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KUNSTHANDWERK
Lackkabinett in wunderbarer Erhaltung
Spa, um 1770
Video: Lackkabinett aus Spa
Spa, um 1770
Neuwied casket
David Roentgen workshop, Neuwied, around 1780
Oak body with mahogany veneer, with its original fire-gilt bronze fittings, carrying handle and lock.
The design, dimensions, and layout of this oak veneered mahogany casket are similar to a casket dated around 1785 in the Berlin Museum of Decorative Arts: simple rectangular shape with carrying handle, the body divided by gilt brass strips, bands and profiles, the keyhole uncovered. Inside, an insert closed with a roll-top lid and side pedestal drawers that pop out at the touch of a button as secret compartments.
Between 1755 and 1790, significantly over a hundred different models of the highly popular caskets from the Roentgen workshop are documented. The importance of this item in the workshop's range is demonstrated by the portrait of Susanna Maria Roentgen, wife of Abraham and mother of David Roentgen, in 1772 with a casket made by her husband's hand.
Length: 29.5 cm, width: 16.5 cm, height: 17 cm
Cf.: State Museums, Foundation for the Cultural Heritage of Prussia, Berlin, Arts and Crafts Museum, Inv. 35.93
Dietrich Fabian, “Roentgenmöbel aus Neuwied”, Bad Neustadt 1986, p. 280 ff., esp. figs. 672 and 673
Oak body with mahogany veneer, with its original fire-gilt bronze fittings, carrying handle and lock.
The design, dimensions, and layout of this oak veneered mahogany casket are similar to a casket dated around 1785 in the Berlin Museum of Decorative Arts: simple rectangular shape with carrying handle, the body divided by gilt brass strips, bands and profiles, the keyhole uncovered. Inside, an insert closed with a roll-top lid and side pedestal drawers that pop out at the touch of a button as secret compartments.
Between 1755 and 1790, significantly over a hundred different models of the highly popular caskets from the Roentgen workshop are documented. The importance of this item in the workshop's range is demonstrated by the portrait of Susanna Maria Roentgen, wife of Abraham and mother of David Roentgen, in 1772 with a casket made by her husband's hand.
Length: 29.5 cm, width: 16.5 cm, height: 17 cm
Cf.: State Museums, Foundation for the Cultural Heritage of Prussia, Berlin, Arts and Crafts Museum, Inv. 35.93
Dietrich Fabian, “Roentgenmöbel aus Neuwied”, Bad Neustadt 1986, p. 280 ff., esp. figs. 672 and 673
Cymbal beater bowl
Nuremberg, around 1520
A central quatrefoil motif with stylized floral bundles is chased from the beaten sheet brass.
Cymbal beater bowls were an export hit of the Free Imperial City until the beginning of the 16th century. They were produced in accordance with graphic motifs from Schedel's World Chronicle, printed in Nuremberg in 1493, and with designs by the Nuremberg masters Albrecht Dürer, Sebald and Barthel Beham or Georg Pencz.
Diameter: 37 cm
A central quatrefoil motif with stylized floral bundles is chased from the beaten sheet brass.
Cymbal beater bowls were an export hit of the Free Imperial City until the beginning of the 16th century. They were produced in accordance with graphic motifs from Schedel's World Chronicle, printed in Nuremberg in 1493, and with designs by the Nuremberg masters Albrecht Dürer, Sebald and Barthel Beham or Georg Pencz.
Diameter: 37 cm
Large tureen
Porcelain, with underglaze sword mark with star (1774-1813), Neu-Brandenstein form (from 1744), press marks 3rd and 42nd, overglaze painting in bold colours, and gilding.
The tureen and salver belong to the form with plaited relief patterns developed by Eberlein in 1741 for the head chef at the Saxon court, Friedrich August von Brandenstein. The impressively lifelike decoration with native birds appears to have been inspired by Albin's ornithological work, which is documented in the manufactory's library and which the editor illustrated from life together with his daughter Elizabeth Albin.
Plate: length: 46 cm, width: 28 cm
Tureen: length: 40 cm, width: 22 cm, height: 30 cm
Total height: 32 cm
The tureen and salver belong to the form with plaited relief patterns developed by Eberlein in 1741 for the head chef at the Saxon court, Friedrich August von Brandenstein. The impressively lifelike decoration with native birds appears to have been inspired by Albin's ornithological work, which is documented in the manufactory's library and which the editor illustrated from life together with his daughter Elizabeth Albin.
Plate: length: 46 cm, width: 28 cm
Tureen: length: 40 cm, width: 22 cm, height: 30 cm
Total height: 32 cm
Fabergé purpurin cat
St. Petersburg, around 1900
Cat sitting upright with raised head, the bushy tail curled around the front paws, the fur carved in detail from the stone, the eyes made of faceted green demantoids.
In the original wooden case, the silk lining with the court supplier's mark of Peter Carl Fabergé (1846-1920) and the names of the branches: Moscow, St. Petersburg, Odessa. Fabergé opened the Odessa branch in 1890, and it existed until 1918.
Purpurin, like obsidian, is a volcanic rock glass. However, purpurin is artificially produced from glass that is fused with pure gold, giving it an opaque, bright red colour. The production of porporino was discovered in the Vatican mosaic workshops of Alessio Matteoli in the 18th century but was then forgotten. An employee of Fabergé rediscovered the old production process around 1890 and improved it. Purpurin was then used exclusively by Fabergé.
A similar cat figurine made of agate with emerald cabochon eyes - a gift from the Tsarina's mother Maria Feodorovna to her sister Thyra - is depicted in Habsburg.
Height: 2.9 cm
Cf. Géza von Habsburg: “Fabergé-Cartier, Rivalen am Zarenhof”, exhibition catalogue, Munich 2003, no. 326
We would like to thank Alexander von Solodkoff for his expertise.
Cat sitting upright with raised head, the bushy tail curled around the front paws, the fur carved in detail from the stone, the eyes made of faceted green demantoids.
In the original wooden case, the silk lining with the court supplier's mark of Peter Carl Fabergé (1846-1920) and the names of the branches: Moscow, St. Petersburg, Odessa. Fabergé opened the Odessa branch in 1890, and it existed until 1918.
Purpurin, like obsidian, is a volcanic rock glass. However, purpurin is artificially produced from glass that is fused with pure gold, giving it an opaque, bright red colour. The production of porporino was discovered in the Vatican mosaic workshops of Alessio Matteoli in the 18th century but was then forgotten. An employee of Fabergé rediscovered the old production process around 1890 and improved it. Purpurin was then used exclusively by Fabergé.
A similar cat figurine made of agate with emerald cabochon eyes - a gift from the Tsarina's mother Maria Feodorovna to her sister Thyra - is depicted in Habsburg.
Height: 2.9 cm
Cf. Géza von Habsburg: “Fabergé-Cartier, Rivalen am Zarenhof”, exhibition catalogue, Munich 2003, no. 326
We would like to thank Alexander von Solodkoff for his expertise.
Large display dish with grapes
Faience, probably Hollitsch, around 1770
Framed oval tray, marked on the underside with a green cross, with floral decoration in overglaze, arranged with lifelike shaped grapes on leaves, and with fire salamanders as a display dish on a late Baroque table.
Width: 40 cm, depth: 30 cm
Framed oval tray, marked on the underside with a green cross, with floral decoration in overglaze, arranged with lifelike shaped grapes on leaves, and with fire salamanders as a display dish on a late Baroque table.
Width: 40 cm, depth: 30 cm
Important oval tobacco tin by Johann Christian Neuber
Johann Christian Neuber (1736-1808), Dresden, around 1780
Tobacco tin, stone mosaic, and mounted in gold.
Large, oval lidded box with elaborate stone mosaic of various Saxon stones, imitating straw braid in the most precise trompe-l'œil manner, considering the stone pattern. The discreet gold mounting is finely ornamentally chiseled, the handle lavishly floral decorated.
This tobacco tin, which creates the illusion of a simple, finely crafted straw tin mounted in gold, beautifully demonstrates the outstanding mastery of the Dresden court jeweler Neuber: Trained as a goldsmith and stone cutter by his future father-in-law Heinrich Taddel in Dresden, Neuber was accepted into the local goldsmiths' guild in 1762, worked for the court from 1767, was responsible for the Dresden Green Vault from 1769, and was appointed court jeweler in 1775.
Width: 8.5 cm, height: 3 cm
Alexis Kugel, “Gold, Jasper and Carnelian. Johann Christian Neuber at the Saxon Court”, London 2012, No. 60, p. 344.
Provenance: 1964 in the Hallstein Collection
Tobacco tin, stone mosaic, and mounted in gold.
Large, oval lidded box with elaborate stone mosaic of various Saxon stones, imitating straw braid in the most precise trompe-l'œil manner, considering the stone pattern. The discreet gold mounting is finely ornamentally chiseled, the handle lavishly floral decorated.
This tobacco tin, which creates the illusion of a simple, finely crafted straw tin mounted in gold, beautifully demonstrates the outstanding mastery of the Dresden court jeweler Neuber: Trained as a goldsmith and stone cutter by his future father-in-law Heinrich Taddel in Dresden, Neuber was accepted into the local goldsmiths' guild in 1762, worked for the court from 1767, was responsible for the Dresden Green Vault from 1769, and was appointed court jeweler in 1775.
Width: 8.5 cm, height: 3 cm
Alexis Kugel, “Gold, Jasper and Carnelian. Johann Christian Neuber at the Saxon Court”, London 2012, No. 60, p. 344.
Provenance: 1964 in the Hallstein Collection
Display dish with olives
Paul Hannong, Strasbourg, around 1770
Faience, underglaze blue mark P H, and overglaze painting.
Green olives lie in a round bowl richly decorated with floral painting.
Very good condition.
Diameter: 25 cm
Faience, underglaze blue mark P H, and overglaze painting.
Green olives lie in a round bowl richly decorated with floral painting.
Very good condition.
Diameter: 25 cm
Large cartel clock with console
Paris, around 1760
Floral “Vernis-Martin” decoration on oak and with elaborate fire-gilt bronze appliqués
14-day movement, converted to spring suspension with lock disc control and half-hour strike on bell. Signed “LEMAIRE À PARIS” on the dial.
Literature: Cf. Kjellberg, “Encyclopédie, de la pendule française du Moyen Age au XXe siècle”, Paris 1997, p. 82.
Height: 121 cm, width: 44 cm, depth: 22 cm
Floral “Vernis-Martin” decoration on oak and with elaborate fire-gilt bronze appliqués
14-day movement, converted to spring suspension with lock disc control and half-hour strike on bell. Signed “LEMAIRE À PARIS” on the dial.
Literature: Cf. Kjellberg, “Encyclopédie, de la pendule française du Moyen Age au XXe siècle”, Paris 1997, p. 82.
Height: 121 cm, width: 44 cm, depth: 22 cm
Original faience tureen for hare pie
France, around 1790
Pie pan, faience, overglaze painted on a manganese violet dotty ground, the hare's body with finely executed fur pattern.
Height: 21 cm, width: 26 cm, length: 48 cm
Pie pan, faience, overglaze painted on a manganese violet dotty ground, the hare's body with finely executed fur pattern.
Height: 21 cm, width: 26 cm, length: 48 cm
Classicist marble lidded vase
Vienna, around 1800
Cream-coloured marble with a subtle pattern and fire-gilt bronze mountings.
Height: 25 cm, width: 24 cm, depth: 13 cm
Cream-coloured marble with a subtle pattern and fire-gilt bronze mountings.
Height: 25 cm, width: 24 cm, depth: 13 cm
Rare, museological pair of globes
John (1745-1835) and William Cary (1760-1825), London 1816/1828 inscribed and dated.
Earth and celestial globes are covered with coloured and lacquered copper engravings, in three-legged mahogany stands on castors, each with an equatorial ring with month indications, a brass meridian ring with indication of the pole height and a compass in the base. The terrestrial globe has an additional equation eighth, while the celestial globe shows the zodiac signs and a key for star sizes.
John Cary enjoyed an excellent reputation as a cartographer, as well as an engraver and publisher of maps and globes. His younger brother William specialized in the manufacture of scientific instruments. The company founded jointly by the brothers brought out the first globes in 1791 and was soon regarded as the leading globe manufacturer in London.
Height: 115 cm, diameter: 60 cm
Earth and celestial globes are covered with coloured and lacquered copper engravings, in three-legged mahogany stands on castors, each with an equatorial ring with month indications, a brass meridian ring with indication of the pole height and a compass in the base. The terrestrial globe has an additional equation eighth, while the celestial globe shows the zodiac signs and a key for star sizes.
John Cary enjoyed an excellent reputation as a cartographer, as well as an engraver and publisher of maps and globes. His younger brother William specialized in the manufacture of scientific instruments. The company founded jointly by the brothers brought out the first globes in 1791 and was soon regarded as the leading globe manufacturer in London.
Height: 115 cm, diameter: 60 cm
A pair of extremely well-preserved mirror applications
Venice, around 1750
Carved, polished mirrors in carved, gilt wooden frames, each with two curved candlesticks.
The mirrors are a fine example of the exuberant Venetian Baroque style: outstanding carving and centuries of mastery in glass production and processing complement each other perfectly.
Height 100 cm, width 54 cm, depth 27 cm.
Carved, polished mirrors in carved, gilt wooden frames, each with two curved candlesticks.
The mirrors are a fine example of the exuberant Venetian Baroque style: outstanding carving and centuries of mastery in glass production and processing complement each other perfectly.
Height 100 cm, width 54 cm, depth 27 cm.
Mirror
Berlin or Potsdam, around 1750
Elegant wall mirror, richly carved with original frame, gilding and faceted glass from the period.
Height: 110 cm, width: 34 cm
Elegant wall mirror, richly carved with original frame, gilding and faceted glass from the period.
Height: 110 cm, width: 34 cm
A pair of gilt bronze candlesticks
Paris, around 1715-1730
The cast, costly chased Régence chandeliers are worked of an unusual and sophisticated design. The octagonal base is connected to the round grommet by a three-sided shaft. The candlesticks are characterized by silver work from their period.
Height: 25 cm
The cast, costly chased Régence chandeliers are worked of an unusual and sophisticated design. The octagonal base is connected to the round grommet by a three-sided shaft. The candlesticks are characterized by silver work from their period.
Height: 25 cm
Small box
Nuremberg, around 1600, signed on the movable strip covering the lock: “MICHEL MANN”
This fully signed, particularly beautiful small box, an example of the great specialty of the Nuremberg gunsmith and art locksmith Michel Mann, is engraved on all sides. On the lid, a gentleman greets a lady; perhaps the box was made as a love gift. Dancing and musical figures adorn the sides, and a leaping deer is depicted at the bottom - a reference to hunting.
Inside the lid, there is a costly lock with four latches, typical of Mann's production. This miniature version of a treasure chest was possibly intended for the storage of jewels or precious stones, but is rather conceived as a refined art object, suitable to be picked up and admired in all its peculiarities.
Brass, copper and iron, partly fire-gilt and blued
Height: 4.6 cm, width: 7.3 cm
This fully signed, particularly beautiful small box, an example of the great specialty of the Nuremberg gunsmith and art locksmith Michel Mann, is engraved on all sides. On the lid, a gentleman greets a lady; perhaps the box was made as a love gift. Dancing and musical figures adorn the sides, and a leaping deer is depicted at the bottom - a reference to hunting.
Inside the lid, there is a costly lock with four latches, typical of Mann's production. This miniature version of a treasure chest was possibly intended for the storage of jewels or precious stones, but is rather conceived as a refined art object, suitable to be picked up and admired in all its peculiarities.
Brass, copper and iron, partly fire-gilt and blued
Height: 4.6 cm, width: 7.3 cm
Royal KPM crater vase
Berlin 1825
The large, crater-shaped vase has a base imitating lapis lazuli and is richly and diversely gilt on all sides with polished and engraved ornamentation. The gilt Prussian eagle on the front of the magnificent vessel bears the profile portrait of Princess Luise of Prussia, daughter of Frederick William III and Queen Luise, who was married to Prince Frederick of the Netherlands in 1825. The central medallion “Biscuit” is framed on the outer garb with a lush, very delicate, fully sculpted rosary.
The model for the portrait “en relief” was created by Leonhard Posch in 1825 for Princess Luise's wedding.
Wilhelm III ordered the vase for himself; it is listed in the KPM archives in Berlin with the invoice date August 5, 1825.
After the king's death in 1840, the vase was inherited by his daughter Luise and came from her to the House of Wied upon the marriage of her daughter Mary, Princess of the Netherlands, to Prince William of Wied on July 18, 1871, where it remained in the possession of the Wied Princes until a few years ago.
Marks: Sceptre in underglaze blue, KPM with eagle with sceptre and crown in purple.
SPSG, KPM-Archiv (Land Berlin), file no. 353, Prestiosa 2, Conto Buch Sr. Majestät des Königs. 1818 - 1850, fol. 120v
Height: 43 cm, diameter: 28.5 cm, foot 16.5 cm x 16.5 cm
The large, crater-shaped vase has a base imitating lapis lazuli and is richly and diversely gilt on all sides with polished and engraved ornamentation. The gilt Prussian eagle on the front of the magnificent vessel bears the profile portrait of Princess Luise of Prussia, daughter of Frederick William III and Queen Luise, who was married to Prince Frederick of the Netherlands in 1825. The central medallion “Biscuit” is framed on the outer garb with a lush, very delicate, fully sculpted rosary.
The model for the portrait “en relief” was created by Leonhard Posch in 1825 for Princess Luise's wedding.
Wilhelm III ordered the vase for himself; it is listed in the KPM archives in Berlin with the invoice date August 5, 1825.
After the king's death in 1840, the vase was inherited by his daughter Luise and came from her to the House of Wied upon the marriage of her daughter Mary, Princess of the Netherlands, to Prince William of Wied on July 18, 1871, where it remained in the possession of the Wied Princes until a few years ago.
Marks: Sceptre in underglaze blue, KPM with eagle with sceptre and crown in purple.
SPSG, KPM-Archiv (Land Berlin), file no. 353, Prestiosa 2, Conto Buch Sr. Majestät des Königs. 1818 - 1850, fol. 120v
Height: 43 cm, diameter: 28.5 cm, foot 16.5 cm x 16.5 cm
Gold-mounted agate tobacco tin
set with diamonds and rubies
Dresden, around 1725-1740
The downwards-tapering tobacco tin has an architectural form. The base and lid are cut from one agate and the handle is set with precious stones. The golden wall is finely chased with a surrounding garden landscape, with pavilions, a fountain designed as a swan and strolling guests.
Marked with: unidentified master's mark “LM”
Height: 3.8 cm, width: 5.5 cm, depth: 4.5 cm
Dresden, around 1725-1740
The downwards-tapering tobacco tin has an architectural form. The base and lid are cut from one agate and the handle is set with precious stones. The golden wall is finely chased with a surrounding garden landscape, with pavilions, a fountain designed as a swan and strolling guests.
Marked with: unidentified master's mark “LM”
Height: 3.8 cm, width: 5.5 cm, depth: 4.5 cm
Pair of mirrors
probably Kassel around 1755-1765
The Rococo mirrors are designed individually asymmetrical but mirror each other and therefore form a harmonious ensemble as a pair. The fine, feather-like carving of both mirrors is influenced by the Rococo style of Frederick the Great.
Johann August Nahl worked in Potsdam until 1755 and then moved to Kassel, where he worked for Landgrave Wilhelm VIII of Hesse; these two frames could have been produced in Nahl's workshop.
The original faceted mirror glass and the gilding have been preserved.
Literature: Heinrich Kreisel and Georg Himmelheber, Die Kunst des deutschen Möbels, part II, Spätbarock und Rokoko, Munich 1983, pp. 253-256, cf. figs. 746, 748.
Height: 76 cm, width: 42.5 cm
The Rococo mirrors are designed individually asymmetrical but mirror each other and therefore form a harmonious ensemble as a pair. The fine, feather-like carving of both mirrors is influenced by the Rococo style of Frederick the Great.
Johann August Nahl worked in Potsdam until 1755 and then moved to Kassel, where he worked for Landgrave Wilhelm VIII of Hesse; these two frames could have been produced in Nahl's workshop.
The original faceted mirror glass and the gilding have been preserved.
Literature: Heinrich Kreisel and Georg Himmelheber, Die Kunst des deutschen Möbels, part II, Spätbarock und Rokoko, Munich 1983, pp. 253-256, cf. figs. 746, 748.
Height: 76 cm, width: 42.5 cm
Classicist chandelier
Design by Karl Frederick Schinkel
Berlin, probably manufactured by Carl August Mencke, around 1835
The chandelier is made of wood, wood bronze and cast metal. It is originally gilt and decorated with crystal hangings.
This combination of materials is typical for the works of Mencke's manufactory, who had patented a process for producing a wood-like mass, so-called wood bronze, by King Frederick Wilhelm II in 1815.
A comparable chandelier, also attributed to Schinkel, can be found in the living room of the “garlic house” in Berlin (Berlin Municipal Museum Foundation).
Provenance: From the estate of the descendants of Frederick Ludwig Mecklenburg (1821-1884), ennobled in 1871, who was probably a son of Grand Duke Frederick Franz I of Mecklenburg-Schwerin and married to Bertha von Hünerbein.
Cf. Klappenbach/Hartmann/Kropmanns, Kronleuchter des 17. bis 20. Jahrhunderts, Regensburg 2019, pp. 188-189 and 195-200, fig. 113.
Height: 120 cm, diameter: 120 cm
Berlin, probably manufactured by Carl August Mencke, around 1835
The chandelier is made of wood, wood bronze and cast metal. It is originally gilt and decorated with crystal hangings.
This combination of materials is typical for the works of Mencke's manufactory, who had patented a process for producing a wood-like mass, so-called wood bronze, by King Frederick Wilhelm II in 1815.
A comparable chandelier, also attributed to Schinkel, can be found in the living room of the “garlic house” in Berlin (Berlin Municipal Museum Foundation).
Provenance: From the estate of the descendants of Frederick Ludwig Mecklenburg (1821-1884), ennobled in 1871, who was probably a son of Grand Duke Frederick Franz I of Mecklenburg-Schwerin and married to Bertha von Hünerbein.
Cf. Klappenbach/Hartmann/Kropmanns, Kronleuchter des 17. bis 20. Jahrhunderts, Regensburg 2019, pp. 188-189 and 195-200, fig. 113.
Height: 120 cm, diameter: 120 cm
Courtly medallion
with the enamel portrait of Prince Frederick Augustus of Saxony
Dresden, before 1694
The enamel portrait of Prince Frederick Augustus of Saxony (1670-1733), painted by Georg Frederick Dinglinger, is framed in solid gold with rich diamond setting and fine engravings on the back side.
The young prince with the ribbon of the Order of the White Elephant is depicted before 1694, because he became Elector of Saxony and King of Poland as “Augustus the Strong” after the death of his brother.
The medallion is probably a very early, precious gift from the prince to one of his first mistresses.
Measurement: 6 cm x 5.5 cm.
Dresden, before 1694
The enamel portrait of Prince Frederick Augustus of Saxony (1670-1733), painted by Georg Frederick Dinglinger, is framed in solid gold with rich diamond setting and fine engravings on the back side.
The young prince with the ribbon of the Order of the White Elephant is depicted before 1694, because he became Elector of Saxony and King of Poland as “Augustus the Strong” after the death of his brother.
The medallion is probably a very early, precious gift from the prince to one of his first mistresses.
Measurement: 6 cm x 5.5 cm.
Large portal clock
France around 1815
The large, monumental portal clock is made of white marble with rich, fire-gilt bronze applications. Original 14-day clockwork with thread suspension and half-hour strike on bell.
The clock is signed by the master clockmaker Doll the Younger, who took over the workshop in the Rue du Temple from his father in 1800.
Height: 60 cm, width: 40 cm, depth: 12.5 cm
The large, monumental portal clock is made of white marble with rich, fire-gilt bronze applications. Original 14-day clockwork with thread suspension and half-hour strike on bell.
The clock is signed by the master clockmaker Doll the Younger, who took over the workshop in the Rue du Temple from his father in 1800.
Height: 60 cm, width: 40 cm, depth: 12.5 cm
Large majolica jug
Italy 1662
This blue decorated spout jug was created in a manufactory for a monastery pharmacy and was used to hold a medicinal essence, inscribed on a painted inscription “AQ(UA)DI LATTUCA”. Below the painted inscription is shown a portrait of a Jesuit, probably of St. Ignatius of Loyola, in an oval medallion dated 1662.
The impressively balanced shape of this ovoid ceramic jug with spout and double ear handle, which ends with double spiral tendrils, is highly unusual and very impressively harmonious.
Height: 35 cm
This blue decorated spout jug was created in a manufactory for a monastery pharmacy and was used to hold a medicinal essence, inscribed on a painted inscription “AQ(UA)DI LATTUCA”. Below the painted inscription is shown a portrait of a Jesuit, probably of St. Ignatius of Loyola, in an oval medallion dated 1662.
The impressively balanced shape of this ovoid ceramic jug with spout and double ear handle, which ends with double spiral tendrils, is highly unusual and very impressively harmonious.
Height: 35 cm
French pendulum clock
Drouot à Paris, around 1780
The French mantel clock is fabricated on top of a white marble base with fire-gilt bronze and depicts a winged Cupid being welcomed by Aurora with a wreath of flowers. Cupid lovingly caresses her chin. His quiver with its arrows, the bow and the burning fire of love lie on a cloud below him. The shaping of the figures is reminiscent of Francois Vion's work.
A comparable pendulum clock was owned by the Tsar's family.
Height: 35 cm, width: 28.5 cm, depth: 13 cm
The French mantel clock is fabricated on top of a white marble base with fire-gilt bronze and depicts a winged Cupid being welcomed by Aurora with a wreath of flowers. Cupid lovingly caresses her chin. His quiver with its arrows, the bow and the burning fire of love lie on a cloud below him. The shaping of the figures is reminiscent of Francois Vion's work.
A comparable pendulum clock was owned by the Tsar's family.
Height: 35 cm, width: 28.5 cm, depth: 13 cm
Courtly Meissen porcelain tobacco tin
from the estate of Margrave Ludwig Georg von Baden
Meissen, around 1750
painted by Johann Jakob Wagner (1710-1797), the diamond-set gold mount Dresden, around 1750
The extremely high-quality Meissen tobacco tin is finely painted on all sides with delicate scenes of shepherds and loving couples, framed by rocailles “en relief” that are also colored. They were executed by Johann Jakob Wagner, who was head painter at the Meissen porcelain manufactory from 1745. The precious gold tobacco tin set with diamonds was presented to Margrave Ludwig Georg von Baden by King Augustus II of Poland, Elector of Saxony. The occasion was his marriage to Mary Anna, Princess of Bavaria, in 1755.
The tobacco tin remained in the possession of the House of Baden and was exhibited in the art chamber of the Grand Ducal Residence Palace in Karlsruhe from 1883 onwards and was displayed repeatedly until the great Baden auction in 1995.
Literature: Karl Koelitz, Beschreibendes Inventar der Allerhöchsten Privatsammlung kunstgewerblicher Gegenstände (Zähringer-Museum), Karlsruhe 1883, no. 1889 (the tobacco tin bears an adhesive label with the number 1889)
Marc Rosenberg, Die Kunstkammer im großherzoglichen Residenzschloss zu Karlsruhe, Karlsruhe 1892, plate 25
Galeriedirektor Richter, Inventar des Zähringer-Museums, Neues Schloss, Baden-Baden 1919, no. 934 (the tobacco tin still bears this inventory label today).
Provenance: Auction Collection of the Margraves and Grand Dukes of Baden, Sotheby's, Baden-Baden, October 5-21, 1995, lot 808.
Height: 4.2 cm, width: 8 cm, depth: 6.3 cm
Meissen, around 1750
painted by Johann Jakob Wagner (1710-1797), the diamond-set gold mount Dresden, around 1750
The extremely high-quality Meissen tobacco tin is finely painted on all sides with delicate scenes of shepherds and loving couples, framed by rocailles “en relief” that are also colored. They were executed by Johann Jakob Wagner, who was head painter at the Meissen porcelain manufactory from 1745. The precious gold tobacco tin set with diamonds was presented to Margrave Ludwig Georg von Baden by King Augustus II of Poland, Elector of Saxony. The occasion was his marriage to Mary Anna, Princess of Bavaria, in 1755.
The tobacco tin remained in the possession of the House of Baden and was exhibited in the art chamber of the Grand Ducal Residence Palace in Karlsruhe from 1883 onwards and was displayed repeatedly until the great Baden auction in 1995.
Literature: Karl Koelitz, Beschreibendes Inventar der Allerhöchsten Privatsammlung kunstgewerblicher Gegenstände (Zähringer-Museum), Karlsruhe 1883, no. 1889 (the tobacco tin bears an adhesive label with the number 1889)
Marc Rosenberg, Die Kunstkammer im großherzoglichen Residenzschloss zu Karlsruhe, Karlsruhe 1892, plate 25
Galeriedirektor Richter, Inventar des Zähringer-Museums, Neues Schloss, Baden-Baden 1919, no. 934 (the tobacco tin still bears this inventory label today).
Provenance: Auction Collection of the Margraves and Grand Dukes of Baden, Sotheby's, Baden-Baden, October 5-21, 1995, lot 808.
Height: 4.2 cm, width: 8 cm, depth: 6.3 cm
Meissen porcelain tobacco tin with gold mounting
Gold mounting probably Dresden, around 1750
The large porcelain tobacco tin is exquisitely painted on all sides with scenes of families enjoying the attractions presented by market traders. On the lid, children look into a peep-box, on the inside a poster hung on a tree is explained to them with pictures, and on the bottom is a scene with a rat catcher. The designs for the illustrations were created by the Dresden court painter Christian Wilhelm Dietricy. The scenes are framed in pink-colored, relief rocailles.
Height: 4 cm, width: 8.7 cm, depth: 6.8 cm
The large porcelain tobacco tin is exquisitely painted on all sides with scenes of families enjoying the attractions presented by market traders. On the lid, children look into a peep-box, on the inside a poster hung on a tree is explained to them with pictures, and on the bottom is a scene with a rat catcher. The designs for the illustrations were created by the Dresden court painter Christian Wilhelm Dietricy. The scenes are framed in pink-colored, relief rocailles.
Height: 4 cm, width: 8.7 cm, depth: 6.8 cm
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