17th Century Decorative Art

Memento Mori. A rare glazed terracotta tile with a blue painting on a white background, depicting a skeleton sitting on a rock with a scythe in his hand and an hourglass at his side....

O/5131 - Antique ribbon-shaped frieze in gilded wood: simply elegant. Use: over a door, a painting or a rectangular mirror. I could have restor...

With a central pomegranate surrounded by a gadrooned border. The border with stamped decoration.

outstanding tapestry in wool and silk, Bruxelles, second half of the 17th century. Depicting a detailed scene of The Bull Hunting. On the background of the landscape the Monument of ...

An exceptional set of 15 polychrome Dutch Delft tiles with birds, flowers, and insects. Made in The Netherlands, circa 1625 - 1650. This set of tiles is of very fine quality and ha...

Royal House Antiques Royal House Antiques is delighted to offer for sale this super rare and highly collectable suite of twelve original Copper plate engravings dating to 1643 by Ioachimus Sandrart after the original by Joachim Von Sandrart the Elder depicting the months of the year These are a suite that will never come up for sale again, dating to 1643 they are 381 years old, the copper engraving print outlines clearly visible, each piece signed to the bottom left Ioachimus Sandart Pinxit and to the bottom right what looks like I Suijderhoef jculjit These are a highly coveted and important suite of mid 17th century prints, they wouldn’t look out of place in the finest library or museums The condition is perfect, they are mounted with full margins, on museum board with golf leaf slips and hand made 22ct gold leaf side edges Dimensions each Height:- 53.5cm Width:- 43.5cm Depth:- 2cm Please note all measurements are taken at the widest point, if you would like any additional or specific measurements please ask Joachim von Sandrart (12 May 1606 – 14 October 1688) was a German Baroque art-historian and painter, active in Amsterdam during the Dutch Golden Age. He is most significant for his collection of biographies of Dutch and German artists the Teutsche Academie,[1] published between 1675 and 1680. Sandrart was born in Frankfurt am Main, but the family originated from Mons.[2][3] According to his dictionary of art called the Teutsche Academie, he learned to read and write from the son of Theodor de Bry, Johann Theodoor de Brie and his associate Matthäus Merian, but at age 15 was so eager to learn more of the art of engraving, that he walked from Frankfurt to Prague to become a pupil of Aegidius Sadeler of the Sadeler family. Sadeler in turn urged him to paint, whereupon he travelled to Utrecht in 1625 to become a pupil of Gerrit van Honthorst, and through him he met Rubens when he brought a visit to Honthorst in 1627, to recruit him for collaboration on part of his Marie de' Medici cycle. Honthorst took Sandrart along with him when he travelled to London. There he worked with Honthorst and spent time making copies of Holbein portraits for the portrait gallery of Henry Howard, 22nd Earl of Arundel. Making all of those copies only served to arouse more curiosity in the young adventurer, and in 1627 Sandrart booked a passage on a ship from London to Venice, where he was welcomed by Jan Lis (whose Bentvueghels bent name was "Pan"), and Nicolas Régnier.[4] He then set out for Bologna, where he was met by his uncle on his mother's side Michael le Blond, a celebrated engraver. With him, he crossed the mountains to Florence, and from there on to Rome, where they met Pieter van Laer (whose bent name was "Bamboccio"). After a few years he undertook a tour of Italy, traveling to Naples, where he drew studies of Mount Vesuvius, believed to be the entrance to the Elysian fields described by Virgil. From there he traveled to Malta and beyond, searching for literary sights to see and paint, and wherever he went he paid his way by selling portraits. Only when he was done traveling did he finally return to Frankfurt, where he married Johanna de Milkau in 1637. Afraid of political unrest and plague, he moved to Amsterdam with his wife in 1637. In Amsterdam he worked as a painter of genre works, and portraits. He won a very good following as a painter, winning a lucrative commission for a large commemorative piece for the state visit by Maria of Medici in 1638, which hangs in the Rijksmuseum. This piece was commissioned by the Bicker Company of the Amsterdam schutterij, and shows the members posing around a bust of Maria of Medici, with a poem by Joost van den Vondel hanging below it. The state visit was a big deal for Amsterdam, as it meant the first formal recognition of the Dutch Republic of the seven provinces by France. However, Maria herself was fleeing Richelieu at the time and never returned to France. This piece cemented his reputation as a leading painter, and in 1645 Sandrart decided to cash in and go home when he received an inheritance in Stockau, outside Ingolstadt, he sold his things and moved there. He received 3000 guilders for 2 books of his Italian drawings, that according to Houbraken were resold in his lifetime for 4555 guilders. Though he rebuilt the old homestead...

An original signed lithograph by Georgi Daskaloff. Georgi Daskaloff was born in Sofia, Bulgaria and attended the art school at Sofia University, graduating in 1949. He moved to the...

17th century Italian hand-painted ecclesiastical architectural element adorned with carnelian pebbles, gold-plated crystals, blue and yellow raw agate, and b...

XVII Century Madonna and Child Oil on canvas, 116 x 83 cm The canvas under consideration depicts the Icon of the Most Holy Virgin Consoled, or more correctly Consoler of the Affl...

Seventeenth Century Old Master still life, well-detailed, no obvious signature. Oil on canvas. Dimensions: (Frame) H 19.25" x W 13", (Painting) H 15.5" x W 9.75".

17th Century Portuguese Tile Panel Restored 56cm x 56cm 14cm x 14cm tiles With certificate of authenticity and export issued by the Dir...

16th Century Spanish Corinthian Pair of Pilasters Polychromed and Gilded w/ Gold

We are delighted to offer for sale this lovely original 17th century Dutch, oil on canvas painting of a noble gentleman. The condition of the oil is very good, the frame is distr...

Holy wall font. Bronze. Spain, 17th Century. Small font for holy water designed to be placed on a wall, which has a container decorated with moldings and architectural elements and...

Framed Copper Botanical Engraving by Doctor & Botanist Abraham Muntings, Published Lieden & Utrecht, C. 1696

Antique print, titled: 'Niobe in Hortis Mediceis.' - Statue of Niobe in Rome. In Greek mythology, Niobe was a daughter of Tantalus and Dione. From the 1660 Dutch edition of 'Icones ...

An impressive early 17th century wood relief carving of the Three Divine Virtues After Jan Pietersz Saenredam and Hendrik Goltzius First quarter of the 17th century; Northern Netherlands Approximate size: 35.5 x 50 cm (without frame); 53 x 67 cm (with frame) The present carving, of Flemish origin and from the first quarter of the 17th century, was executed during the Golden Age of Dutch art. The relief depicts the figures of Pietas, Caritas and Fides: the divine virtues of Hope, Charity and Faith. Each of the Virtues is articulated with exceptional care and the skill of a talented hand. The composition is bursting with energy, emphasized by the active putti surrounding its central protagonist and the emergence of the figures in the foreground, silhouetted against a cityscape with the upper horizon framed by clouds and rays-of-glory. The relief’s design is indebted to late 16th century Mannerist influences shown in the expressive postures of the figures and the billowing hair of Charity. Other Flemish artists approached this theme like the painters, Maarten de Vos, Maarten van Heemskerck, et al. However, our particular carving is an amalgam of three individual compositions engraved by Jan Pietersz Saenredam in 1601, and based on the designs of his mentor and long-time collaborator, Hendrik Goltizius (presumably following inspired Latin prose conceived by the Haarlem Humanist, Cornelis Schonaeus). The relief is set in an elaborate checkered, wood-inlaid frame but its scale and shape suggest it probably once formed part of an elaborate Beeldenkast or impressive Dutch oak cupboard...

Antique print titled 'De Banck van Leeningh'. View of the City Bank of Loan in Amsterdam, the Netherlands. Also known as the Lombard, located on the Oudezijds Voorburgwal of Amsterda...

Pair of framed antique 17th century Roman Catholic antiphonal music sheets, hand drawn on vellum with illuminated capitals. Measures: 28.25” x 1.75” ...

Antique print titled 'Conterseytsel vande Oude Onder-Koning'. Old print depicting the ancient Viceroy of Guangdong. This print originates from 'Het gezantschap der Neêrlandtsche Oost...

Antique portrait titled 'Serenissim, ac Potentissum, princeps Ludovicus XIII (..)'. Portrait of Louis XIII, King of France. Bust length with curled hair, moustache, lace collar, armo...

Beautiful etching representing the classic religious subject of the "Adoration of the Magi" by the Baroque painter and engraver Pietro Testa known as il Lucchesino. The print derives from an oil on canvas of the same name now in Montpelier. Identified by the TPL monogram on the right and the dedication signature. Paolo Bellini in the book "L'opera incisa di Pietro Testa" (The engraving work of Pietro Testa) ,published in 1976 by Neri Pozza in Vicenza, identifies this work as an example of the third state of three since, respect to the second state, the address of Gio Giacomo Rossi is added . In the lower margin there is the dedication in Latin to: Most illustrious and most reverend (cardinal) Gerolamo Bonvisi, Cleric of the Apostolic Chamber, D.D. The star on the left often blushes with the light of evil / Kings live here so that they recognize the Lord, / happy face good star shines benignly./ Petrus Testa Pietro Testa (1611–1650) was an Italian High Baroque artist active in Rome. He is best known as a printmaker and draftsman. He was born in Lucca, and thus is sometimes called il Lucchesino. He moved to Rome early in life. One source states he was ejected from the Cortona studio in 1631, soon after joining the workshop. Others state Testa trained under Pietro Paolini or under Domenichino, for whom he worked under the patronage of Cassiano dal Pozzo. He was friends with Nicolas Poussin and Francesco Mola. Some of his etchings, which often include work in drypoint, have a fantastic quality reminiscent of Jacques Callot, or embellishments of his Genoese contemporary Giovanni Benedetto Castiglione and even presciently suggest William Blake. His Sacrifice of Iphigenia appears to have influenced Tiepolo's rendition at Villa Valmarana Ai Nani in Vicenza. His early prints, from the 1630s, were often religious and were influenced by Federico Barocci...

"Pablo Picasso Wall Rug For Desso" Carpet made by Dutch brand Desso under license from the estate of Pablo Picasso. It is edition 147 of 500. Made of wool. Depicts the 1964 pain...

Antique print titled 'Leoena - Leo'. Original antique print of a lion and lioness. This print originates from 'Historiae Naturalis De Quadrupetibus Libri I' by John Johnston, published by Matthias Merian in 1657. John Johnston (or Johnstone, 1603-1675) was a descendant of a Scottish family...

" Ceres and Phytalus" To left, Phytalus, kneeling, receives the fig tree from the goddess Ceres, standing to right, as a reward for his hospitality. Etching and drypoint, circa 1662...

17th century Italian painting of Jesus and Mary adorned with an 18th century Italian gold leaf pediment and bejeweled with green sapphires, carnelian pebbles, garnet, and fluorite. The painting depicts Christ inside of the Virgin Mary as he is yet to be born while wearing a crown and two angels crown Mary as well. The picture of the Madonna predicting the upcoming birth of Christ is an important work done by an unknown artist. The precious gems perfectly match the colors of the painting. The historic painting...

17th century Portuguese Tile Panel Restored Measures: 56cm x 56cm 14cm x 14cm tiles With certificate of authenticity and export issued ...

A fine mythological etching by the great Italian engraver Antonio Tempesta (Florence, 1555 – Rome, 5 August 1630) printed by François L'Anglois or Langlois (12 May 1589 (baptised) – 13 January 1647),also called F. L. D. Ciartres (" Francois Langlois from Chartres"). Beautiful sheet , very sharp . The dimensions below are inclusive of the frame, the print without the frame measures 27x19 cm Antonio Tempesta, also called il Tempestino (1555 – 5 August 1630), was an Italian painter and engraver, whose art acted as a point of connection between Baroque Rome and the culture of Antwerp. Much of his work depicts major battles and historical figures. He was born and trained in Florence and painted in a variety of styles, influenced to some degree by "Counter-Maniera" or Counter-Mannerism. He enrolled in the Florentine Accademia delle Arti del Disegno in 1576. He was a pupil of Santi di Tito, then of the Flemish painter Joannes Stradanus. He was part of the large team of artists working under Giorgio Vasari on the interior decoration of the Palazzo Vecchio in Florence. His favourite subjects were battles, cavalcades, and processions. He relocated to Rome, where he associated with artists from the Habsburg Netherlands, which may have led to his facility with landscape painting. Among his followers was Marzio di Colantonio. Tempesta and the Flemish painter Matthijs Bril were commissioned by Pope Gregory XIII to paint wide panoramas of the Procession to Transfer the Relics of St. Gregory of Nazianzus (1572) for the loggias on the third floor of the Vatican Palace. He completed frescoes in the Palazzina Gambara at the Villa Lante in Bagnaia (1578-1609). From 1579–83, Tempesta participated in the decoration of the Villa Farnese in Caprarola, notably of this villa's Scala Regia. He is also known to have collaborated on frescoes in the Villa d'Este at Tivoli and the Palazzina Gamara at Villa Lante, Bagnaia. He painted a series of turbulent and crowded battle scenes for the Medici. He also completed a series of engravings on outdoor courtly hunting scenes. Tempesta painted frescoes for the Palazzos Colonna, the Doria Pamphilj, and for the Marchese Giustiniani in his Roman palace, where Tempesta collaborated with Paul Bril, and at Bassano di Sutri. He painted a Massacre of the Innocents for the church of Santo Stefano Rotondo in Rome. Tempesta is now best known as a printmaker in etching and engraving. He also left numerous etchings, among them: Plates from the Old Testament; twenty-four plates from the Life of St. Anthony; a set of 150 prints from Ovid’s Metamorphoses; 13 plates on The Labours of Hercules and four plates on respectively The ages of man; The entry of Alexander into Babylon; Diana and Actaon, and The crucifixion (1612). In 1612 he engraved a series of plates under the title "Batavorum cum Romanis Bellum" after designs of the Netherlandish artist Otto van Veen, also known as Vaenius (1556-1629) and court painter to Alessandro Farnese. Van Veen was influenced by the Italian mannerists but had developed his own style anticipating the Flemish baroque of his pupil Peter Paul Rubens. The series consists of 36 numbered engraved plates and illustrates the armed struggle between the ancient Dutch tribes and their Roman oppressors as narrated in Tacitus' Histories. Each plate bears at the bottom an engraved legend in Flemish and in Latin while a detailed explanation is printed on the otherwise blank verso. Plate I, signed 'Ant.Tempesta f. Anno 1611', shows 'Roma' and 'Batavia' in battle dress with respective scenic backgrounds, symbolizing the two nations. Fifteen other plates bear Tempesta's monogram. The plates depict heroic events, sieges, and battle scenes. This historicist work was very popular in its time. Tempesta also drew many designs for tapestries. François L’Anglois or Langlois (12 May 1589 (baptised) – 13 January 1647), also called F. L. D. Ciartres ("François Langlois from Chartres"), was a French print publisher, print seller, engraver, bookseller, art dealer, and painter. He is widely considered to have been the first important print publisher in France and to have contributed significantly to spreading awareness of contemporary artists' work throughout Europe. François L’Anglois was born in Chartres and baptised there on 12 May 1589. He visited Italy on several occasions: Rome in 1613 and 1614 and Genoa, Florence, and Rome again in 1621. On these trips he met Anthony van Dyck and Claude Vignon, who both painted his portrait. He also became acquainted with the engravers Stefano della Bella and François Collignon. It was probably around this time that he acquired the nickname of Chartres (Ciartres in Italian). In 1624–1625 he was associated with Vignon as an art dealer (paintings) and acted as a print collector for Thomas Howard, 14th Earl of Arundel, and Charles I of England...

Antique print titled 'Il Monte avec la Main, les Eperons, et Gaule (..)'. Plate 4 from "La Methode et Invention Nouvelle de Dresser les Chevaux" by William Cavendish. This engraving shows William Cavendish, first Duke of Newcastle...

Figure 10 of first part: The French king Louis XIII (aged sixteen) standing at left, with Messieurs de Pluvinel and le Grand, a horse tethered b...

Figure 25 of second part: Schematic outlines of different volte manoeuvres; surrounded by frame on separate plate showing classical architecture and coat of arms of France and Navarr...

17th century, Roman School Mystical marriage of Saint Catherine of Alexandria Oil on canvas, 32 x 23 cm Frame cm 45 x 36 The saint is depicted in front of the Virgin holding th...

A fine example of an English Charles II silk needlework picture framed under glass with figures and animals in its border, and foliate decoration throu...

Interesting Flemish painting representing a characteristic tavern interior scene with characters intent on playing cards. Oil on canvas in a round shape. The frame is an original gil...

17th Century Italian Architectural Drawing of a Palazzo which has been done with pen and ink with a grey wash. Signed on reverse by Bart...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

Views of the Veneto Venetian school of the XVll century with original frames. Not relining. Inventory labels on the rack.

Follower of Simon Vouet (Paris, 1590 - 1649) The Holy Family with bird Oil on glass, cm 20.5 x 23.5; with frame cm 27.5 x 29.5 The small painting examined, made on glass and...

Manner of Titian (Tiziano Vecelli - Italian, 1485-1576) An Oil on Canvas "Sleeping Cupid" within a gilt and black decorated gesso frame. A label on reve...

Flemish School, 17th century Live nature couple with animals Measures: Oil on canvas, cm 25 x 35 - With frame cm 37 x 48 The pair of canvases in question depicts two excited...

First used about 450-500 years ago to reflect and disperse heat from a fire, firebacks were often cast with themes specific to the homeowner. Sometimes the iron would feature a familial coat of arms, or in the case of this 17th century semis de fleur de lys fireback, decorative motifs would represent the owner. The rectangular fireback has an arched top and a thick multi-layered molding along all edges. In the center is a raised heraldic shield with multiple fleur de lys charges, arranged in a pattern known as semis. A crinkled ribbon transverses the top edge, beneath a papal mitre and crozier topped with a volute leaf, indicating that the original owner was possibly a member of the church, possibly even a bishop. The iron has developed a fascinating chalky gray patina and can still be used functionally in a traditional fireplace...

Roman School, 17th century Angelica and Medoro engrave their names on the bark of a tree Oil on canvas, 65 x 48.5 cm The canvas depicts one of the most famous episodes of O...

"Arch dedicated to Hercules" and "Arch dedicated to Bellerophon" Splendid and very rare etchings belonging to a suite of subjects executed for the preparations of the "Celebrations for the entry into Antwerp of the Cardinal-Infante Ferdinando of Habsburg-Spain on 17 April 1635". The sketches for the decorations were all drawn by Sir Peter Paul Rubens and the execution of the etchings was entrusted to Van Thulden. Bottom left: P.P. Rubens. Bottom right: G. Gervatius (who was commissioned to bring together the illustrations of the arches in a special volume) and Van Thulden. Laid paper with watermark - copper imprint - margins - excellent condition. At the end of 1634 Peter Paul Rubens (1577-1640) was invited to make a series of drawings to decorate the city of Antwerp on the occasion of the solemn entry of the infant cardinal Ferdinand of Habsburg (1609-1641) who, after his death of Archduchess Isabella Clara Eugenia (1633), Spanish governor of the southern Netherlands, had been elected as his successor. Generally in these circumstances, the itinerary was articulated through a series of stations and the city - in its main urban hubs - was adorned with decorations and ephemeral apparatuses which, without solution of continuity, covered the facades of the palaces, churches and convents facing the parade axis of the celebratory itinerary, testifying to the participatory role of the various public and private institutions that took part in the feast1. As had happened for the entrances of Charles V in 1520, of Philip II in 1549 and of the archdukes Albert and Isabella in 1599, also in this case, on 17 April 1635, the most important streets and squares of Antwerp were enriched with arrangements: temporary altars, four scenarios, a portico and large triumphal arches built in wood, over twenty meters height, decorated with paintings, sculptures and allegorical scenes. The references to the ancient alluded in this case to the greatness of the Habsburgs and to the merits of Ferdinand for the victory obtained over the Protestant armies of Sweden and their German allies. The choice to use the triumphal arch has its roots in the "city of the popes" and must be read as a connection with the triumphal and modern arches, with Rome and with the "possession" ceremony, placing the emphasis on its centuries-old use . In the elaboration of the drawings and sketches Rubens proved to be a true connoisseur of architecture, but what is most surprising about the artist is the casual use of architectural language and fidelity to sixteenth-century Roman models. In order for the memory of these works to be perpetuated over time, some artists were commissioned to etch the ephemeral apparatuses and, under the guidance of the painter Theodor van Thulden...

Antique print titled 'Abbildung der Statt und Vestung Sovazchi, so von den Venetianern, durch den H. G. Lazaro Mocenigo, erobert und Demolirt worden den 18. May 1657'. Great battle scene of the attack...

17th century Spanish Colonial Peruvian painting. Cusco school, oil on wooden panel depicting “Saint George and the Dragon” with intricate 19th Century car...

A beautiful pair of burin engravings depicting "Saint Bernardo degli Uberti" and "Saint Hilary of Poitiers" two of the patron saints of the city included in the base of the cupola ( dome ) of Parma cathedral frescoed by Antonio Allegri known as Correggio (Correggio, August 1489-Correggio 5 March 1534) between 1524 and 1530. Admirable work by the great master in which his genius as a forerunner of the Baroque is fully seen. In 1642 Giovanni Battista Vanni etched a series of fifteen plates from Correggio's frescoes. Giovanni Battista Vanni was born in Pisa around 1599; he studied successively under Jacopo da Empoli, Aurelio Lomi, and Matteo Rosselli, and then became a disciple of Cristofano Allori. He is better known as an engraver than as a painter. From 1624 to 1632, he lived in Rome, then returning to Florence after visiting Venice. In addition to the series of prints...

Francesco Zucco (circa 1575-1627) Gentleman’s portrait Measures: Oil on canvas, cm 120 x 140 The painting analyzed here belongs to the pictorial production of Francesco Zucc...

Antonio Cifrondi (1665 - 1730), Attributed Man with stick - Saint Joseph Measures: Oil on canvas, Cm 115 x 79 - With frame, cm 139 x 103 This canvas is, for stylistic and c...

Roman school of the 17th century Landscape with bridge - Christ and the Samaritan woman at the well Oil on canvas, cm 42 x 59,5 - With frame, cm 54, 5 x 71 cm The small canvas portrays a broad view of the city surrounded by a bucolic and lush landscape, probably a reinterpretation of the Roman countryside or the Agro. The fulcrum of the canvas is the bridge consisting of several bays beyond which stands a village. In the distance the landscape made of green mountains opens into what looks like a lake crossed by boats. The landscape is animated by the human presence; not only small and fleeting figurines intent on walking along earthy paths but also the representation, in the foreground, of an Gospel episode, that of Christ and the Samaritan woman at the well. The landscape can be clearly traced back to a painter trained on the examples of the great seventeenth-century Roman baroque landscape that sees in the Lunette Aldobrandini by Annibale Carracci but also in Claude Lorrain, Nicolas Poussin and Gaspar Doghet are its greatest achievers. If in the past, therefore, the landscape was considered the scenic background on which to project the representation of divine or human characters, in the seventeenth century it became an autonomous and codified pictorial genre. With Carracci comes the so-called ideal landscape: a mental reconstruction of a peaceful and harmonious nature in which the dream of a perfect communion with man is realized. In the wake of Hannibal, as mentioned, during the seventeenth century the "classic" Roman landscape knows a long and happy season by artists such as Domenichino, and the French Claude Lorrain, Nicolas Poussin and Gaspar Dughet. Lorrain investigates the Roman countryside in all its aspects, studying the variations in the different hours of the day, the seasons or weather conditions, but always nourished by a sense of bucolic Virgilian. With Poussin the approach becomes intellectual elaboration and sophisticated rational construction. From the examples of the great masters, the Roman Baroque season, from the middle of the century, saw the flourishing of several personalities who, with shots, but also important personal reworkings, led to further spread the genre. Among the personalities that can be compared to the work in question we cannot fail to mention Crescenzio Onofri (1634-1714), defined by Salerno as the only true pupil of Dughet, who then spread in Florence the taste of the Baroque landscape influencing Tuscan painters such as Panfi and Peruzzini. His paintings are in various Roman collections; such as, for example, the landscapes from the Sacchetti Collection and today at the Pinacoteca Capitolina. and those in the Almagià collection in Rome, others in the Palazzo di Montecitorio, but the most conspicuous group is in the Galleria Doria. In comparison we can mention the two passages of the National Gallery in London, the landscape with a bridge over the Antiquarian Market but also the design of the National Gallery of Art in Washington. In the work you can also find the influences of the art of Giovanni Francesco Grimaldi...

Old engraving from the 17th century: Nicolas Paussin 1677 Large seventeenth century engraving dated 1677. With very decorative back frame total measures: 91x71 cm and only the engra...

Antique Dutch delft ceramic tile - hand crafted - hand painted cobalt blue glaze - unsigned - Holland / Netherlands - 17th century. Contained in a professional contemporary metal ...

17th century, Tuscan school Madonna and Child Oil on canvas, 31 x 21 cm With frame, cm 37,5 x 27,5 The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit. The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi...

Set of 2 antique horse riding prints. Published circa 1680.

Portrait of young 17th century Germany Elegant portrait of a young German of the xvii century in oil on wooden table. The frame is later. To highlight the quality of this young man ...

Set of 5 antique horse riding prints. Published circa 1680.

Set of 10 antique horse riding prints. Published circa 1680.

A fine example of a mid-17th century steel halberd with pole arm, with a diamond shape thrusting point, axe blade with shallow concave cutting edge featuring ...

A fashinating 17th century Italian Virgin with Child, an hand-made rectangular shaped relief devotional plaque in polychrome glazed terracotta depicting a Madonna with Child, dating ...