Antiques

Germany, around 1730

In outline curved cartouche form with convex-concave chased walls and profiled rims.

The lid and base of polished translucent honey-brown agate slabs. On the walls matching reserves with chiselled shellwork and fine flowers. The delivered pusher is worked as a rocaille.

French import mark "Charancon" for fineness 750 (Tary 173).

Gold boxes in this elegant design were sought-atter collectors' items and were also

frequently given as gifts.

2,3 x 6,5 x 5,8 cm.

Flanders, around 1630

The tapestry, executed in wool and Silk, has been preserved with its original frame border. A courtly, oriental wedding ceremony is depicted in a palace setting.

The large-scale, perspective depiction of the room with the elegant wedding party shows the high level of Skill

of the Flemish Goeblin manufactories of the early 17th century, which explains the demand for these works throughout Europe.

Templates by famous artists, so-called cartoons, such as those by Peter Paul Rubens and Jakob Jordeans greatly inspired the manufactories.

337 cm x 455 cm.

Vienna, around 1740

Walnut and walnut burl veneered on a softwood corpus, with rich, fanciful inlays in plum and birch burl.

The two-shouldered chests of drawers stand on richly carved, curved legs and are decorated on all sides with high-quality ribbonwork.

The rounded corners connect the curved sides with the cambered front and the original fittings have the original gilding

Height 80 cm, width 120 cm, depth 65 cm.

Augsburg, Johann Heinrich Busch, 1807 to 1810

Silver, chased, cast, chased and gilded on the inside. Consisting of large coffee pot, hot milk pot and tea pot.

Marked with the BZ: Augsburg 1807/08 and 1809/10‚ MZ: Johann Heinrich Busch (1807-1810).

The vase-shaped pots with curved spouts and elaborately carved wooden handles are decorated with lush floral borders on their robes and are executed in very high quality.

A tureen by Johann Heinrich Busch is in the silver chamber of the Munich Residenz.

Lit. Seling Ill, No. 2940, 2960, 2662.

Height coffee pot 34 cm,

Height of hot milk jug 25 cm,

height of teapot 20 cm.

Total weight 2598 g.

Lyon, around 1775

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

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

Fortunately, the old Silk covering has survived.

Height 88 cm, width 58 cm, depth 48 cm.

Naples, mid-18th century

The busts of the putti are made of fired clay and finely painted.

The chubby-cheeked pair of angels is equipped with strong wings and has the original setting from the period of origin.

The small sculpture shows the high artistry of the Neapolitan artists, who were famous in the 18th century for their cots, the accompanying figures, animals, architecture and accessories with bright colours.

Our pair of putti could have hovered as a crowning glory above the cot with the baby Jesus lying in it at the stable of Bethlehem.

Height 7.5 cm, width 7.5 cm.

Berlin, Joachim II Hübener, around 1750

Silver; partielly gilded. Conical cup with flared lip rim on indented foot.

The wall with flat chased Ieaf scallops and latticework between 18 Brandenburg and Polish coins, mainly of the 16th century.

Marks: BZ Berlin c. 1737 - 57, MZ Joachim Hübener II (1737 — 80), tremolo engraving.

The production of such coin cups was always particularly precious because solid silver coins were worked into the wall and thus became part of the decoration of the cup.

Another coin cup by the master has survived in a private collection in Berlin.

Lit. Cf. Scheffler Berlin, no. 5, tig. 10.

Height 10.5 cm,

weight 159 g.

Nuremberg, around 1600

The large wall arms are enriched by elaborate leaf decorations and the beIl-foot-like holders are florally decorated.

The Nuremberg brass guild was highly esteemed and very successful at this time. Their products were distributed from Nuremberg via international trade routes.

Depth 50 cm

Austria, probably Tyrol, around 1700

The very vividly carved recumbent Iion in walnut shows fine fur markings over its entire surface. The original patina has survived very well on the sculpture.

It is difficult to say whether this small sculpture was used for a work of art, an unusual piece of furniture or decoration in a room.

Length 40 cm.

Southern Germany, around 1780

This rare model cabinet is worked in walnut on all sides, has the original fittings, as well as lock and bowl.

The door is worked with profiled coflers and there are classicistic carvings on all sides. It is a piece of furniture for a doll‘s house and was made in Southern Germany around 1780.

Height 27 cm, width 30 cm, depth 15 cm.

Genoa, around 1740

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

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

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

Height 78 cm, width 102 cm, depth 64.

Frankfurt am Main, around 1755, assigned Christian Georg Schütz the Elder

In a large idyllic river landscape ancient ruins and a castle complex are depicted, the centre of the picture is enlivened by a resting shepherd, the right side shows rich vegetation in front of a hilly riverside landscape in the background.

Christian Georg Schütz the Elder (Flörsheim 1718- 1791 Frankfurt am Main) was a fresco and far;ade painter who worked at the courts of Hohenzollern-Hechingen and Nassau-Saarbrücken during his years of travel before settling in Frankfurt am Main in 1743. He undertook study trips to the Rhine and Switzerland.

Around 1750 he worked for the Duke of Brunswick—Lüneburg and the Landgrave of Hesse for the residences in Kassel. In Goethe's time, his mostly ideal, romantic landscapes, influenced by the Middle Rhine and often executed in oil on canvas, were very popular and widespread. Another work has been preserved in Wilhelmshöhe Palace in Kassel, among other places.

Oil on canvas.

96 x 171 cm.

probably Dresden, mid-18th century

Agate with finely engraved and original gilded fittings and mounts. Both the original snap lock and key are present.

The straight agate corpus with matching curved front and two drawers divided by cambered crossbars stands on gilded paw-shaped feet. The polished top is curved to match the body.

This is a precious showcase piece, an exclusive container in the form of a small chest of drawers in unusually noble, valuable material.

Height 9 cm, width 15 cm, depth 8 cm.

Upper Swabia,around 1630, attributed to Jörg and Michael Zürn.

The fully sculpted Madonna of Iime wood stands on a richly curved pedestal with the Christ Child in her arms.

Lush folds of her garment frame the intimate depiction of the mother with her child. With a sceptre in her hand, she gracefully yet dignifiedly points to the miracle on her arm. The Christ Child looks at the viewer and, with the globe in his hand, is the expression of divine grace.

From the important workshop of the Zürn family of sculptors on Lake Constance, in addition to large ecclesiastical commissions, such as the altar of the Virgin Mary in Überlingen Minster and works in Salem Monastery, sculptures have survived that were more for private devotion.

Height 22.5 cm.

Paris, around 1780

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

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

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

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

Grenoble, Jean-Francois Hache assigned, around 1770

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

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

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

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

Height 87 cm, width 115 cm, depth 55 cm.

Paris, around 1820

The Parisian work is of very fine chiselled bronze quality and is fire-gilded to a very high

standard on all sides, with polished and upolished sections in places.

On a rectangular base and pedestal with appliqués stands a lyre-shaped clock case with richly chiselled decoration as a crowning festoon carried by two mythical creatures and with the bust of Apollo.

Openwork dial with Arabic numerals in enamel cartouches, half-hour striking mechanism on a bell.

53 x 18,5 x 12,5 cm.

Römhild (Thuringia), around 1640-50

The casket in the form of a miniature facade chest was made of ebonised wood with alabaster inlays.

In this way, the formed plinth contrasts in colour with the architectural facade above it with ionic columns at the corners, two round-arched niches with escutcheons and arabesque decoration. The lock with original key is spanned by two columns with architraves.

A special surprise is revealed when the box is opened: the right narrow side of the box can be pushed upwards, exposing three secret compartments.

The original interior Iining has been preserved.

A comparable example is in the art collections of the Dresden court.

Height 13.5 cm, width 24.5 cm, depth 18 cm.

Nuremberg, around 1450

The powerfully chased brass cymbal beater's bowl shows four shield-holding angels between humped petals.

Cymbal beater bowls were a sought-after product of the brass guild in Nuremberg and were valued as holy water and baptismal font bowls, as well as alms bowls.

They were sold throughout Europe via the known trade routes. Early works like this plate shown have survived very rarely.

Lit. Tamäs Egyeki-Szabö, Cymbal beater keys 2008.

Diameter 41 cm.

Frankfurt am Main, around1730

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

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

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

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

Height 228 cm, width 220 cm, depth 80 cm.

Flanders, around 1640

Oil on canvas, doubled.

From an elevated vantage point a wide view opens into a deep river landscape, enlivened with a castle complex and with a row of houses on the left half of the picture, as well as country people and a hunter on the right.

The depth of the green-blue background is enhanced by a strong round fortified tower standing in the river and reached by a wooden footbridge. In the foreground a treescape contrasts the depth with dramatic cloud formation in the background.

96 x 138 cm. In a partly gilded old frame.

Paris, around 1775

A precious Japanese lacquer plate with an extremely high-quality bronze mount was designed as a presentoire, on which Japanese porcelain cups, trays for writing utensils and ink, are also mounted.

The tribute to the exotic and expensive product imported from the Far East was staged with lavishly gilded bronze ; as a desk set, it was an additional ornament to a valuable secretary.

A comparative piece is in the Staatliches Museum Schwerin.

Lit. Cf. Karin A. Möller, Meissener Porzellanplastik des 18. Jh. Die Schweriner Sammlung, Schwerin 2006, pp. 174-175, no. 87.

44 x 28 cm.

Augsburg 1791 -93

Two extreme high quality, classicistic silver jugs. Wrought, cast, chased, hallmarked and mounted, with original interior gilding and ebonised handles. From Southern German nobility.

MZ: CGS for Christian Gottlieb Il Schuhmann (1757-1794, master from 1784).

Another pair of jugs by the master has survived in Wittelsbach possession and is in the silver chamber of the Munich Residenz.

Lit. cf. BZ: Seling III, no. 276 and 2601.

Height 34 cm and 26 cm,

probably Munich, around 1735/40

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

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

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

Mondsee Monastery / Salzburg, Meinrad Guggenbichler, around 1700

Lime wood, carved. The original colouring and gilding has been preserved.

Johann Meinrad Guggenbichler (Einsiedeln 1649 - 1723 Mondsee) was the son of a stone sculptor and master builder who was apprenticed in Dillingen. From 1678 he worked as a monastery sculptor for Mondsee Monastery. The successful, highly esteemed M. Guggenbichler received important commissions from the Prince-Bishop of Salzburg from 1700 onwards.

The large sculptures shown here could have been assistant figures from an altar or architectural elements of a profane, princely room decoration.

Height 70 cm, width 38 cm.

Augsburg, Jakob Anthoni, 1605-10

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

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

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

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

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

Paris, around 1775

A  neoclassical Parisian pendulum in the shape of an obelisk on a rectangular base, bleu turquin marble richly mounted with very high quality fire—gilt bronze fittings.

The white enamel dial bears the signature of the famous Parisian clockmaker's workshop "Le Roi ‘a Paris", which worked for the French court and the high nobility, among others. The obelisk is crowned by a gilded sphere.

Eight-day lock disc strike mechanism.

Lit. Cf. Elke Niehüser, Die französische Bronzeuhr, p. 251, no. 1071.

Height 55 cm, width 18 cm, depth 12.5 cm.

George Ill, London 1785/86

Silver, chased, drawn, chased and engraved with coat of arms in front of ermine drapery.

The silver tureen was made in London in 1785 as a tapered shaft with a wide body and fluted raised lid, ring and vase finial over an oval stand. The two raised ribbon handles form a special eye-catcher next to the engraved coat of arms.

Hallmarked with a lion. MZ: Jas. Young, first mentioned in 1760.

Lit. Jackson's Silver & Gold marks, 1905, p. 217.

Height 30, 50m, width 50 cm, depth 25 cm,

Weight 3386 g

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

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

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

The original marble top has been preserved.

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

Magdeburg, around 1775

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

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

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

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

Height 34cm.

France, probably Paris, attributed to Fidelys Schey, around 1775

The furniture is veneered and inlaid with rosewood and royal rosewood on all sides on an oak and spruce corpus. Colored fruitwoods show musical instruments and flower vases in the inlays, framed with gilded brass mouldings.

The bronze fittings have the old gilding. A writing device is hidden in the top drawer.

The original Bräche d'Alep plate is preserved. Fidelys Schey (1748-1788) was born in Baden. He can be proven as a master craftsman since 1777 in the Rue du Faubourg-Saint-Antoine in Paris. In 1786 he delivered a console to the royal palace of Fontainebleau.

Lit. Kjellberg, Pierre. Le Mobiliar francais du xviii siécle, Paris, p. 784.

Height 74 cm, width 48,5 cm, depth 32,5 cm

Augsburg, 1736/37

The representative and extreme high-quality surtout is decorated with engraved, chiselled, cast and chased Régence ornamentation and applied mascarons.

Table centrepieces of this type were used for hot tea and coffee pots, large tureens or for placing floral decorations on a festive table.

BZ: Augsburg 1736/37 (Seling III, no. 207) no. 1780), MZ "ICH" for Johann Chrioph Höning, master from 1727, died 1769 (Seling III, no. 2194).

Alternatively, according to Seling, for this master monogram also comes into consideration: ICH for Johann Christian Hermann, Master 1728, died 1758 (Seling no. 2205).

Lit. Seling III, Augsburg Goldsmiths.

Height 5.7 cm, width 45 cm, depth 39 cm,

Weight 1550 g.

Meissen 1737-40

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

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

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

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

Height 53,3 cm.

Nicolas Sageot, Paris around 1720

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

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

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

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

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

Augsburg around 1665, Peter Winter

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

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

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

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

With frame 27 x 28 cm.

Würzburg, around 1750

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

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

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

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

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

17th century, attributed to Adam Lenkhardt

Ivory, fully sculpted.

On an octagonal wooden base stands the goddess Venus, dressed only in a loincloth, looking down lovingly on the Armor boy who, smiling triumphantly, hands her the Apple of Paris.

This high-quality small sculpture is traditionally attributed to Adam Lenkhardt (Würzburg 1610—1661 Vienna), one of the important representatives of Baroque ivory carving.

After apprenticing under his father, Nikolaus Lenkhardt, Adam travelled through Italy and settled in Vienna in 1638, where he advanced to become the chamber sculptor to Prince Karl Eusebius of Liechtenstein from 1642 to 1660. He created very high-quality small sculptures with both profane and sacred motifs.

Height 31,5 cm.

Anton Raphael Mengs and workshop, around 1750

Oil on canvas.

This representative portrait shows the Electress of Saxony (1724-1780) in a precious brocade decorated dress with a blue ermine cloak and red sheath. She wears the star of the Russian Order of St Catherine and the Austrian Order of the Star Cross.

The Elector Princess was the daughter of the Elector and later Emperor Karl Albrecht of Bavaria and from 1747 was the wife of the Elector Friedrich Christian of Saxony, whose portrait was painted by Mengs as a counterpart.

The first version from Mengs' workshop has been preserved in the Dresden State Art Collections. Another version of similar quality is described in the painter's estate in 1779, so there is reason to suspect that the portrait shown here may have come from the painter's estate.

Anton Raphael Mengs (Bohemia 1728 - 1779 Rome) was born as the son of the Saxon court painter lsmael Mengs and received early support from his parents. From 1741 to 1744 he stayed in Rome with his father to study antiquities. From 1745 to 1761 he was court painter to August Ill, King of Poland and Elector of Saxony, and from 1761 to 1777 court painter to the Spanish King Charles III. Among his patrons were the Margravine Wilhelmine of Bayreuth, Tsarina Catherine ll and Cardinal Alessandro Albani.

Height 142,5, width 110,5 cm.

Paris, around 1786

Designed by Francois Vion (1737-1790), a magnificent bronze lion stands on an ebonised wooden stand. On his back he carries a round clock on a saddlecloth, which is crowned with a vase with handles.

The high-quality bronze is very elaborately chiselled and fire-gilded on all sides. Eight—day movement, chiming disc movement on a hell on the hour and half hour.

Dial signed "Mignolet a Paris". Joseph Mignole became master in 1786.

Mechanism signed "lmbert a Paris", Jean-Gabrielle Imbert, master from 1776.

Height 35 cm, width 20 cm, depth 12 cm

Wroclaw, Tobias Meyer and Gottlieb Benjamin Vogtmann, 1792

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

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

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

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

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

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

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

Louis XV, Paris around 1735

The richly curved console table is made of Iime wood and richly carved. It is engraved on all sides and has largely retained its original gilding. The legs end in an elaborate central bar on which a winged dragon rests between shells.

The original marble slab shows a green, dark red veining and artfully takes up the curve of the console with its profiles.

Height 85.5 cm, width 130 cm, depth 60 cm.

Michael Müllner 1609-1629

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

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

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

Height 11 cm,

Weight 173 g

Johann Michael Kimmel, around 1760

A very high-quality top secretary, rosewood, walnut and boxwood veneered on softwood and fruitwood.

The writing desk is placed on a two-panelled, cambered chest of drawers and is topped by a polished mirrored top. All sides are lavishly parquet-faced in cubes. The writing compartment and the top have a high-quality interior.

The original fittings have preserved remnants of the old gilding.

Johann Michael Kimmel (Zittau 1715- 1796 Dresden), was active in Dresden as a court tébenist from 1751. Other works by Kimmel have been preserved in Pillnitz Palace, Mosigkau Palace and in the pheasantry Moritzburg, among others.

Lit.: Gisela Haase, Dresdner Möbel des 18. Jahrhunderts, Leipzig 1993, p. 293f, fig. 98 and 100.

Height 217 cm, width 85 cm, depth 53 cm.

Paris 1768

Oval lidded box with a portrait of a lady mounted in a chiselled gold frame.

The body of the box is made of Japanese Iacquer plates and the elaborate gold mounting shows the high appreciation of the exotic, Far Eastern culture.

The master's stamp is partially plastered over, the box is from J.J. Prévost (1762-1768) marked.

Length 8 cm.

Carl Rothe, Breslau around 1834

Oil on canvas, marked on the back.

The family portrait shows the second wife of Duke Eugen II of Württemberg-Oels (Oels 1788 - 1857 Karlsruhe), Duchess Helene (Langenburg 1807 - 1880 Heinrichsruh near Schleiz) with three of her four children: Wilhelm (1828-1869), Nikolaus (1833-1903) and Alexandrine (1829-1913), later abbess of the noble ladies' convent in Oberstenfeld.

The painting was made before the birth of their fourth child Agnes (1835-1903) and is attributed to the court painter Carl Rothe (Dresden 1810-1865 Liegnitz), who worked as court painter to the dukes of Württemberg in Oels and Breslau. Several portraits of the family by have been preserved.

Height 136.5 cm, width 111 cm.

Genoa, around 1740

The intricately carved pair of appliqués oonceals elaborate grimaces in their movements. Both chandelier arms and the original mirror glass as well as the original silver Ieafing have been preserved.

Height 90 cm, width 65 cm.

CRUCIFIXION OF CHRIST

Danube school, circle of Wolf Huber

(Feldkirch/ Vorarlberg, c. 1485 – 1553 Passau)

circa 1520

Panel painting, oil on wood

Height: 115 cm, width: 63.5 cm

Provenance: private collection, Southern Germany

SAINT ANTHONY

Franconia (Northern Bavaria), c. 1500/1510

Lime wood, reverse hollowed out, original polychromy

Height: 94 cm

Provenance: private collection, Southern Germany

SAINT ELIZABETH

Middle Rhine Region, Trier, beginning of the 16^th century

Sandstone, traces of the original polychromy

Height without base: 85 cm | base: 41.5 cm

Provenance: from the former “Sankt-Elisabethen-Mühle” (Mill Saint Elizabeth)

near Ruwer/ Eitelsbach, today city of Trier

St. Elizabeth of Thuringia (Bratislava 1207 - 1231 Marburg) has been one of the most venerated female saints since the late Middle Ages. The Hungarian princess, as Landgravine of Thurinigia, devoted her entire life to caring for the poor and sick in the hospital she founded in Marburg.

The sandstone sculpture of the saint giving bread to a beggar kneeling beside her, was probably created around 1520 for the monastery and hospital of St. Elisabeth, which was subordinate to the Abbey of St. Maximin in Trier. For a long time, the sculpture was located in the St. Elisabeth Mill near the small village of Ruwer, northeast of Trier, which had been in existence since the High Middle Ages and was part of the monastery's estate. 

SAINT CHRISTOPHER

Brabant, circa 1540/60

Walnut wood, reverse flattened

Height: 39 cm

Provenance: private collection, Southern Germany

MATTHÄUS KRINIS

(active in Upper Bavaria, first quarter of the 16^th century)

NATIVITY OF CHRIST

Upper Bavaria, circa 1518

High relief, lime wood

Height: 45 cm; width: 68 cm

Matthäus Krinis is a sculptor from the circle of the important Upper Bavarian artist Hans Leinberger. In 1511 he was granted citizenship in Mühldorf am Inn as an independent master.

Literature: M. Neumeister: Studien zu den Altöttinger Türen und ihrem Meister. Part III, Diss., University Hamburg 1996, p. 100-102, no. 8 with ill.

Schmitt/ Swarzenski: Meisterwerke der Bildhauerkunst in Frankfurter Privatbesitz. Vol. 1 [...], Frankfurt a.M. 1921, no. 163 with ill.

Provenance: collection Jacob H. Weiller, Frankfurt | auction October 21, 1930 at Hugo Helbing, Frankfurt (auction catalogue p. 19, no. 93, ill. Plate 16) | Gallery Dr. Benno Griebert, Meersburg, Lake Constance | private collection, Zürich, from 1952 to 2022

HOLY FAMILY

Swabia, circa 1520

Lime wood, full round sculpture

Height: 33 cm, width: 27.5 cm, depth: 11 cm

Provenance: private collection, Southern Germany

"DIVISIO APOSTOLORUM"

Swabia, circa 1500

Middle part of a relief of the "Dispersion of the Apostles" - Jesus with St. John the Evangelist, flanked by St. James with pilgrim's hat and a third apostle, possibly Simon or Judas Thaddaeus

Lime wood, with traces of the original polychromy

Height: 29 cm, width: 58 cm

Provenance: private collection, Southern Germany

SAINT CECILIA

Burgundy, first half of the 15^th century

Limestone, full round sculpture, 

with traces of the original polychromy

Height: 64.5 cm

Provenance: private collection, Western Germany

Cecilia, patron saint of musicians, is depicted as a graceful young lady. Her contrapposto pose, the fashionable coif and the dress falling in luxuriant folds around her feet, impressively reflect the subtle elegance of the beginning Late Gothic period.

With dreamily lowered gaze, Cecilia seems to listen to the melody she is playing on her portative. This characteristic attribute of the saint is the smallest form of portable pipe organ and was especially popular with traveling minstrels in the Middle Ages and Renaissance era.

MELCHIOR BAUMGARTNER, WORKSHOP

(1621 - Augsburg - 1686)

IVORY CABINET

Augsburg, circa 1650

Ivory on wooden corpus, gilded bronze applications

Drawers painted after engravings by Albrecht Dürer: 

Adam and Eve, scenes from the Old Testament

Height: 27 cm, width: 24 cm, depth: 18 cm

REMBRANDT HARMENSZ VAN RIJN
(Leyden 1606 - 1669 Amsterdam)
LANDSCAPE WITH A COTTAGE AND A LARGE TREE
Signed and dated: Rembrandt 1641 (lower center right)
Etching on hand-made paper with watermark "coat of arms with feur-de-lis" Condition: trimmed on or within plate mark
Height: 12.5 cm, width: 32 cm
Literature:
Catalogue raisonné Bartsch/ Rovinski/ Seidlitz: 226
The New Hollstein Dutch & Flemish etchings, engravings and woodcuts 1450-1700. Rembrandt. Erik Hinterding/ Jaco Rutgers/ Ger Luijten, vol. II, p. 84, cat. no. 198.

JÖRG LEDERER

(Füssen or Kaufbeuren, c. 1470 – c.1550 Kaufbeuren)

SAINT PETER AND MARY MAGDALENE

Kaufbeuren, circa 1520

High reliefs, lime wood, original polychromy, 

probably originally from the wings of the predella of a carved altarpiece 

Height: 42 cm and 41.5 cm

Literature: Auction catalogue Lempertz: Collection Dr. Krüger/ Meran [...], cat. 410, Nov 27, 1940, Cologne 1940, p. 40 no. 191, with ill. plate 44.

P. Hildebrand Dussler (ed.): Jörg Lederer. Ein Allgäuer Bildschnitzer der Spätgotik. Catalogue raisonné edited by Theodor Müller/ Alfred Schädler, Kempten/ Allgäu 1963, p. 69, no. A 44.

Provenance: private collection, Southern Germany

MASTER OF THE ABBEY OF COUDEWATER, CIRCLE OF

(active in Brabant, c. 1470-80)

SAINT BARBARA

Northern Brabant, circa 1480

Walnut wood, original polychromy

Height: 37.5 cm

Provenance: private collection, Austria

MASTER OF ERISKIRCH

Lake Constance, active c. 1420-1430

PIETÀ

Lime wood, reverse hollowed out, old polychromy 

Height with base: 90 cm

Literature: Wilm/ Buchheit/ Goering: Sammlung Georg Schuster, Munich 1938, pp. 6 f., no. 12; plate 14, p. 12.

Hubert Wilm/Alfred Ehrhardt: Alte Kunst, Lebendig. Bildwerke einer Privatsammlung, Stuttgart 1942, p. 28, ill. 101, 102.

Julius Baum: Der Meister von Eriskirch. In: Jahrbuch für Kunstsammler 2, 1922, pp. 43–46.

Provenance: collection Georg Schuster (1869-1937), Munich | collection Georg Hartmann (1870-1954), Frankfurt and Barcelona | in the possession of Georg Hartmann's descendants until 2021

The so-called "Master of Eriskirch" was first identified as the creator of the Pietà presented here at the beginning of the 20th century by the renowned art historian Julius Baum. The vividly realistic modeling of the facial features and the body shapes corresponds to a modern conception of human anatomy and movement that was new at the time. – The typical mark of the Master of Eriskirch is clearly evident. His powerful and realistic style clearly stood out from his contemporaries and exerted a recognizable influence on other artists in the Lake Constance region.

This Pietà is an excellent example of the artistic innovations of the late Gothic period. The sensitively observed and masterfully rendered expression of the mourning Mary has lost none of its poignancy even after six hundred years. In this way, both the emotional dimension and the theological intention of this devotional scene remain comprehensible over time.

This extraordinary sculpture comes from the collection of the Frankfurt factory owner and renowned art patron Georg Hartmann (1870-1954) and has been in the possession of his family until recently.

JOHANN GABRIEL DOPPELMAYR 

(1677 - Nuremberg - 1750)

 

CELESTIAL AND TERRESTRIAL GLOBE AS A PAIR

Nuremberg, dated 1730

Papier mache, wood, meridian ring brass

Height ca: 30 cm, diameter: 19.5 cm

 

At the beginning of the 18^th century, as part of the Enlightenment, a serial production of utility globes began, first in France. The scholar and cartographer Johann Doppelmayr (1677 - Nuremberg - 1750) was one of the first manufacturers in Germany. From about 1730, he created globes of medium size, like the pair shown here. His pieces were among the most widely used and most accurate German globes of the 18^th century.

Pairs of "Globus Terrestris Novus" and "Globus Coelestis Novus" were representative objects, which were also part of the collection of princely libraries.

FAIENCE JUG (ENGHALSKRUG)

Frankfurt, circa 1680

Faience with chinoiserie decoration painted in blue, yellow and green underglaze colours, braided handle, pewter lid

Height: 30.3 cm

Crucified Christ 

Franconia, circa 1500/1520

Lime wood, full round sculpture, original polychromy

Height: 84 cm

Provenance: private collection, Southern Germany

Saxony, circa 1490

Lime wood, reverse flattened, original polychromy

Height: 126 cm

Provenance: private collection, Southern Germany

Wroclaw, dated 1652

Master: GV for GOTTFRIED VOGEL the Elder (1583-1657, Master 1617) or GOTTFRIED VOGEL the Middle, (1620-1680, Master 1645)

City mark: W in a circle for Wroclaw

Silver, cast, chased, engraved, partly gilt, leather case 

Donor with coat of arms: Johann von Götz und Schwanenfließ

Height: 23 cm, width: 13.6 cm

"MASTER OF THE HORBER MADONNA", also called "KREUZWINKELMEISTER"

(active in Horb am Neckar, from c. 1410/15)

VIRGIN AND CHILD

Swabia, c. 1430-1440

Lime wood, reverse hollowed out, old polychromy

Height: 100 cm

Literature: Hubert Wilm/Alfred Ehrhardt: Alte Kunst, Lebendig. Bildwerke einer Privatsammlung, Stuttgart 1942, pp. 29-30, ill. 111-114.

Provenance: collection Georg Schuster (1869-1937), Munich

Signed on the circlet.

A transversely oval white marble plinth hung with festoons carries the clockwork in a richly ornamented, openwork lyre. By looking at the mechanics in the center of the dial circlet, the technology becomes a confidential work of art on par with the lavishly gold-plated case.

With its eight bars, the pendulum imitates the strings of the lyre, which is crowned by the aureole of Apollo’s bust. Merra, a master craftsman since 1772, ran his workshop until 1791.

The sales inventory of the “fond de commerce” shows high-quality clocks made by the successful master watchmaker for the wealthy and discerning Parisian society of the late 18^th century.

Height 49 cm, width 22 cm.

Tardy, “Dictionnaire des horlogers français”, Paris 1972, p. 458.

Elaborately veneered in Bois de Rose and mahogany as well as in numerous other partly colored, burn-shaded and engraved precious woods, splendid fire-gilded bronze applications and decorative edges, profiled, original Brèche d’Alep marble slab as a cover.

Signed with stamp under the slab.

The artfully inlaid ornamentation in the fourfold mirrored veneer base on the front “sans traverse” as well as the sides of the furniture meet the highest demands on a courtly parlor piece. In the veneer, large-area bundles of flower branches with an imaginative framing of shells and scaled ribbons predominate. The applications with movingly curved rocailles that flow along the edges of the furniture complement the inlaid motifs of the representative chest of drawers. From French aristocratic possession.

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

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

Inscribed on the base “fecit T. Friedl” and “Gegossen J.C. Hennick”.

The large-format cast made of gold-plated metal shows two fully plastic, lively putti attentively carrying a bowl of fruit. In the spirit of baroque sculpture, that moment of movement is captured here with virtuosity in which the greatest tension lies - both physically and mentally. In the watchful eyes of the putti, the greatest concentration is on balancing the sweet but heavy harvest on the tray.

Friedl (Vienna 1842-1900 Kirchau / Lower Austria) studied at the Vienna Academy of Fine Arts and created numerous sculptures. His main works are the marble steed taming groups on Maria-Theresien-Platz in Vienna, other sculptures and architectural sculptures can be found in Hamburg, Budapest, Augsburg and Prague.

Height 92 cm.

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

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

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

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

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

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

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

Height 323 cm, width 311 cm.

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

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

Height 80 cm.

Silver, cast, embossed and chased with Augsburg inspection and master’s mark Johann Jakob Kohlern.

A very beautifully executed pair of early baroque candlesticks, in which the fine engravings have been preserved in a very good condition and artfully alternate with embossed, relief ornaments and rich profiles.

Height 17.3 cm, weight 580 g.

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

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

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

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

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

Oil on copper.

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

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

Height 40 cm, width 52 cm.

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

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

Plaster, mounted and signed on the side.

The torso is listed in the catalogue of works of the artist currently being processed by Andrea Müller-Fincker. After completing his studies at the University of Fine Arts in Berlin, Schliepstein initially worked as a freelance artist. From 1911, he worked for KPM and from 1929 exclusively for Rosenthal.

His initially naturalistic figures were followed by more and more expressionistic, expressive designs during the 1920s, to which this female nude can also be assigned. Numerous museums exhibit Schliepstein’s work, including the Bröhan Museum Berlin, the Porzellanikon in Selb and the Museum of Applied Arts and Sciences in Sydney.

Provenance: From the property of the artist’s family.

Height 83 cm.

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

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

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

Height 53 cm.

Inlaid with fine grain birch wood, walnut, maple and plum colored in red and green, with original gold-plated fittings.

In terms of structure and decoration, the writing furniture corresponds to a group of comparable high-quality chests of drawers and cabinets summarized under the technical term "Erfurt furniture”. The inlays with two large, gallant shepherd scenes in landscapes with ruined architecture are framed by extremely fine rococo ornaments painted in black solder. If copper engravings were applied to the furniture in the Arte Povera manner - mainly in the case of Italian furniture - this secretary was decorated with a combination of inlay and artistic painting.

The necessary work steps were carried out by specialized artisans. This representative piece of furniture could only be manufactured to such perfection with the interaction of marketeer and painter. A counterpart of comparable quality from the possession of the princes and counts of Schönburg is kept in the castle museum in Glauchau. This secretary is shown at Kreisel / Himmelheber.

Height 200 cm, width 131 cm, depth 70 cm.

Kreisel, “Die Kunst des deutschen Möbels“, Munich 1973, vol. 2, fig. 904 as „Erfurt writing cupboard“.

Voigt, “Möbel aus schönburgischen Schlössern“, Glauchau 2003, p. 55-69.

Fire-gilded bronze.

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

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

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

Finely hewn and polished, beige sandstone.

The implied smile on the face of the deity stands for the highest and noblest form of a Buddha’ laughing and can certainly be brought into accordance with the state of enlightenment. The flamed tip on his hair is also a symbol of his spiritual nature and enlightenment. The lowered gaze under the finely drawn brow line indicates his deep spirituality and inner calm.

Provenance: German private collection, acquired in 1996 from Venzke art trade, Berlin.

Height 34 cm.

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

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

Height 148 cm, width 72 cm.

Selected veneers in palisander, rosewood and other precious woods, high-quality, gilded bronze applications and decorative profiles, the original Brèche d’Alep marble slab as a cover.

Signed with stamp. The artful workmanship of the veneers, the use of bronze ornaments and its classic shaping testify the outstanding work of Ohneberg (born around 1738, master 1773), from which valuable chests of drawers in transition and Louis XVI style have been preserved and are proven in the literature.

A transitional style chest of drawers lavishly inlaid with musical instruments by Ohneberg is now kept in the Louvre. The secretary shown here has a removable, lockable cassette in the two-door lower part, the writing top is covered with gold-embossed leather and hides storage compartments and four small drawers. The fluting of the head drawer is particularly elaborate.

Height 142 cm, width 82 cm, depth 41 cm.

Kjellberg, „Le Mobiliare française du XVIIIe siècle“, Paris 1998, p. 623-628.

Kjellberg, Le Mobiliare française du XVIIIe siècle, Paris 1998, S. 623-628.

Grand Duchess Friederike Caroline Luise of Mecklenburg-Strelitz with the portrait of her first daughter, Charlotte Georgine Luise Friederike

Oil on canvas.

This picture, made in the tradition of courtly portrait painting, offers a symbolic insight into the private life of the depicted princess of Hesse-Darmstadt (1752-1782), through marriage the Duchess of Mecklenburg-Strelitz and mother of the Prussian Queen Luise. The elaborately gathered and embroidered, silk-blue dress, the artfully teased hairstyle, the subtle but expensive jewellery underline her representative function. As an allegory, the little dog refers to marital fidelity and, like the finely executed child portrait in her hands, illustrates the social role of the young duchess.

Commissioned on the birth or christening of their first child, this lovingly painted souvenir was created with the double portrait of mother and daughter. Charlotte (1769-1818), who later, together with her sisters Queen Luise of Prussia, Queen Friederike of Hanover and Princess Therese of Thurn und Taxis, was considered one of the most beautiful women of her time, married Duke Friedrich of Saxony-Hildburghausen at the age of 15.

Height 64 cm, width 46 cm.

From the dinner service for Grand Duke Georg of Mecklenburg-Strelitz after his marriage to Princess Mary of Hesse-Kassel

Marked Neustrelitz 1836, master’s mark Gottfried Christian David Petschler and Fidei-Commis stamp (“FIDC”).

On a round base, four fully plastic, naturalistically chased rams each carry the bowl decorated with godrons. The lid, engraved with the coat of arms of the Grand Dukes of Mecklenburg, is crowned by a reclining lion.

In addition to several terrines with slightly varying décor, elegant silver dinner plates and spice dishes were also part of this extensive set for a festive table, which was commissioned by several goldsmiths. The Neustrelitz goldsmith Petschler (1794-1879, 1816 master craftsman) has also made other valuable orders for the silver collection of the Grand Duke of Mecklenburg.

Height 30 cm, weight approx. 4140 g.

Scheffler, “Goldschmiede Mittel- und Norddeutschlands”, Berlin 1980, p. 233 and fig. 53, 57.

Marble, signed and dated.

In front of two bundles of wheat at his feet standing naked man between childhood and adolescence, covered only with a leaf, with his right hand raised to his forehead. The aesthetics of the body refer to classic, Mediterranean works of sculpture. The sculpture has preserved a beautiful, naturally grown surface of the marble.

Height 124 cm.

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

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

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

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

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

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

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

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

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

Walnut.

The carved frame with four curved cheeks and richly decorated with rolled acanthus leaf ornaments, the profiled plate is made of so-called Salzburg “trout” marble.

A similar, probably a little later produced table by Stephan Jegg with tapestry embroidery inserted into the top is in the Imperial Room of St. Florian Monastery near Linz.

Height 85 cm, width 105 cm, depth 79 cm.

Bronze casting with original, dark, almost black lacquer patina.

The athletic ancient hero sits leaning against a rock covered with a lion skin, presenting the three golden apples from the garden of the Hesperides in his outstretched right hand and leaning his left arm relaxed on his mace. The bearded head is crowned by a tied wreath, his gaze rests on the apples of immortality, which he was able to steal with a ruse from the garden guarded by a dragon - his impressively formed, muscular body was therefore rather irrelevant for these of his twelve heroic deeds.

The pictorial type of the seated hero goes back to a Hercules figure from the 1^st / 2^nd century AD, which is kept in the antiques collection of the Kunsthistorisches Museum Vienna (Inv. VI 342).

Height 52 cm.

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

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

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

Height 18.5 cm, weight 182 g.

Carved with fruit wood, with remains of the original paint finish.

The fine, early Baroque figure of Mary stands raised on a curved and stepped base. Mary holds her son in both hands, who carries the orb in his left hand and has raised his right in a gesture of blessing. The delicate, graceful facial features of the figures harmonize with the softly falling, detailed folds of the drapery.

Height 38.5 cm.

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

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

The pair of mirrors with the curved candlestick arms is a fine example of the exuberant Venetian Baroque. The excellent wood carving art of the frames is complemented by the finely cut and polished, originally preserved mirror glasses.

Venice has been a metropolis of glass production since the Middle Ages. The technical progress of the local workshops in the 17^th and 18^th centuries allowed ever larger mirror surfaces and the glass artists refined them with artistic engravings into sought-after luxury items for the courts of Europe.

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

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

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

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

Height 33 cm, weight 1415 g.

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

Solid mahogany and veneer, with stylized carvings on the front, saber-shaped legs, the transverse board of the trapezoidal backrest with applied rosettes and elegantly backward-turned, volute scrolls as the upper part completion. Padded according to the historical model and with renewed, green horsehair covers. The chairs look very filigree in their construction and were an appealing part of the furniture in an elegant salon.

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

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

Height 56 cm, weight approx. 2500 g.

Wood with a very well-preserved, original frame. After training and working as a journeyman with the famous sculptors Johann Baptist Straub in Munich, Johann Josef Christian in Riedlingen, Joseph Anton Pfaffinger in Salzburg and Leonhard Riedlinger in Augsburg, Jorhan gained a reputation with his workshop in Landshut as an important Lower Bavarian Rococo sculptor with an individual, playful approach - refined style.

Among his numerous church fittings and redesigns, his most important commissions were those for the high altar of St. Peter in Pfaffenberg as well as for the altar figures and the original and magnificent nave’s pulpit in St. Martin in Altenerding.

Height approx. 80 cm.

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

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

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

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

Fire-gilded bronze case with playful, asymmetrical Louis XV decoration made of finely divided, plastic and relief flower garlands, fine latticework with shell-shaped rocaille crowning and curved acanthus leaf ornaments. The white enamel dial with black, Arabic hour numerals and red minute track, finely sawn, gold-plated hands and a 30-day movement with a half-hour strike on the bell. The extremely rare, long running time and complicated technology of the pendulum clock is a masterpiece that only a few master watchmakers have mastered.

Both the dial and the back work plate bear the signature of Jean Baptiste Baillon, a member of a famous Parisian watchmaking family who enjoyed an exquisite reputation not only at the Parisian court and who made numerous orders for the European nobility, including the Spanish royal family. High-quality pendulum of Baillon are kept in the Palace of Versailles, the Louvre or the Museo Galileo in Florence.

Height 69 cm.

Grain walnut and walnut veneered with floral maple inlays.

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

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

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

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

Height 13 cm, width 16 cm, depth 12 cm

weight approx. 580 g.

Tulip wood, amaranth, maple and other fine, lavishly fire-shaded, engraved and colored woods, the bronze fittings finely chiseled and fire-gilded. Signed with stamp under the plate. The body is supported by graceful round legs, the veneered fluting of which is continued in the side pilaster strips. The door panels are each adorned with a bound bouquet of naturalistically inlaid flowers in a braided ribbon frame.

A delicate, applied ornament band runs under the original, gray-purple marble slabs - characteristic of works from Letellier’s workshop. Letellier’s (born around 1745, master 1767) mastering of the art of inlay is demonstrated by the few chests of drawers and tables he signed, on which he preferred to combine ornaments in the Greek style with typical Louis XVI motifs.

Height 88 cm, width 72 cm, depth 53 cm.

Salverte, “Les ébénistes du XVIII siècle”, Paris 1934, p. 213-214.

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

Height 22 cm, weight 1044 g.

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

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

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

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

SAINT GEORG AND THE DRAGON

Southern Germany, Swabia, circa 1480

Lime wood, reverse hollowed out, original polychromy

Height: 77.5 cm

IVORY CUP WITH HUNTING SCENE

German, 19th century

Ivory, gilt brass and copper mounts.

Cylindrical shape, relief depiction of hunting lodge and game.

On the lid three-dimensional dog. 

Height: 17 cm

SNAKESKIN TANKARD

Marking: Augsburg

Maker´s mark: Daniel Zech (ca. 1587 – 1657)

Master 1618

Silver, gilt, cast, chased

Height: 16.5 cm

Literature: H. Seling, die Kunst der Augsburger Goldschmiede 1529-1868, 

Vol.3, Verlag C.h. Beck, Munich 2007, pp. 228-229, no. 1322.

ATTRIBUTED TO THE WORKSHOP OF HANS HARDER

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

MAN OF SORROWS BETWEEN TWO ANGELS

South Tyrol, Sterzing, circa 1480

Plinth from the 18^th century

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

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

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

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

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

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

Polychrome frame remains.

Height 122 cm

"Malines - Vue des Canaux", (View of the canal in Mechelen), signed and dated by Joseph Ignace van Hoey, 1879, (Belgian painter born 1810-1892).

Oil on canvas

Height 48 cm, width 60 cm

"Hunting portrait", Johann Heinrich Roos (born 1631 in Otterberg, died 1685 in Frankfurt). Attributed to Johann Heinrich Roos in reference to the monography from Hermann Jedding abut the painter family "Roos"  from 1998.

Oil on canvas 

Height 106 cm, width 80 cm.

WORKSHOP OF CHRISTOPH SCHELLER 

(active in Memmingen, c. 1510-1530)

VIRGIN AND CHILD WITH SAINT ANNE 

AND SAINT AGATHIUS 

Swabia/ Memmingen, c. 1510/20

Reliefs, lime wood

Height: 105/ 106 cm

Literature: Theodor Müller: Gotische Skulptur in Tirol, Bolzano/ Vienna 1976, p. 43, compare ill. 218, 219.

SAINT QUIRINIUS OF NEUSS

Rhenish, circa 1520

Lime wood, reverse flattened, original polychromy

Height: 76 cm

Provenance: private collection, Basel/ Switzerland

THREE RELIEFS FROM A CRUCIFIXION SCENE

Antwerp, circa 1520/1530

These three reliefs are probably from a larger crucifixion

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

Wood, reverse flattened, old polychromy

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

JÖRG LEDERER, circle of

(c. 1470 – Kaufbeuren – c. 1550)

SAINT MARY MAGDALENE

Allgäu, circa 1520

Soft wood, reverse hollowed out, old polychromy

Height: 107 cm

SAINT SIGISMUND OF LUXEMBOURG

Burgundy, 15th century

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

Oak wood, full-round sculpture

Height: 96.5 cm

Saint Catherine

Austria, Villach/ Carinthia, circa 1520

Lime wood, reverse hollowed out, original polychromy

Height: 86 cm

MICHEL ERHART, CIRCLE OF

CHRIST AS MAN OF SORROWS

circa 1495

Lime wood, reverse hollowed out, original polychromy

Height: 157 cm

Provenance: private collection, middle Germany

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

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

The oval table top with the original pull-out technique and three inlay plates, each approx. 50 cm wide.

Solid cherry wood and veneered, gilded sabots on the legs.

Height 75 cm, the top 120 x 105 cm, frame 63 cm.

(table extended see enlargement picture 2)

Nut wood, birds’s-eye-maple, and different fruit woods, partly engraved, coloured or with polychrome painting in watercolour.

Height 52 cm, width 63 cm.

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

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

Silver, gilt on the inside and on the outside, with naturalistic driven and engraved staves. One cup is signed on the bottom with Osnabrück inspection and master mark Georg Friedrich Lengerke (1755-after 1797). On the other cup bottoms with an engraved emblem.

Height 12 cm, weight 102 g.

Scheffler: “Goldschmiede Niedersachsens”, Berlin 1965, vol. 2, page 1009, no. 1961 and 1976

Nut and veneered nut wood with strap inlays in plum wood and complexly brand-shaded ivory inlays with its original interior drawing. On the pompous bronze fittings of the drawers and the lateral handles, rests of the gilding are preserved. The large cartridge of the plate shows between stylistic tendrils a back to back sitting, playing couple with sheets of music and flutes. The elegant proportions of the furniture with the inward curved front and the high quality of the inlays are typical features of courtly furniture from Brunswick.

Of private noble possession.

Height 85 cm, width 113 cm, depth 69 cm.

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

Height 140 cm.

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

Height 19cm.

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

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

Height 83.5 cm, width 65 cm, depth 30 cm

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

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

Height 180 cm.

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

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

Height 82 cm.

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 round, star-shaped, and with veined nut wood inlaid plate rests on a socket that is stepped and pulled in on three sides. Puttos painted in black glass painting on maple fillings between rolled leaves show the monogram “EBS” on the three sides of the pylon-shaped shaft.

Johann Georg Hiltl (1771-1845) returned to Munich in 1794, after his education as a carpenter, and opened his famous furniture store in the pranner street 4. It was not a clear breach against the rules of the guild order that he temporarily employed more than 40 workers in his workshop, but it highlights the enormous success of it. Contemporaries describe the merchant and artistic carpenter as one of the “most interesting appearance of Munich”; to the illustrious customers also belonged the Wittelsbacher family. From 1818, Hiltl developed an easier process which enables the transfer of graphics on a wooden surface. The so produced furniture with its sensitive surfaces were though hardly intended for usage but served the taste of extravagant showpieces of Hiltl’s courtly customers.

Height 77 cm, diameter of the plate 117 cm.

Himmelheber: “Biedermeiermöbel”, Munich 1987, page 49.

Himmelheber: “Kunst des Biedermeiers 1815-1835”, Munich 1988, page 69, page 133, 235, no. 167.

Langner et al, “Möbel des Empire, Biedermeier und Spätklassizismus“, Munich 1997, vol. 3, page 73. 

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

Height 92 cm.

Silver with partly gilding, marked with Hamburg inspection of 1654-74 and master’s mark of Peter Ohr I. (1647-62). On the bulge of the stand and the lid with all-around frieze of naturalistic tulip and daffodil blossoms, the cylindric wall with a rank of cupids in markedly plastic driven relief. A small figure in contemporary garb crowns the lid.

With his goldsmith works on highest level, Ohr belonged to the most important Northern German masters in the second half of the 17^th century. One of his most famous orders, a large table fountain as gift for Tsar Alexei Michailowitsch is today in the armoury of the Kremlin museum in Moscow.

Height 28 cm, weight about 1600 g.

Schliemann: “Die Goldschmiede Hamburgs”, Hamburg 1985, MZ no. 36 I, 190 and a comparable tankard from Ohr shown as no. 262.

Hernmarck: “The European Silversmith”, London 11979, page 122.

From the workshop of the Spindler brothers (Johann Friedrich, 1726- around 1799 and Heinrich Wilhelm, 1738-1788). The ornamental carpenters fulfilled numerous assignments for high quality furniture and interior design initially in Bayreuth for the New Castle and the hermitage. But as soon as Margravine Wilhelmine died in Bayreuth in 1758, the brothers moved to Potsdam in 1765 upon request of Frederick the Great. The Prussian king build the New Palace after his victory in the Seven Year War and summoned several craftsmen who already worked for his favourite sister to Berlin for the splendid interior construction.

The commode shows numerous characteristics of the “Potsdam type”. It is furnished masterly – partly with the rests of the original colouring – in mahogany wood, royal wood, maple and rose wood with large flowering bouquets in cartridges held by ribbons. The body with three drawers is all-around slightly cambered. The fittings with the rests of its original fire gilding anticipate already the Louis-seize style, while the curved form and the veneer pattern still follow Baroque models.

Height 80 cm, depth 114 cm, depth 68 cm.

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

Height 50 cm.

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

Height 37 cm.

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

Faience, marked on the bottom with the emblem-lily, the manufacturer’s mark of Sceaux. The factory was especially known for its decorations in Japanese style. But also such original objects with optical illusion meet the taste of the 18^th century. The high quality of the production and the naturalistic painting are just as good as comparable porcelain objects and witness the popularity of such show-dishes as part of festive table decorations. These two terrines were preserved as counterparts in private possession.

Length 18 cm.

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

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

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

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

Height 70cm.

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

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

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

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

Fayence, fire-painting in yellow, green and blue with delicate gradations. Exposed volute feet with dolphins carry the oval, aligned swung plant basin with fully plastic female busts as decorating handle. Finely painted “décor lambrequin” with ornaments of rolled acanthus foliage, flower bindings, dolphins and busts decorate the wall. Painter’s monogram “F.L.” on the bottom.

Length 49 cm.

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

Height 95 cm.

Origin: Countess of Fürstenberg-Heidingen

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

Height 48cm.

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

Silver Tankard with Rulers

Saxony, circe 1650

Silver, parcel-gilt, cast, chased

Coin in the lid: Inscription refers to the four sons of

Friedrich Wilhelm I of Saxe-Weimar, successive rulers from 1602 to 1625.

Coin in the bottom shows three other princely sons.

Height: 18 cm

TEA OR SPICE VESSEL WITH HANDLE

Augsburg 1687 – 1691

Master: Marx II SCHALLER (1651 – 1700)

Round, octogonal tea or spice vessle with handle, screw closure and leaf decoration.

Silver, partly gilt

Weight: 929.63 g, height: 22.5 cm (handle lifted)

ENTHRONED MADONNA

Cologne, circa 1420

Walnut wood, reverse flattened

Height: 41 cm

TANKARD

Annaberg/ Dippoldiswalde, 17^th century

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

Hight: 15.5 cm

ADORATION OF THE MAGI

Tyrol, circa 1480

High relief, lime wood, original polychromy,

originally part of an altarpiece

Height: 148 cm, width: 67 cm

Provenance: private collection, Southern Germany

FILIPPO BIGANZOLI

(1823 – Milan – 1894)

ALEXANDER VON HUMBOLDT

Milan, circa 1873

Signed lower left "Biganzoli F." and inscribed at the base "A. Humboldt".

Carrara marble

Height: 93 cm, base: 23 x 25 cm

Literature: United States Centennial Commission. International Exhibition 1876. Official Catalogue. Part II, Art Gal­lery, Annexes, and Outdoor Works of Art, Dep. IV. - Art., 2^nd edition., Philadelphia 1876, p. 118.

Allgemeines Lexikon der Bildenden Künstler, Thieme, Becker (Ed.), Leipzig 1910, vol. 4, p. 19.

WORKSHOP OF HANS KLOCKER

(before 1474 – South Tyrol - after 1500)

ADORATION OF THE MAGI

South Tyrol, probably Brixen, circa 1490

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

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

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

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

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

SAINT CECILIA

Antwerp, circa 1520

Oak wood, reverse flattened, old polychromy

Height: 72 cm

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

LUCAS CRANACH THE ELDER AND WORKSHOP

(Kronach 1472 - 1553 Weimar)

HERCULES AT THE COURT OF OMPHALE

Wittenberg, circa 1535 - 1538

Signature: serpent with lowered wings in yellow colour,

on the upper right edge, above the shoulder of Omphale

Oil on wood

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

Expert report by Prof. Dr. Gunnar Heydenreich, 19.09.2018

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

Provenance: Collection Stemmler Cologne;

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

Private collection, Bamberg, since 2007.

Augsburg around 1620

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

Silver, gilded on the inside and outside.

Height 27 cm

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

Paris, mid-18^th century

Red varnish with golden Regency decoration in beautifully, original preservation.

On the lid in a pompously framed cartridge a figurative scenery with Dionysos and Ariadne.

Probably, the precious casket served the storage of game chips.

Height 10cm, width 29 cm, depth 22 cm.

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

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

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

Height 75 cm, width 57 cm.

China, around 1775

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

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

Diameter 44 cm.

Augsburg, early 17^th century

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

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

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

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

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

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

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

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

Probably by Augsburg prince bishop majolica factory Göggingen, around 1750

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

Height 26 cm.

Around 1730

Workshop of Andrea Brustolon (1662-1732).

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

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

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

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

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

Rome, around 1730

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

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

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

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

Height 33 cm, width 37 cm.

Marked Landshut, around 1760

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

Silver with its original fire gilding.

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

Height 38 cm, about 1.100 g.

Venice, around 1865

Wood, carved, framed and partly gilt.

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

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

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

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

Height 210 cm.

Berlin, 1771

Nut wood, veined not wood, maple and elm tree veneered with tie inlays of rose wood and fine, originally fire gilt fittings.

With adhesive label “Johann Frantz Miller Anno 1771 dem 25. May in Berlin“.

The piece of furniture equates in structure and quality the writing cupboard that was required by the Berlin carpenter’s guild to gain the master title in the late 18^th century.

The work had to be produced within twenty weeks in an external workshop following strict instructions: the top had to be constructed with three drawers above a swung commode, the upper part with two doors had to be crowned by a swung gable.

This bureau exactly follows with its basic form that required design and offers furthermore fine decorative details such as the cube-shaped marquetry on the pilaster strips of the upper part or the carved ornaments, with whose the future master showed his abilities.

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

Stiegel, “Berliner Möbelkunst“, Munich 2003, page 55-58.

Schrezheim, around 1770

Faience with naturalistic painting in grouch colours.

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

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

Length 28 cm.

Silver, Southern Germany, dated “1627“

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

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

Height 11 cm.

First half of the 18^th century

Workshop of Andrea Locatelli (Rome 1695-1741).

Only recently, a menacing storm must have moved through this idyllic vast landscape, as attested by the threes in the foreground that were hit by lightning strikes.

The small group of fishermen however seems to hope for a good catch after the weather change.

The high-quality painting style convincingly and intriguingly shows the might of the forces of nature, humanity was extradited in the 18^th century.

Height 112 cm, width 146 cm.

Vienna, end of the 18th century

Limewood, carved and with its original gilding.

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

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

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

With quarter-hourly chime mechanism on two clocks.

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

Neapel, first half of the 19^th century

Mahogany massive and veneered.

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

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

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

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

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

Berlin, around 1835

Metal casting, wood and wooden bronze, 12 arms mounted, with its original gilding as well as the original crystal glass curtain.

The chandelier was probably made by the Berlin manufactory of Carl August Mencke, that had a large percentage of interiors made by Schinkel.

Mencke worked for the royal porcelain manufactory before he got patented a method for producing a bronze-like wooden mass.

With the so-called wood-bronze, imaginative decorations for wall lamps and chandeliers could be produced and Mencke’s firm soon supplied royal castles and palais in Potsdam and Berlin.

A comparable chandelier, also from Schinkel, is in the living room of the “garlic house” in Berlin (the present foundation city museum Berlin).

Provenience, preserved within the family by inheritance: Friedrich Ludwig of Mecklenburg (1821-1844, renowned son of grand duke Friedrich Franz I. of Mecklenburg 1756-1837), married with Bertha of Mecklenburg, born Hünerbein (born in 1850). 

Height 120 cm, diameter 120 cm.

Klappenbach/Hartmann/Kropmanns, “Kronleuchter des 17. Bis 20. Jahrhunderts“. Regensburg 2019, page 188-189 and 195-200, image 113.

Probably Lombardy, around 1820

Nut wood veneered, originally grey marble plates.

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

From royal, Italian private property.

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

Probably South German around 1660

Gilded bronze.

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

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

Height 25 cm.

Probably Straubing, around 1460

With rests of its original, polychrome frame.

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

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

Height 31,8 cm, width 26 cm.

Brunswick, around 1720

Nut wood and veined nut wood, massive and inlaid, with its originally preserved, engraved wood, ivory, and tin inlays.

The architecturally divided front of the closet is elaborately decorated with impressive details.

The carved feet and capitals on the columns form the frame for the finely moulded door panels, in which allegoric female figures refer to virtues.

The selected inlays and the masterly workmanship of the intricate marquetry with fine ivory blossoms make this closet a historical example of the Brunswick high baroque.

From Lower-Saxony’s Noble collection.

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

Cf. Kreisel “Die Kunst des deutschen Möbels”, Munich 1970, Vol. 2, image 94-97.

Bremen, masterpiece around 1785

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

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

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

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

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

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

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

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

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

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

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

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

Venice, around 1600

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

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

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

The spear was added later.

Height 27 cm.

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

PROJEKTOR

2014

Oil on canvas

Dimensions: 105 cm x 130 cm

MARC TASCHOWSKY

(born 1972 in Frankfurt, grown up in Dortmund)

EDUCATION: 1996-2001 Studies at the Hochschule für Bildende Künste Braunschweig with Prof. Hermann Albert.

2002 Diploma in Fine Arts. 2003 working scholarship of the Hofbrauhaus Wolters, in the Künstlerhaus Meinersen. 2013 International Painters Symposium, Dunaharaszti, Hungary. 2018 Working scholarship, Guanlan Printmaking Base, China.

Upper Italy, 17^th century

Bronze, gilt

High oval medallions set in profiled frames with baroque ornaments,

with delicately carved breastpieces of the Twelve Apostles, each with attributes.

Height per medallion about 15.5 cm

Provenance: Private collection of the furniture manufacturer Karl Leonhard Bembé (1870-1921), Mainz.

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.

MASTER OF THE ROCKELFINGER/ WARTENBERGER ALTARPIECE 

(active in the Munich region, c. 1510)

A PAIR OF CANDLE-BEARING ANGELS

Munich, c. 1510/15

Lime wood, sculptures in the round, originally unpainted

Height: 79 cm and 85 cm

Provenance: 

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

1939 on loan to the World Exhibition in New York -

1948 sold to the Saint Louis Art Museum -

since 2017 in private collections

Expertise: Dr. Benno C. Gantner

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

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

Southern Germany, Weilheim

Paintings dated 1793

Sculptures circa 1620

Wood, original polychromy, painting oil on copper.

The central representation of the Assumption of Mary is crowned by smaller paintings of God the Father and the Holy Spirit; in the predella painting with three angels and dating "1793". Elaborately carved architectural framing with sculptures of Saint Joseph with the Infant Jesus, probably an apostle, Saint James clothed as a pilgrim, a saint with sword and crown, and four angels.

Height: 103 cm, width: 51 cm, depth: 16.5 cm

Provenance: Cardinal-Meisner-Foundation, Cologne

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

"Galante Gesellschaft beim Blinde-Kuh-Spiel"

Öl auf Holz, 46 x 36 cm

Links unten Reste einer Signatur

Alter Rahmen

Pietro Liberi (Padua 1614 - 1687 Venedig)

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

"Diana entdeckt die Schwangerschaft Callistos"

Öl auf Leinwand, 184 x 257 cm

Provenienz: Schloss Seehof bei Bamberg

Expertise: Prof. Ugo Ruggeri

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

Süddeutsch, datiert 1576

Vier Lindenholztafeln, beschnitzt und polychrom gefasst

Rahmung später

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

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

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

Expertise: Dr. Markus Hörsch

Franz Christoph Janneck (Graz 1703 - 1761 Wien)

"Waldlandschaft mit jungem, liebenden Paar"

Öl auf Leinwand, 54 x 71,5 cm

Unten mittig auf dem Felsen signiert

Geschnitzter und gefasster Holzrahmen

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

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

Wohl München, um 1485/90

Lindenholz geschnitzt und gefasst

Weitestgehend originale Fassung

Höhe: 81 cm

Expertise: Dr. Markus Hörsch

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

Süddeutsch, um 1510/15

Lindenholz geschnitzt und polychrom gefasst

Rothirsch-Geweihstangen mit Eisenkettenaufhängung

4-flammiger Lüster mit eisernen Kerzenhaltern

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

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

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

Um 1600/15

Öl auf Leinwand, 181 x 124,5 cm

Gefasster Holzrahmen

Provenienz: Privatsammlung Kurt Bösch, Schweiz

Expertise: Dr. Matthias Kunze, M.A.

Braunschweig, um 1735

Weichholzkorpus mit Nussbaum furniert

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

Brandschattiertes Ahorn und graviertes Elfenbein

Reiches Innenleben mit Schüben, Briefablagen, Fächern und Geheimfächern

Eisenschlösser und Messingbeschläge

Fachgerecht restauriert und Schellack handpoliert

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

Expertise: Wolfgang L. Eller

Österreich oder Norditalien, um 1750

Lindenholz, allseits beschnitzt und polychrom gefasst

Fein geschnitzter, vergoldetet Sockel

Höhe (incl. Sockel): 95 cm

Bayreuth, um 1755

Lindenholz geschnitzt und polychrom gefasst

Feinste ornamentale und florale schnitzerei

Orignale Fassung, altes Spiegelglas

Maße (max.): Höhe 70 cm, Breite 33 cm

Dresden, um 1745

Weichholzkorpus mit Nussbaumfaser, Nussbaumwurzel und Nussbaumstamm furniert

Reiches Innenleben mit Schüben, Lesepult, Briefablagen und Geheimfächern

Eisenschlösser und Messingbeschläge

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

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

Prof. Fritz Bayerlein (1872 - Bamberg - 1955)

Bedeutender Landschaftsmaler

Originaltitel: "Im fränkischen Jura"

Öl auf Leinwand, 131 x 170 cm

Rechts unten signiert: "Fritz Bayerlein"

Originaler, versilberter Holzrahmen

Rückseitig originale Klebezettel

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

Österreich, um 1750

Buchsbaum, sehr fein beschnitzt

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

Höhe: 30 cm

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

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

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

Um 1490

Lindenholz geschnitzt und polychrom gefasst

Höhe: 105 cm

Expertise: Dr. Markus Hörsch

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

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

"Der Probeschuss"

Öl auf Leinwand, 75 x 58 cm

Norditalien, Anfang 17. Jahrhundert

Buchsbaum-Relief, sehr fein beschnitzt

Rückseitig geflacht

Höhe: 24 cm

Francesco Pisante

Napolitanischer Zeichner und Kupferstecher, gest. 1889 in Neapel

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

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

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

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

Franz Heckendorf (Berlin 1888 - 1962 München)

"Hafenlandschaft in Dalmatien"

Öl auf Leinwand, 100 x 118 cm

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

Gefasster Holzrahmen

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

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

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

"Der missglückte Versuch"

Öl auf Leinwand, 32 x 24 cm

Unten links signiert

Österreich, um 1750

Weichholzkorpus mit Nussbaum furniert

Bestehend aus Kommodenunterteil, Schreibteil und Tabernakelaufsatz

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

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

Zentralverriegelung im Tabernakelaufsatz

Messingbeschläge und Eisenschlösser

Fachgerecht restauriert und Schellack handpoliert

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

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

Polen/Sachsen, wohl Dresden, um 1700

Weichholz/Lindenholz massiv, herrlich beschnitzt und dunkel gebeizt

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

"ADSRP" für Augustus Dux Saxoniae Rex Poloniae

Tischgestell mit gegenläufigen Volutenbeinen, die mit Arkantusblättern verziert sind

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

Großer, bedeutender und musealer Bibliotheks-Tisch

Originalzustand mit Patina

Provenienz: Niedersächsischer Schlossbesitz

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

Süddeutsch, wohl Baden, um 1760

Allseits bombierter Weichholzkorpus mit Nussbaum furniert

Marketerie in Nussbaum, Nussbaumwurzel, Zwetschge, Ahorn und Mooreiche

Florale Schnitzereien in Nussbaum massiv

Eisenschlösser und feuervergoldete Messingbeschläge

Fachgerecht restauriert und Schellack handpoliert

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

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

Bedeutender niederländischer Maler und Porträtist

"Junge Adelige mit Kind im weitläufigen Barock-Schlossgarten"

Öl auf Leinwand, 87 x 72,5 cm

Geschnitzter und gebeizter Lindenholzrahmen

Oberrhein, wohl Karlsruhe, um 1760

Allseits bombierter Weichholzkorpus mit Seidenholz furniert

Fadeneinlagen in Palisander

Furnierbild auf Kreuzfuge gestürzt

Dreischübiges, geschweiftes Kommodenteil

Schreibteil mit reichem Innenleben, kleinen schüben und Briefablagen

Zweitüriger Aufsatz mit 11 furnierten Schüben

Feine ornamentale und florale Schnitzereien im Kranzgesims

Originale, feuervergoldete Beschläge

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

Frankreich, 2. Hälfte 15. Jahrhundert

Holz geschnitzt und polychrom gefasst

Weitgehend originale Fassung

Höhe: 178 cm

Expertise: Dr. Markus Hörsch

Lucien Adrion (Straßburg 1889 - 1953 Paris)

Französisch-deutscher Maler und Radierer

"Landschaft mit Bäumen und Häusern"

Öl auf Leinwand, 40 x 52 cm

Rechts unten signiert: "L. Adrion"

Lucien Adrion (Straßburg 1889 - 1953 Paris)

Französisch-deutscher Maler und Radierer

"Dorfstraße mit Kapelle"

Öl auf Leinwand, 50 x 65 cm

Links unten signiert: "Lucien Adrion"

Trier, um 1770

Allseits bombierter Korpus in Nussbaum massiv

Feinste ornamentale und florale schnitereien

Eisenschlösser und Messingbeschläge

Fachgerecht restauriert und Schellack handpoliert

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

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

Deutsch-amerikanischer Action-Künstler

"Jet-Art", Palm Beach, 1983

Öl auf Leinwand, 118 x 120 cm

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

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

Provenienz: Fränkisch-amerikanischer Privatbesitz

Friedrich Brentel (um 1580 - Straßburg - 1651)

Bedeutender Miniaturist in Straßburg

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

Links unten signiert und datiert: "Brentel 1625"

Provenienz: Oberfränkische Privatsammlung

Expertise: Dr. Walter Bernt

Flämischer Maler, Meister ab 1689/90, gestorben 1700

Um 1695

Öl auf Leinwand, 58 x 84,5 cm

Rechts unten signiert: "Victor Mahu"

Ebonisierter Holzrahmen

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

Spätgotische, sehr qualitätsvolle Arbeit

Lindenholz geschnitzt mit minimalsten Resten einer ursprünglichen Fassung

Rückseitig gehöhlt

Höhe: 152 cm

Provenienz: Ehemals Sammlung Ludwig Marx, Mainz

Expertise: Dr. Albrecht Miller

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

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

Franken, um 1765

Lindenholz, allseits geschnitzt und polychrom gefasst

Die beiden Sockel sind später

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

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

Süddeutsch, um 1520

Lindenholz geschnitzt, ungefasst

Rückseitig gehöhlt

Kleinere Holzergänzungen

Höhe: 122 cm

Expertise. Dr. Markus Hörsch

Sog. "Seelentrösterlein"

Deutsch, 2. Hälfte 17. Jahrhundert

Lindenholz geschnitzt und polychrom gefasst

Allseits ausgearbeitet

Flachshaare, Nimbus

Höhe (max., incl. Sockel): 40 cm

Deutsch, wohl Thüringen, um 1470

Lindenholz geschnitzt und polychrom gefasst

Weitgehend originale Fassung

Ursprünglich die Schnitzfiguren einer Predella

Maße (max.): Höhe 58 cm, Breite 98 cm

Expertise: Dr. Markus Hörsch

Süddeutsch, um 1490

Lindenholz, allseitig fein ausgearbeitet und gefasst

Auch rückseitig ausgearbeitet

Reste der originalen Fassung

Höhe: 44,5 cm

Wohl ursprünglich aus einer Flurkapelle stammend

Franken, Raum Steigerwald/Haßberge, um 1750/65

Aus der Werkstatt/Umkreis von Auvera

Schilfsandstein, geschlämmt und dreiseitig bearbeitet

Erhabene, fein ausgeführte Bildhauerarbeit

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

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

Sekundäres  Postament

Höhe (incl. Eisenkreuz): 118 cm

Expertise: Dr. Georg Habermehl

Venedig/Rom, 1754

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

Öl auf Leinwand, 81 x 65,5 cm

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

Spanien oder spanisches Königreich Neapel, um 1560

Laubholz geschnitzt und polychrom gefasst

Weitestgehend originale Fassung

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

Höhe: 102 cm

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

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

Around 1640.

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

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

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

Oil on wood.

Height 84 cm, width 69 cm.

Johann Kroll, Mainz, c. 1790

The front of the two corner cupboards is structured architecturally. The middle part is formed like an avant-corps and flanked by fluted pilasters. The drawers can be opened by a hidden mechanism with a push button - a sophistication that Kroll learned during his training in the manufactory of David Roentgen.

Mahogany, veneered and partly solid, with gold-plated bronze decorative strips and applications.

Height 92 cm, width 59 cm, depth 59 cm.

Freiburg im Breisgau, c. 1750

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

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

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

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

Height 43 cm.

Augsburg, c. 1740

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

Walnut, veneered and partly solid.

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

Ansbach, around 1750

From the workshop of the Ansbach court ébéniste Martin Schuhmacher (mentioned from 1720-1781).

The masterfully crafted casket is adorned on the sides as well as on the domed lid with extremely fine and lifelike bouquets with tulips, carnations, lilies of the valley, narcissus and other blossoms, held together by artful bows.

Walnut wood, maple and other woods, some of which are coloured; shaded and engraved details.

Height 14 cm, width 33 cm, depth 21 cm.

Italy, probably Genoa, around 1770

The free-standing small piece of furniture bears testimony to the close relations between Italian and French carpentry.

The simple, elegant form and the exact and elaborate veneer design on all sides emphasize the coloration and grain of the exotic woods that were processed here.

Rose wood and king wood as well as satiné and maple.

Veneered, fine gold-plated fittings.

Height 40 cm, height 71 cm, width 43 cm,

Depth 34 cm.

High-quality Still Life with Fruits, c. 1810

Signed lower left.

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

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

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

Oil on canvas, in original frame.

Height 71 cm, width 61 cm.

Probably southwest German or Strasbourg/Alsace,

around 1780

Very high quality and elaborately crafted Miniature furniture for storing letters or other personal treasures, inlaid or with a portrait medallion on the drawer and a bouquet of flowers on the flap.

Veneer in amaranth, rosewood and maple, partially dyed and engraved.

Height 40 cm, width 36 m, depth 27 cm.

Venice, circa 1725

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

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

Height 205 cm, width 100 cm.

Italian regènce console

Probably Rome, around 1725

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

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

Southern German, 2nd half 18th century

Naturalistically staffed.

Height 24 cm, length 34 cm, width 17 cm.

Abraham Roentgen, Neuwied, c. 1755

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

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

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

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

David Roentgen, Neuwied, c. 1765/70

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

Height 91 cm, thigh depth 49 cm.

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

France, circa 1765

Dainty furniture like this little, three-pupil Commedia with leather-covered writing tablet and surrounding, open gallery have always been extraordinarily popular and were used for the storage of writing or sewing kit in a tastefully furnished Salon.

Rosewood and rosewood veneered, with the original Bronze and marble top.

Height 73 cm, width 44 cm, depth 32 cm.

Dresden, around 1750

Workshop Michael Kimmel (1715-1794).

Kimmel worked after his apprenticeship in Zittau for six years at the Imperial Court in Vienna. In Dresden he was for the court carpenter Peter Hesse and Johann Petany. Hesse always emphasized the exceptional quality of his work and his knowledge of both English and French cabinetmaking, and so Kimmel was hired as a royal cabinet maker in 1751.

A Kimmel writing cabinet from the former collection of Baron Mayer de Rothschild, decorated all over with fittings and mother-of-pearl inlays but identical in basic form, is now in the Victoria & Albert Museum (inv. no. W.63-1977).

Behind the doors of the attachment there are numerous Compartments and drawers for storing letters, Documents and writing utensils. The refinement of the hiding places reveals the masterly Handwriting of the courtebenist Michael Kimmel.

Walnut and walnut burl veneered with band inlays and profile edges in olive and elm, which are Drawers in alder. Chased and gold-plated Brass fittings.

Height 235 cm, width 130 cm, depth 70 cm.

Cf. Haase, G., Dresden furniture of the 18th century, Leipzig 1983, Cat. No. 95.

around 1760

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

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

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

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

Johann Kroll, Mainz, c. 1790

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

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

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

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

late 17th/ early 18th century

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

Maple and plum, eight stones ebonized.

Diameter 5.5 to 6 cm.

Paris, around 1750

Stamped "MONDON JME" for François Mondon (1694-1770, master around 1730).

The graceful, two-part corpus with the accentuated Eckstollen is extraordinarily richly decorated.

On the sides and fronts of the drawers are large floral inlays which are are complemented by the magnificent, fire-gilded Fittings.

Rose and king wood veneered, the inlays in maple and boxwood partly engraved, coloured or shaded by fire.

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

Lit. Kjellberg, P., Le Mobilier Français du XVII. Siècle, Paris 1989, p. 583 f.

(Amsterdam 1792 - 1844 The Hague)

Below right monogrammed "AB".

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

Oil on canvas.

Height 54 cm, width 65 cm.

Niderviller, around 1775

On the lid with a plastically designed Vegetable still life, the body and the top colourfully decorated and with flower twigs in onglaze painting decorated.

Length of the plate 42 cm, total height 24 cm.

Southern German, c. 1720

Box tree, sculpture group, full-round sculptures

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

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

Lower Bavaria, Landshut, circa 1520

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

Height: 71.5 / 72.5 cm

Munich, after 1756

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

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

Dials gilt brass, enamel

Musical clockwork with repeater

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

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

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

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

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

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

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

Probably Venice, around 1600.

Bronze with beautifully preserved old patina. The

Workshop of the Niccolo Roccatagliata (Genoa around

1550 - Venice after 1636) attributed to. The

boldly striding putto holds in his hands

Flowers and fruits.

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

Paris, L. Péridiez, circa 1770

Stamped Louis Péridiez (born 1731, Master

1764). Rosewood and Mahogany on Oak

veneered with the original, fire gilded

Bronze applications and restored, original

Marble slab. The apparently to a minimum

reduced veneer appearance achieves an exciting

Effect due to its natural, exotic colouring

and the generous processing "sans

traverse". The flat design offers an

the effective basis for the success of the

the frame and the curvature of the front edges

Fittings.

Kjellberg, Le mobilier français du XVIIIe siècle, Paris

1998, S. 640-642.

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

Saxony, late 18th century

Like a cascade, the original

hanging made from countless polished and

prisms connected to each other via different

large, gold-plated tires and culminates in a

in a heart-shaped open gallery

with twelve curved candlestick arms

for candles, from their perforated eaves shells

and we'll be hanging glass drops again.

Height 140 cm.

Probably Augsburg, 17th century

Ebonized fruitwood, partly veneered, partly solid,

engraved and silver plated fittings. The structure

of doors with profiled strips and

of small gables, reminiscent of the

in aedicula architectures, hide inside

ten differently sized, some with preserved,

old coloured paper lined shops

for collector's items and small treasures.

Another compartment is hidden in the gable top.

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

Zöblitz, second half 17th century

Due to the economical decoration of the lathed

and polished walls with faceting,

diagonal cannelures or diagonal grooves

the natural veining of the dark

Serpentine rock with its greenish inclusions

especially beautiful to the Geltung. With the

original tin screw caps, two of the

Handle with relief decoration.

Height 24 to 28 cm.

17th century

Finely executed and gilded bronze reliefs

of Christ as Pantokrator with the globe of the world

and the rights raised to the gesture of blessing

as well as the Mother of God, in too artistic folds

arranged robes. The elaborate, contemporary

Frames are covered with tortoiseshell

and at the corners with finely chased and gold plated

mannerist applications.

Height 25 cm, width 22 cm.

Paris, C. Lebesgue, circa 1785

stamped "IME" and "C. Lebesgue" for

Robert Claude Lebesgue, born 1749, Master

1771. Mahogany veneered on oak with fine,

linear brass inlays, original

fittings and renewed, all-round gold-embossed

Leather writing plate. The one with the conspicuous

beautifully grained veneer worked desk

with four narrow and one wider

Thrust above the knee recess is freely adjustable,

the sideways extendable, also leather-covered

Shelves offer additional storage space

for documents and work utensils.

Kjellberg, Le mobilier français du XVIIIe siècle,

Paris 1998, p. 492.

Height 78 cm, width 160 cm, depth 80 cm.

Southern Germany, c. 1760

The workshop of the important sculptor and

Stuccoer attributed to Joseph Anton Feuchtmayer

(christened on 6 Mar 1696 in Linz,

died on 2. January 1770 in Mimmenhausen

at Salem). The mirror is framed by a

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

He is crowned with splendid carvings,

plastic protruding and perforated rocailles

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

and from the fine gables to the

leaf branches are entwined. The one Joseph

Anton Feuchtmayer created confessionals

for the pilgrimage church in Birnau (today in

St. Martin in Seefelden) and for the Mimmenhausener

The Liebfrauenkirche (Church of Our Lady) below the

Cornices just as artistic rocaille carvings

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

Century.

Height 170 cm, width 130 cm.

Netherlands, around 1650

The curved, front cheeks are

adorned by one plastic reliefed female bust each

with curly hair and pearl necklace. The

unusually powerfully designed balusters are characterised by

in its structure the transition from

to the disc chandeliers of the Renaissance.

early baroque Nodus forms with spheres and

Balusters.

Height 75 cm.

Flanders, around 1700

Wool and silk in finely graded blue, green,

Beige and brown tones. Between two imposing

and imaginatively structured columns will be

the view of a southern park is unobstructed

with exotic orange and fig trees.

To the delicate Corinthian column in the middle.

two putti are transformed into lavish garlands of fruit

bound.

Height 310 cm, width 210 cm.

Paris, J.C. Ellaume, circa 1775

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

Master 1754. With the original fittings

and the original, restored marble slab.

With generous over the entire surface of the two-sided

Front "sans traverse" inlaid, by

meandering bands of framed fields,

on the protruding center a landscape in the

oval, flanked by musical instruments and on the

the pages with large, splendid vases under the

Draperies. The domestic and exotic woods

partly engraved, shaded by fire or coloured.

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

Paris, J.-B. Fromageau, around 1760

Signed with marking stamp of Jean-Baptiste Fromageau (born around 1720, Master since 1755). Rosewood and kingswood veneered on oak with the original fire gilded, finely chased bronze fittings. Decorated with dogs upon the drawer handles. Originally preserved leather top with finely engraved border. Fromageau is regarded as one of the most outstanding and versatile cabinet-makers in Paris in the 18th century.

Height 78 cm, width 160 cm, depth 80 cm.

Bayreuth, around 1760

The high rectangular, faceted mirror is made by

a profiled strip with the centers placed on it,

carved flowers framed and crowned

of imaginatively carved and hatched,

and intertwined and intertwined

Rocailles, through which a grapevine and

rose twigs tendril, sitting in the middle a full plastic

carved birdie. The original

Frame in white and delicate shades with gold-plated

Ornaments has proven to be particularly good

received.

Height 110 cm, width 60 cm.

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.

Probably Vienna, about 1750

Carrara marble with original profiled bronze framing.

The bust in relief shows the profile

the Archduchess Maria Theresa of Austria

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

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

elected Roman-German Emperor

and was crowned. Maria Theresa was considered to be

its comprehensive reform policy as one of the most

most popular and at the same time most influential monarchs

of enlightened absolutism in Europe.

Height 60 cm.

Antwerp, around 1700

The mirror captivates by the charming

Contrast between simple forms and precious

Materials. The smooth, sloping

Carnies profile of the framing is decorated with exotic

tortie shell, the finely chased, fire-gilded

Bronze applications on the

Corners and mids are lavish with putti

and leaf ornaments. With the

original facetted mirror glass.

Height 41 cm, width 36 cm.

Japan, early 18th century

Porcelain, decoration in underglaze blue, iron red and

Gold. In the mirror on white background in strong

Colorite a flower basket, on the flag in

fourfold repeat alternating flower ornaments

on a blue background and architectural fragments.

Particularly remarkable about this very good

the show plates also the ones with finely painted,

flowering branches on the back.

Diameter 48 cm.

Franconia, around 1775

Sandstone. One next to an overturned

Wine jug sitting Putto is accompanied by a small

Satyrn fed on grapes. The almost life-size

sculpture belonged - so is on reason

of the weather tracks - next to the

amorous characters, elegant muses or

further allegories with childlike putti to the

figural program of a lavishly equipped

rococo garden and refers to the 1775-77 by

Peter Wagner, famous depictions of children, and the

at the balustrade of the castle

Veitshöchheim.

height 97 cm, width 80 cm, depth 40 cm

Paris, P. Peizell, about 1770

Signed with a striking stamp. Mahogany veneer,

fire-gilded bronze. Both the tray between the

the slender legs as well as the oval

marble slab is characterized by an elegant, three-pass shaped

in the open gallery. In

leather-covered, fold-away, and adjustable

writing tablet and a gold-plated

Inkwell with sandbox.

Height 75 cm, width 50 cm, depth 40 cm.

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

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

Height 25 cm

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

Height 35 cm

Triptych

attributed to the workshops of Master Thomas Sumer (painter, before 1506 - 1557 in Meran) and Master Bernhard Härpfer (sculptor, before 1506 - after 1529 in Meran)

South Tyrol (Vinschgau), circa 1520

Linden wood, original polychromy

Depiction:

Middle: Virgin and Child with Saint Anne

Wings interior: reliefs of the Apostles Matthias and Philip

Wings exterior: paintings of St. Catherine and St. Barbara

Height: 104 cm, width (closed): 66 cm,

width (open): 136 cm, depth: 29,5 cm

Provenance: from the chapel of the Unterburghof in Allitz (Vinschgau, South Tyrol)

Exhibition: on loan to the Bergbau- und Gotikmuseum Leogang (Austria), exhibition „Gold und Silber im Erzstift Salzburg“, 25th May - 31th October 2013.

Literature: Erich Egg, Gotik in Tirol, Die Flügelaltäre, Haymon-Verlag, Innsbruck 1985,

pp. 295-306, illustration 232, p. 300.

Kulmbach, first half 17th century

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

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

Height 40 cm.

Paris, around 1825

Probability of the workshop of Pierre-Philippe Thomire

(1751-1843). On square

Plinth and a pedestal with laurel wreath applications

the area-wide with

acanthus and lancet leaves decorated shaft

a total of seven candelabra arms in the form of curved

Cornucopias, rich ornamental and

decorated with foliage rolled into volutes.

Bronze, finely chiselled almost all over,

very nicely preserved, matted fire gilding

with polished details.

Height 72 cm.

Brunswick, c. 1765

Probably Stobwasser manufacture. With the fine ones,

original and gilded rococo fittings.

Chest-shaped box with flat, hinged

Lid. Then in fine lacquer painting a

elegantly dressed nobleman on a landscape pedestal.

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

Augsburg, c. 1685

Marked with Augsburg Review for 1685-87,

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

Tremolo line. silver, chased, chiselled and

engraved with the remains of the original fire gilding.

On the broad flag between strongly driven

Trophy bundles three portrait medallions with emperor busts.

In the pearl ribbon framed

mirror a finely engraved fruit still life with

Pomegranates, grapes and berries.

Diameter 25.5 cm, weight 220 g.

Seling, The Art of Augsburg Goldsmiths

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

Extremely rare, small Ladies Lid Pumpkin

Bayreuth, circa 1710

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

According to the previous owner of Reitzenstein´schem ownership.

Height 9 cm.

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

Quality lidded tankard with snake skin decoration

Probably Frankfurt am Main, around 1600

Driven and punched, fire gilded.

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

Height 15.5 cm, weight approx. 332 g.

Small baroque lidded tankard

Prenzlau, around 1710

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

Silver, chased and punched, partly gold-plated.

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

Height 11.5 cm.

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

Antwerp, around 1600

A narrow, ebonized viewing ledge is followed by a

wide, with red backed tortoiseshell veneered

Carnies profile with fire-gilded bronze applications

in the form of flower arrangements on

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

of flowers framed cartouches solid silver

Badges, with sea monsters riding on

Putting. With the original mirror glass.

The high-contrast combination of valuable

Materials makes this cabinet mirror

to a special luxury object. In such

magnificent framing his own face

to be able to look at was only a few a

Privilege.

Height 60 cm, width 47 cm.

Attributed to Karel Borchaert Voet

Oil on canvas, doubled. Against a neutral background

arranged in bright colors

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

Grapes and nasturtium, and

two white cabbages.

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

and flower painter and dedicated

prefers exotic, exotic fruits

and plants, he paid particular attention to the

the correct reproduction of all details. 1735 published

he was commissioned by the Earl of Portland

the "Codex Bentingiana", a magnificent catalog

of all flowers and insects in its homonymous

Garden.

Height 80 cm, Beite 66 cm.

Thieme/Becker, General encyclopedia of the visual arts

Artist, vol. 34, p. 472.

Padua, around 1600

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

with remains of the original varnish patina.

Each on a natural pedestal in contrapost

standing nudes. At the feet of Venus, the

Grass sleeping cupid boy and nestled to her leg

a dolphin who sees the goddess as being from the

Foam born characterizes her upper body

she tends in the sense of the manneristic "figura

serpentinata" exaggeratedly to the right, while

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

only with a helmet and one in front of his chest

knotted cloth, supports himself with his

Left on a sign with the head of Medusa,

with his right hand he reaches for the slung one

Sword.

Aspetti became a bronze foundry family from

Padua born and learned in the family business

the Technique of casting. Later he studied sculpture.

at Girolamo Campagna, the most famous

Venetian sculptor of the outgoing

16th century.

Height 42 cm.

Thieme/Becker, General encyclopedia of the visual arts

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

Krahn, Bronzetti veneziani: The Venetian

Renaissance small bronzes from the Bode Museum

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

Probably Strasbourg, about 1770

Rosewood, yew, walnut and maple veneer,

Inserts partially coloured and engraved, fine

chased and fire-gilded bronze fittings.

On four short, curved feet each

in leafy sabots of the semicircular,

one-door corpus with cranked, later

Marble slabs. Lateral elaborate

Cube marquetry around centrally inlaid star,

on the vaulted door, one large, detailed

engraved urn vase with laurel leaf garland.

Height 80 cm, width 64.5 cm, depth 30 cm.

France, probably Paris, about 1795

Bronze, cast, chased and finely chased

with the original fire gilding and fountain.

On round, stepped pedestal with

three paw feet with three paw feet each

lattice-like intersecting bars. As an essay a

wide bowl with godronized base and

fine, circumferential leaf tip frieze and

a pine cone hanging in the middle.

Height 52.5 cm.

Richard Friedrich Reusing, 1913

In one with different cloth draperies

filled interior portrayed

Reusing a lady in elegant, shoulderless

Evening gown. The soft falling one,

iridescent fabrics correspond to the virtuosic

and loosely placed, pasty brush strokes.

Reusing (Mühlheim on the Rhine 1874-1956 Haan)

studied at the Kunstakademie Düsseldorf

and received already as a master pupil the first

orders for portraits, for which he will soon also be

was appreciated and in demand nationwide. In

his characterful, impartial style of painting

he portrayed numerous famous contemporaries

from art and society, among others

Richard Strauss, Joachim Ringelnatz, Albert

Einstein, Gustav Krupp or August Thyssen.

Height 194 cm, width 126 cm.

Thieme/Becker, General encyclopedia of the visual arts

Artist, vol. 28, p. 196.

Meissen, around 1780

The Presentoir with curved edge and

rocaille handles, on the flag scattered flowers

and in the mirror extraordinarily finely painted

Flower bouquet with tulip. The oval terrine

also with blossoms and bouquets, on which the

lid is a fully plastic, kneeling boy as a

Knauf, a horn of plenty with flowers and fruits

emptying. The lateral, purple heightened

Rocaill handles with Brussels sprouts and asparagus.

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

Franconia, around 1770/80

Circumference of Johann Peter Wagner (Obertheres

1730-1809 Würzburg), sandstone.

pairwise facing each other, on natural pedestals

sitting child figures with around the

hip-laid cloths, in their hands a

Flower wreath or bouquet and grapes

and holding a garland of fruit.

Johann Peter Wagner is regarded as one of the most important

Sculptor of the Rococo in Mainfranken and

created numerous works, especially for ecclesiastical and religious

Client. After his years of wandering.

he returned to Franconia and first worked as a

as journeyman of the court sculptor Johann Wolfgang

from the Auwera, after whose death took over

Wagner was the workshop manager. Not until 1771

Wagner was officially recognized by the prince-bishop

Adam Friedrich von Seinsheim becomes court sculptor

even though he already held the position of

for 28 years. His in succession to

Ferdinand Tietz created putti and children's figures

on the balustrade of the terrace of the

of the prince-bishop's palace in Veitshöchheim

are among the most important depictions of children

of the German sculpture, they unite

the playful movements of the Rokoko skillfully

with the quieter, idealized features of classicism.

Height approx. 105 cm.

Thieme/Becker, General encyclopedia of the visual arts

Artist, vol. 35, p. 48-51.

Paris, around 1750

Stamped "J. Dubois JME" for Jacques Dubois

(1693-1763, Master 1742). In King's and

Satiné wood generous with finest flower twigs

inlaid, two-part chest of drawers "sans

traverse", on with original, fire gilded

Bronze sabots and pierced fittings

decorated legs, curved and profiled

Rouge Royal Marble Plate.

Both the Louis XV and Louis XVI furniture

of Jacques Dubois and his son René

are among the most important artistic carpentry works

in France in the middle and second

in the second half of the 18th century. The most powerful

but at the same time imaginatively decorated furniture

were not only at the French, but also

at other European courts.

Height 84.5 cm, width 99 cm, depth 53.5 cm.

Kjellberg, Le Mobiliare français du XVIIIe siècle,

Paris 1998, pp. 267-277.

Venice or Padua, around 1600

Bronze with dark brown age patina. The spherical

The vessel is carried by three fully plastic ones,

winged and dolphin riding

Harpyen. A naked, on the lid standing

Amor holds a basket over his head, which is called a

holder for the writing instrument.

The production of small bronze sculptures

is technically sophisticated and the Renaissance

in Venice and Padua.

Works of art have a special status

within Italian sculpture. The

Small bronzes had no representational purpose

as the great bronze statues.

or public works contracts, and

could freely choose between antique or mythological

Dedicate topics.

Height 20.5 cm.

South German, probably Munich, around 1740

Walnut tree, very high quality and rich with

leaf ornaments, rocailles and volutes

carved seating furniture with renewed upholstery

and silk cover.

Height 127 cm, seat height 51 cm, width 79 cm,

Depth 58 cm.

Porcelain, Japan, c. 1700

On the area-wide with foliage and

blossoms painted flag in six recessed

Reserves alternating birds of paradise and

Lions as lucky symbols before white

left fund. One around the mirror

running, ornamental border frames the

extraordinarily elaborate and generous

in gold contoured representation of blossoms,

Grasses and twigs on a landscape pedestal.

Best preserved

Ferdinand Konrad Bellermann

Oil on canvas. Bellermann (Erfurt 1814-1889

Berlin) originally began an apprenticeship as a porcelain painter.

and moved to Berlin in 1833.

Academy. From there, he was led to various

Travels to Scandinavia, South America, etc.

and Italy. Especially that of King

Friedrich Wilhelm IV. sponsored study trip

to Venezuela and the exchange with Alexander

von Humboldt shaped his artistic work.

His landscapes are not only under construction

well composed, but often dedicate themselves to the

also seemingly insignificant details and botanical

Characteristics of the depicted nature.

Height 58.5 cm, width 62.5 cm.

Thieme/Becker, General encyclopedia of the visual arts

Artist, vol. 3, pp. 243-244.

Southern Germany, probably Augsburg, 1st half 17th century

Above the profiled drawer base with stud feet the two-door cabinet corpus with further Thrust in the arched gable.

Inside, between two rows of drawers with profiled framed fronts, an architecturally structured one, small niche with side half columns, Shell conch and volute crowning.

Miscellaneous secret compartments with partly hidden locks.

Ebonized fruitwood, partly inside with original preserved coloured paper lining, original lock and fittings.

Height 33.5 cm, width 25.5 cm, depth 20 cm.

France, circa 1760

Attributed to the Parisian Ebenist André-Antoine Lardin

(1724-1790, Master 1750). The

cambered, two-part corpus "sans traverse"

with front corner studs accentuated by applications

is finely inlaid at the front and sides with

partly dyed and engraved royal, rose,

Box, maple and satin wood. The central

Cartridge shows a detailed still life from

musical instruments between curved

Flower twigs. With the original, restored

Brèche d'Alep marble plate and fire gilded

Bronze appilactions.

Height 85 cm, width 129 cm, depth 64 cm.

Salverte, Les Ébénistes du XVIIIe siècle, Paris 1934, p. 177.

Kjellberg, Le Mobiliare français du XVIIIe siècle,

Paris 1998, pp. 477-481.

"Salvator Mundi and the Twelve Apostles"

Late Gothic panel painting,

originally predella of a winged altarpiece

Nuremberg, around 1490

unknown Nuremberg master, circle of Michel Wolgemut

(Master in Nuremberg from 1434 - 1519)

Height: 90 cm, width: 130 cm

Vase, purple with clear glass overlay - batutto cut. Height 28 cm

Vienna, c. 1815

The slender legs, slightly curved inwards, with carved bird heads, are mounted on a stand plate retracted on three sides. The round plate, framed by a gilded brass ring with geometric, flower-shaped patterns of various types of marble in different colours, was an elegant eye-catcher in a salon of the Empire period. Mahogany veneered and partially ebonized.

Height 77 cm, diameter of the plate 65 cm.

Paris, circa 1775

attributed to Godefroy Dester (he was awarded the title of master on 27 July 1774). Freely adjustable writing furniture on fluted round legs, above the five drawers of the front the rolling top with lateral trays and pull-out, gold-embossed leather writing board, the interior with drawers and document compartments, three further drawers in the top and original marble top with surrounding, finely perforated brass gallery as upper finish. Mahogany veneer, inlaid on all sides with high-quality mouldings, decorative profiles and gold-plated bronze fittings.

Height 115 cm, width 130 cm, depth 65 cm.

Salverte, Comte F. de, Les Ébénistes du XVIIIe siècle, Paris 1934, p. 90.

Kjellberg, Pierre, Le mobilier français du XVIIIe siècle, Paris 1989, pp. 258-262, especially Fig. p. 260.

France, circa 1825

The unusually large, freely adjustable writing furniture stands on eight column legs with two elegant base crosses, in the frame there are three drawers on the working side and corresponding glare drawers on the opposite side. The dark green leather writing plate was renewed after historical model. Mahogany veneer, very high quality, fire-gilded bronze fittings.

Height 75 cm, width 242 cm, depth 107 cm.

Probably Vienna, about 1790

On a canopy-shaped crown with blue glass inlay and feather bush, the body is made of concentric hoops with rich chain prism curtains and wreaths of hanging glass drops and cones. The outer ring is six-flame electrified.

Height 130 cm, diameter 80 cm.

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.

Workshop of Antoine Pesne, c. 1725/30

The younger sister of Frederick the Great and Margravine Wilhelmine of Bayreuth was married in 1730 in Berlin to Karl Wilhelm Frederick, the "wild margrave" of Brandenburg-Ansbach. She was the mother of the last Franconian Hohenzollern Karl Alexander von Brandenburg-Ansbach. Oil on canvas.

Height 156 cm, width 119 cm (without frame).

Thieme/Becker, Allgemeines Lexikon der bildenden Künstler, vol. 26, p. 467ff.

Tuscany, around 1780

Frame supported by conical, fluted round legs with corner rosettes and central laurel wreath between open carved plaited band, the protruding original plate of beige-violet marble from Siena. Softwood, carved and original gold-leafed.

Height 86 cm, width 140 cm, depth 70 cm.

Master Paul Solanier, 1710-1712

Oval mirror surrounded by a wide flag with mascarons, shells and blossom twigs between ribbon and acanthus leaf decorations, depicting Jacob's battle with the angel of God on the banks of the river Jabbok in expressive flat relief.

Silver, chased, engraved and gilded. At the edge embossed with Augsburger Beschau and master mark "PS".

Diameter 46.6 cm, approx. 820 g.

Seling, Helmut, The Art of Augsburg Goldsmiths 1529-1868, Munich 1980, MZ 1669.

Padua, around 1600

Attributed to Tiziano Aspetti (1565-1607). The god of war standing on a tank and armed with shield and sword. Bronze, with remains of the original lacquer patina.

This model is a very high quality, contemporary model from around 1600.

Height 47 cm.

France, probably Paris, about 1830

The six-flamed chandelier with appliqué floral decoration and leaf mascarons in relief on the original chain suspension formed by bud-shaped links. Bronze with excellent gold plating and renewed electrification.

Height 90 cm, diameter 45 cm.

Japan, around 1700

Deeper display plate in excellent condition, painted throughout in the colours of the Imari décor. In the mirror a vase standing in front of a balustrade with a luxuriant bouquet of flowers, on the wide flag in triple repeat red- and blue-ground cartouches with ornamental chrysanthemum blossoms and dragons. The underside of the plate is also painted with a cherry blossom branch, peony and a chrysanthemum. Porcelain with underglazed painting in iron red and cobalt blue and rich gold decoration.

Diameter 54 cm.

Southern Germany or Bohemia, c. 1730

Original mirror glass in profiled frame, flanked on the sides by rolled acanthus leaves, the elegant crowning with engraved mirror cartouche under an open leaf fan. Two curved candlestick arms inserted at each side of the lower rim with leaf-shaped grommets. Wood, carved, set and gilded.

Height 141 cm, width 92 cm.

Christian Richter, 1643

This portrait of a child by the hand of the princely Saxon court painter Richter (Altenburg around 1612-1667 Weimar) shows the first Duke of Jena-Saxony as a boy at the age of five in a magnificent red suit with gold borders and lace trimming. The inscription in the upper left corner reads "Bernardus Dux Saxoniae / Iuli Cliui et Mont / Born in Weimar / Ao. 1638 / Contrafeit Ao. 1643 / C. Judge". Oil on canvas.

Height 130 cm, width 84 cm (without frame).

Thieme/Becker, Allgemeines Lexikon der bildenden Künstler, vol. 28, p. 285-286.

Mömpelgard/Montbéliard, c. 1730

The three-pointed corpus with accentuated corner studs, curved at the sides and front, is veneered with elaborate, mirrored panels and ribbons as well as star-shaped inlays in plum and elm. The richly decorated chest of drawers with its magnificent, original, fire-gilt bronze appliqués, the figuratively decorated handles and the strongly profiled border of the top is an outstanding example of 18th century Mömpelgarder furniture.

Height 87cm, width 140cm, depth 68cm.

Mid 18th century

The pedestal zone with drawers on ball feet, the two-door, richly structured corpus with a rarely preserved, highly curved top. The cranked pilasters and half pilasters with carved acanthus leaf capitals set at the cabinet edges create a remarkable all-round view of this masterly piece of furniture. The profiled framed filling panels as well as the flat carved ribbon and leaf ornaments are of the highest quality. Walnut and walnut burl veneered and partly solid, gilded and silver plated fittings, original lock with blued, openwork lock plate. Stamped "GUET" on the stop bar.

Height 266 cm, width 210 cm, depth 85 cm.

Southern Germany or Austria, around 1700

Above the round, fourfold facetted and high vaulted stand with central trough, the eightfold facetted baluster shaft, richly structured by set-offs, profiles and bulges, the vase-shaped swaying spout with spike. Brass, cast, driven and screwed. At the booth owner engraving "AVS 1733".

Height approx. 60 cm, diameter foot 34 cm.

Master Thomas Evans, 1816

On an oval stand decorated with a tongue frieze, the corpus has a smooth wall and profiled volute handles on the sides, the lid climbs up stairs and has a recess for the cutlery, the end is decorated with a leaf ornament and a turned, urn-shaped knob. On the wall an engraved, loop-crowned coat of arms of the client, the admiral and Royal Navy officer Sir Richard Spry (1715-1775), on the lid an emblem engraving with bird and motto from his coat of arms.

Silver, cast, chased and gilded, the walls and lids stamped with Lion passers-by, London review with year letter "a" for 1816 and master stamp "TE".

Width 23 cm, approx. 650 g.

Venice, circa 1720

The three-foot base with richly carved foliage rolled into volutes and rocailles on a partly hatched engraved base bears a fully carved young man standing on a baluster with a loincloth tied over his shoulder. On its head with curly hair, it carries the bell-shaped swinging out tray with circulating tongue frieze. Wood, carved and with original gilding and silvering of beautiful patina.

Height 122 cm.

Master Jacob I Warnberger, 1674-1680

In the round mirror surrounded by fine pearl ribbons, finely engraved and punched still life of fruits, berries and ears of corn, the broad flag with sculpturally driven, ornamentally rolled acanthus leafwork between shells in triple repeat, the margin pinched. Silver with the original preserved partial gilding. On the flag, embossed with Augsburg hallmark and master mark "IW", tremolo line.

Jacob I Warnberger, Master around 1677, is also on display in the Kremlin Museum in Moscow and in the treasure chamber of the Munich Residenz.

Diameter 32 cm, approx. 390 g.

Seling, Helmut, The Art of Augsburg Goldsmiths 1529-1868, Munich 1980, BZ 0170, MZ 1751c.

Vase - opal running phenomenon Gre 6893

Johann Lötz widow, Klostermühle 1899

White opal glass, broadly wrapped in veined silver-yellow, in a sixteen-part rib model twisted into waves. Blown into the mould. Reduced and iridescent. Ground out demolition.

Height 26,5 cm

Joseph Ulrich Danhauser (1780 – Vienna - 1829)

Exceptional Representative Desk

Northern Italy, circa 1810

Cherrywood, solid and veneered

Height: 116 cm, width: 162 cm, depth: 75 cm

The piano is part of a small series of exclusive instruments intended for the European aristocracy. A great stroke of luck is its clearly documented provenance: it once belonged to Maria Karolina of Naples-Sicily, a daughter of Maria Theresa of Austria. A portrait from the 1780s shows the art-loving queen playing exactly on this piano.

Precious materials such as mahogany veneer, ivory and artistic fire-gilded fittings were processed by David Roentgen with the highest precision. The result was an instrument that combines classicist elegance with exquisite quality and, thanks to careful restoration, still shines today in a fabulous, playable condition.

Historical Piano (Hammerklavier)

David Roentgen (1743 Herrhaag - 1807 Wiesbaden) and Peter Kinzing (1745 Neuwied - 1816 Mannheim)

Neuwied, around 1785

Oak, mahogany veneer, fire-gilded brass fittings, rosewood, pearwood and rosewood inlays.

Signature: "Roentgen et Kinzing. à Neuwied sur le Rhin."

Range F` - f"` (five octaves), continuous two-tone

Dimensions: height 81.5 cm, width 160 cm, depth 71 cm

Provenance: Queen Maria Carolina of Naples-Sicily (1752-1814)

Expertise of Prof. Dr. Giovanni Paolo Di Stefano.

Probably Berlin or Potsdam, around 1765

Bronze, chased, original fire gilded. With moved, artfully curved arms, whose light plates are held by dragon heads. The candlesticks are reminiscent of figural carvings and decorations from the workshop of Johann Melchior Kambyls (Zurich 1718-1782/83 Potsdam), whose sculptural works were instrumental in the development of the Friderician Rococo.

Height approx. 35cm.

Pair of two-armed candlesticks

830 Silver

Grann & Laglye 1935

Round bowl

830 Silver

Fritz Heimbürger, Denmark 1935

Oval bowl

925 silver

Hans Hansen, Denmark 1953

Pearwood body, ebonised on all sides, elaborate interior with secret compartments and central locking, bronze fittings, professionally restored and shellac hand polished

Dimensions (max.): height 95 cm, width 85 cm, depth 47 cm

Two musketeer powder bottles

Germany, around 1600

Wooden corpus, reinforced at the corners and edges with iron fittings, one covered with leather and a pewter medallion on the front showing St. George.

Height 25 or 23 cm.

Powder bottle with leg and mother-of-pearl inlays

Bohemia, 1st half 17th century

Walnut body, some inlays with engraved decor.

Height 13.5 cm.

From the possession of the Princes of Liechtenstein.

Around 1760

Smooth barrel, calibre 16 mm, with iron front sight, relief-cut and partly gilded cartouche above the chamber, with trophy bundles, figures and animals between rocaille decorations. Flintlock with rare cock safety device, the walnut half stock floral carved and with cut and partly gilded iron fittings. Wooden loading pole with horn dopper added. Marked at the flintlock "MILD", at the lock counterplate "IB" and under the piston plate stock monogram "MD".

Length 140cm.

Master mark Friedrich Schwestermüller I (1678-1701), hallmark Augsburg for 1679-1683. Silver, chased and cast, partly gilded inside and outside. Fragments of architecture and ruins finely chiselled on the wall with figures in a forest landscape. Acanthus decoration twisted on foot and lid with ball knob.

Height 17.5 cm.

Seling, Augsburg Goldsmiths, BZ No. 0800, MZ No. 1760.

Height 273 cm, width 465 cm.

Very high-quality and well-preserved rococo garden sculptures in extremely sweeping rococo forms with lively rolled leaves.

From the property of Prinzen Sayn-Wittgenstein.

Height 119 cm.

Master mark Heinrich Mannlich (1658-1698), hallmark Augsburg for 1679-1683. Partially gilded. The oval plate with pinched edge shows in the centre a chased and finely engraved representation of an elegant, antique couple of lovers in landscape with architecture and trees, approaching from heaven Cupid with bow and arrow. On the flag plastic, partly exotic fruits like artichoke and pomegranate.

Length 34 cm.

Seling, Augsburg Goldsmiths, BZ No. 0790, MZ No. 1613.

Pair of gothic candle-bearing angels

Lombardy, around 1420

old polychromy

Height: 62.5 cm, width 44 cm, depth 24 cm

lime tree, richly carved, with remains of the original setting

around 1700

height 130 cm

Frans Snyders (Antwerp 1579 - 1657)

and assistants (probably Paul and Cornelis de Vos)

"Boy in the pantry"

1630s, not later than 1637

Oil on canvas, 150 x 200 cm

The painting is listed in the catalogue raisonné by Hella Robels:

Frans Snyders, Augsburg 1989, listed on p. 430 as number A29 II.

An expert opinion by Prof. Dr. Claus Grimm is available.

Design by Harald Nielsen

925 Silver, from 1932

Design by Harald Nielsen

925 Silver, from 1932

Lime wood carved,

with large remains of the original chalk ground,

Partly also remains (e.g. in the facial area) of the original polychromy,

Church model later addition

Expertise: Dr. Albrecht Miller, Ottobrunn 2011

Height: 60 cm

original polychromy exposed, reverse hollowed out

Height: approx. 97 cm

Price: on request

After an engraving by Albrecht Dürer

Oil on wood (parquetted), painted wooden frame

Provenance: Private collection Madrid (Finance Minister of Franco), then by succession Private collection Frankfurt/M.

Expertise: Dr. Markus Hörsch, 2011

92,5 x 595 cm

Oil on canvas, signed: "G. Günther", absolutely great quality! very good, absolutely unrestored original condition

Dimensions : 73 cm x 80 cm (without frame)

Oil on canvas, signed: F. Bayerlein

73 cm x 52 cm (without frame!)

Two doors and two drawers. oak, walnut veneered with quality cube marquetry on all sides, original bronze fittings

around 1760

height 235 cm, width 210 cm, depth 78 cm

Walnut massive and veneered, with carved, lying figure of the goddess Athena. Exquisitely crafted, fire-gilded fittings. In addition, a base in walnut and coniferous wood at the beginning of the 18th century.

height 164 cm, width 77 cm, depth 54 cm

Three-ply oak/softwood body veneered with rosewood and rosewood, coloured ribbon inlays, fire-shaded and engraved, iron locks and gold-plated fittings, probably later, stamped "P. PIONIEZ" on the back of the body, professionally restored and shellac polished by hand.

Dimensions (max.): height 68.5 cm, width 42 cm, depth 29 cm

Softwood body with walnut, rosewood, maple, mahogany veneer, various woods, some dyed, some engraved, some fire marquetry, marvellous intarsia picture with double-handle vases, flowers, mosaics and festoons, original iron locks and brass fittings, professionally restored and shellac hand-polished

Dimensions (max.): height 228 cm, width 126 cm, depth 65 cm

Simon Troger, circle of

(1693 Abfaltersbach, East Tyrol - 1768 Munich, Haidhausen)

"Two groups of figures"

Bavaria, middle of the 18th century

Walnut wood, ivory

Height: 33 cm, width: 34.5-36.5 cm, depth: 15-19 cm

Literature: "Elfenbein - Kunstwerke des Barock" Exhibition catalogue, Staatliches Museum Schwerin, K. von Berswordt-Wallrabe (ed.), Schwerin 2000, pp. 120-125, see illustrations no. 67, 68 and 69.

Altar of Our Lady

from the monastery church in Christgarten (Swabia)

High-relief „Annunciation of the Virgin“

by master Paul Ypser,

Nördlingen, after 1494

Panel paintings with scenes of the Life of the Virgin,

Swabia, circa 1500

Height: 276 cm, width: 266 cm, depth: 39 cm

Provenance: Prince Moritz zu Oettingen-Wallerstein

Literature: Liedke, Volker: Der spätgotische Verkündigungsaltar in der ehemaligen Karthäuserklosterkirche Christgarten bei Nördlingen, in: Ars Bavarica, vol. 59/60 (1989), pp. 45-58.

...A really noble workplace in the finest cherry wood

Cherry wood, solid and veneered on soft wood, key plate inlaid in ebony.

Restored original condition with preserved patina. Polished with shellac in classic manner by hand. Great patina!!!

Dimensions: 88 cm x 63 cm x 77 cm

...Rustically beautiful "brewery owner's chair"from Main-Franconia ...

Walnut wood, solid

Ready to live, restored original condition, polished with shellac by hand!

Dimensions: approx. 61 cm wide, approx. 61 cm deep and approx. 79 cm high

"It couldn't be more classic!..."

Cherry wood, solid and veneered on softwood, ebonized strips, inlays in bog oak and bone.

Restored original condition with ready to live, preserved patina. Hand polished with shellac in classic style, great patina!

Dimensions : 117,5 cm x 60 cm x 89,5 cm

Solid maple (the beautiful aged patina gives this chair a great light cherry wood colour),

ready to live, restored original condition; newly upholstered (high-quality, classic upholstery!)

An austerely-architecturally built dream furniture with elaborately cast capitals and mighty columns! Great patina!...

Mahogany, yew and other woods on softwood and veneered; elaborate inlays inside, original, mighty, elaborately cast and set capitals made of metal (very soft, probably lead or tin alloy), great workmanship,

ready to live, restored original condition. Hand polished with shellac in classic manner

Dimensions : 109 cm x 60 cm x 156 cm

Detailed photo documentation of the unrestored original condition. A dream piece for Empire lovers!

Price : 7800 Euro

Half-figure of a genius with shield of arms

Lime wood, full round carved and polychrome painted, fallow deer antler with iron mounting, 7-flamed chandelier with candle arms, minor additions, some parts of the setting have been overlooked

Expertise: Dr. Markus Hörsch, 2011

Dimensions (max.): height 65 cm, width 88 cm, depth 100 cm