Antiques

Very fine rococo frame, Probably Upper Franconia, around 1770
Very fine rococo frame
Probably Upper Franconia, around 1770
Fully carved foliage, vines and rocailles. Oak wood. 156 x 106 cm. - Frame partially gone over.
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Pendule a cercle tournant, France, 2nd half of the 19th century
Pendule a cercle tournant
France, 2nd half of the 19th century
On square base vase-shaped case, standing putto with arrow shows time on horizontally rotating hour dial ring and minute dial ring. Red, white and gray marble and bronze gilt, key. 27.4 x 11.5 x 11.5 cm. - To be revised.
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Classicist ceiling crown, Around 1800
Classicist ceiling crown
Around 1800
The ring-shaped lamp body with crystal hangings and six burning points, as upper and lower finishes plastically carved acanthus foliage and flowers. Hardwood gilded. H. 72 cm, Ø 57 cm. - The gilding completely gone over. - Electrified, no guarantee for function and operational safety. - Provenance: from Bamberg noble palace.
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Degler, Johann Sebastian: Baroque wall mirror
Degler, Johann Sebastian
Baroque wall mirror
(Weilheim c. 1670-1730 Bamberg) Richly carved with fully sculptured openwork acanthus foliage. Coniferous wood gilded and colored. 134 x 99 cm. - Small parts replaced, glass modern. - Cf. Heinrich Kreisel/Georg Himmelheber: Die Kunst des deutschen Möbels, vol. 2, fig. 172. The almost identical slightly larger mirror illustrated by Kreisel is in Wiesentheid in Count Schönborn's castle. A confirmation of authenticity by Heinrich Himmelheber is available.
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German Silver Cup with Lid, Bamberg, c. 1730/40
German Silver Cup with Lid
Bamberg, c. 1730/40
Mstr. Johann Ernst Bayer (Böger?). Conical on three flared ball feet, the wall decorated with four flower-filled medallions, lid with ball knob. Silver. Inspection mark "B" and maker's mark "IEB" on the bottom. H. 13,5 cm; 150 g. - Two feet with minor dents. - Cf. Rosenberg 1130.
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Small, baroque ball-foot cup, Nuremberg, end of the 17th c.
Small, baroque ball-foot cup
Nuremberg, end of the 17th c.
Mstr. with the running dog, possibly Hans Leonhard Wolff (Mstr. 1672/73-1709) Slightly conical form on three flared ball feet; on the wall three reserves with architectural landscapes between fruit bundles. Silver, gilded inside and outside. On the bottom maker's mark of a running dog in an oval, hallmark and tremolo mark. H. 7,7 cm; 56 g. - Cf. Nuremberg goldsmith's work MZ1061b.
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Tankard with the Coat of Arms of Bavaria, Southern Germany, probably Bayreuth 18th century.
Tankard with the Coat of Arms of Bavaria
Southern Germany, probably Bayreuth 18th century.
Coat of arms of the Electorate of Bavaria painted in blue on the front, handle with blue line decoration. White glazed faience, pewter mountings; in the lid a medallion with a farewell scene and inscription "Ich reise fort von diesem Ort". H. 22 cm. - Glaze bumps on the handle and the rim of the mouth. - Cf. fig. A. Miller: Bayreuther Fayencen, cat. 157, with the remark on p. 114 "Da Kurbayern keine nennenswerte Fayenceproduktion aufzuweisen hatte, konkurrierten einige Manufakturen hinsichtlich des Exports von Bierkrügen mit dem bayerischen Landeswappen. Die Bayreuther Manufaktur dürfte hierbei den größten Anteil errungen haben". (Since Kurbayern had no faience production worth mentioning, some manufactories competed with each other in the export of beer mugs with the Bavarian coat of arms. The Bayreuth manufactory probably won the largest share of this).
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Saint James, Franconia, around 1500 - Riemenschneider circle or school
Saint James
Franconia, around 1500 - Riemenschneider circle or school
Standing on a square plinth, the saint wears a hat adorned with a scallop shell and a pilgrim's cloak with many folds; in his left hand is his attribute, the book. Wood, carved and polychrome painted, cloak gilded, back hollowed. H. 78 cm. - Minor age damage, head with crack. - Walking stick lost. - Partially overgrown paint.
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Museum table barrel, Bamberg, dat. 1691
Museum table barrel
Bamberg, dat. 1691
Oval barrel with bunghole resting on a four-legged, volute-decorated frame; the sides are decorated with coats of arms, one of the last prince-bishop of Bamberg, Christoph Franz Amand Daniel Veith Christian von Buseck (Jagstberg 1724-1805 Bamberg), the other not known. Wood, colored, metal barrel bands. 41 x 35 x 34.5 cm. - Setting with traces of age.
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Candlestick man, Probably Nuremberg, around 1580
Candlestick man
Probably Nuremberg, around 1580
A bearded man in breeches and doublet with outstretched arms, holding a small cornucopia in each hand, stands above a strongly curved leafy base. Bronze, dark patinated. 18 x 15 cm. - Stand later.
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Juvenel, Frederick: Interior of a church with baptismal font
Juvenel, Frederick
Interior of a church with baptismal font
(Nuremberg 1609-1647 ibid.) Almost deserted Gothic church with an altar in the background. Oil/wood, parquetry. Monogrammed on the right step "F.I.f 1636". 28.5 x 43 cm.
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Bemmel, Carl Sebastian von - attributed to Coastal landscape with monastery on a rocky spur
Bemmel, Carl Sebastian von - attributed to
Coastal landscape with monastery on a rocky spur
(Bamberg 1743-1796 Nuremberg) Oil on canvas. 37 x 53,5 cm. - Frame bumped.
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Very fine baroque armchair — Turin, 1st half of the 18th c.
Upholstered seat on carved volute legs and curved carved frame, the armrests ending in volutes merging into the upholstered cartouche-shaped backrest; the latter richly carved with flowers and foliage. Solid walnut. 104 x 42 x 64 x 57 cm.
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Rolex Men's Wristwatch - Model "Oyster Perpetual Submariner Date"
Rolex Men's Wristwatch
Model "Oyster Perpetual Submariner Date"
Round case with black dial, luminous hands and indices, date display, automatic movement, bicolour link bracelet. Gold 18 ct, steel. Case Ø 4 cm. - Traces of wear.
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Bangle - Wempe, end of the 20th century
Bangle
Wempe, end of the 20th century
Flexible bangle with black enamelled round links, partly set with 30 brilliant-cut diamonds totalling approx. 3.60 ct (fine white, SI). White gold 18 ct. Stamped. Inside dimensions 5.5 x 6.3 cm; 132 g.
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Louis-XV-Encoignure — Pierre Bernard, France, Mid 18th c.
On short legs in sabots with bock feet the two-door, double waved front, lateral edges and fillings with elaborate applied bronze fittings, the fillings with inlaid flower vases on consoles carried by busts. Various deciduous woods veneered, partly fire-shaded and ebonised, gilded bronze, profiled levanto rouge marble top. Signed under the top with a stamp ''P.Bernard Ebeniste''. 88 x 71 x 52 cm. - Marble top restored. Lit. Salverte: Les ébénistes du XVIII siècle, S. 21-22.
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Dedreux, Alfred — The Ride
(Paris 1810-1860 ibid.) Oil on relined canvas. Signed and dated in full lower right ''1852''; on the reverse label of the Musée Cantonal des Beaux-Arts in Lausanne with owner's note of the art dealer Dr. Walter Feilchenfeldt Zurich and title ''Promenade de Chevaux''. 43 x 64,5 cm.
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The Adoration of the Magi
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.