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CRAFTS
Lacquer cabinet in wonderful condition
Spa, around 1770
Video: Paint cabinet from Spa
Spa, around 1770
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
Faience display dish
France, Moustiers around 1775
Green olives with leaves are arranged to form a dish in an eight-pass plate, the edge of the plate is decorated with Rouen underglaze blue decoration.
Display dishes are table decorations of the 18th century and were luxurious objects at a laid table, and had the function of a quaint conversation piece.
Diameter: 22.5 cm
Green olives with leaves are arranged to form a dish in an eight-pass plate, the edge of the plate is decorated with Rouen underglaze blue decoration.
Display dishes are table decorations of the 18th century and were luxurious objects at a laid table, and had the function of a quaint conversation piece.
Diameter: 22.5 cm
Pair of torches with Moors
Venice, around 1680-1700
The two Moors, designed to face each other, carry large plates for candlesticks or vases on their heads.
They were popular as exotic elements in 17th and 18th century interior decoration and often accentuated an open fireplace, a doorway or an important piece of furniture in the room.
Similar pairs have been preserved in the Musée des Arts Décoratifs in Paris and at Ham House, Richmond, Surrey.
Height: 122 cm
The two Moors, designed to face each other, carry large plates for candlesticks or vases on their heads.
They were popular as exotic elements in 17th and 18th century interior decoration and often accentuated an open fireplace, a doorway or an important piece of furniture in the room.
Similar pairs have been preserved in the Musée des Arts Décoratifs in Paris and at Ham House, Richmond, Surrey.
Height: 122 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
London Nécessaire
around 1760-1770, attributed to James Cox
This luxurious nécessaire contains a rich selection of finely crafted toiletries and writing implements as well as a small cahier with pencil. It is decorated with variously colored agate and mother-of-pearl plates, partially enameled in red and green, and shows strips of glass rubies and faceted steel. A clock is mounted on the inside of the lid, the clockwork of which is signed by Thomas Benfield, London. The inner lid features a fine reverse glass painting of two women in a river landscape.
The accented polychrome, shiny exterior appealed to the international clientele of late 18th century London. Many of these pieces were created and exported for the Ottoman and Chinese markets. The famous London jeweler James Cox (1723-1800) and his competitors usually created these luxury pieces for the exotic markets in the East.
Height: 11 cm, width: 12 cm, depth: 9 cm
This luxurious nécessaire contains a rich selection of finely crafted toiletries and writing implements as well as a small cahier with pencil. It is decorated with variously colored agate and mother-of-pearl plates, partially enameled in red and green, and shows strips of glass rubies and faceted steel. A clock is mounted on the inside of the lid, the clockwork of which is signed by Thomas Benfield, London. The inner lid features a fine reverse glass painting of two women in a river landscape.
The accented polychrome, shiny exterior appealed to the international clientele of late 18th century London. Many of these pieces were created and exported for the Ottoman and Chinese markets. The famous London jeweler James Cox (1723-1800) and his competitors usually created these luxury pieces for the exotic markets in the East.
Height: 11 cm, width: 12 cm, depth: 9 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
A pair of Bayreuth mirrors
around 1750-1765, richly carved and gilt
The mirrors are of very high quality and richly carved with rocailles, flowers and fruits. With their grapes symbolizing autumn and reminiscent of Bacchus, they are particularly suitable for decorating a dining room. The beautiful polychrome frame captivates with its fine floral painting, reminiscent of Venetian work.
Height: 85 cm, width: 38 cm
The mirrors are of very high quality and richly carved with rocailles, flowers and fruits. With their grapes symbolizing autumn and reminiscent of Bacchus, they are particularly suitable for decorating a dining room. The beautiful polychrome frame captivates with its fine floral painting, reminiscent of Venetian work.
Height: 85 cm, width: 38 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
Miniature cabinet
probably Augsburg, around 1660
A flexibly arrangeable miniature cabinet in ebonized pear wood with two doors, seven drawers and a secret compartment. The front and the interior of the small cabinet are decorated with solid silver fittings.
Such miniature pieces of furniture were special art chamber pieces that were highly coveted in the 17th century.
Height: 34 cm, width: 27 cm, depth: 18.5 cm
A flexibly arrangeable miniature cabinet in ebonized pear wood with two doors, seven drawers and a secret compartment. The front and the interior of the small cabinet are decorated with solid silver fittings.
Such miniature pieces of furniture were special art chamber pieces that were highly coveted in the 17th century.
Height: 34 cm, width: 27 cm, depth: 18.5 cm
Pair of candelabras
Paris, around 1785
The elegant, four-flame girandoles are cast, finely chased, fire-gilt and mounted with original white marble.
The model is based on antique vases, the spouts for the candles are placed on the delicate classicist arms and the workmanship is influenced by designs of Francois Rémond.
Height: 45 cm
The elegant, four-flame girandoles are cast, finely chased, fire-gilt and mounted with original white marble.
The model is based on antique vases, the spouts for the candles are placed on the delicate classicist arms and the workmanship is influenced by designs of Francois Rémond.
Height: 45 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
Elaborately inlaid casket
Ansbach, around 1750
From the workshop of the Ansbach courtly cabinetmaker Martin Schuhmacher (mentioned from 1720-1781).
The masterly worked casket shows extremely fine and lifelike bouquets of tulips, carnations, lilies of the valley, daffodils and other flowers on the sides and on the domed lid, held together by artful bows.
Veined walnut, maple and other woods, partly colored, fire-shaded and engraved details.
Height: 14 cm, width: 33 cm, depth: 21 cm.
From the workshop of the Ansbach courtly cabinetmaker Martin Schuhmacher (mentioned from 1720-1781).
The masterly worked casket shows extremely fine and lifelike bouquets of tulips, carnations, lilies of the valley, daffodils and other flowers on the sides and on the domed lid, held together by artful bows.
Veined walnut, maple and other woods, partly colored, fire-shaded and engraved details.
Height: 14 cm, width: 33 cm, depth: 21 cm.
Extremely rare complete set of miniature porcelain vases
Imari, Japan, 1st half of the 18th century
Consisting of three baluster lidded vases and two flute vases, painted in golden blue underglaze, golden red overglaze and additional gold decoration.
Height of the baluster lidded vases 11.5 cm
Height of the flute vases 10 cm
Consisting of three baluster lidded vases and two flute vases, painted in golden blue underglaze, golden red overglaze and additional gold decoration.
Height of the baluster lidded vases 11.5 cm
Height of the flute vases 10 cm
Large, excellently preserved Imari plate
Japan around 1700
Porcelain, underglaze blue, and overglaze red and gold
Imari plates of this size were very popular, precious collector's items among many German Princely Houses around 1700 and met the taste and admiration for Far East culture. The ancient tradition of porcelain making in Asia was greatly admired in Europe, as they were not yet able to make porcelain themselves. This beautiful plate comes from the collection of the Dukes of Württemberg.
Diameter: 55 cm
Porcelain, underglaze blue, and overglaze red and gold
Imari plates of this size were very popular, precious collector's items among many German Princely Houses around 1700 and met the taste and admiration for Far East culture. The ancient tradition of porcelain making in Asia was greatly admired in Europe, as they were not yet able to make porcelain themselves. This beautiful plate comes from the collection of the Dukes of Württemberg.
Diameter: 55 cm
Large oval tobacco tin, stone mosaic, gold mounted, by Johann Christian Neuber (1736-1808)
Dresden around 1780
A large oval lidded box with elaborate stone mosaic in the form of a straw braid in various, Saxon stones of the Ore Mountains. The top, bottom, and robe reflect the illusion of the braid in undulating bands and are centrally decorated on the lid and bottom with fanned rosette. The rosette even seems to mount the straw bands.
The bands are alternated according to their stone drawing. The golden mounting is decorated with fine chasing and the handle is decorated with a lush floral ornament.
Johann Christian Neuber learned the goldsmith's and stonecutter's craft in Dresden from his later father-in-law Heinrich Taddel. In 1762, he was admitted to the goldsmith guild in Dresden, from 1767 he worked for the court, was responsible for the Green Vault from 1769 and was appointed court jeweler in 1775.
His specialty was the manufacture of artful tobacco tins with a wide variety of stones, mostly local, in gold mounts, which were often given as precious gifts.
The box was in the Hallstein Collection until 1964, and is reproduced in Alexis Kugel: “Gold, Jasper and Carnelian: Joh. Chr..Neuber at the Saxon Court.” London: Paul Holberton 2012 on page 344 no. 60.
Width: 8.5 cm, height: 3 cm
A large oval lidded box with elaborate stone mosaic in the form of a straw braid in various, Saxon stones of the Ore Mountains. The top, bottom, and robe reflect the illusion of the braid in undulating bands and are centrally decorated on the lid and bottom with fanned rosette. The rosette even seems to mount the straw bands.
The bands are alternated according to their stone drawing. The golden mounting is decorated with fine chasing and the handle is decorated with a lush floral ornament.
Johann Christian Neuber learned the goldsmith's and stonecutter's craft in Dresden from his later father-in-law Heinrich Taddel. In 1762, he was admitted to the goldsmith guild in Dresden, from 1767 he worked for the court, was responsible for the Green Vault from 1769 and was appointed court jeweler in 1775.
His specialty was the manufacture of artful tobacco tins with a wide variety of stones, mostly local, in gold mounts, which were often given as precious gifts.
The box was in the Hallstein Collection until 1964, and is reproduced in Alexis Kugel: “Gold, Jasper and Carnelian: Joh. Chr..Neuber at the Saxon Court.” London: Paul Holberton 2012 on page 344 no. 60.
Width: 8.5 cm, height: 3 cm
Large wall clock
Wood carved and gilded, Regensburg around 1790, Johann Christoph Seyffert
Gilded wooden case with openwork carved leaf and flower tendrils, figures and grotesque masks on the sides.
On the enamel dial with Roman and Arabic numerals inscribed Joh. Christ. Seyffert in Regensburg. Pendulum with thread suspension, striking mechanism on clay springs.
Johann Christoph Seyffert was born in the Margraviate of Kulmbach-Bayreuth and can be traced to Regensburg in the late 18th century. There is another signed wall clock in the collection of the Princes of Thurn and Taxis in the St. Emmeram Castle in Regensburg.
Height: 100 cm, width: 65 cm
Gilded wooden case with openwork carved leaf and flower tendrils, figures and grotesque masks on the sides.
On the enamel dial with Roman and Arabic numerals inscribed Joh. Christ. Seyffert in Regensburg. Pendulum with thread suspension, striking mechanism on clay springs.
Johann Christoph Seyffert was born in the Margraviate of Kulmbach-Bayreuth and can be traced to Regensburg in the late 18th century. There is another signed wall clock in the collection of the Princes of Thurn and Taxis in the St. Emmeram Castle in Regensburg.
Height: 100 cm, width: 65 cm
Gold mounted heliotrope tobacco tin
Probably Dresden around 1750
Rectangular heliotrope plates are mounted here in a gold cage frame, so that the semi-precious stones are shown to their best advantage. The frame of the precious stone is made with lush rocailles and flowers in the best goldsmith's art.
The special pleasure of the Saxon court in the use and processing of beautiful, mostly local stones is also shown since the 17th century in the combination of these stones with the most precious frames. Our tobacco tin is a wonderful example of this.
Height: 3.7 cm, width: 6.0 cm, depth: 4.5 cm
Rectangular heliotrope plates are mounted here in a gold cage frame, so that the semi-precious stones are shown to their best advantage. The frame of the precious stone is made with lush rocailles and flowers in the best goldsmith's art.
The special pleasure of the Saxon court in the use and processing of beautiful, mostly local stones is also shown since the 17th century in the combination of these stones with the most precious frames. Our tobacco tin is a wonderful example of this.
Height: 3.7 cm, width: 6.0 cm, depth: 4.5 cm
Pair of mirrors
Limewood with original gilding
Mainfranken, around 1755-1765
The mirrors are framed with a fascinating variety of rocailles. The leaf and flower ornamentation forms a striking decorative element. It adds an asymmetrical accent to each of the mirrors, making the compositions of the carvings a true pair. The carvings are powerfully executed in great detail and the pair is an impressive example of the commissions of the Würzburg court and its surroundings.
Height: 150 cm, width: 60 cm
Mainfranken, around 1755-1765
The mirrors are framed with a fascinating variety of rocailles. The leaf and flower ornamentation forms a striking decorative element. It adds an asymmetrical accent to each of the mirrors, making the compositions of the carvings a true pair. The carvings are powerfully executed in great detail and the pair is an impressive example of the commissions of the Würzburg court and its surroundings.
Height: 150 cm, width: 60 cm
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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