Christian Eduard Franke-Landwers Christoph Freiherr von Seckendorff
The art trade of Christian Eduard Franke-Landwers was founded in 1990 in Bamberg and opened with a retail store in Karolinenstraße. After moving to larger premises on two floors in Herrenstraße 1, the company was given the legal form of a GmbH (limited liability company). For more than 10 years Christoph Freiherr von Seckendorff as managing director supports the positive development of the trade with high quality antiques, with focus on furniture of the 18th century, paintings of the 17th, 18th and early 19th century as well as old arts and crafts like 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.
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.
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.
Renaissance coconut goblet - probably South German around 1660
Probably South German around 1660
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.
Pair of elegant, Italian commodes - probably Lombardy, around 1820
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.
Splendid courtly chandelier probably designed by Karl Friedrich Schinkel - Berlin, around 1835
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.
Pair of extraordinary Empire-armchairs - Neapel, first half of the 19th century
Neapel, first half of the 19th 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 19th 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.
Big, pompous pendula - Vienna, end of the 18th century
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.
Big, ideal river landscape - first half of the 18th century - Workshop of Andrea Locatelli (Rome 1695-1741)
First half of the 18th 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 18th century.
Height 112 cm, width 146 cm.