Maria Magdalena by Tilman Riemenschneider c. 1460-1531

The discovery of a completely unknown sculpture by this master.

This Photo is made in daylight

Height 41cm

“The discovery of the century” for a medieval wooden sculpture as some people say.

After two and a half years of intensive research, we are proud to conclude that our sculpture is a new discovery of a completely unknown work of Tilman Riemenschneider.

 

Purchased at a public sale of a Dutch auction house.

 

The provenance is known, but will only be available for the buyer.

 

Since the moment of purchase our research was starting.

When the sculpture was purchased, it had a later 19th century over painted surface.

This was also concluded in the laboratory of the Rijksmuseum in Amsterdam where our Riemenschneider has been examinated also by research workers in this field of the Rijksmuseum.

The test done by the laboratory of The Rijksmuseum and the conclusion of the research workers we have in an officially report of the Rijksmuseum, which also confirms that we have to do with a work of Tilman Riemenschneider. This test report will only be available for the buyer.

After this positive result two Carbon tests were made on our sculpture which also concluded that the wood comes exactly from the Tilman Riemenschneider period and that the sculpture was carved from one block of lime wood of a high quality, because there is only one knot at the front and Tilman Riemenschneider has covered this in a genius way with the special shape of the gallipot.

 

That the hands, the gallipot and the body were carved from one block of wood you can also see by the grain of the wood, the “barcode”, because this grain runs from the right arm over the hand over the gallipot to the second hand and arm.

 

As written in the Tilman Riemenschneider books, when you find a sculpture of Tilman Riemenschneider and it is carved out of one block of wood, most of the time you have to do with a work of the master himself.

 

When the later 19th century paint was painstakingly very carefully removed the original black painted eyes and partly the black painted eye lids were recovered and you can see the magnificent overall result on the first photo above, made in daylight.

 

After the later paint was removed we are now able to see the sculpture exactly the way Tilman Riemenschneider saw it when he made it.

 

The sculpture has not been restored, the photo shows the sculpture after the later paint was removed with only a thin layer of specially made beeswax.

 

For a Riemenschneider sculpture, our sculpture has one of the best conserved female Saint faces, no cracks in the face, no missing pieces of the nose.

 

Also no missing hands or too many worm holes.

 

Our sculpture shows the typical Tilman Riemenschneider carving, proportions and characteristics.

 

Most Interesting on the two following photo’s is to see our sculpture side by side under the same light conditions with the well-known  Tilman Riemenschneider’s female  Saint in the collection at Compton Verney Art Gallery & Park, UK.

It is striking to see the similarity of the proportion of the faces, the expression and other details.

You also see a photo of the reverse of the two sculptures.
 

We also have compared our sculpture over the two and a half years of the research with the known Tilman Riemenschneider sculptures in the collections of Museums and the ones in the Tilman Riemenschneider books and again it is striking to see the similarities with all the other known Tilman Riemenschneider sculptures.

 

We have made our own report of ten pages about these similarities which are striking. This report will only be available for the buyer.

 

To our opinion, our sculpture was born as an original half figure and you can conclude this,  by the high position of both hands, the free arms , the type of folds in the dress and the small vertical cracks in the base and the way the scarf ends behind the right arm and that there are no traces of this scarf coming out under the right arm.
You can compare our half figure with the three also original half figures who Tilman Riemenschneider has made for the Cathedral in Würzburg, witch are destroyed in 1945.
These three half figures where finished also on the reverse, because they where meant to be free standing.
Our figure was meant to be standing in a Predella or in an Altar.

 

By whole figures of Tilman Riemenschneider the hands/ arms are in a much lower position or one arm is completely stretched downwards to the hip and by whole figures Tilman Riemenschneider starts, most of the time, under the breast with complicated zig / zag folds.

When you cut such a figure in half you always cut through the decoration, which means through the arms and through the complicated folds and through the scarf which usually sticks out under the right arm and that would be clearly visible.

 

So if our sculpture would have been a whole figure, the hands/arms would never have been in this high position as they are now and the folds would have been in a more complicated zig/zag shape and our sculpture would never have the small vertical cracks in the base, because these cracks only exist after hundreds of years standing directly on a stone foundation. (damp?)

 

These typical small vertical base cracks you can see in principal by all Tilman Riemenschneider sculptures.

Tilman Riemenchneider sculptures which were cut in half in a much later period ( 18/19th. century) do not have these small vertical cracks.

This photo of our sculpture was made with studio light.

Conclusion:

Our sculpture belongs to a small group of Tilman Riemenschneider sculptures, which are the best preserved by the time and of an incredible beauty and we can also conclude that our sculpture has always been meant to be not painted, but as” holzsichtig” ( plain wood) you can see that by the fine carving of the details, by the double M and by the fine lace of the chemise, also the black painted eyes speak for this.

 

Another very interesting point is that the famous Maria Magdalena altar, made for the Magdalena church in Munnerstadt has also been repainted a few times and for the last time in 1830 and this later paint has also been removed and some sculptures of this altar are in the collection of the Bayerisches National Museum in Munchen.

Because our sculpture is also a Maria Magdalena, there could be a possibility that there is a connection of our sculpture with this Magdalena altar/Magdalena church, because it is known that there was a second Maria Magdalena sculpture in this altar and already in 1490 you can read in the quotation for this altar that busts were planned in the underpart of the altar.Another point which speaks for this possibility is that Tilman Riemenschneider has finished the typical folds at the end of the sleeves by the right hand of our Maria Magdalena in principal exactly the same way as the folds of the end of the sleeves by the right hand of Mark / Markus also made for the Predella of this Munnerstadter Altar. (on the original invoice for this Altar you can read that original busts were planned in this Predella.)

It is really surprisingly that both ends of the sleeves are exactly the same and it proves that Tilman Riemenschneider was working in that period on this way.

This photo shows our sculpture in the wright proportions.

Jan Borman II

An original signed JAN BORMAN II ( JAN BORMAN de jongere ) oak sculpture with its history and newly discovered facts, with the great possibility that this sculpture was once part of the missing second altar which Jan Borman II has made for the Chapel of the Holy Arnold in the St. Pieters Church in Leuven and where from till now on no other parts are known and with the great possibility that one of the figures is Desiderius Erasmus who was admired in the town of Leuven in the period that this altar was made. The order to make the second altar came from the St. Arnoldes brotherhood and of the brewers of Leuven.

Circa: 1490-1510

high:  57 cm   wide:  65 cm   deep:  13 cm

History of the sculpture:

Sold by us to an Amsterdam collector in the nineteen eighty’s.

In the nineteen ninety’s this collector planned to donate this sculpture to the Rijksmuseum in Amsterdam and the sculpture was examinated by the experts of the Rijksmuseum and accepted for a planned donation.

From circa 1999 till 2010 there was an extensive correspondence between the former owner and the Rijksmuseum about the sculpture and the plan was discussed to donate the sculpture to the Rijksmuseum. In this correspondence the Rijksmuseum clearly speaks about a group by Jan Borman and that this sculpture would be an enrichment for the medieval collection of the Rijksmuseum. ( this complete correspondence is in our position and will only be available for the buyer.)

Due to the economical financial world crisis the former owner decided not to donate the sculpture to the Rijksmuseum after all, but to sell it and the first he thought of was us, as the former sellers.

We bought the sculpture back from the collector and started a renewal research on the sculpture.

We compared again our sculpture with the famous St. Joris altar and again we came to the conclusion that our sculpture was made by the same sculptor, Jan Borman II, ( JAN BORMAN de jongere) who made the St. Joris altar for the town of Leuven in order of the crossbow guild for the chapel of Onze Lieve Vrouw van Ginderbuiten in 1493.

On this altar you can also find, several times the same figure, the man with the long beard, which you can see on our sculpture as well, described on the St. Joris altar as: Emperor Diocletianus.

 

 

 

 

 

 

 

 

 

The St. Joris altar is signed in fragments, one part only: JAN  (on a sword)

and the date is carved on the belt.

Very striking is that the signature on our sculpture is also in fragments and carved on the belt as well:

  ” IH MAN I “  

which stands for: JOHANNES (JAN)  (BOR) MAN de jongere = JAN BORMAN II

This was also concluded by a well known Dutch curator, who gave us the explanation of the signature.

Many more details are also similar for example: the stones on the surface of the substrate, partly covered with grass and you’ll find this also by the St. Joris altar and in particularly the character heads clearly come from the same master hand and striking is that the eyes, the eye lids and the faces are carved on the same way and by the same hand.

Technical both altars were built up in the substrate from small blocks of oak.

By our sculpture the robe of Emperor Diocletianus is carved in the same way as the robe of  Diocletianus of the St. Joris altar and also one knee with a boot is clearly visible and carved in the same way by both figures.

Striking is also that the rim of the robe exactly has the same ornament by both figures.

Also both hats are the same with on the hats a crown.

Over the last thirty five years we have also discovered that there is a great possibility that the second figure on the left could be: Desiderius Erasmus.

It is known that Desiderius Erasmus was already in 1502 very famous and respected in Leuven and the University offered him an appointment, but he refused.

It is also known that he lived in 1504 in Leuven and that he was for a very long period the guest of Jean Desmarais, Professor in the Rhetoric and Canon of the St. Pieters Church in Leuven and it is of course a co-incidence that Jan Borman II has made the second altar for this church in 1506/7, so it could very well be that there were contacts between Jan Borman II, Jean Desmarais and Desiderius Erasmus and because Erasmus was well respected in Leuven there is a possibility that Jan Borman also has used Erasmus out of respect as a figurant in this altar as one of the circa sixty other figures which are usually used to complete an altar decoration.

It is also known that Erasmus has lived in Anderlecht. ( Bruxelles ) where Jan Borman II lived as well.

 

That we think about Desiderius Erasmus is based on all this information and on his charismatic face, the long strait nose, the hollow cheeks with the S shaped line beside the nose going down to his lips and his protruding chin, all characteristic features.

That the figure of Erasmus on our sculpture has been carved in profile might come from an engraving of Erasmus, which was used as an example, because it is was known that Erasmus promoted himself with prints of engraved self-portraits.

This together with the clothes and the profile of the face completes the Erasmus characteristic look.

 

 

That we maybe can speak about the discovery of the first part known of the missing second altar carved in order of the brewers of Leuven, is also based on the substrate where the four figures are standing on, showing three water springs and it is known that there is a legend of the beer brewers of the Holy Arnold that the first water was used for the beer they made, so the legend of the Holy Arnold reflects on our sculpture, which could have been made for the Chapel of the Holy Arnold in the St. Pieters Church in Leuven in order of the beer brewers of Leuven. ( This information we received from a well- known Belgium curator.)

It is also known that the Holy Arnold was the patron saint of the beer brewers in Leuven.

Conclusion:

A discovery of a magnificent and beautiful unknown, signed JAN BORMAN II sculpture.

A French Louis XVI Period Large White Marble And Ormolu Pendule Mantel Clock With The Allegory of Love and Science.

Signed: DeBelle A Paris, who was working circa 1780.
Still with the original 8 days movement and ormolu very fine hands including date hand.
The ormolu fries with the subject of Cupids with bow and arrows including two love birds in the centre.
The marble cherubs with tablets with the carved text: Etude and Dessein.
All the ormolu is original and period.
The carved marble sculpture has no restorations and there are no missing pieces or broken pieces, it is very rare to find a carved french marble pendule without damages. ll over in magnificent original condition.
The serviced original movement with silk suspension in fully working order.
44cm high 47.5cm wide 14cm deep
 

The Only Known Erotic Signed Cornelis Bellekin Mother of Pearl Carving, Dutch  17th Century

 

A very rare Dutch mother of pearl carving by:  CORNELIS BELLEKIN, second half 17th.century.

 

This very unusual carving of Cornelis Bellekin is the front of an ostentation powder flask. (Prunk Pulver horn, pronk kruidhoorn)

The back of the powder flask is with plain mother of pearl, whole over mounted in gilded bronze.

 

Diam: 13 cm

 

This is the only known Cornelis Bellekin carving showing a completely naked female figure in the person of Venus, sitting beside a mirror and a jewellery box with a pearl necklace. Behind her two love birds, above her Mercury in the clouds and beside Venus also a cupid with a bow.

Opposite Venus four wine / grape drinking bacchants and a cherub in the air all seated

by a brook/lake within the distance a castle.

 

Very fine carved and engraved.

Signed: C B = Cornelis Bellekin. c. 1650 – c.1700

 

Very important by this work of Cornelis Bellekin is the overall excellent condition.

Most of the time, carvings of Cornelis Bellekin are over polished and all the fine details are not visible anymore, but in this case the carving and the engraving is still in magnificent condition.

This is the first erotic subject known by Cornelis Bellekin.

There are other carvings known of Bellekin with naked female figures but they all have draperies between their legs and by our carving every detail is clearly visible.

 

The whole shell including the profile is in original condition.

At eleven o’clock, you’ll see a small insert in the profile and this is original because on this place the used sea pearl mussel shell has a heavy thickness and goes in a half circle in wards.

To keep the shell as large as possible Cornelis Bellekin has filled this gab with a piece of mother of pearl.

 

The shell has no cracks or restorations.

 

To your information:

We are familiar with the work of Cornelis Bellekin since we have sold in the past the two largest known mother of pearl shells by Cornelis Bellekin with the subjects: “ De wonderbaarlijke visvangst” (A wondrous catch of fish) en “ De vlucht naar Egypte” (The escape to Egypt) and another small oval Cornelis Bellekin shell coming from the collection of: Albertus Seba and documented in his Thesaurus, the catalogue of the Albertus Seba collection, which we discovered, is now in the collection of the Amsterdam Historical Museum.

A Very Rare Oak Medieval Sculpture Of A Central Panel From An Altarpiece Of The Praying Virgin Standing On The Half Moon With The Snake.


Still with a large part of the original polychrome.
Carved Oak, Southern Netherlandish.
First half 16th century.
61cm high 28cm deep.

 

It is interesting to see that a similar panel with the virgin and child is also as a central panel in an Antwerp Altarpiece dating from circa 1520.
This altarpiece is now in Västeräs in Sweden.

A praying virgin standing on half a moon with snake you can find also on an Antwerp altarpiece dating from the first half of the 16th century.
Now in the church of Notre-Dame in Ternant France.

An Early Large Bronze Dutch Mortar Dated 1620.
The top frieze with the name: Cornelis Vander Hagen 1620.
The middle frieze decorated with flowers and figures, with in the front a coat of arms of two lions and a shield.
The lower frieze decorated with acanthus leaves.
The mortar has a beautiful original old patination, and is in very good un restored condition, there are no cracks or repairs.
The name and date and the flower frieze are very crispy and not over polished.
High 19cm wide/diameter 21cm.
A beautiful mortar very interesting with this type of handles.

A Very Decorative Original Bronze 17th Century

Complete Continental Door Knocker.
Very fine bronze cast, decorated with two detailed dolphins.
Still complete with the original door knocker stop and wonderful large square nuts.
in very good original condition with wonderful original patination.
total height 18cm wide 18cm deep 9cm

A magnificent Spanish Polychrome Wooden Character Head of a Saint. 

17 / 18th. century

 with glass eyes.

Height only the head 17cm  wide 13cm deep 16cm
total height 36cm

in very good original condition  with wonderful old patination 

A Very Rare And Important Large Beautiful Painted Carved Wooden Mirror Attributed to the Vienna Secession (Wiener Werkstätte ) Dagobert Peche. Circa 1915-1920


Still with the original paintwork and glass mirror, fine details were already scratched in the wet paintwork whole over.
Whole over carved with the typical Dagobert Peche ornaments.

The mirror still has the beautiful old patination and is in original condition, also the back.

180cm high 85cm wide

                            

R O Y A L   P R O V E N A N C E

 

A magnificent and historical very important 

Royal wedding casket,

given by the town Oberammergau to crown Prince:

Maximillian, the second of Bayern on the occasion of his wedding in 1842

with princess Marie Fredericke von Preussen, 

who became King and Queen of Bayern six years later. 

                 The casket is signed by the fine wood carver:

Georg Zwink and dated: 1842,

carved walnut with the following text on a grape vine:

Ammergaus Liebe und Ehrfurcht im Jahr: 1842

( Ammergaus love and  respect in the year: 1842)

with scenes of:

Castle Hohen Swangau, home of Maximillian , the second

and Castle Fishbach, 

home of Princess Marie von Preussen.

Carved with the coat of Arms of Maximillian the second ,

and the coat of Arms of Bayern. 

Still with the original lock and key.

Walnut and on the inside with maple wood

and a textile string in the blue and white colours

of Bayern.

33cm high 48cm wide 32cm deep
Price on application

Three Very Rare and Fine Carved Wax Portraits, Circa: 1700, Showing Three Historical Important Persons

Three very rare and fine carved wax portraits,
circa: 1700

The busts are nearly full round carved.(75%)

showing three historical important persons:
 
William the third of Orange,
( The Hague 1650 –  Kensington Palace, 1702,)
King of England, Scotland, Ireland and Holland.
married in 1677 with Queen Mary the second.
Circa 12cm high.
 
Sir Cloudesley Shovel, 1650 – 1707
he was an English marine officer and became
a famous Brittish hero, was Admiral of the fleet
and had a few times a sea battle with
admiral Michiel  de Ruyter, in:
1673: the battle by: Texel.
Circa 12cm high.

Algernon  Sidney, 1623 – 1683
he was an English Politian and was an opponent
of King Charles, the second.
He was killed for treason against King Charles.
Circa 12cm high
 
All three wax bustes were made by the same sculptor,
until now not known, but there could be a connection
with: Grinling Gibbons, ( 1648-1721 )
because Grinling Gibbons has worked for:
William the third for Hampton Court
and he also made the famous monument
in Westminster Abbey of:
Sir Admiral  Cloudesley Shovel,
so there were connections between them.

Now in 19th century frame boxes, with news paper fragment with date: 1851
 


A magnificent and very rare pewter


Kuchenplatte" 

 


marked with the coat of arms of the German Town: Neurenberg,
at the reverse engravings of the family coat of arms of the two patrician families:
Volckamer von Kirchensittenbach and the family Kress von Kressenstein
and the date: 1615
At the front the mark of the family: Imhoff, one of the most important trade families of Neurenberg in that period.
The engraving shows the four seasons and is for engraving on pewter of an unusual
fine quality to compare with engraving on silver.
Diameter point to point 36,5cm
​Price on Application

A very impressive Louis Seize pendule,

 

Still with the original ormolu.

The gilded bronze case signed: OSMOND

The dial and movement signed: J.F. BOURGEOIS a Paris.

= Jean-Francois Bourgeois Paris

Master in 1761,

French, the clock dates from circa: 1775.

35cm wide 46cm high 16cm deep
Price on application

 

A magnificent carved pear wood group of the Crucifixion.
 

Signed: Witz = Johann Benedikt Witz

 


Trappstadt 1709 – Wurtzburg 1770
Germany
The group dates from circa: 1750/70
still with the original old patination.
This group is printed with photo and description
in the catalogue about the work of:
Johnann Benedikt Witz ( 1709-1780 )
of the exhibition:
“ Frankische Kleinplastik des Rokoko “
in das Main Frankische Museum in Wurzburg.
( 1980 )
Work of Johann Benedikt Witz to be found
in the collections of major Musea all over the world
provenance:
Furst Zu Stolberg-Wernigerode, Schloss Wernigerode,
Feudal Museum Schloss Wernigerode
Staatliches Museum
​65cm high 53cm wide
​Price on Application

A Beautiful And Very Impressive Medieval Sculpture, Pieta Carved From Oak.

An expressive and very impressive beautiful Medieval Gothic carved oak Pieta sculpture. Sitting on a Gothic bench, with on the back of the bench a fine carved grotesque figure 
on the other side a fine carved monk.
With very fine carved details all over.
Gelre, Circa: 1500-1520
55cm high 30cm wide 18cm deep

A Large Impressive Ecorche Of  A Standing Man,

Bronze,circa: 1770,

A very unique cast at mid-scale which

generalizes the anatomy in such a way that

it openly serves as a heroic statue rather

than primarily  as an anatomical demonstration

piece. The ecorche is standing in the pose of:

William Hunters life cast for the Royal Academy.

This bronze was displayed on the exhibition:

“Spectacular Bodies”

in the Hayward Gallery, London from:

10 Oct. 2000 till 14 Jan. 2001

documented in the catalogue on page no: 83,

No. 13 and page: 216, Cat. No. 13.

In very good  original condition with nice old patination

72.5cm high

 

A very decorative and original Russian/French dressing mirror,


​The ebony inlaid with mother of pearl and the mirror surrounded with painted flowers on the mother of pearl with drawer below
​Still with the original ormolu mounts and candle holders.
​Circa: 1820.

60cm high 34cm wide 18cm deep
Price on Application.

 

 

A magnificent very detailed gilded bronze large model of a Dutch windmill.

 

Made by the silver smith A. Schoorl in Amsterdam 

with the initials: Z M and the date: 1928

This model was made in 1928 for the opening

of: “ Het Zaans  Windmill Museum “ in The Netherlands.

The opening was done by: Prince Hendrik of The Netherlands,

who was the husband of Queen Wilhelmina of The Netherlands.

This model is after a design of Pieter Boorsma,

curator of the Zaanse Mill Museum

and made by: the silversmith A. Schoorl in Amsterdam,

for the occasion of the opening of the museum.

Dimensions: 55 cm high, wide 55 cm en deep: 36 cm

Still with its original periode display cabinet.

Price on application.

Magnificent art deco dining room suite 

 

A magnificent art deco dining room suite, set.

Made of walnut and Madagascar ebony.

Anglo French 

circa:1920

 

Covered with Muirhead Scottish leader.

 

Dimensions;

 

Table: 145cm long 91,5cm wide 75,5cm high

sideboard:129cm long 92cm high 61cm deep

Chair: 57cm wide 71cm high 55cm deep

In excellent condition

Exceptional Copper, Malachite, Bakelite and Glass Design Standard Lamp.
Signed and Dated: Fabriquer Par Carlos Vidal 1-3-51

The copper has a very fine impressed chain and waves decoration whole over the lamp.

The bakelite top in the middle is very fine inlaid with copper, the top part of the lamp stand has eight malachite diamond shaped decorations.

The top build up with 16 wedge shaped glass sections.

We have seldom seen such a high standard and quality of design and craftsmanship.

France, 1951

180cm high 66cm diameter top

Price on Application 

An exceptional very fine carved Lime Wood Black Forest Museum Quality Humidor / Tobacco Centre Piece.

Carved with 22 Gnomes,3 snakes, 3 lizards, 1 toad and 5 snails sitting on a mountain.

Carved with nineteen Gnomes who are drinking dancing and making music and with one other gnome with a normal model hat and two mountain top carved with faces, one of them is drinking out of a wine glass offered by a gnome.

Exceptional very large Centre Piece,

​Germany/Switzerland

Total height including lid 74cm base diameter 28cm

Price on Application

An important and rare Dutch silver lectern,
inscribed:  Maria Van Aken and embossed with the monogram:

I.H.S. and the family armorials of the family Van Doetinchem.

  By:

   Gerrit van der Bergh, Zwolle 1707

Gerrit van der Bergh was working from

Circa: 1692 till 1715

Fully marked twice.

Wide: 47 cm, high: 43 cm.

Provenance: Maria Van Aken

( buried before: 1722 in the Bethlehem Church in Zwolle.)

A collector from New York state 1982

The Barbara Piasecka Johnson collection 2009

Exhibition:

Opus Sacrum the exhibition of the collection of Barbara Piasecka Johnson in the Royal Castle in Warsaw 1990

Litt: B.Dubbe, Zwols zilver

“ Het Zwolse goud en zilversmids ambacht en zijn meesters”.

Zwolle 1999 ( with photo)

              A pair of silver altar candle sticks with the same

Van Doetinchem family armorials, made in the second half of the 17th. century, by the Zwolle gold smith: Derck Lambersen Bergh have the initials: VA ( Van Aken ) in addition to the Van Doetinchem Arms.

Till now on it is not known how the connection was between the family’s Van Aken and Van Doetinchem.

​Price on Application

A magnificent Japanese cabinet.

With 13 panels including the doors, beautifully on laid with deep ivory carvings of flowers and some animals.

The whole cabinet is in a very good condition, of course you can see that it was used and has lived, but to say it simple, in “perfect” state.

High: circa: 235 cm.

The cabinet is build up in two parts, the underpart is wide: 126 cm and 38 cm deep

The top part is: 109 cm wide and 33 cm deep.

Also, the wood work is finely carved.

Dates from the second half of the 19th. Century.
Price on application.

Royal Provenance 

Palace: Soestdijk, Soest, The Netherlands
A beautiful bronze sculpture
Of a wood gatheran,
Signed:
Charles van Wijk,
Den Haag 1875 – 1917
​Circa 61cm high
​Price on Application

Room view 

Royal Provenance 

A unique, very decorative Djatiwood sable stand.
Mounted with copper rails with moving hooks.
Inlaid on both sides with copper sables.
Still with the original retailers mark for:
“ ARTS and CRAFT  Den Haag

Designed by: Chris Wegerif, who was the owner of Arts and Craft Den Haag  

At one side the stand shows the fine carved letter: “ H “,
Which stands for: “ Prins Hendrik “
On the other side the date: “ 19 April 1902 “
Which was the birthday of Prins Hendrik.
The carving shows sables and ships anchors
And in the centre at the top the Royal Crown.
Prins Hendrik von Mecklenburg – Swerin was
The husband of: Queen Wilhelmina of The Netherlands,
He became admiral in 1901
​186cm high
​Price on Application

Royal Provenance 


Palace: Soestdijk, Soest, The Netherlands
A beautiful bronze sculpture
Of a woman binding corn,
Signed:
Charles van Wijk.
Den Haag 1875 – 1917
48cm high
​Price on Application

Amsterdam school.


A very impressive,stylisch and exceptional pair Jati wood throne chairs. 
Designed by: Jac. van de n Bosch (1868-1948) 
Retailed by 't Binnenhuis. Amsterdam (1900-1929) 
Marked for Jac. van den Bosch plus retailers metal label. 
With very nice and very stylish carving.
​Price on Application

A Beautiful Large Pair of Pricket Candlesticks
Nürnberg , Germany 
Circa:1650
36cm high
Price on Application 

A Very Elegant and Important French Louis QuinzePendule, Circa 1750

The gilded bronze case signed St. Germain = Joseph de Saint Germain master in 1746.
The original dial and movement signed Stollewerck a Paris = Michel Stollewerck was master in 1750.
A identical pendule is in the collection of the Louvre Museum in Paris

46cm high

 

 

Beautiful Rare Dutch Oak 17th Century Armoire ( Amelander Kast)
 

With behind the two large doors two small
Doors with turned colomns.
Friesland, first half of the 17 th. Century.
This is a so called: Amelander kast.
This armoire still has the original "dry" wax patination 
This type of Amelander armoire is difficult to find.
total hight 232cm wide top 195cm wide middle 166cm wide under 174
deep top 88cm deep middle 75cm deep under 81cm
Price on Application

 

A very decorative original Dutch Delft polychrome

Chinoisserie plaque,

 

circa: 1740.

In original untouched, unrestored condition and no cracks.
With its original period small hanging hole.

​Price on Application

An original Sancai glazed Tang camel, Tang Dynasty, 618 -907 AD

 

An original Sancai glazed Tang camel,

Tang Dynasty, 618 -907 AD

with  Oxford Thermoluminescence Analysis Report,

taken from three different places of the camel.

58cm high 41cm wide 18cm deep

Price on Application 

 

A very rare original GOSLINK  RUEMPOL “stoelklok”,

 

signed: Goslink Ruempol, he was a very famous clockmaker

in Laren, The Netherlands. ( 1682-1759 )

It is very rare to find a Goslink Ruempol clock

so well preserved and in principal nearly in untouched condition.

The clock dates from circa: 1730

36cm wide 65cm high 27cm deep
Price on application

 

A very rare and unusual carved oak

towel – rail,
 

with the subject of the bust of a crownedLady, wearing a fur ( ermine?) stole.
Wonderfull carving and detailed.
Anglo / Dutch, end of the 17th. century.
Still with the original old patination.
Because of the subject and clothes, this could be Queen Mary.
​50.5cm wide 54cm high 19cm deep
Price on Application 

A rare, very decorative oak hall bench,

beautiful carved after a design of Daniel Marot.

Interesting to see is, that the carved middle panel

with playing children is exactly after a design of:

     Daniel Marot, ( 1661-1752 )

and  this design is illustrated in the book about Daniel Marot

By: Dr.M.D.Ozinga.

The bench still has the original old patination and

was never painted,

the bench dates from circa: 1715.

214cm long 135cm high 40cm deep

 

 Attributed to:

Ignatius van Logteren, Amsterdam, (1685 – 1732.)

Interesting to see is that at the front of a gentleman’s house

at the Herengracht 433 in Amsterdam two of exactly

the same Satyrmasks are carved out above the front door.

Ignatius van Logteren has done many facades and

interior designs and carved oak stair cases for houses in Amsterdam and many of them

after designs of: Daniel Marot.

Even more interesting is, to compare our bench

with the famous, large Dutch Delft blue

and white tiles, made for: Hampton Court,

( now in the collection of the Victoria and Albert Museum.)

These tiles have exactly the same panel and subject with the playing children as on our bench.

We have never seen this subject somewhere else,

so it might be possible that there is a connection

between our hall bench and the blue and white tiles made for Hampton Court.

​Price on Application

 

A very rare and beautiful original gilded bronze 4 legs traveling/picnic table,

 

still with the original bronze patinated top, simulating Malagite,

whole over with the original old patination, 

Russia / Italy, circa: 1800/10

It is an original gilded bronze travelling table, because you can unscrew all four legs and they are numbered from 1 till 4

the sizes of the table are:

Wide: 78 cm,  deep:  72 cm and high: 81 cm.

A very rare, small and elegant beautifully made 

Bur-walnut Amsterdam long case clock,

 

Circa: 1735

The movement made and signed by:

OTTO van MEURS ( 1714 – 1783 ) Amsterdam

( citaat……” beroemde horlogemaker”….)

( = famous clock maker )

The beautifull engraving of the dial of this clock

is exceptional with a portrait of:

WILLIAM the Fourth, Prince of Orange Nassau, ( 1711-1751)

and of his wife:

ANNA van HANNOVER, Princes of Orange Nassau, ( 1709-1759)

There marriage was in: 1734,
Also the signature is in beautiful calligraphy.

It is possible that this clock was made on

the occasion of this royal wedding.

Also very exceptional is that the whole walnut case

shows hollow corners, which we have never seen

before by any other clock of this type.

The three original gilded bronze figures

are still on top of the clock
For the complete clock see the room view image on this side.

Price on application

 

A rare pair of: ROZENBURG figures,

 

showing a fisherman and woman.

marked for: ROZENBURG,1894

It is very rare to find figures like this,

because Rozenburg only made 10 of them each year.

in excellent original condition, no repairs no losses not restored!
20cm high

Price on application.