Null WROUGHT IRON COFFEE TABLE, 18TH CENTURY.
Glass top. Wrought iron oval struc…

Description

WROUGHT IRON COFFEE TABLE, 18TH CENTURY. Glass top. Wrought iron oval structure made from a water well. 110 x 91 x 39.2 cm.

547

WROUGHT IRON COFFEE TABLE, 18TH CENTURY. Glass top. Wrought iron oval structure made from a water well. 110 x 91 x 39.2 cm.

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Estim. 900 - 1 350 EUR

Ludwig Adam Kunz, Table Still Life opulent arrangement of a hare, carp, lobster and oysters next to a bouquet of peonies in a silver Historicist vase, an etagere with fruit and melons and a white cockatoo on a flowerpot, Bruckmann "Münchner Maler des 19./20. Jh." notes: "... he attempted to succeed Frans Snyder, Jan Fyt or Jan Brueghel the Elder. His works have an old-masterly colouring, the objects are brought out of deep darkness in brilliant, rich colours by a warm, luminous incident light. In terms of subject matter, Kunz mainly focussed on still lifes of flowers and fruit, which he occasionally enlivened with animals - in particular a monkey or a parrot. He was also a master in the depiction of precious objects such as old wine glasses or ivory and silver tankards. ...", glazed, partially slightly impasto painting, oil on wood panel, signed and dated "L. Adam Kunz 1911" top right, old handwritten label on the reverse "Adam Ludw. Ad. Kunz - Vienna 1857-1929 Munich "Prunkstilleben" Wood 35.5 x 57 cm, a. Tellerrand bez. 1911", in need of minor restoration, originally framed in a gilt stucco frame, rebate dimensions approx. 35.5 x 57 cm. Artist information: actually Ludwig Adam Kunz, German-Austrian painterAustrian painter (1857 Vienna - 1929 Munich-Maria Einsiedel), regarded as the "Lenbach of still life painting", initially studied sculpture under Victor Oskar Tilgner, 1873-75 studied sculpture at the Vienna Academy, 1875 turned to painting and until 1878 pupil of the genre painter Josef Fux in Vienna, from 1878 further training in Munich with Franz von Lenbach and Friedrich August von Kaulbach, influenced by the painting of Peter Paul Rubens and Hans Makart, 1885-96 stay in Paris and supported by Mihály von Munkácsy, from 1896 Kunz lived in the Asam-Schlössl in the Munich district of Thalkirchen-Maria Einsiedel, Appointed professor at the Munich Academy in 1896, member of the Munich Artists' Association, exhibited at the Vienna, Dresden and Berlin art exhibitions, the Madrid Columbus Exhibition in 1892 and the Munich Glass Palace from 1917-27, received various honours such as the Great Golden Medal at the International Art Exhibition in Munich in 1897, on friendly terms with Lenbach, both artists sometimes created joint works in a division of labour, like their artistic role models Rubens and Brueghel, Lenbach painted the portraits and Kunz the framing garland of flowers, source: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", ÖBL, Boetticher, Müller-Singer, Bruckmann "Münchner Maler des 19./20th century", Dressler, Fuchs, Paviere and Wikipedia.

Estim. 450 - 675 EUR

Otto Maria Porsche, Hexentanz At the gnarled roots of a tree in the twilight, the devil in a red robe watches two ecstatically dancing beauties, on the right an old witch, her wand raised, enchanting the two dancers, at her feet all kinds of animals, including a dog, cat and mouse, the setting is possibly the Brocken in the Harz Mountains, mystifying painting in muted colours and in an imposing format, oil on panel, early 20th century, signed "Otto Porsche" lower left, label of the Munich frame shop "Emil Plesko" on the reverse of the frame, isolated retouches, small colour flaw in the sky upper right, magnificent contemporary frame, rebate dimensions approx. 85 x 66 cm. Artist information: actually Otto Maria Porsche, Sudeten German painter, illustrator and interior designer (1858 Jablonné v Podještědí [Engl.Gabel in Bohemia] to 1931 Munich), initially studied for five years at the Academy of Art, Architecture and Design in Prague under Emil Reynier, 1890-94 further training at the Munich Academy under Gabriel von Hackl and Wilhelm von Diez, then professor at the Munich Academy, supplied the Munich Glass Palace and the 1912 Venice Biennale, member of the Munich Artists' Cooperative, the General German Art Cooperative, the Reich Association of Visual Artists in Germany and the New Munich Artists' Cooperative, active in Munich, source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Wikipedia, Matrikel der Münchner Akademie, Dressler, Müller-Singer, Bruckmann "Münchner Maler des 19./20th century", Ries and Richard Baumgart in "Die Kunst für alle". 40th year 1924-1925, issue 5, Munich February 1925.

Estim. 280 - 420 EUR

Carl Seiler, Historicist Interior View of a stately baroque parlour with floor-to-ceiling panelling with a pewter shelf, grandfather clock and table in the centre of the room, glazed, partially somewhat impasto painting with a brushstroke full of character, oil on canvas, c. 1880, signed "C. Seiler" lower left, mounted on hardboard, framed, rebated dimensions approx. 47 x 32 cm. View of a stately baroque parlour with floor-to-ceiling panelling with a pewter shelf, grandfather clock and table in the centre of the room, glazed, partially somewhat impasto painting with a brushstroke full of character, oil on canvas, c. 1880, signed "C. Seiler" lower left, mounted on hardboard, framed, rebated dimensions approx. 47 x 32 cm. Artist info: actually Carl Wilhelm Anton Seiler, also Karl, dt. Architect as well as history, genre and portrait painter (1946 Wiesbaden to 1921 Munich), studied architecture at the Berlin and Munich building academies, 1866-70 studied under Karl Raupp at the Munich academy, participated in the Franco-Prussian War of 1870-71 as a reserve officer, then settled in Munich, from 1889 professor and 1890 honorary member of the Munich Academy, 1894-95 professor at the Berlin Academy and member of the Berlin Academy, then worked in Munich again, among other things, organised the exhibitions in the Glaspalast Munich, member of the Munich Artists' Cooperative, received various honours such as the Bavarian Order of St. Michael, source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Boetticher, Dressler, Matrikel der Akademie München, Müller-Singer, Bruckmann "Münchner Maler des 19./20th century", Bénézit, Goldstein, Busse, Jansa and Wikipedia.

Estim. 250 - 375 EUR

Johanna von Destouches, flower still life spherical glass vase with blooming cowslip and gentian, forget-me-nots and primroses draped on a table, slightly impasto flower painting in friendly colours, oil on panel, early 20th century, signed and inscribed "Johanna von Destouches/München" lower right, on the reverse a photograph of a painting by the artist and an extract from Vollmer, framed and with brass label "Destouches Johanna von geb. 1869 München", dimensions approx. 32 x 39 cm. Artist information: German painter. Painter, watercolourist and poet (1869 Munich - 1956 Munich), daughter of the Munich historian, poet and founder of the Munich City Museum Ernst von Destouches (1843-1916), initially trained as a teacher (modern languages, singing and piano lessons), then studied at the Munich School of Arts and Crafts under Olga Weiß, from 1897 she supplied the exhibitions of the Munich Kunstverein with watercolours, later a pupil of Else Gürleth-Hey, then freelance in her own studio in Munich, participated in various exhibitions in Dresden, Meran, Düsseldorf, Paris, Bremen and Hamburg, in Munich 1909-31 represented in the Glaspalast and 1938-43 at the Great German Art Exhibition in the House of German Art, member of the Munich Artists' Co-operative, active in Munich, source: Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Glaspalast catalogues, Dressler, Schweers "Gemälde in deutschen Museen", Bruckmann "Münchner Maler des 19./20th century", Busse, Ries, Bénézit and Wikipedia.

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