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PAINTING
Large, ideal river landscape
Rome, probably by Andrea Locatelli (1695-1741)
This romantic Italian landscape shows a group of fishers and trees struck by lightning in the foreground, standing on the banks of a river.
The state of nature is reminiscent of a thunderstorm that has damaged the trees.
In contrast to the past dramatic natural event, the change in the weather seems to give the fishers hope of a good catch.
Oil on canvas.
Height: 112 cm, width: 146 cm
This romantic Italian landscape shows a group of fishers and trees struck by lightning in the foreground, standing on the banks of a river.
The state of nature is reminiscent of a thunderstorm that has damaged the trees.
In contrast to the past dramatic natural event, the change in the weather seems to give the fishers hope of a good catch.
Oil on canvas.
Height: 112 cm, width: 146 cm
Italian landscape
Oil on canvas,
Stuttgart, signed and dated Adolf Friedrich Harper 1786
Large landscape in front of the sunset with resting wanderers on a river course with a large waterfall in the depth of the picture. In the background, you can see remains of a castle complex. The painting is made by the Württemberg court painter Adolf Friedrich Harper (1725-1806), who grew up in Berlin and learned there from his father in the workshop. He entered ducal Württemberg service in 1756, which enabled him to make several extended trips to Italy. Johann Wolfgang von Goethe called Harper a born landscape painter. Harper was appointed court painter in 1759, professor at the 'Hohe Karlsschule' in Stuttgart in 1761, and gallery director of the collections in 1784. Several paintings by him have survived in the ducal family.
This painting also comes from the private property of the Dukes of Württemberg and there are still significant works by him, for example, in Ludwigsburg Palace.
Height: 150 cm, width: 185 cm; (with frame)
Stuttgart, signed and dated Adolf Friedrich Harper 1786
Large landscape in front of the sunset with resting wanderers on a river course with a large waterfall in the depth of the picture. In the background, you can see remains of a castle complex. The painting is made by the Württemberg court painter Adolf Friedrich Harper (1725-1806), who grew up in Berlin and learned there from his father in the workshop. He entered ducal Württemberg service in 1756, which enabled him to make several extended trips to Italy. Johann Wolfgang von Goethe called Harper a born landscape painter. Harper was appointed court painter in 1759, professor at the 'Hohe Karlsschule' in Stuttgart in 1761, and gallery director of the collections in 1784. Several paintings by him have survived in the ducal family.
This painting also comes from the private property of the Dukes of Württemberg and there are still significant works by him, for example, in Ludwigsburg Palace.
Height: 150 cm, width: 185 cm; (with frame)
Family Portrait of Duchess Helene zu Württemberg-Oels, née Princess zu Hohenlohe-Langenburg
Carl Rothe, Breslau around 1834
Oil on canvas, marked on the back.
The family portrait shows the second wife of Duke Eugen II of Württemberg-Oels (Oels 1788 - 1857 Karlsruhe), Duchess Helene (Langenburg 1807 - 1880 Heinrichsruh near Schleiz) with three of her four children: Wilhelm (1828-1869), Nikolaus (1833-1903) and Alexandrine (1829-1913), later abbess of the noble ladies' convent in Oberstenfeld.
The painting was made before the birth of their fourth child Agnes (1835-1903) and is attributed to the court painter Carl Rothe (Dresden 1810-1865 Liegnitz), who worked as court painter to the dukes of Württemberg in Oels and Breslau. Several portraits of the family by have been preserved.
Height 136.5 cm, width 111 cm.
Oil on canvas, marked on the back.
The family portrait shows the second wife of Duke Eugen II of Württemberg-Oels (Oels 1788 - 1857 Karlsruhe), Duchess Helene (Langenburg 1807 - 1880 Heinrichsruh near Schleiz) with three of her four children: Wilhelm (1828-1869), Nikolaus (1833-1903) and Alexandrine (1829-1913), later abbess of the noble ladies' convent in Oberstenfeld.
The painting was made before the birth of their fourth child Agnes (1835-1903) and is attributed to the court painter Carl Rothe (Dresden 1810-1865 Liegnitz), who worked as court painter to the dukes of Württemberg in Oels and Breslau. Several portraits of the family by have been preserved.
Height 136.5 cm, width 111 cm.
Portrait of Maria Antonia Walpurgis Symphorosa of Bavaria, Electress Prlncess of Saxony
Anton Raphael Mengs and workshop, around 1750
Oil on canvas.
This representative portrait shows the Electress of Saxony (1724-1780) in a precious brocade decorated dress with a blue ermine cloak and red sheath. She wears the star of the Russian Order of St Catherine and the Austrian Order of the Star Cross.
The Elector Princess was the daughter of the Elector and later Emperor Karl Albrecht of Bavaria and from 1747 was the wife of the Elector Friedrich Christian of Saxony, whose portrait was painted by Mengs as a counterpart.
The first version from Mengs' workshop has been preserved in the Dresden State Art Collections. Another version of similar quality is described in the painter's estate in 1779, so there is reason to suspect that the portrait shown here may have come from the painter's estate.
Anton Raphael Mengs (Bohemia 1728 - 1779 Rome) was born as the son of the Saxon court painter lsmael Mengs and received early support from his parents. From 1741 to 1744 he stayed in Rome with his father to study antiquities. From 1745 to 1761 he was court painter to August Ill, King of Poland and Elector of Saxony, and from 1761 to 1777 court painter to the Spanish King Charles III. Among his patrons were the Margravine Wilhelmine of Bayreuth, Tsarina Catherine ll and Cardinal Alessandro Albani.
Height 142,5, width 110,5 cm.
Oil on canvas.
This representative portrait shows the Electress of Saxony (1724-1780) in a precious brocade decorated dress with a blue ermine cloak and red sheath. She wears the star of the Russian Order of St Catherine and the Austrian Order of the Star Cross.
The Elector Princess was the daughter of the Elector and later Emperor Karl Albrecht of Bavaria and from 1747 was the wife of the Elector Friedrich Christian of Saxony, whose portrait was painted by Mengs as a counterpart.
The first version from Mengs' workshop has been preserved in the Dresden State Art Collections. Another version of similar quality is described in the painter's estate in 1779, so there is reason to suspect that the portrait shown here may have come from the painter's estate.
Anton Raphael Mengs (Bohemia 1728 - 1779 Rome) was born as the son of the Saxon court painter lsmael Mengs and received early support from his parents. From 1741 to 1744 he stayed in Rome with his father to study antiquities. From 1745 to 1761 he was court painter to August Ill, King of Poland and Elector of Saxony, and from 1761 to 1777 court painter to the Spanish King Charles III. Among his patrons were the Margravine Wilhelmine of Bayreuth, Tsarina Catherine ll and Cardinal Alessandro Albani.
Height 142,5, width 110,5 cm.
Large river landscape
Flanders, around 1640
Oil on canvas, doubled.
From an elevated vantage point a wide view opens into a deep river landscape, enlivened with a castle complex and with a row of houses on the left half of the picture, as well as country people and a hunter on the right.
The depth of the green-blue background is enhanced by a strong round fortified tower standing in the river and reached by a wooden footbridge. In the foreground a treescape contrasts the depth with dramatic cloud formation in the background.
96 x 138 cm. In a partly gilded old frame.
Oil on canvas, doubled.
From an elevated vantage point a wide view opens into a deep river landscape, enlivened with a castle complex and with a row of houses on the left half of the picture, as well as country people and a hunter on the right.
The depth of the green-blue background is enhanced by a strong round fortified tower standing in the river and reached by a wooden footbridge. In the foreground a treescape contrasts the depth with dramatic cloud formation in the background.
96 x 138 cm. In a partly gilded old frame.
Large river landscape
Frankfurt am Main, around 1755, assigned Christian Georg Schütz the Elder
In a large idyllic river landscape ancient ruins and a castle complex are depicted, the centre of the picture is enlivened by a resting shepherd, the right side shows rich vegetation in front of a hilly riverside landscape in the background.
Christian Georg Schütz the Elder (Flörsheim 1718- 1791 Frankfurt am Main) was a fresco and far;ade painter who worked at the courts of Hohenzollern-Hechingen and Nassau-Saarbrücken during his years of travel before settling in Frankfurt am Main in 1743. He undertook study trips to the Rhine and Switzerland.
Around 1750 he worked for the Duke of Brunswick—Lüneburg and the Landgrave of Hesse for the residences in Kassel. In Goethe's time, his mostly ideal, romantic landscapes, influenced by the Middle Rhine and often executed in oil on canvas, were very popular and widespread. Another work has been preserved in Wilhelmshöhe Palace in Kassel, among other places.
Oil on canvas.
96 x 171 cm.
In a large idyllic river landscape ancient ruins and a castle complex are depicted, the centre of the picture is enlivened by a resting shepherd, the right side shows rich vegetation in front of a hilly riverside landscape in the background.
Christian Georg Schütz the Elder (Flörsheim 1718- 1791 Frankfurt am Main) was a fresco and far;ade painter who worked at the courts of Hohenzollern-Hechingen and Nassau-Saarbrücken during his years of travel before settling in Frankfurt am Main in 1743. He undertook study trips to the Rhine and Switzerland.
Around 1750 he worked for the Duke of Brunswick—Lüneburg and the Landgrave of Hesse for the residences in Kassel. In Goethe's time, his mostly ideal, romantic landscapes, influenced by the Middle Rhine and often executed in oil on canvas, were very popular and widespread. Another work has been preserved in Wilhelmshöhe Palace in Kassel, among other places.
Oil on canvas.
96 x 171 cm.
A pair of high-quality baroque paintings
Signed Franz Christoph Janneck (Graz 1703-1761 Vienna)
Oil on copper.
In a festive atmosphere, a gallant, courtly company amuses herself on the terrace of a magnificent palace to music, dance and conversation over a lavish feast. On large-format murals in the background of the colorful scenery, mythological depictions of the hunting goddess Diana and the sun god Apollo reflect the demanding lifestyle of the characters and tell as allegories the dream of eternal beauty and youth, of seduction and love, but also of the burden of social expectations and moral demands.
In their brilliant colors and the excellent quality of the painting, these two counterparts are typical examples of baroque art in Austria. Alongside Johann Georg Platzer (1704-1761), Janneck is rightly considered the most important artist at the Vienna Academy. In his characteristic combination of Dutch and French ideals, he succeeded in excellent implementation of the unique, baroque attitude towards life of the noble society in the 18th century. The pair of paintings was exhibited in the Residenzgalerie Salzburg in 1996 and published in the exhibition catalog (cat. no. 4 and 5).
Height 40 cm, width 52 cm.
Juffinger, “Reich mir die Hand, mein Leben. Einladung zu einem barocken Fest“ with pictures by Johann Georg Platzer and Franz Christoph Janneck, Salzburg 1996, p. 100-104.
Pucher, Franz Christoph Janneck 1703-1761, dissertation, Graz 1996, p. 196-197, cat. no. 109 and 110.
Oil on copper.
In a festive atmosphere, a gallant, courtly company amuses herself on the terrace of a magnificent palace to music, dance and conversation over a lavish feast. On large-format murals in the background of the colorful scenery, mythological depictions of the hunting goddess Diana and the sun god Apollo reflect the demanding lifestyle of the characters and tell as allegories the dream of eternal beauty and youth, of seduction and love, but also of the burden of social expectations and moral demands.
In their brilliant colors and the excellent quality of the painting, these two counterparts are typical examples of baroque art in Austria. Alongside Johann Georg Platzer (1704-1761), Janneck is rightly considered the most important artist at the Vienna Academy. In his characteristic combination of Dutch and French ideals, he succeeded in excellent implementation of the unique, baroque attitude towards life of the noble society in the 18th century. The pair of paintings was exhibited in the Residenzgalerie Salzburg in 1996 and published in the exhibition catalog (cat. no. 4 and 5).
Height 40 cm, width 52 cm.
Juffinger, “Reich mir die Hand, mein Leben. Einladung zu einem barocken Fest“ with pictures by Johann Georg Platzer and Franz Christoph Janneck, Salzburg 1996, p. 100-104.
Pucher, Franz Christoph Janneck 1703-1761, dissertation, Graz 1996, p. 196-197, cat. no. 109 and 110.
Grand Duchess of Mecklenburg-Strelitz
In the manner of Johann Georg Ziesenis around 1770
Grand Duchess Friederike Caroline Luise of Mecklenburg-Strelitz with the portrait of her first daughter, Charlotte Georgine Luise Friederike
Oil on canvas.
This picture, made in the tradition of courtly portrait painting, offers a symbolic insight into the private life of the depicted princess of Hesse-Darmstadt (1752-1782), through marriage the Duchess of Mecklenburg-Strelitz and mother of the Prussian Queen Luise. The elaborately gathered and embroidered, silk-blue dress, the artfully teased hairstyle, the subtle but expensive jewellery underline her representative function. As an allegory, the little dog refers to marital fidelity and, like the finely executed child portrait in her hands, illustrates the social role of the young duchess.
Commissioned on the birth or christening of their first child, this lovingly painted souvenir was created with the double portrait of mother and daughter. Charlotte (1769-1818), who later, together with her sisters Queen Luise of Prussia, Queen Friederike of Hanover and Princess Therese of Thurn und Taxis, was considered one of the most beautiful women of her time, married Duke Friedrich of Saxony-Hildburghausen at the age of 15.
Height 64 cm, width 46 cm.
Grand Duchess Friederike Caroline Luise of Mecklenburg-Strelitz with the portrait of her first daughter, Charlotte Georgine Luise Friederike
Oil on canvas.
This picture, made in the tradition of courtly portrait painting, offers a symbolic insight into the private life of the depicted princess of Hesse-Darmstadt (1752-1782), through marriage the Duchess of Mecklenburg-Strelitz and mother of the Prussian Queen Luise. The elaborately gathered and embroidered, silk-blue dress, the artfully teased hairstyle, the subtle but expensive jewellery underline her representative function. As an allegory, the little dog refers to marital fidelity and, like the finely executed child portrait in her hands, illustrates the social role of the young duchess.
Commissioned on the birth or christening of their first child, this lovingly painted souvenir was created with the double portrait of mother and daughter. Charlotte (1769-1818), who later, together with her sisters Queen Luise of Prussia, Queen Friederike of Hanover and Princess Therese of Thurn und Taxis, was considered one of the most beautiful women of her time, married Duke Friedrich of Saxony-Hildburghausen at the age of 15.
Height 64 cm, width 46 cm.
3 Scagliola images
Rome, around 1730
Three trompe l'oeil Scagliola pictures Amedeo (active 1712-1734 in Turin and Rome) or Pietro Seyter (born 1687 in Rome). Scagliola actually served as a substitute material for marble and mainly for architectural decoration, for example on pillars or as a fireplace cladding. The Augsburg artist family Seyter (also Sayter, Seuter or Seytter) perfected the handling of the material in such filigree and refined representations. The wrinkled vedutas of the “Piramide di caio cestio”, the “Tempio di Bacco” and the “Spelonca della Ninfa egeria detta volgarmete la cafarella”, which are based on contemporary engravings with views of the eternal city, appear deceptively real.
Height 33 cm, width 37 cm.
Three trompe l'oeil Scagliola pictures Amedeo (active 1712-1734 in Turin and Rome) or Pietro Seyter (born 1687 in Rome). Scagliola actually served as a substitute material for marble and mainly for architectural decoration, for example on pillars or as a fireplace cladding. The Augsburg artist family Seyter (also Sayter, Seuter or Seytter) perfected the handling of the material in such filigree and refined representations. The wrinkled vedutas of the “Piramide di caio cestio”, the “Tempio di Bacco” and the “Spelonca della Ninfa egeria detta volgarmete la cafarella”, which are based on contemporary engravings with views of the eternal city, appear deceptively real.
Height 33 cm, width 37 cm.
Sample picture “Pietra-Dura“
Probably Italy, 2nd half of the 18th century
The panel is inserted in a profiled frame from the 18th century with gilt strip.
On brown-ochre flecked ground are 42 with black slate strips offset arrays with differently coloured, partly veined kinds of marble.
Height 75 cm, width 57 cm.
The panel is inserted in a profiled frame from the 18th century with gilt strip.
On brown-ochre flecked ground are 42 with black slate strips offset arrays with differently coloured, partly veined kinds of marble.
Height 75 cm, width 57 cm.
Arnoldus Bloemers
Lush fruit still life with insects (Amsterdam 1792 - 1844 The Hague) Monogrammed "AB" lower right. The overripe figs, peaches, grapes and plums, which are already visited by insects, are reminiscent of the transience of everything earthly - in the tradition of the Golden Age. This also corresponds to the high painterly quality and the balanced composition of the overflowing fruit basket by the Dutch master. Oil on canvas.
Height 54 cm, width 65 cm.
Height 54 cm, width 65 cm.
Johann Nepomuk Mayrhofer
High quality still life with fruits, signed around 1810 lower left. Mayrhofer (Oberneukirchen 1764 - 1832 Munich) was known as an extremely precise flower painter. In addition to the artistic, he also showed scientific interest in plants and published numerous botanical lithographs as well as a "guide to flower drawing". In the still life shown here, too, he attached great importance to the exact reproduction of the various flowers and fruits. Oil on canvas, in the original frame.
Height 71 cm, width 61 cm.
Height 71 cm, width 61 cm.
Cornelis Schut the Elder and Daniel Seghers
Madonna with Christ and the boy John in a wreath of flowers. Around 1640. Cornelis Schut (Antwerp around 1597-1655) was master of the Antwerp Guild of St. Luke from 1618 and created numerous altarpieces for churches throughout Belgium. The influence of Peter Paul Rubens, with whom he worked temporarily, is evident in many of his works. The flower garland with cherries and other fruits by Daniel Seghers (Antwerp 1590-1661), who was trained in flower painting by Jan Brueghel, is particularly original and of as high quality as the pictorial representation. Oil on wood.
Height 84 cm, width 69 cm.
Height 84 cm, width 69 cm.
Ferdinand Konrad Bellermann
The Temple of Vesta in Rome
Ferdinand Konrad Bellermann
Oil on canvas. Bellermann (Erfurt 1814-1889 Berlin) originally began an apprenticeship as a porcelain painter and moved to the Berlin Academy in 1833. From there, various trips took him to Scandinavia, South America and Italy, among others. Above all, the study trip to Venezuela sponsored by King Friedrich Wilhelm IV and the exchange with Alexander von Humboldt shaped his artistic work. His landscapes are not only successfully composed in structure, but are often also devoted to apparently insignificant details and botanical peculiarities of the nature depicted.
Height 58.5 cm, width 62.5 cm.
Thieme / Becker, Allgemeines Lexikon der bildenden Künstler, Vol. 3, pp. 243-244.
Ferdinand Konrad Bellermann
Oil on canvas. Bellermann (Erfurt 1814-1889 Berlin) originally began an apprenticeship as a porcelain painter and moved to the Berlin Academy in 1833. From there, various trips took him to Scandinavia, South America and Italy, among others. Above all, the study trip to Venezuela sponsored by King Friedrich Wilhelm IV and the exchange with Alexander von Humboldt shaped his artistic work. His landscapes are not only successfully composed in structure, but are often also devoted to apparently insignificant details and botanical peculiarities of the nature depicted.
Height 58.5 cm, width 62.5 cm.
Thieme / Becker, Allgemeines Lexikon der bildenden Künstler, Vol. 3, pp. 243-244.
Richard Friedrich Reusing
Portrait of an elegant lady
Richard Friedrich Reusing, 1913
In an interior filled with various draperies, Reusing portrayed a lady in an elegant, strapless evening gown. The softly falling, iridescent fabrics correspond to the virtuoso and loosely set, impasto brushstrokes. Reusing (Mühlheim am Rhein 1874-1956 Haan) studied at the Düsseldorf Art Academy and received his first portraits as a master student, for which he was soon appreciated and in demand across the region. In his characterful, impartial painting style, he portrayed numerous famous contemporaries from art and society, including Richard Strauss, Joachim Ringelnatz, Albert Einstein, Gustav Krupp and August Thyssen. Height 194 cm, width 126 cm. Thieme / Becker, Allgemeines Lexikon der bildenden Künstler, Vol. 28, p. 196.
Richard Friedrich Reusing, 1913
In an interior filled with various draperies, Reusing portrayed a lady in an elegant, strapless evening gown. The softly falling, iridescent fabrics correspond to the virtuoso and loosely set, impasto brushstrokes. Reusing (Mühlheim am Rhein 1874-1956 Haan) studied at the Düsseldorf Art Academy and received his first portraits as a master student, for which he was soon appreciated and in demand across the region. In his characterful, impartial painting style, he portrayed numerous famous contemporaries from art and society, including Richard Strauss, Joachim Ringelnatz, Albert Einstein, Gustav Krupp and August Thyssen. Height 194 cm, width 126 cm. Thieme / Becker, Allgemeines Lexikon der bildenden Künstler, Vol. 28, p. 196.
Karel Borchaert Voet
Exotic still life of fruit
attributed to Karel Borchaert Voet
Oil on canvas, relined. Fruit still life with pineapple, aloe, coral tree plant, grapes and nasturtium as well as two cabbage white flowers arranged in bright colors against a neutral background. Voet (Zwolle 1670-1744 / 45 Dordrecht) was known as an insect and flower painter and preferred to devote himself to exotic, strange fruits and plants, paying particular attention to the correct reproduction of all details. In 1735 he published the "Codex Bentingiana" on behalf of the Count of Portland, a magnificent catalog of all the flowers and insects in his garden of the same name.
Height 80 cm, width 66 cm.
Thieme / Becker, Allgemeines Lexikon der bildenden Künstler, Vol. 34, p. 472.
attributed to Karel Borchaert Voet
Oil on canvas, relined. Fruit still life with pineapple, aloe, coral tree plant, grapes and nasturtium as well as two cabbage white flowers arranged in bright colors against a neutral background. Voet (Zwolle 1670-1744 / 45 Dordrecht) was known as an insect and flower painter and preferred to devote himself to exotic, strange fruits and plants, paying particular attention to the correct reproduction of all details. In 1735 he published the "Codex Bentingiana" on behalf of the Count of Portland, a magnificent catalog of all the flowers and insects in his garden of the same name.
Height 80 cm, width 66 cm.
Thieme / Becker, Allgemeines Lexikon der bildenden Künstler, Vol. 34, p. 472.
Christian Richter
Renaissance child portrait of Bernhard von Sachsen (1638-1678)
Christian Richter, 1643
The child portrait by the hand of the princely Saxon court painter Richter (Altenburg around 1612-1667 Weimar) shows the first Duke of Jena-Sachsen as a boy at the age of five in a magnificent , red suit with gold braids and lace trim. The inscription on the top left reads „Bernardus Dux Saxoniae / Iuli Cliui et Mont / Geboren zu Weimar / Ao. 1638 / Contrafeit Ao. 1643 / C. Richter“.
Oil on canvas.
Height 130 cm, width 84 cm (without frame).
Thieme / Becker, Allgemeines Lexikon der bildenden Künstler, Vol. 28, pp. 285-286.
Christian Richter, 1643
The child portrait by the hand of the princely Saxon court painter Richter (Altenburg around 1612-1667 Weimar) shows the first Duke of Jena-Sachsen as a boy at the age of five in a magnificent , red suit with gold braids and lace trim. The inscription on the top left reads „Bernardus Dux Saxoniae / Iuli Cliui et Mont / Geboren zu Weimar / Ao. 1638 / Contrafeit Ao. 1643 / C. Richter“.
Oil on canvas.
Height 130 cm, width 84 cm (without frame).
Thieme / Becker, Allgemeines Lexikon der bildenden Künstler, Vol. 28, pp. 285-286.
Antoine Pesne
Portrait of Friederike Luise Princess of Prussia (1714-1784)
Workshop of Antoine Pesne, around 1725/30
The younger sister of Frederick the Great and Margravine Wilhelmine of Bayreuth was born in Berlin in 1730 with Karl Wilhelm Friedrich, the “wild margrave”, of Brandenburg -Ansbach married. She was the mother of the last Franconian Hohenzollern Karl Alexander von Brandenburg-Ansbach. Oil on canvas.
Height 156cm, width 119cm (without frame).
Thieme / Becker, Allgemeines Lexikon der bildenden Künstler, vol. 26, p. 467ff.
Workshop of Antoine Pesne, around 1725/30
The younger sister of Frederick the Great and Margravine Wilhelmine of Bayreuth was born in Berlin in 1730 with Karl Wilhelm Friedrich, the “wild margrave”, of Brandenburg -Ansbach married. She was the mother of the last Franconian Hohenzollern Karl Alexander von Brandenburg-Ansbach. Oil on canvas.
Height 156cm, width 119cm (without frame).
Thieme / Becker, Allgemeines Lexikon der bildenden Künstler, vol. 26, p. 467ff.
Signed and dated „P. Prancar f. 1803“
Large Italian landscape
Signed and dated &„P. Prancar f. 1803“
Oil on canvas. Wide, hilly river landscape with anglers and shepherds resting on the bank. The composition and the arcaded figure staffage are reminiscent of the landscapes of the Italian baroque painter Andrea Locatelli (1695-1741); a comparable painting by Locatelli is in the Kunsthistorisches Museum in Vienna.
Height 116cm, width 160cm (without frame).
Signed and dated &„P. Prancar f. 1803“
Oil on canvas. Wide, hilly river landscape with anglers and shepherds resting on the bank. The composition and the arcaded figure staffage are reminiscent of the landscapes of the Italian baroque painter Andrea Locatelli (1695-1741); a comparable painting by Locatelli is in the Kunsthistorisches Museum in Vienna.
Height 116cm, width 160cm (without frame).
A pair of peacocks
A pair of peacocks, sitting in a landscape, probably around 1685.
Attributed to Franz de Hamilton, Bavarian court painter in Munich from 1683 to 1689.
Oil on canvas.
Height 37 cm, width 47 cm
Attributed to Franz de Hamilton, Bavarian court painter in Munich from 1683 to 1689.
Oil on canvas.
Height 37 cm, width 47 cm
Justus Junker
Still life with fruit in a landscape with ancient architecture
Signed and dated by Justus Junker, 1763 (Mainz 1730 - Frankfurt 1767)
Oil on canvas.
Height 51 cm, width 68 cm with frame
Signed and dated by Justus Junker, 1763 (Mainz 1730 - Frankfurt 1767)
Oil on canvas.
Height 51 cm, width 68 cm with frame
Workshop Christian Georg Schütz the Elder
An important painting cycle
probably Frankfurt around 1770/80
Oil on canvas
Height 197cm, total length 13.5m
probably Frankfurt around 1770/80
Oil on canvas
Height 197cm, total length 13.5m
CHRISTIAN EDUARD FRANKE
ART TRADE
Herrenstrasse 1
96049 Bamberg
+49 (0) 951 52244
CHRISTIAN EDUARD FRANKE
ART TRADE
Herrenstrasse 1
96049 Bamberg
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