and his wife - KPM Berlin, end of 18th century

Jug - Lower Austria, 18th century

Beautiful Pair of Splendid Italien Vases - Savona, 19th century

Confectionery bowl - France, 19th c.

Kellermann, Emil: Art Nouveau Ivory Pendant

Unframed diamond - Modern times

Small Relief of a House Altar with the Holy Family with St. John the Boy - Augsburg, around 1625/30

A Pair of Silesian Baroque Girandoles - Wroclaw, around 1750

Reliquary in original Leather Case - 19th century

Ceiling lamp, Daum Frères, Nancy - about 1915/20

Pair of design armchairs - Italy, mid 20th c.

Urquiola, Patrizia: Swivel chair "Fjord Relax

Four baroque Bozzetti - Austrian master, early 18th century

Anna Selbdritt - Second half of the 15th century

Tapestry - Flanders, early 18th C.

Large baroque cabinet - Franconia, 2nd half 18th c.

Hoys, Johann Leopold u. Schmitt, Georg: Magnificent Rococo pendule

Table top - Italy, 1st half 19th c.

Big pair of Fo-dog figures - China, probably 18th century

Sitting Bodhisattva Guanyin - China, Ming Dynasty - 16th/17th century

Sitting Green Tara - Tibet, 19th century

Büste des Niccolo da Uzzano - Toskana, 19. Jh.

Six champagne flutes-Bolzano, Argenteria

Newton, juin (Hg.)-Helmut Newton's SUMO

Immendorff, Jörg-Optimismus for Germany

Ziem, Félix François Georges Philibert-Gondel and fishing boats in the lagoon of Venice

Vase Dahlias, Charles Schneider, 1923-26

Tambourine player ("Danseur de saltarello") - Justin-Chrysostome Sanson (Nemours 1833-1910 Paris) - casting around 1880

Virgin Mary with Christ and the Infant Saint John framed by a flower wreath. Around 1640 - Cornelis Schut the Elder and Daniel Seghers

A pair of classicist encoignures - Johann Kroll, Mainz, c. 1790

Maria Immaculata - Freiburg im Breisgau, c. 1750 - Master Johann Christian Wentzinger (1710-1797)

Rare two-part Cabinet - Augsburg, c. 1740

Large Relief Plaque with the Burial of Christ - Venice, 16th century -probably after Guglielmo della Porta (around 1500-1577)

Elaborately Inlaid Casket - Ansbach, around 1750 - from the workshop of the Ansbach court ébéniste Martin Schuhmacher (mentioned from 1720-1781)

Little Rococo Writing Bureau - Italy, probably Genoa, around 1770

A courtly set of four French wall appliques - Paris, c. 1760 - Design by Jean-Claude Thomas Duplessis (Turin 1699 resp. 1700 - 1774 Paris)

A highly elegant pair of Classicist Girandoles - Paris, circa 1790

Lid tureen on original accompanying presenting stand - Meissen, mid 18th century

Six Augsburg Rococo Candlesticks - 1747-49 and 1751-53

High-quality Still Life with Fruits - c. 1810 - Johann Nepomuk Mayrhofer

Fine Miniature Rollbureau - probably southwest German or Strasbourg/Alsace, around 1780

Large wall mirror - Venice, circa 1725

Large faience duck as centerpiece - Southern German, 2nd half 18th century

Quality small Rococo Pendule - Paris, circa 1770 - signed on the dial "F RIC DU VAL A PARIS"

Precious casket with secret compartment - Abraham Roentgen, Neuwied, c. 1755

A highly elegant corner half cupboard with fine flower inlays - David Roentgen, Neuwied, c. 1765/70

Museum desk with sumptuous rocaille and flower marquetry - Abraham Roentgen, Neuwied, c. 1765

Bald Luohan - China, Ming Dynasty, 1368-1644

Elegante Chiffonière - France, circa 1765

Courtly pen cabinet - Dresden, around 1750 - Workshop Michael Kimmel (1715-1794)

Wuerzburg Baroque Commode - around 1760 - probably from the Workshop of Johann Georg Oegg (1703-1782)

Classicistic Demi-Lune Commode - Johann Kroll, Mainz, c. 1790

Complete set of 16 Nuremberg tokens - late 17th/ early 18th century

Richly decorated small chest of drawers - Paris, around 1750 - Stamped "MONDON JME" for François Mondon (1694-1770, master around 1730)

Lush fruit still life with insects - Arnoldus Bloemers (Amsterdam 1792 - 1844 The Hague)

Faience lidded terrine with saucer - Niderviller, around 1775

Statuette of a putto with cock - Padua or Venice, around 1600

Late Gothic and Early Modern Spoons

Silver Spoons - 17th and 18th century

Devotional Medallion - Italy, circa 1500

Miniature Coffin - South Tyrol, c. 1620

Portrait of Philipp Melanchthon - Lucas Cranach the Elder and Workshop

The Mockery of Christ

Virgin Mary and John the Apostle

Rococo Bracket Clock - Johann Paulus Graf

Winged Putto - Probably Venice, around 1600 - Workshop of the Niccolo Roccatagliata (Genoa around 1550 - Venice after 1636) attributed to

Ebonized Renaissance cabinet with Scagliola decoration - Italy, around 1630

Very elegant transition chest of drawers - Paris, L. Péridiez, circa 1770 - Stamped Louis Péridiez (born 1731, Master 1764)

A pair of landscape paintings - Johannes Janson - signed and "1778" dated

Extremely sumptuous, courtly ceiling chandelier - Saxony, late 18th century

South German Renaissance cabinet - Probably Augsburg, 17th century

Large screw bottles made of Saxon serpentine - Zöblitz, second half 17th century

Large, high-quality mother-of-pearl box - France, circa 1740/50

A pair of early baroque relief plaques - 17th century

Large, representative bureau-platform - Paris, C. Lebesgue, circa 1785 - tamped "IME" and "C. Lebesgue" for Robert Claude Lebesgue, born 1749, Master 1771

Significant, large rococo wall mirror - Southern Germany, c. 1760 - The workshop of the sculptor and Stuccoer attributed to Joseph Anton Feuchtmayer

A pair of early baroque fireplace trestles - Netherlands, around 1650

Large tapestry - Flanders, around 1700

Richly intarsia transition commode - Paris, J.C. Ellaume, circa 1775 - Stamped "J.C. Ellaume" for Jean Charles Ellaume, Master 1754

Biedermeier child portrait - Johann Friedrich Carpenter - signed and "1828" dated

Freely positionable, well preserved Bureau-platform - Paris, J.-B. Fromageau, around 1760 - Signed with marking stamp of Jean-Baptiste Fromageau (born around 1720, Master since 1755)

Large rococo mirror with "à la porcelaine" frame - Bayreuth, around 1760

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.

Idealized Relief Portrait of Empress Maria Theresa - Probably Vienna, about 1750

Beautiful Louis XIV tortoiseshell mirror - Antwerp, around 1700

Beautiful Imari plate - Japan, early 18th century

Bacchanal with putto and satyr - Franconia, around 1775

Courtly wide rim plate with large coat-of-arms engraving of Duke Christian von Sachsen-Eisenberg - Augsburg, 1690-95 - inspection and master brand Albrecht Biller

Fine salon table with writing device - Paris, P. Peizell, about 1770 - Signed with a striking stamp

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

Legras Vase 1920s

Triptych from Allitz, South Tyrol, circa 1520

Rare and unusually large lid cup - Kulmbach, first half 17th century - Master "EB", probably Elias Behringer (since 1634 citizen of Kulmbach)

Pair of seven-flamed Charles X. Punk Girandoles - Paris, around 1825 - Probability of the workshop of Pierre-Philippe Thomire (1751-1843)

Small lacquer box - Brunswick, c. 1765 - Probably Stobwasser manufacture

Silver plate of splendour - Augsburg, c. 1685 - Marked with Augsburg Review for 1685-87, Master brand Jacob I Warnberger (c. 1677-90)

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

magnificent mirror - Antwerp, around 1600

Exotic fruit still life - Attributed to Karel Borchaert Voet

Very fine baroque console - Southern Germany or Austria, around 1750

Venus with Cupido and God of War Mars - Padua, around 1600 - Model by Tiziano Aspetti (1559-1606)

A pair of dainty Demi-Lune cabinets - Probably Strasbourg, about 1770

Classicist couple Athéniennes as presentoires - France, probably Paris, about 1795

Portrait of an elegant lady - Richard Friedrich Reusing, 1913

Porcelain tureen on original Presentoir - Meissen, around 1780

Four garden sculptures - Franconia, around 1770/80 - Circumference of Johann Peter Wagner (Obertheres 1730-1809 Würzburg)

Delicate Louis XV chest of drawers - Paris, around 1750 - tamped "J. Dubois JME" for Jacques Dubois (1693-1763, Master 1742)

Renaissance figurative inks - Venice or Padua, around 1600

High quality baroque armchair - South German, probably Munich, around 1740

Extraordinarily large and richly decorated Imari plate - Porcelain, Japan, c. 1700

The Temple of Vesta in Rome - Ferdinand Konrad Bellermann (Erfurt 1814-1889 Berlin)

Miniature Cabinet Cabinet - Süddeutschland, wohl Augsburg, 1. Hälfte 17. Jahrhundert

Artfully inlaid Louis XV chest of drawers - France, circa 1760 - Attributed to the Parisian Ebenist André-Antoine Lardin (1724-1790, Master 1750)

Salvator Mundi - Panel Painting circle of Michel Wolgemut, c. 1490

Vase by Hans Baumgärtner

Empire salon table with Florentine Pietra Dura plate - Vienna, c. 1815

Very high quality, courtly Louis XVI cylinder bureau - Paris, circa 1775 - attributed to Godefroy Dester

A Pair of London Lid Sauces - Master John Schofield, 1793

Elegant classicist salon or side table - Stockholm, around 1780 - Attributed to Andreas Andersson Lundelius (master on 3 September 1778)

Very large Charles-X-Bureau Plat - France, circa 1825

Magnificent Empire basket chandelier - Probably Vienna, about 1790

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)

Portrait of Friederike Luise Princess of Prussia (1714-1784) - Workshop of Antoine Pesne, c. 1725/30

Magnificent Louis XVI console table - Tuscany, around 1780

Magnificent Augsburger show plate - Master Paul Solanier, 1710-1712

Renaissance small bronze of Mars - Padua, around 1600 - Attributed to Tiziano Aspetti (1565-1607)

Charles X ceiling crown - France, probably Paris, about 1830

Large porcelain plate - Japan, around 1700

Magnificent Regènce wall mirror with candlesticks - Southern Germany or Bohemia, c. 1730

Renaissance Child Portrait of Bernhard of Saxony (1638-1678) - Christian Richter, 1643

Extremely magnificent Regénce chest of drawers - Mömpelgard/Montbéliard, c. 1730

Rare French Empire vase pendule - Paris, around 1810 - Signed on dial "F. Folin"

Splendid facade cabinet with stamp of the Augsburger carpentry guild - Mid 18th century

Very rare pair of oversized baroque chandeliers - Southern Germany or Austria, around 1700

Pair of London George III lidded terrines - Master Thomas Evans, 1816

Figurative Guéridon - Venice, circa 1720

Baroque Augsburger ornamental plate - Master Jacob I Warnberger, 1674-1680

Biedermeier family portrait of a mother with her two children - Franz Seraph Stirnbrand - signed "Stirnbrand pinx. 1836“

Lötz Vase 1899

Exceptional Representative Desk

Historical Piano by David Roentgen and Peter Kinzing

Courtly pair of appliqués - Probably Berlin or Potsdam, around 1765

Candlesticks from Grann & Laglye

Fritz Heimbürger Denmark

Hans Hansen Denmark

Magnificent pair of candlesticks - Italy, second half of the 18th century - Luigi Maria Valadier (Rome 1726-1785)

Ladies Bureau, Provence

A pair of highly unusual and well preserved wood pictures - Bohemia, probably Prague, 17th century

Two musketeer powder bottles - Germany, around 1600

Splendid flintlock shotgun - From the possession of the Princes of Liechtenstein - Around 1760

Richly decorated, dainty lidded tankard Augsburg - c. 1680 - Master mark Friedrich Schwestermüller I (1678-1701)

Large tapestry Aubusson - circa 1700

Monumental pair of sandstone vases Hessen - probably Kassel, c. 1765

Silver show plate Augsburg - c. 1680 - Master mark Heinrich Mannlich (1658-1698)

Oostsanen Triptych

Candle-bearing Angels, Lombardy, c. 1420

Saint Florian - lime tree, richly carved, with remains of the original setting around 1700 - Johann Meinrad Guggenbichler (Workshop) - Mondsee/Salzburg

Boy in the Pantry, Frans Snyders (Antwerp 1579-1657)

Sauce pan, Georg Jensen Denmark

3-piece tea set, Georg Jensen Denmark

Female Throning Church Donator, Upper Swabia (Circle of the great Ulm master Hans Multscher)

Gothic Virgin and Child, Southern German, probably Franconia

Bernard van Orley (attributed), altarpiece: Mary with Jesus as a baby in front of a landscape, Southern Netherlands

Georg Günther, Blond Nude in "Goethe Position" in Front of Biedermeier Landscape

Fritz Bayerlein, Canola Abloom at the Lake

Courtly baroque wardrobe - probably Mainz - around 1760

Small cabinet - probably Augsburg - at the beginning of the 18th century

Pierre Pioniez, Liseuse, France

Roller attachment secretary à deux corps, Baden

Master Simon Troger, Two Groups of Figures

Altar of Our Lady, Nördlingen

Puristic-elegant Ladies Desk, Thuringia

Massive Walnut Armchair, Southern German, Franconia

Classicist Cherry Wood Chest of Drawers, Southern German, Franconia

Elegant Armchair from the Early Biedermeier Period, Central German

Bureau, probably Berlin

Rare Renaissance antler chandelier, South German (around Zürn)