A pair of South German carved giltwood and cream painted wall brackets attributed to Johann Adam Pichler, after a design by Joseph Effner, Munich circa 1720

each with a faux marble top above a central satyr mask

Generally in good conserved condition. Some minor restorations which have been well executed. Some minor hairline construction cracks and some areas of retouching. A very decorative pair by an important maker, can be placed immediately
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Comparative Literature
Brigitte Langer, Die Möbel der Schlösser Nymphenburg und Schleissheim, Munich 2000, p.87-88.

Although this magnificent pair of wall brackets bears resemblance to the French Régence style of the period 1715-1725, their specific form and combination of motifs leave no doubt that it was made in Munich. After Elector Max Emanuel (1662-1726), returned from a period of exile in Paris in 1715, the Munich court was orientated towards France in matters of art. One of the principal Munich architects was Joseph Effner (1687-1745). In the Munich Residenz and at Nymphenburg and Schleissheim, he created interiors with gilded and painted panelling. In these rooms intended for formal occasions, console tables placed beneath the mirrors and wall brackets incorporated into the panelling were often the most important pieces of furniture. For virtually all the motifs on this piece, parallels can be found on pieces in the Munich palaces. Typical elements include the stayr masks, trailing husks, vividly scrolled acanthus and trelliswork which can be found almost identically carved on two console tables in the Neues Schloss Schleissheim,  attributed to Joseph Effner and Johann Adam Pichler (op.cit.). Whether the present wall brackets were made for one of the Bavarian Electors is uncertain; Effner may have had other clients. It is most likely, however, that the piece was a product of the enormous workshop of the court cabinetmaker Johann Adam Pichler (died in 1761), which executed almost all the panelling and consoles in the Munich palaces that they so closely resemble.