319 Elemente

Considerable commode of the rococo from the perimeter of Frederick the Great - Workshop of the Spindler brothers - Potsdam, around 1760/70

From the workshop of the Spindler brothers (Johann Friederich, 1726- around 1799 and Heinrich Wilhelm, 1738-1788). The artistic carpenters who came from Bayreuth to Potsdam in 1765 upon request of the King, significantly conveyed the furniture art of Frederick the Great at the transition of the late rococo to the early classicism with their pompous works. The numerous orders for different apartments of the new Palais, the brothers obtained in just a few years, is unique and complied with the personal preferences of Frederick the Great for costly material and a pompous courtly representation. “Old Fritz” wanted to demonstrate the unbroken strength of the Prussians after the Seven Year War with the new Palais and its splendid interior.

A regularly appearing motive on these Potsdam commodes is – as also shown here – the separation of the front in three large cartridges that are formed by scrollwork of coloured maple. The decoration of the commode top corresponds to that. On the naturalistic, extraordinarily fine inlaid flower bundles, the originally preserved brand shading, engraving and colorization of the used woods is shown. Exotic veneers as rose wood and palisander and local fruit wood and hardwoods were artistically processed for this commode. On the bronze applications, rests of the original gilding have remained.


Height 81 cm, width 125 cm, depth 66 cm.

Kreisel/Himmelheber: “Die Kunst des deutschen Möbels“, Munich 1970, vol. 2, image 722-726. Schick: “Johann Friedrich und Heinrich Wilhelm Spindler. Die Möbelaufträge Friedrichs des Großen für das Neue Palais“ in: Friedrich300, 2008 (online publication of the foundation for Prussian castles and gardens of Berlin Brandenburg). Graf: “Das Neue Palais König Friedrichs des Großen – Funktion, Nutzung, Raumdisposition und Möblierung, 1763-1784“ in: Friedrich300, 2008 (online publication of the foundation for Prussian castles and gardens of Berlin Brandenburg).

The Adoration of the Magi

The Adoration of the Magi



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:



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.

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.

Mischa Fritsch - Namibia I and River

Mischa Fritsch

(born 9th September 1970 in Johannesburg, South Africa)



Oil and charcoal on canvas, frame made of old wood.

Measure: 187 x 187 cm




Ink and charcoal on canvas, frame made of old wood.

Measure: 187 x 187 cm


Mischa Fritsch was born in South Africa and has roots in Austria and Germany. After 20 years abroad he now lives in Bavaria. The majority of his work, however, still originates in distant, remote nature: Tankwa Karoo South Africa, South West Namibia, Sanibel Island, USA.

The starting point of his works is rarely more than a role of pure canvas in the midst of barren nothingness. A river bank, a beach, sometimes a swamp, surrounded by stone deserts, endless dunes, or otherwise barren expanses of pristine vegetation.

The equipment is just as poor: a multi-purpose knife, ink, cloth. All other materials are already on site: soil, sand, stones, water, plants, sun. The canvases are then worked with. They are soaked, pigmented and structured and exposed to the glistening sun for final drying. The charcoal of the drawings comes from the evening campfire. The black structures are the imprints of the vegetation on site. Grasses, leaves, flowers, mosses, lichens, roots or even algae. Captured with ink and print. Thus Mischa Fritsch's canvases bear witness to the place and time of their creation. Through this almost experimental process he allows place and time to determine the tonality and pictorial quality of his works for the time being.

This supposed arbitrariness and spontaneity only gives way when he returns to his studio at home. Impulsive play becomes artistic focus and technical precision.


On display are the works Namibia I (Namibia, 2018) and River (Doringrivier, Tankwa Karoo, South Africa, 2019).

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.

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).

Portrait of Philipp Melanchthon - Lucas Cranach the Elder and Workshop

Lucas Cranach the Elder and Workshop (Kronach 1472 - 1553 Weimar)

Portrait of Philipp Melanchthon

Wittenberg, 1543

Signature: right over the shoulder black snake signet (with lying wing) and year "1543".

Oil on wood

height: 20,1 cm, width: 14,4 cm

Literature: Friedländer/ Rosenberg: The Paintings of Lucas Cranach, Amsterdam 1978, cf. No. 314/315 E and D, p. 130.

Expert report: Prof. Dr. Gunnar Heydenreich (Cranach Digital Archive), 26.11.2017

Provenance: Private collection, Stuttgart, 2005


The humanist and theologian Philipp Melanchthon (Bretten 1497 - 1560 Wittenberg) was, along with Martin Luther, one of the central figures of the Reformation. The close confidante of Luther taught for over forty years as professor at the University of Wittenberg, wrote numerous theological and pedagogical writings, and was already considered by his contemporaries as "Praeceptor Germaniae" - teacher of Germany.

In 1543 a series of double portraits of Philipp Melanchthon and Martin Luther was painted in Lucas Cranach the Elder's workshop in Wittenberg. A comprehensive art-historical examination of the painting by Prof. Dr. Gunnar Heyden-reich (Cranach Digital Archive) showed that the portrait presented here stands out clearly from similar surviving versions in its technically virtuoso execution. Melanchthon's expressive physiognomy is precisely captured, subtleties such as the eyes with eyelashes, beard and head hair are meticulously reproduced, and the blue background is time-consuming and designed without a recognizable brushstroke.

The work is impressive not only because of its exceptionally high painting quality and the very good condition. Lucas Cranach's masterly study of character, even today, more than 470 years after its creation, allows the important reformer Melanchthon to become tangible to the observer.

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.