Christian Eduard Franke-Landwers Christoph Freiherr von Seckendorff
The art gallery of Christian Eduard Franke-Landwers was founded in 1990 in Bamberg and started with a shop in the Karolinenstraße. After moving to larger premises on two floors in the Herrenstraße 1, the company was given the legal form of a GmbH (limited liability company). For more than 10 years, Christoph Freiherr von Seckendorff has as director been supporting the positive development of the trade with high-quality antiques, with a focus on 18th century furniture, 17th, 18th and early 19th century paintings as well as works of art in silver, porcelain and glass.
Objects from Christian Eduard Franke-Landwers Christoph Freiherr von Seckendorff
Renaissance small bronze of Apollo - Venice, around 1600 - attributed to the workshop of Girolamo Campagna (1549-1617)
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
Classical top-mounted cabinet - Bremen, masterpiece around 1785
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.
Rare goblet with lid, ball socket, and etched decoration for the Nuremberg council of physicians - Nuremberg, end of the 17th century
Nuremberg, end of the 17th century
Master’s brand of Johann Philipp Höfler (1685-1722), with hallmark of Nuremberg and assay line.
Silver cast, driven and etched, fully gilt on the inside and partly gilt on the outside.
With three emblematic pictures of Mercury, Earth, Sun, Moon, and Jupiter as well as their associated slogans “DABIS IMPROBE POENAS”, “LUNA ACCEPTA REFERET”, and “IUPITER HAEC FOVET” on the conical walls.
Below the rim with the inscription COLEGII MEDICI NORIBERGENSIS MEMORIA.”
The convex lid with pomegranate knob and finely etched fruit garlands.
Height 16 cm, weight about 240 g.
Nuremberg goldsmith art 1541-1868. Vol. 1. “Meister – Werke – Marken”, Nuremberg 2007, No. 366.
Figural cartel clock “L‘Astronomie” - Paris, around 1780 - designated “Waltrin Fils À Paris”, “Hger. Du Roy”
Paris, around 1780
On the enamel dial and the rear plate designated “Waltrin Fils À Paris”, “Hger. Du Roy”. Charls-Henry Waltrin may call himself royal watchmaker since 1777.
With fine, daily based worked and gilt clock hands, pendulum clockwork with string mounting and half-hourly chime.
The cartridge-shaped watchcase of gilt bronze is crowned by a fully plastic scenery of two puttos with a celestial globe and an Aries’ head below a fine floral arrangement as bottom rounding.
Height 55 cm.
Portrait of Maximiliana Amalia Countess of Perusa and Criechingen, née Countess of Kreuth - Johann, Michael Kaufmann, around 1760
Johann, Michael Kaufmann, around 1760
Oil on canvas, designated on the rear side, signed and dated.
In a high quality, original Rococo frame with elaborately broken, carved and engraved edge-ornaments.
J. M. Kaufmann (born 1713 – deceased after 1786) became courtly painter of Prince Clemens of Bavaria in Munich in 1745 and was known for his portraits and miniatures.
This picture of Countess Perusa as Flora in a dress with fine lace trimming is of exceedingly high quality, in her hands she is holding a small flower basket and blossoms.
Being represented as goddess of blossoms, spring and youth or being costumed as Flora for courtly festivities followed fashion trends within the courtly culture.
From old Bavarian Noble collection.
Height 118 cm, width 98 cm.
Major baroque pompous closet - Brunswick, around 1720
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.
Exquisitely high quality pair of regency candleholders - Augsburg, around 1711-1715 - master’s mark for Peter Kick (Augsburg 1672 – 1721, Master since around 1700)
Augsburg, around 1711-1715
Marked on the beak and on the foot with Augsburg hallmark and master’s mark for Peter Kick (Augsburg 1672 – 1721, Master since around 1700).
Silver cast, driven, chased and engraved.
The rich ornaments with the contrast of polished and matt surfaces and the changeover between octagonal and round forms express the charm of these extraordinary candleholders.
Height 21 cm, weight about 825g.
The candleholders are pictured in Helmut Seling’s “ Die Kunst der Augsburger Goldschmiede“, Munich 1980, Vol. 2, picture 813.
Large tapestry from the collection “La Tenture Chinoise“ by Johann Bernhard Fischer of Erlach - Aubusson, around 1740
Aubusson, around 1740
Wool and silk in well preserved colouring.
The cardboard templates to this tapestry originates from Jean-Joseph Dumons (1687-1779), who has been convoked to Aubusson as “Peintre au Service du Roi“.
Thanks to his imaginative designs, the royal manufactory overcame its creative and financial crisis.
Upon the chinese temples and pagodas, Dumons used the templates from the copper engravings from the ‘design of a historic architecture‘ by Johann Bernhard Fischer of Erlach, released in Leipzig in 1725.
For this tapestry, Dumons designed a phantastic, paradisiac landscape with a pompous, exotic flora and fauna. In the center on a rock grotto stands a temple recreated from the pagoda of Sinkicien.
Provenance: collection of the Aachen businessman Franz Monheim (1891-1969).
Height 284 m, width 613 cm.
Göbel, “Wandteppiche“, Part 1, Volument 2: “ Die Niederlande“, Leipzig 1923, table 459 and Part 2, Volume 2: “Die romanischen Länder“, Leipzig 1928, table 277. Greay Bennett, “Five Centuries of Tapestry“, San Francisco 1992, Cat.-No. 86.v.
Rare Biedermeier – Globe desk - Mainz, around 1830
Mainz, around 1830
Mahogany veneered with its original fittings. Globe desks mark a climax of the craftsmanship of ornamental carpenters: they are complicated to design and require a high level of experience and accuracy in processing the corpus and the costly veneers.
The faceted ball of this small desk appears very elegant on the columnar foot.
With many small, removable and partly hidden cases.
Three ogival-shaped niches with mirrored custom-made ornaments already anticipate the stylistic pluralism of the following decades.
Height 98 cm, diameter 42 cm.
Gothic terracotta relief - probably Straubing, around 1460
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.