Elegant Armchair from the Early Biedermeier Period, Central German

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.

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.

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.

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.

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.

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.