Small salon table with floral marquetry

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.

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.

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, 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.

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.

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.

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.

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.

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.