Oval tobacco tin

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.

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.

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.

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.

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.

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.

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.

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.