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pieces in coloured painting. A series of French Enamels (emaux peints) forms a transition to goldsmith's art. In this respect the collection can boast of some outstanding pieces of highest rank: the fantastically grotesque Silver-lions of Drake-like appearance, their body being formed by a Nautilus shell. They are surely masterpieces of German goldsmith's art, probably from Nuremberg about 1500, by a goldsmith who might well be called a Gothic ancestor of Dinglinger. Among the table and display-silver of the Eighteenth Century a large Tureen with saucer indicated as the work of the famous classical Parisian master Auguste towers above the rest. And, finally, there are also some exceptional pieces among the Textiles: the Quattrocento is represented by a large piece of Italian-Gothic Velvet, darkblue with a cut patern of pomegranates; a small German picture tapestry depicting Christ on the Mount of Olives is worked in silk and dates back to the Sixteenth Century; famous Dutch and French manufactures are examples of a later epoch, among them two large (Brussels ?) tapestries with pictures describing the months of the year.
        In connection with all of these treasures stands the Furniture, which fully corresponds to the high artistic claims of the collection. With the exception of a number of Renaissance pieces such as a marquetry Cassapanca and the French Armoires of the Sixteenth Century the Furniture belongs to the Eighteenth Century period. All pieces are selected with exclusive taste and form a series of style from Regency to Classicism, the most important types and finest techniques. Among the signed masterpieces of the French ebenistes there are two
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