top of page
FURNITURE
Berlin writing cabinet
signed Johan Frantz Miller, 1771
The writing cabinet with two drawers bears an adhesive label with the inscription 'Johann Frantz Miller Anno 1771, May 25 in Berlin' and is therefore a rare example of signed Berlin furniture from the second half of the 18th century.
It can be assumed that the piece of furniture is Miller's masterpiece, as it corresponds very closely to the design drawing executed by master cabinetmaker Hager in 1768, which was required by the Berlin cabinetmakers' guild to obtain the title of master craftsman.
The writing cabinet is one of the few surviving masterpieces. Hager's design drawing and the high perfection of the construction of our piece of furniture, as well as the very high-quality selection of the veneer patterns, speak for a masterpiece.
Walnut, walnut burl, maple, rosewood, fire-gilt brass fittings
Height: 230 cm, width: 132 cm, depth: 72 cm
The writing cabinet with two drawers bears an adhesive label with the inscription 'Johann Frantz Miller Anno 1771, May 25 in Berlin' and is therefore a rare example of signed Berlin furniture from the second half of the 18th century.
It can be assumed that the piece of furniture is Miller's masterpiece, as it corresponds very closely to the design drawing executed by master cabinetmaker Hager in 1768, which was required by the Berlin cabinetmakers' guild to obtain the title of master craftsman.
The writing cabinet is one of the few surviving masterpieces. Hager's design drawing and the high perfection of the construction of our piece of furniture, as well as the very high-quality selection of the veneer patterns, speak for a masterpiece.
Walnut, walnut burl, maple, rosewood, fire-gilt brass fittings
Height: 230 cm, width: 132 cm, depth: 72 cm
Salon table with roll-top closure
Paris, around 1765
Attributed to Germain Landrin (1738-1785)
Amaranth and rosewood veneer, inlays in satiné, boxwood and maple, partly colored, engraved and fire-tested
Height 76 cm, width 55 cm, depth 36 cm
Attributed to Germain Landrin (1738-1785)
Amaranth and rosewood veneer, inlays in satiné, boxwood and maple, partly colored, engraved and fire-tested
Height 76 cm, width 55 cm, depth 36 cm
Salon table
Paris, around 1765
Stamped Nicolas Petit (1732-1791) Master since January 21, 1761
Rosewood, boxwood and maple partially colored, engraved and remnants of the original fire shading, original gilded bronzes
Height 69 cm, width 32 cm, depth 24.5 cm
Stamped Nicolas Petit (1732-1791) Master since January 21, 1761
Rosewood, boxwood and maple partially colored, engraved and remnants of the original fire shading, original gilded bronzes
Height 69 cm, width 32 cm, depth 24.5 cm
Viennese baroque cabinet
around 1740
Walnut, plum, yew, birch vein
The elegantly curved front and the rounded corners are decorated with rich strapwork, thoroughly characteristic of the high-quality furniture art of Austria in the mid-18th century.
The original, gilt key plates are worked in fine Régence-ornamentation, influenced by the Viennese goldsmith's art of their time.
Provenance: Art trade of Josef Bierstorfer, Munich, shown in the catalog of the 14th Munich Art and Antiques Fair, 1969, p. 131.
Literature: Heinrich Kreisel and Georg Himmelheber, Die Kunst des deutschen Möbels, part II, Spätbarock und Rokoko, Munich 1983, pp. 226-227, figs. 683-685.
Height: 245 cm, width: approx. 200 cm, depth: 70 cm
Walnut, plum, yew, birch vein
The elegantly curved front and the rounded corners are decorated with rich strapwork, thoroughly characteristic of the high-quality furniture art of Austria in the mid-18th century.
The original, gilt key plates are worked in fine Régence-ornamentation, influenced by the Viennese goldsmith's art of their time.
Provenance: Art trade of Josef Bierstorfer, Munich, shown in the catalog of the 14th Munich Art and Antiques Fair, 1969, p. 131.
Literature: Heinrich Kreisel and Georg Himmelheber, Die Kunst des deutschen Möbels, part II, Spätbarock und Rokoko, Munich 1983, pp. 226-227, figs. 683-685.
Height: 245 cm, width: approx. 200 cm, depth: 70 cm
Pair of small corner cabinets
Paris, around 1750
stamped Jacques Dubois (around 1693-1763, master since 1742)
Lacquer furniture was a specialty of the famous cabinetmaker Jacques Dubois. He used lacquers from Japan and China as well as French imitations in the so-called vernis Martin. The red lacquered corner cabinets are veneered with unusual French lacquer panels. Although their black background is reminiscent of Asian models, the realistic scenes with large Turkish figures however are completely European in character. The elegantly gilt bronzes are characteristic of Dubois' work.
Height: 82 cm, leg: 40 cm, depth: 38 cm
stamped Jacques Dubois (around 1693-1763, master since 1742)
Lacquer furniture was a specialty of the famous cabinetmaker Jacques Dubois. He used lacquers from Japan and China as well as French imitations in the so-called vernis Martin. The red lacquered corner cabinets are veneered with unusual French lacquer panels. Although their black background is reminiscent of Asian models, the realistic scenes with large Turkish figures however are completely European in character. The elegantly gilt bronzes are characteristic of Dubois' work.
Height: 82 cm, leg: 40 cm, depth: 38 cm
Console table
France, around 1730-1745
The large, richly carved console table is decorated with detailed engraved rocailles intertwined with olive branches. In the center of the base is a lavish cartouche decorated with flowers and leaves, which echoes the movement of the entire table.
The original marble top and gilding are well preserved.
Height: 85 cm, width: 150 cm, depth: 70 cm
The large, richly carved console table is decorated with detailed engraved rocailles intertwined with olive branches. In the center of the base is a lavish cartouche decorated with flowers and leaves, which echoes the movement of the entire table.
The original marble top and gilding are well preserved.
Height: 85 cm, width: 150 cm, depth: 70 cm
Classicist Bureau plat
Paris around 1780
Attributed to Godefroy Dester (master from 1774-1805)
Godefroy Dester, probably of German origin, produced a series of stamped and unstamped desks of exactly this form and a number of cylindrical bureaux, whose the lower part follows the same model. The elegant, restrained form of the furniture, the very high-quality mahogany veneer and the gilt fittings on all sides are characteristic of the English-influenced Parisian furniture production of the late "Former Regime".
Literature: Pierre Kjellberg, Le mobilier français du XVIIIe siècle, Paris 1998, cf. p. 260, fig. C.
Height : 77 cm, width : 164 cm, depth : 75 cm, drawers on both sides 40 x 60 cm
Attributed to Godefroy Dester (master from 1774-1805)
Godefroy Dester, probably of German origin, produced a series of stamped and unstamped desks of exactly this form and a number of cylindrical bureaux, whose the lower part follows the same model. The elegant, restrained form of the furniture, the very high-quality mahogany veneer and the gilt fittings on all sides are characteristic of the English-influenced Parisian furniture production of the late "Former Regime".
Literature: Pierre Kjellberg, Le mobilier français du XVIIIe siècle, Paris 1998, cf. p. 260, fig. C.
Height : 77 cm, width : 164 cm, depth : 75 cm, drawers on both sides 40 x 60 cm
Courtly chest of drawers
Paris, around 1750
stamped Jean-Charles Saunier (Master since 1743)
The powerfully curved chest of drawers is veneered with lush floral marquetry, which decorates the body with its large flowers on a beautifully grained ground in curved frames.
Both drawers merge “sans travers” in their movement and refined decoration. The strongly backward curved sides conceal the imposing size of this elegant piece.
The Saunier family of artists was one of the best-known furniture makers in the exclusive Parisian furniture scene.
Jean-Charles Saunier worked in his father's workshop in the Rue du Faubourg-Saint-Antoine and was also frequently commissioned by colleagues. This particularly high-quality chest of drawers could also be a delivery to his colleague Jean-François Oeben, who in turn often delivered to the cabinetmaker Jean-Pierre Latz (1691-1754). Several high-quality chest of drawers by the Saunier family have been preserved in public collections.
Provenance: Old private collection, Geneva; Sotheby's Zurich auction, December 10, 1997, lot 795 (figure on catalog cover); Swiss private collection
Oak, veneered with rosewood, amaranth, satinwood, ebony and rosewood, original fittings in fire-gilt bronze, original top in marble Rouge de France.
Height: 87 cm, width: 147 cm, depth: 61 cm
stamped Jean-Charles Saunier (Master since 1743)
The powerfully curved chest of drawers is veneered with lush floral marquetry, which decorates the body with its large flowers on a beautifully grained ground in curved frames.
Both drawers merge “sans travers” in their movement and refined decoration. The strongly backward curved sides conceal the imposing size of this elegant piece.
The Saunier family of artists was one of the best-known furniture makers in the exclusive Parisian furniture scene.
Jean-Charles Saunier worked in his father's workshop in the Rue du Faubourg-Saint-Antoine and was also frequently commissioned by colleagues. This particularly high-quality chest of drawers could also be a delivery to his colleague Jean-François Oeben, who in turn often delivered to the cabinetmaker Jean-Pierre Latz (1691-1754). Several high-quality chest of drawers by the Saunier family have been preserved in public collections.
Provenance: Old private collection, Geneva; Sotheby's Zurich auction, December 10, 1997, lot 795 (figure on catalog cover); Swiss private collection
Oak, veneered with rosewood, amaranth, satinwood, ebony and rosewood, original fittings in fire-gilt bronze, original top in marble Rouge de France.
Height: 87 cm, width: 147 cm, depth: 61 cm
Coffee table with scagliola top
Jean-Francois Hache
France, Grenoble, mid-18th century
The small salon table is made of solid cherry and has a gray and white scagliola top with marbled, engraved seal-red ornaments and tendrils.
Since the 17th century, scagliola has been a costly method of producing a more lightweight substitute for marble. It was highly appreciated for columns, fireplace frames, and table tops and could be artfully colored to suit the desired rooms.
The table was originally owned by the Gailand banking family.
Height: 75 cm, width: 75 cm, depth: 64 cm
France, Grenoble, mid-18th century
The small salon table is made of solid cherry and has a gray and white scagliola top with marbled, engraved seal-red ornaments and tendrils.
Since the 17th century, scagliola has been a costly method of producing a more lightweight substitute for marble. It was highly appreciated for columns, fireplace frames, and table tops and could be artfully colored to suit the desired rooms.
The table was originally owned by the Gailand banking family.
Height: 75 cm, width: 75 cm, depth: 64 cm
Brunswick baroque cabinet
around 1720
The large cabinet, veneered in walnut and burr walnut, shows the allegory of Strength and Loyalty inlaid in ivory on the doors. The two allegorical figures stand on pewter pedestals and are framed by birds, busts and small ornamental motifs, also in ivory.
Ivory gives the high-quality veneer work an additional exotic and value-enhancing accent and was a sought-after feature of 18th century Brunswick furniture art.
The engravings on the ivory, on the pewter consoles and on the strapwork have been excellently preserved to this day. The cabinet comes from a noble estate in Lower Saxony.
Height: 235 cm, width: 211 cm, depth: 73 cm
The large cabinet, veneered in walnut and burr walnut, shows the allegory of Strength and Loyalty inlaid in ivory on the doors. The two allegorical figures stand on pewter pedestals and are framed by birds, busts and small ornamental motifs, also in ivory.
Ivory gives the high-quality veneer work an additional exotic and value-enhancing accent and was a sought-after feature of 18th century Brunswick furniture art.
The engravings on the ivory, on the pewter consoles and on the strapwork have been excellently preserved to this day. The cabinet comes from a noble estate in Lower Saxony.
Height: 235 cm, width: 211 cm, depth: 73 cm
A pair of Venetian pier chests of drawers
Venice, circa 1750
This delicate pair of chests of drawers with their three drawers and artful heavily crownings show the refined and typical Venetian style of the mid-18th century.
The pair of furniture is veneered in walnut and plum; the original bronze fittings have remnants of old gilding.
Height 73 cm, width 70 cm
This delicate pair of chests of drawers with their three drawers and artful heavily crownings show the refined and typical Venetian style of the mid-18th century.
The pair of furniture is veneered in walnut and plum; the original bronze fittings have remnants of old gilding.
Height 73 cm, width 70 cm
Courtly rococo chest of drawers
with silver-plated fittings
Montbéliard, around 1750
stamped Abraham Nicolas Couleru (1716-1812)
The special feature of this small Louis XV chest of drawers, whose form and decoration follow examples from Paris, is the lush and rich silver-plated fittings that characterize this piece of furniture. The county and correspondent town of Mömpelgard, which became evangelical during Luther's lifetime, belonged to the House of Württemberg from 1397 – 1793.
This chest of drawers was made for the Dukes of Württemberg and was a gift to Margrave Carl Frederick of Baden-Durlach (1728-1811), who later became Elector and, from 1806, Grand Duke of Baden. Carl Frederick was born in Karlsruhe and remained under the guardianship of his grandmother Margravine Magdalena Wilhelmine of Württemberg after the early death of his father. Attaining his majority on November 22, 1746, he assumed the regency.
The two similarly silver-plated keys show the Margrave's monogram.
Height: 82 cm, width: 65 cm, depth 43 cm
Montbéliard, around 1750
stamped Abraham Nicolas Couleru (1716-1812)
The special feature of this small Louis XV chest of drawers, whose form and decoration follow examples from Paris, is the lush and rich silver-plated fittings that characterize this piece of furniture. The county and correspondent town of Mömpelgard, which became evangelical during Luther's lifetime, belonged to the House of Württemberg from 1397 – 1793.
This chest of drawers was made for the Dukes of Württemberg and was a gift to Margrave Carl Frederick of Baden-Durlach (1728-1811), who later became Elector and, from 1806, Grand Duke of Baden. Carl Frederick was born in Karlsruhe and remained under the guardianship of his grandmother Margravine Magdalena Wilhelmine of Württemberg after the early death of his father. Attaining his majority on November 22, 1746, he assumed the regency.
The two similarly silver-plated keys show the Margrave's monogram.
Height: 82 cm, width: 65 cm, depth 43 cm
Berlin writing cabinet
signed Johan Frantz Miller, 1771
The writing cabinet with two drawers bears an adhesive label with the inscription 'Johann Frantz Miller Anno 1771, May 25 in Berlin' and is therefore a rare example of signed Berlin furniture from the second half of the 18th century.
It can be assumed that the piece of furniture is Miller's masterpiece, as it corresponds very closely to the design drawing executed by master cabinetmaker Hager in 1768, which was required by the Berlin cabinetmakers' guild to obtain the title of master craftsman.
The writing cabinet is one of the few surviving masterpieces. Hager's design drawing and the high perfection of the construction of our piece of furniture, as well as the very high-quality selection of the veneer patterns, speak for a masterpiece.
Walnut, walnut burl, maple, rosewood, fire-gilt brass fittings
Height: 230 cm, width: 132 cm, depth: 72 cm
The writing cabinet with two drawers bears an adhesive label with the inscription 'Johann Frantz Miller Anno 1771, May 25 in Berlin' and is therefore a rare example of signed Berlin furniture from the second half of the 18th century.
It can be assumed that the piece of furniture is Miller's masterpiece, as it corresponds very closely to the design drawing executed by master cabinetmaker Hager in 1768, which was required by the Berlin cabinetmakers' guild to obtain the title of master craftsman.
The writing cabinet is one of the few surviving masterpieces. Hager's design drawing and the high perfection of the construction of our piece of furniture, as well as the very high-quality selection of the veneer patterns, speak for a masterpiece.
Walnut, walnut burl, maple, rosewood, fire-gilt brass fittings
Height: 230 cm, width: 132 cm, depth: 72 cm
Set of 12 Empire chairs
Paris around 1810
attributed to the workshop of Georges-Alphonse Jacob-Desmalter (1790-1870)
The chairs of antique models vary in an artistic manner. The backrest and the sabre-shaped front legs are based on the Greek type of the Klismos chair. The richly carved refined seating furniture probably originated from the leading Parisian chairmaking workshop of the Jacob dynasty, which was run by Georges-Alphonse Jacob-Desmalter from 1803.
Height: 89 cm, seat height: 44 cm, width: 49 cm, depth: 43 cm
attributed to the workshop of Georges-Alphonse Jacob-Desmalter (1790-1870)
The chairs of antique models vary in an artistic manner. The backrest and the sabre-shaped front legs are based on the Greek type of the Klismos chair. The richly carved refined seating furniture probably originated from the leading Parisian chairmaking workshop of the Jacob dynasty, which was run by Georges-Alphonse Jacob-Desmalter from 1803.
Height: 89 cm, seat height: 44 cm, width: 49 cm, depth: 43 cm
Eminent cylinder bureau
Bruchsal, attributed to Johann Wolfgang Elias Weinsprach (1712 Öhringen - 1776 Bruchsal) around 1770
Walnut, plum, pear, maple, boxwood, bog oak, and ivory, partially engraved and fire-shaded;
This magnificent, very richly processed cylinder bureau shows a garden hall in the center of the cylinder with a view of a landscape. The hall shows the interior of a castle, which is depicted above the cylinder. The theme of a country castle amid nature dominates the entire front of the piece of furniture. The central scene is flanked by bouquets of flowers and vases.
The middle drawer front shows a manor house with a sawmill, while the side drawers are veneered with marquetry of everyday scenes and festive scenes that take place in front of or inside the farm buildings.
The furniture probably made for the Bruchsal castle is attributed to Johann Elias Weinsprach, who was the courtly cabinetmaker for Franz Christoph von Hutten, Prince-Bishop of Speyer.
Other opulently constructed writing cabinets from Bruchsal castle have been preserved in public collections.
A relationship to the famous Roentgen furniture for Johann Philipp von Walderdorff, Archbishop and Elector of Trier, is given.
¬¬Literature: Heinrich Kreisel and Georg Himmelheber, Die Kunst des deutschen Möbels, part II, Spätbarock und Rokoko, Munich 1983, pp. 205-208, figs. 574-579.
Height: 115 cm, width: 113 cm, depth: 60 cm
Walnut, plum, pear, maple, boxwood, bog oak, and ivory, partially engraved and fire-shaded;
This magnificent, very richly processed cylinder bureau shows a garden hall in the center of the cylinder with a view of a landscape. The hall shows the interior of a castle, which is depicted above the cylinder. The theme of a country castle amid nature dominates the entire front of the piece of furniture. The central scene is flanked by bouquets of flowers and vases.
The middle drawer front shows a manor house with a sawmill, while the side drawers are veneered with marquetry of everyday scenes and festive scenes that take place in front of or inside the farm buildings.
The furniture probably made for the Bruchsal castle is attributed to Johann Elias Weinsprach, who was the courtly cabinetmaker for Franz Christoph von Hutten, Prince-Bishop of Speyer.
Other opulently constructed writing cabinets from Bruchsal castle have been preserved in public collections.
A relationship to the famous Roentgen furniture for Johann Philipp von Walderdorff, Archbishop and Elector of Trier, is given.
¬¬Literature: Heinrich Kreisel and Georg Himmelheber, Die Kunst des deutschen Möbels, part II, Spätbarock und Rokoko, Munich 1983, pp. 205-208, figs. 574-579.
Height: 115 cm, width: 113 cm, depth: 60 cm
Franconian rococo table
Würzburg, around 1750
The beautifully curved, carved table has a rich, partially engraved marquetry top. It is inlaid with garden architecture in various native woods, in which an elegant shepherdess strolls with sheep.
The scene is probably influenced by Johann Esaias Nilsson, the famous Augsburg copper engraver whose imaginative designs were popular models from the middle of the 18th century.
Height: 70 cm, width: 98 cm, depth: 68 cm
The beautifully curved, carved table has a rich, partially engraved marquetry top. It is inlaid with garden architecture in various native woods, in which an elegant shepherdess strolls with sheep.
The scene is probably influenced by Johann Esaias Nilsson, the famous Augsburg copper engraver whose imaginative designs were popular models from the middle of the 18th century.
Height: 70 cm, width: 98 cm, depth: 68 cm
Small salon table
Paris, around 1760
stamped R.V.L.C.
The small salon table has a curved top on four elegant legs, under which a drawer is hidden and an additional veneered and inlaid tray as a cruciform base. The table is veneered on all sides in Satiné and amaranth and decorated with a costly diamond-shaped marquetry in the style of a fabric pattern of its time.
Roger van der Cruse was born in Faubourg Saint-Antoine in 1728 and died in Paris in 1799. He was a Parisian cabinetmaker whose extremely refined furniture included the Rococo and early Neoclassical styles. According to F. de Salverte, he was one of the great cabinetmakers of his generation.
Height: 72cm, width: 36 cm, depth: 28.5 cm
stamped R.V.L.C.
The small salon table has a curved top on four elegant legs, under which a drawer is hidden and an additional veneered and inlaid tray as a cruciform base. The table is veneered on all sides in Satiné and amaranth and decorated with a costly diamond-shaped marquetry in the style of a fabric pattern of its time.
Roger van der Cruse was born in Faubourg Saint-Antoine in 1728 and died in Paris in 1799. He was a Parisian cabinetmaker whose extremely refined furniture included the Rococo and early Neoclassical styles. According to F. de Salverte, he was one of the great cabinetmakers of his generation.
Height: 72cm, width: 36 cm, depth: 28.5 cm
Early Baroque table
Tyrol around 1650
The frame of the table, manufactured with four exotic mythical creatures, is made of walnut. The table is flexibly arrangeable.
It carries a solid marble top and was probably intended for the presentation of an artful cabinet or for use in a library.
Height: 73 cm, tabletop: 90 x 50 cm
The frame of the table, manufactured with four exotic mythical creatures, is made of walnut. The table is flexibly arrangeable.
It carries a solid marble top and was probably intended for the presentation of an artful cabinet or for use in a library.
Height: 73 cm, tabletop: 90 x 50 cm
Console table 'aux dragons'
Ansbach, around 1740
The legs of this richly with rocailles carved console table are entwined with dragons, giving the lush carving an impressive character. Very similar motifs from around 1740 have been preserved on various console tables in the residence in Ansbach.
Literature: Heinrich Kreisel and Georg Himmelheber, Die Kunst des deutschen Möbels, Part II, Spätbarock und Rokoko, Munich 1983, pp. 184-187, cf. figs. 484-490.
Height: 84 cm, width: 100 cm, depth: 48 cm
The legs of this richly with rocailles carved console table are entwined with dragons, giving the lush carving an impressive character. Very similar motifs from around 1740 have been preserved on various console tables in the residence in Ansbach.
Literature: Heinrich Kreisel and Georg Himmelheber, Die Kunst des deutschen Möbels, Part II, Spätbarock und Rokoko, Munich 1983, pp. 184-187, cf. figs. 484-490.
Height: 84 cm, width: 100 cm, depth: 48 cm
Biedermeier salon table
Munich around 1825
Workshop Johann Georg Hiltl (1771-1845)
The powerfully designed table is veneered with veined walnut. Its special feature is the three maple fills on the shaft. They are painted in the Renaissance style with angel figures rising from acanthus leaves, each holding a letter of the monogram ESB.
In his Munich workshop from 1818, Joh. Gg. Hiltl developed a technique of transferring prints onto wooden surfaces and became very successful with it.
Height: 77 cm, diameter of the plate: 117 cm
Workshop Johann Georg Hiltl (1771-1845)
The powerfully designed table is veneered with veined walnut. Its special feature is the three maple fills on the shaft. They are painted in the Renaissance style with angel figures rising from acanthus leaves, each holding a letter of the monogram ESB.
In his Munich workshop from 1818, Joh. Gg. Hiltl developed a technique of transferring prints onto wooden surfaces and became very successful with it.
Height: 77 cm, diameter of the plate: 117 cm
Small salon table
Paris around 1760
stamped Wolff
The free-standing table is veneered in Satiné, kingwood and rosewood on oak and decorated with elaborate floral marquetry.
Christophe Wolff (1720-1795) was born in Germany and has been listed as a master of Parisian furniture art since 1755. He ran his workshop in the Rue de Charenton and produced very high-quality furniture with elaborate marquetry.
A lady's desk has been preserved in the Nissim de Camondon collection by Wolff.
Height: 70 cm, width: 40 cm, depth: 30 cm
stamped Wolff
The free-standing table is veneered in Satiné, kingwood and rosewood on oak and decorated with elaborate floral marquetry.
Christophe Wolff (1720-1795) was born in Germany and has been listed as a master of Parisian furniture art since 1755. He ran his workshop in the Rue de Charenton and produced very high-quality furniture with elaborate marquetry.
A lady's desk has been preserved in the Nissim de Camondon collection by Wolff.
Height: 70 cm, width: 40 cm, depth: 30 cm
French chest of drawers
Paris around 1770
Attributed to Nicolas Petit (1732-1791), master since 1761
The three front sides of this transitional chest of drawers are veneered with tall, rectangular panels. On the front, the two drawers are cleverly combined to form a picture
"sans travers".
The gilt fittings and the marble top are original.
Literature: Pierre Kjellberg, Le mobilier français du XVIIIe siècle, Paris 1998, cf. fig. p. 645.
Height : 82 cm, width : 95 cm, depth : 45 cm
Attributed to Nicolas Petit (1732-1791), master since 1761
The three front sides of this transitional chest of drawers are veneered with tall, rectangular panels. On the front, the two drawers are cleverly combined to form a picture
"sans travers".
The gilt fittings and the marble top are original.
Literature: Pierre Kjellberg, Le mobilier français du XVIIIe siècle, Paris 1998, cf. fig. p. 645.
Height : 82 cm, width : 95 cm, depth : 45 cm
Monumental Brunswick Baroque cabinet from Langenstein Castle
Coniferous wood, walnut, ivory, and pewter
Brunswick, around 1730
The female allegories of the virtues patience and bravery inlaid in ivory may be considered a characteristic of richly executed Brunswick cabinets of the early 18th century. On this cabinet, they are combined with other finely executed ornamental details in engraved ivory and pewter; equally remarkable are the floral carvings engraved in the center of the pilasters. These sculptural ornaments create an aesthetic connection between the capitals of the pilasters and the wide-spreading feet carved as double lion claws. The base of the furniture with the lion claws is unique and gives the cabinet its individual, impressive identity.
The inventory 'Langenstein' has been preserved on the back of the cabinet.
Langenstein manor and castle belonged to Prince Heinrich of Prussia, brother of Frederick the Great. Prince Heinrich sold the estate and the inventory to Maria Antoinette Baroness of Branconi in 1776.
Baroness Branconi was the mistress of Hereditary Prince Karl Wilhelm of Brunswick-Wolfenbüttel.
She was considered a great and remarkable personality and was called the most beautiful woman in Germany. She had a close friendship with Johann Wolfgang von Goethe, Baroness Branconi led an open, social life in Langenstein until her death.
Later, the furniture came to the Rimpau Collection in the Gleimhaus Halberstadt, where it survived all the turmoil of war.
The cabinet is published by Andrea Schneider,
“Braunschweiger Möbel des 18. Jahrhunderts”, Brunswick 2021, page 56-56, no. K 6.
Provenance: Prince Henry of Prussia ; Maria Antoinetta Baroness of Branconi ; Rimpau Collection in the Gleimhaus Museum, Halberstadt.
Height: 240 cm, width: 245 cm, depth: 95 cm
Brunswick, around 1730
The female allegories of the virtues patience and bravery inlaid in ivory may be considered a characteristic of richly executed Brunswick cabinets of the early 18th century. On this cabinet, they are combined with other finely executed ornamental details in engraved ivory and pewter; equally remarkable are the floral carvings engraved in the center of the pilasters. These sculptural ornaments create an aesthetic connection between the capitals of the pilasters and the wide-spreading feet carved as double lion claws. The base of the furniture with the lion claws is unique and gives the cabinet its individual, impressive identity.
The inventory 'Langenstein' has been preserved on the back of the cabinet.
Langenstein manor and castle belonged to Prince Heinrich of Prussia, brother of Frederick the Great. Prince Heinrich sold the estate and the inventory to Maria Antoinette Baroness of Branconi in 1776.
Baroness Branconi was the mistress of Hereditary Prince Karl Wilhelm of Brunswick-Wolfenbüttel.
She was considered a great and remarkable personality and was called the most beautiful woman in Germany. She had a close friendship with Johann Wolfgang von Goethe, Baroness Branconi led an open, social life in Langenstein until her death.
Later, the furniture came to the Rimpau Collection in the Gleimhaus Halberstadt, where it survived all the turmoil of war.
The cabinet is published by Andrea Schneider,
“Braunschweiger Möbel des 18. Jahrhunderts”, Brunswick 2021, page 56-56, no. K 6.
Provenance: Prince Henry of Prussia ; Maria Antoinetta Baroness of Branconi ; Rimpau Collection in the Gleimhaus Museum, Halberstadt.
Height: 240 cm, width: 245 cm, depth: 95 cm
Rare salon table
Turin around 1750
Poplar with original lacquer painting
The richly carved salon table is decorated with lacquer painting on all sides, gilded "C" curves form the four legs. They end at a curved star base decorated by flowers.
With the table top in elaborate pietra-dura technique, the table represents a wonderful example of the rich Turin furniture art of the 18th century.
Height: 83 cm, width: 66 cm, depth: 58 cm
Poplar with original lacquer painting
The richly carved salon table is decorated with lacquer painting on all sides, gilded "C" curves form the four legs. They end at a curved star base decorated by flowers.
With the table top in elaborate pietra-dura technique, the table represents a wonderful example of the rich Turin furniture art of the 18th century.
Height: 83 cm, width: 66 cm, depth: 58 cm
Rare miniature secretary
Lime, walnut, burr walnut and beech
Palatinate, around 1760-1770
The swingingly shaped, finely crafted small piece of furniture has two large and eleven smaller drawers and is operated by a central lock. Even in such a piece of furniture, which hardly served practical purposes but was intended for the owner's pure pleasure, the carpenter lived out the typically German predilection for complicated locks and sophisticated mechanisms.
Miniature furniture of this elaborate design was a great luxury in the 18th century and are very rarely preserved in such good condition.
Height: 78 cm, width: 56 cm, depth: 30 cm
Palatinate, around 1760-1770
The swingingly shaped, finely crafted small piece of furniture has two large and eleven smaller drawers and is operated by a central lock. Even in such a piece of furniture, which hardly served practical purposes but was intended for the owner's pure pleasure, the carpenter lived out the typically German predilection for complicated locks and sophisticated mechanisms.
Miniature furniture of this elaborate design was a great luxury in the 18th century and are very rarely preserved in such good condition.
Height: 78 cm, width: 56 cm, depth: 30 cm
French corner cabinet, transition, Paris around 1775
Oak, rosewood, amaranth, lemon, burnt, stained, marked with marking stamp, Charles Topino
This single-door, richly inlaid corner cabinet is very elaborately decorated with an artfully curved front and gilt bronze mounts.
The central door is decorated with a large bouquet of flowers in a tall vase.
The moving form and the quality decoration show the transition from Louis XV to French classicism. Charles Topino, (born 1735, master 1773) was highly respected already during his lifetime and known for mostly smaller furniture with highly qualitative inlays in precious exotic woods.
Height: 86 cm, depth: 41 cm
This single-door, richly inlaid corner cabinet is very elaborately decorated with an artfully curved front and gilt bronze mounts.
The central door is decorated with a large bouquet of flowers in a tall vase.
The moving form and the quality decoration show the transition from Louis XV to French classicism. Charles Topino, (born 1735, master 1773) was highly respected already during his lifetime and known for mostly smaller furniture with highly qualitative inlays in precious exotic woods.
Height: 86 cm, depth: 41 cm
bottom of page