17th Century Art

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Francesco Graziani, known as Ciccio Napoletano (active in Naples and Rome in the second half of the 17th century) Battle with clash of horsemen Oil on canvas 95 x 130 cm In period ...

Portrait of a lady attributed to William Wissing, half-length, wearing a pearl necklace and an amber gown adorned with jewels to the bodice and sleeves, wit...

Presented by Titan Fine Art, this painting formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall. This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula. This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...

Sir Peter Lely (Soest 1618 – 1680 London) Portrait of lady with a crown, possibly Bridget Drury Lady Shaw, formerly Viscountess Kilmorey, later Lady Baber (d.1696) c.1665 Oil on canvas 46 1/2 x 40 3/4 inches, Framed 42 1/4 x 36 1/4 inches, Unframed Inscribed left [……….]Isabella James Mulraine wrote the following for this piece: This portrait dates to the middle of the 1660s, the decade when Lely’s career took off as successor to Sir Anthony van Dyck. At the Restoration Charles II had appointed him Principal Painter to the King and paid a pension £200 per annum ‘as formerly to Sr. Vandyke...’1 Lely had trained in Haarlem and he was in his early twenties when he came to London in 1643. He was an astute businessman and a wise courtier. In 1650 he painted a portrait of Oliver Cromwell (Birmingham Museum and Art Gallery) while maintaining links with the Royalist exiles through the 1650s. He had arrived in England as a painter of small-scale portraits and lush scenes of nymphs in landscapes in a Dutch style. His experience of Van Dyck in English collections transformed his painting. His lavish and alluring vision of Arcadia exactly captured the spirit of the Court and as Principal Painter he dominated English portraiture for the next twenty years. Lely ran a highly efficient studio along Netherlandish lines, employing a team of specialists like the drapery painter John Baptist Gaspars and young artists-in-training like Nicolas de Largilliere. He had numerous rivals during that period, and by 1670 he had introduced numbered standard poses to speed up production, while collaborating with printmakers for further revenue and advertising. He died in 1680 of a stroke while painting, working to the last. The portrait, painted at a date when Lely’s poses and execution were still individual and inventive shows a lady sitting at three-quarter length facing away from the viewer. She has begun to turn towards the viewer, a pose with a long pedigree in art, first used by Leonardo da Vinci in the Mona Lisa (Louvre). She steadies her blue drapery where it might slip from her arm with the movement, a flash of realism beautifully captured. Like Van Dyck, Lely painted his female sitters in a timeless costume rather than contemporary fashion, showing a loose gown and floating silk draperies. It presented the sitter as a classical ideal. The portrait would not date. The saffron dress may be the work of a drapery painter but the brown scarf must be by Lely himself, and appears unfinished, broadly sketched in behind the shoulder. The delicate blue glaze and nervous highlights suggest shimmering translucence. Lely was a master of painting hands – his hand studies are marvels of drawing – and the lady’s hands are superb, exactly drawn, delicately modelled and expressive. The fidgety gestures, clutching the gown, fiddling with the edge of the scarf, give the portrait psychological bite, suggesting the personality behind the calm courtier’s expression, adding to the sense shown in the look of the eyes and mouth that the lady is about to speak. The portrait’s language is Vandykian. The inspiration comes directly from Van Dyck’s English portraits of women. Lely owned Van Dyck’s Portrait of Lady Elizabeth Thimbleby and Dorothy Viscountess Andover (National Gallery, London) and the sitter’s costume quotes Lady Andover’s saffron dress and brown scarf. But Lely paints a generation who sat nearer to the ground and through a dialogue of expression and gesture he shows sitters who are more flesh and blood than Van Dyck’s. The background with a column and curtain is different to those shown in most of Lely’s portraits of women. They tend to include trees or fountains, with a glimpse of landscape. But there are other examples. A portrait of the King’s reigning mistress, Barbara Villiers Duchess of Cleveland...

The Garden of Love (after Peter Paul Rubens [1577-1640]) Woodcut diptych, c. 1633-1636 Each of the two sheets is signed in the plate lower right A posthumous impression with tiny wor...

A finely painted portrait of Man aged 55 years. Signed, Inscribed and Dated with old Dutch family provenance. He weighs a large white millstone ruff and a black silk tunic.

17th century Italian School The Virgin and Child with Saint John the Baptist Oil on canvas Dimensions: h. 106 cm, l. 77 cm Important 17th century Italian carved giltwood frame Fram...

Jesus Feeding The 5000, 17th Century School Of NICOLAS POUSSIN (1595-1665) Fine huge 17th Italian Old Master of Jesus Feeding The 5000, oil on canvas. Stunning panoramic early and ...

Nicolas Poussin (Les Andelys 1594 - Rome 1665) Workshop of Little Moses found by Pharaoh's daughter Oil painting on canvas Measurements: canvas 45 x 59 cm., in frame 57 x 71 cm. We present this splendid work representing the episode, taken from the Old Testament, of the finding of little Moses by the daughter of the Pharaoh (Exodus 2, 1-10), and which reveals from the first glance the unequivocal pictorial style of the painter. Nicolas Poussin (Les Andelys 1594 - Rome 1665). Poussin spent most of his life in Rome giving life to works capable of fusing the ideal of French classicism...

17th century, old master painting, oil on canvas, "The rest with the horses". Relined canvas. The stretcher was also renewed once. The painting is rather dark, like i.a. on photo n...

A German painter from Baden, he was a student of J W Schirmer in Dusseldorf and Baden Court. Oil on Panel Signed and Dated 1865 Provenance: Private Collection, Austria

Guardian Angel Italian School, 17th century Oil painting on copper, framed Framed size: 12 x 10.5 inches Fine quality early Italian Old Master oil on copper panel, dating to the 17t...

SALVADOR DALÍ I DOMÉNECH, (Figueras, Gerona, 1904 – 1989). "Hommage a Albrecht Dürer"., 1971. Litografía papel. Ejemplar 236/300. Firmada y numerada a lápiz. Medidas: 77 x 56 cm. Ca...

We would like to thank Dr. Ursula Härting who, after examining the work, confirmed the autograph nature of this painting by Frans Francken the Younger in a certificate issued on Dece...

A Tibetan Yamantaka Thangka 17th/18th Century The thangka is coloured and gilt with the fierce deity depicted striding in alidhasana surrounded by a fiery aureole. Numerous other de...

"Three Herons" - Hand Watercolor Engraving "Three Herons" from a collection of the Most Rare Birds Drawn and Engraved From Life, A Natural and Rational History of the Different Bird...

The painting, done in oil on canvas, depicts the meeting between King David and Abigail, as narrated in the biblical text from the First Book of Samuel (I Samuel 25:1-34). David, left without food in the wilderness with his army, seeks relief from the wealthy Nabal, who contemptuously denies him any help, ungrateful of the benevolence he previously received from the king. Upon hearing the rejection, the ruler intends to take revenge by killing his entire lineage. Abigail, Nabal's beautiful and wise wife, decides to right the wrong and bring David plenty of food and gifts. In the king's presence the woman humbles herself, winning his forgiveness and benevolence. Soon afterwards widowed, she will in fact become his bride. The broad scene depicts the climax of the Old Testament episode, the moment when the woman prostrates herself before David and his servants prepare to deliver the gifts. The biblical event is here a pretext, as is customary in modern-age painting, for staging the colorful description of a sumptuous procession, which can be divided into two parts, almost two wings of a crowd divided specularly: on the left David with his dignitaries and the army; on the other, Abigail's retinue, handmaids, servants leading dromedaries and donkeys laden with food. The crowded group of figures is set in a natural proscenium: above a low horizon, barely hinted at by distant blue mountains, rises on the left side a craggy rocky cliff, the shelter of the army led by the ruler. The 'somatic intonation of the characters, as well as the choice of metallic chromatics and the play of light on the shiny fabrics refer to a clear Flemish matrix, particularly the influence of the frothy and sumptuous painting of Rubens and Van Dyck. As well set forth in the expert report prepared by Professor Giuseppe Sava, the work is to be attributed to Vincent Malò...

'Master of the parrot' (a painter active in Antwerp in the early 16th century, whose name refers to the parrot who always occurs in his paintings) - follower of Madonna on the throne with child (With the coat of arms of the client family in the upper part of the composition) Oil on the table 101 x 62 cm. - In frame 114 x 76 cm. The beautiful proposed work explains the typical iconographic characters of the painter called 'Master of the parrot', a conventional name used by critics to define an anonymous Dutch author of the 16th century. More precisely, it is a painter of the southern Netherlands, active in Antwerp around 1530-50, so defined for the unmistakable parrot who often appears in his works of him. In religious iconography the parrot has often been used as a Marian symbol, as it was widespread that its most common verse was "Ave", that is, the greeting of the Archangel Gabriele to Mary at the time of the Annunciation. Today the idea according to which the name 'master of the parrot' has not referred to a single painter, but rather a group that, based on the stylistic characters, carried out their training at the workshop of Pieter Coecke Van Aelst (Aalst (Aalst is widespread. 1502 - Brussels 1550), creating devotion paintings intended for a bourgeois client and concentrating their activity on a specific topic particularly requested by the contemporary market. By way of example we can mention the Virgin with the San Diego Museum of Art child where the figures, like our own, are in line, With the mannerist taste for the elegant body proportions that exceed reality, with elements such as tapered finger, wide face and thin nose. These characters also betray the influence of active artists in the region such as Joos Van Cleve...

Lombard painter of the seventeenth century Ecce Homo Oil painting on canvas 56 x 43 cm. , framed 75 x 63 cm. Provenance: Florence, Pandolfini, 5.10.2021, lot 209 The proposed canv...

Antonio Balestra (Verona, Italy, 1666 - 1740) Title: Solomon Sacrificing to the Idols Medium: Oil on canvas Dimensions: without frame 73 x 98 cm Painting without frame. Born in Ver...

Aftrer Anthony VAN DYCK - maybe Studio (1599, Antwerp – 1641, London) Flemish Double Portrait of George Villiers, 2nd Duke of Buckingham (1628-1687) & Lord Francis Villiers (1629-1648) Oil on Canvas 170 x 147 cm Anthony Van Dyck (1599-1641) No painter has done more to define an era than Anthony van Dyck. He spent only seven and a half years of his short life (1599- 1641) in England. He grew up in Antwerp, where his precocious talent was recognised by Peter Paul Rubens, the greatest painter of his age. He worked in Rubens’s studio and imitated his style as a religious artist, painting biblical scenes redolent of the lush piety of the counter-reformation. But soon he was on the move. In 1620, he visited London for a few months, long enough to paint a history picture, The Continence of Scipio, for the royal favourite, George Villiers, Marquess of Buckingham, and a portrait of his other English patron, the great art collector, Thomas Howard, 2nd Earl of Arundel. After a stint in Italy, making imposing portraits of the wealthy aristocracy and sketching and copying works by Titian, he returned to the Spanish Netherlands in 1627, becoming court artist to Archduchess Isabella before departing for The Hague in 1631 to paint the Dutch ruler Frederick Henry, Prince of Orange. Charles I’s invitation in 1632 led Van Dyck back to London where he was knighted, paid an annual salary of £200 and installed in a house in Blackfriars with a special jetty at which the royal barge might tie up when the King was visiting his studio. By this time Van Dyck was recognised as the leading court painter in Europe, with Velazquez at the court of Philip IV of Spain his only rival. He also excelled as a superbly observant painter of children and dogs. Van Dyck’s notoriety in depicting children led to the introduction of groups of children without their parents as a new genre into English painting (amongst other new genres). For the next 300 years, Van Dyck was the major influence on English portraiture. Nearly all the great 18th Century portraitists, from Pompeo Batoni and Allan Ramsay to Thomas Gainsborough and Joshua Reynolds, copied Van Dyck’s costumes, poses and compositions. George Duke of Buckingham & his brother Francis Villiers Painted in 1635, this double portrait was originally commissioned by Charles I, who raised the two brothers after their father, George Villiers, was assassinated in 1628. Together with their sister, Lady Mary Villiers, they enjoyed the King’s favour absolutely. Francis whose absolute ‘inimitable handsomeness’ was noted by Marvell (who was killed in a skirmish near Kingston upon Thames). The young duke who commanded a regiment of horse at the Battle of Worcester, remained closely associated with Charles II, held a number of high offices after the Restoration and was one of the most cynical and brilliant members of the King’s entourage, immortalised as ‘Zimri’ in Dryden’s Absalom and Achitopbel. As a young man he had sold his father’s great collection of pictures in the Spanish Netherlands, many of them to the Archduke Leopold Willhelm. Painted for Charles I and placed near the portrait of their sister in the Gallery at St James’ Palace. The handling of both costumes is very rich, and the heads are very carefully and sensitively worked. That of the younger boy in particular is more solidly built up than the lower part of the figure. A preparatory drawing for the younger boy is in the British Museum. There are copies at, e.g., Highclere Castle...

A very good, richly-inked impression of this etching with strong contrasts and no sign of wear. Anchor or fleur-de-lys in a double circle watermark. From "Prospectus locorum urbis Ro...

The painting "The Road to Emmaus in a Landscape" by Gillis de Hondecoeter is a masterful example of early 17th-century Dutch landscape painting. The sce...

French School circa 1645 Portrait of Cardinal Mazarin - Sketch Oil on canvas H. 41.5 cm; W. 27 cm Provenance: Collection of the Reverend Georges Downing Bowles (1789-1863) Would ...

PORTRAIT OF BARBARA PALMER, THE DUCHESS OF CLEVELAND, workshop of Sir Peter Lely (1618-1680) Oil on canvas, excellent coniditon in a gilded frame...

Giuseppe Assereto (Genova - 1626 ca – Genova 1656/57) Title: Portrait of an elderly woman, possible portrait of Maddalena Massone, wife of Gioacchino Assereto Medium: Oil on canvas D...

Ilario Mercanti, known as ‘lo Spolverini’ (Parma, 1657 - 1734) Scene of a night-time naval battle oil on copper (oval) 59 x 74 cm - with frame 83...

Gaspar van den Hoecke (Antwerp, 1585 - 1648) Herod's banquet Early 17th century oil on panel, with gold highlights (in the guise of Salome and in the curtains of the building in the background) 56 x 80 cm. framed 72 x 90 cm. Note: The painting probably dates from an original by Frans II Francken (1581 - 1642), which is shown under the number 0000344789 in the RKD. Valuable oil painting on panel depicting King Herod and the beautiful Jewish princess Salome according to the episode taken from the Gospel of Matthew (14.3-11), which sees her as the protagonist in the story of the martyrdom of John the Baptist. The event shown is a cross between history and legend, a myth faced for centuries by artists in every field: Caravaggio in painting, Oscar Wilde in theater, Richard Strauss...

The Virgin and Child with two music-making angels, after Van Dyck; in clouds, the Virgin shown half-length supporting the infant Jesus on an orb, looking to right at an angel playing...

Cats Fighting, 17th Century attributed to David DE CONINCK (1642-1700) Large 17th Century interior scene of cats fighting, oil on canvas. Excellent quality and condition for its ag...

A Mediterranean harbour scene with figures and ships before a Capriccio landscape. Oil on Canvas In a gilded frame 10 ½ x 19 ½ inches 26.6 x 49.5 cm ABOUT THE ARTIST: Adriaen van d...

Ancient painting depicting Jesus with the Commissioner's son (Alternative reading: St. Joseph with the Child, or the 'Paternity') Giovan Battista Salvi known as "the Sassoferrato" (1609 - 1685) circle / follower Oil painting on canvas 76 x 59 cm. -With frame in the shape of a small temple, not coeval 99 x 84 cm. The interesting canvas that we are pleased to offer you recalls the iconographic model of classic paternity, which traditionally sees Saint Joseph holding the sleeping baby Jesus...

Painted in collaboration with Hendrick van Balen (Antwerp, 1575 – 1632). Provenance: Private Collection, Uruguay, since the 1930s. The eldest son of Jan Br...

Christian Ottoman Wars Cavalry Battle, 17th Century circle of Il Borgognone (1628-1679) Large 17th Century Italian School scene of a Christian and Ottoman cavalry during battle, o...

Baroque Landscape with Figures French School, 17th century oil on canvas, framed Framed: 29.5 x 23.5 inches Canvas : 25.5 x 19 inches Provenance: private collection, France Condition...

Diana The Huntress and her Cherubs Northern European artist, circa 1680's period oil on canvas, unframed canvas: 20 x 60.5 inches provenance: private collection, UK condition: some p...

Jean-Baptiste SANTERRE (Magny en Véxins 1651 - Paris 1717) Portrait of a couple Oil on original oval canvas H. 115 cm; L. 90 cm (140 x 115 cm with frame) Around 1695 Jean-Baptiste S...

This superb French Old Master oil painting with excellent provenance is by Jean Francois I Millet. It was painted circa 1675 and is a figurative landscape depicting Diana hunting in ...

Anemogra Phica is a rare ancient map realized in 1650 by Johannes Janssonius (1588-1664). First modern map of the Pacific Ocean. Good conditions. From Atlantis majoris quinta pars,...

Free shipping all Continental US, and all other countries, Europe, Asia etc... Enhance your space with this captivating vintage painting by Tengnagel Jan (1584-depicting The meeting...

CAREL ALLARD (1648 – 1709) PLANISPHAERIUM TERRESTRE SIVE TERRARUM ORBIS… 1696 (Shirley 578) Engraving, 20 ½ x 23 ½”, sheet 21 x 24 1/8". A stunning double hemisphere World Map...

Portrait of a Child with Pet Dog Italian School, early 1600's circle of Annibale Carracci (1560-1609) oil on canvas, framed Framed: 11.5 x 9 inches Board : 10.5 x 8.5 inches Provenan...

Oil on Canvas. North Italian school of the 17th century. The large painting presents as its subject a well-known Old Testament theme, the wealth of King Solomon, recounted in the Fir...

Saint George A follower of Giovanni Battista Cima, known as Cima da CONEGLIANO (Conegliano c. 1449 - Conegliano c. 1517) Oil on canvas 126 x 49 cm. Framed 143 x 65 cm. The painting...

Giovanni Francesco Barbieri, the Guercino (Cento 1591 - Bologna 1666), workshop Attributable to, Benedetto Gennari (Cento, 1633 - Bologna, 1715) Venus disarming Love oil on canvas ...

THE IMITATOR OF GIORGIONE (France or Italy, early 17th century) Study of a Man in Armour Oil on canvas in two pieces with a seam towards the bottom (re-lined in the 20th century) H. ...

Circle Wouwerman, Horseman by a Tent, Riders Playing Cards (?), Old Master Dutch Art, Travellers or Riders resting by a tent and gambling

Antichità Castelbarco SRLS is proud to present: Claudio Ridolfi (Verona, c. 1570 - Corinaldo, 1644) Workshop/circle The Guardian Angel in Glory Oil on canvas 124 x 84 cm. - With fr...

Hercules and Omphale Oil on panel, 52 x 41 cm According to legend, Hercules had to make atonement and became a slave to the Lydian queen Omphale. When she found out who her slave was, she married him. Falling for his mistress and made effeminate by the luxury of court life, the former hero allowed himself to become the laughing stock of the court. He dressed in women's clothes, spun wool and did other women's work, whereas Omphale wore his lion's skin and carried a wooden club. When the time of punishment was over, the hero realised his delusion and left Omphale. So far, the painting could not be clearly assigned to an artist. Nevertheless, it impresses with its fluid and convincing painting, whose colourfulness and conception are reminiscent of the Prague School around Bartholomäus Spranger. This work follows an engraving and an etching made by Michel Dorigny in 1643 after a design by Simon Vouet. It shows the same scene but the print differs in minor details from the present painting (see e.g. the head of the lion) and the treatment of the faces seems to be painted more detailed and refined. So far there is no painting...

Johann van der Hagen (1676-1745) Smack rigged Royal yachts Oil on canvas Canvas Size 30 x 25 in Frame Size 37 x 32 in Provenance: The Parker Gallery. Johann van der Hagen was a Dut...

17th Century Italian School, wood panel, depicting the return of the prodigal son. Very good condition.

Antique Italian painting from the late 17th century. Framework oil on canvas depicting a religious subject Virgin with child of good pictorial quality. Framework of excellent proport...

The Resurrection of Christ Follower of Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576)   Venetian school of the late 16th/early 17th century Oil on canvas 108 x 78 cm. - Framed 129 x 99 cm. This jewel of the Venetian school, a work executed between the 16th and 17th centuries by a Venetian artist, illustrates the episode of the Resurrection of Christ: as reported in the Gospel of Matthew (Matthew 28:1-7) the event is accompanied by an explosion of light and glow, with the figure of Christ rising into the sky. Christ's face, serene and victorious, looks up towards the Light and the Infinite, in contrast to his majestic figure, here constructed with the appearance of a classical sculpture, contrasted by an intensely luminous background. The Risen One firmly holds in His hand the banner (white with a red cross) of the Resurrection, also known as the flag of St. George, which iconographically represents His victory over death, while raising His right hand in a blessing act. With his feet he crushes a snake and a skull, a sign of Christ's triumph over sin and death. The painting belongs to the Venetian school and presents clear reminiscences with the works of Titian Vecellio...

Lombard painter of the 17th century Portrait of a Knight in Armour Oil on canvas 81 x 70 cm./ Framed 93 x 82 A handsome gentleman in armour, immortalised in an authoritative and pr...

Follower of El Greco The Adoration of the Shepherds / Oil on canvas The present work bares close similarity to a painting of the same name in the collection of the Museo del Prado, ...

Portrait of a lady by Dutch Golden Age painter Nicolaes Maes (1634-1693). Half-length, within a feigned oval, the lady wears a pearl necklace and earrings, an ivory silk gown adorned...

This is a rare 17th century engraving of a plant entitled "Pee-amerdu" by the Dutch botanist Hendrik van Rheede tot Drakenstein, plate 19 from his 'Hortus Indicus Malabaricus' (Garden of Malabar), published in Amsterdam in 1686 by Johann van Someren. The engraving depicts the Pee-amerdu plant, a large leafed plant climbing plant off the Malabar Coast in India. The plant is noted for its medicinal uses. It may be related to Tinospora species. Rheede's 19th century publication featured illustrations of exotic plants and fruits labelled with script in the upper right corner in Latin, Malay, Arabic, and Sanskrit. Hortus Indicus Malabaricus is believed to be the earliest comprehensive published work on the flora of Asia and the tropics. The 17th century treatise featured important illustrations of 740 plants of the region, including Indian medicinal plants. The engraving is printed on 17th century laid, chain-linked watermarked paper. The sheet measures 14.88" high by 18.75" wide. There is a central fold, as issued. There are a few faint smudges, a spot in the upper margin and there is minimal irregularity of the left edge of the paper where the print was previously bound in the 17th century publication. The print is otherwise in very good condition. There are additional Rheede botanical engravings from his 'Hortus Indicus Malabaricus' publication that are listed on my 1stdibs storefront and online website. These would make for an impressive display grouping. A discount is available for purchase of two or more of the prints. Hendrik Adriaan van Rheede tot Drakenstein...