18th Century and Earlier More Furniture and Collectibles

Title: 1720 Chatelain Map of the Holy Land with Biblical Family Trees and Chronology Description: This fascinating 18th-century folio map by Henry Abraham Chatelain combines geo...

A fine late 18th Century large Dutch four-poster bed with exceptional posts and ealy 19th century Italian carved giltwood swans. The posts with well carved elements: neoclassical urns, capitals, carved turnings and vase sections; their most attractive part is the boxwood and mahogany lined inlay which we haven't seen on English 18th beds. In addition, unusally, the rails are designed to be seen and made in mahogany and framed with carved and plain astragal beads. Good sturdy construction, fixed together with steel bolts and will dismantle for shipping. Needs new drapery hangings and the white fabric around the end posts & headboard should be cleaned or replaced. For the new mattress, we would recommend a box spring mattress with a well (height is saved with part of the box mattress fitting between the rails) and a second mattress on top. But you could also fit lathes and just have the top mattress with cut out corners to fit around the posts: norris bedding custom make such mattresses. This bed originally had fabric around the top but for an additional cost we could make a wooden cornice...

Magnificent screen composed of four sheets of painted canvas presenting landscapes in frames with scalloped shapes. French work from the Louis XV period. Used condition, some trace...

1584 Abraham Ortelius Map of Lower Burgundy, France Description of the Map: This antique map by Abraham Ortelius, titled "Bvrgvndiae Inferioris Qvae Dvcatvs Nomine Censetur Des," w...

Title: Rare Hand-Colored Map of Lorraine and Barrois by Frederik De Wit c. 1688 Description: This remarkable 17th-century map, titled "Generalis Lotharingiae Ducatus," offers a deta...

These are the now very scarce set of two catalogues produced by Christie's for the sale of the contents of Dumfries House which contained a large collec...

Elegant 18th-century reliquary in solid silver, finely hand-engraved, with ornamental decoration typical of Baroque religious art. Its oval shape features floral and symbolic details...

Antique map titled 'Carte de Normandie (..)'. Attractive map of Normandy, France. it depicts the former French Duchy of Normandy, covers the region fro...

Stunning 17th Century Italian painted confessional box. From a private house Tuscan chapel, this wonderful piece is museum quality. The faux painting is all original. There is a seat...

Published London, 1788, John Bell. Nicely leather bound in brown with fine tan, brown and gilt spines. Watery green inside the boards. 5 3/4" H x 3 7/8" W x 1" D Condition: the spi...

Gigantic Ammonite fossil on custom black stand. Approx. 150-200 Million Years Old. An ammonite is an extinct marine animal belonging to the class of squid. Ammonites lived in the ...

Embrace timeless elegance with our Brussels 16th Century Pillow, sized at 20" x 10". Immerse your space in the intricate beauty of 16th-century Brussels design, expertly captured in ...

Origin: Holland Value: 2 pennies / 2 stuiver Date: 1724 A VOC Akerendam shipwreck treasure of nine 2 stuivers minted by the Province of Holland ...

Round Embroidered Tablecloth Italian handicraft Del 1700 obtained by splicing together strips of textured fabric, giving a continuity to the composition of a damask pattern made of r...

A rare, 18th century English Bilston or Battersea enamel green tea caddy. Likely manufactured in South Staffordshire. Of octagonal form with ...

Introducing the Brussels 16th Century Pillow, a captivating addition to your décor, measuring 19" x 9". Immerse your space in the rich history and intricate design of 16th-century Br...

A stunning 18th Century Indo-Portuguese altar from Goa. This is in wonderful condition with its original surface and paintings.

Gustavian brass box with perpetual calender based on the rune staff. The box is from the late 18th Century and was used as a perpetual calendar and...

Elevate your space with the Brussels 16th Century Pillow a 19 x 10 masterpiece of timeless design. Bring a touch of historical elegance to your décor

Original antique map titled 'Tartaria sive Magni Chami Imperium'. This great map of Tartary covers all of eastern Asia between the Caspian Sea and northern China and Manchuria. Being...

Elegant pair of bedside tables in solid walnut, enriched with refined cherry inlays. These details, characteristic of the neoclassical period, are made with the graffito technique. A...

MUSEUM PERFECTION ! AZTEC INFLUENCED LATIN AMERICAN COLONIAL ART AMAZINGLY RARE PIECE ! Approx. 14" x 8" x 2 1/2" After Hernán Cortés conquered the Aztec empire, painting and sculpture schools were set up within missions to produce art for Roman Catholic worship in Spanish America to promote Christian evangelization. The works that emerge from this period are great historic treasures and tell us much about this time in history. Icons were important in this conversion process. Here is an Imagene that was likely employed in a church from the 17th century. It features 5 elaborately carved faces and figures depicting angels and saints. This piece is magnificent for many reasons, but the most important reason is that this piece illustrates the bridge between the Spanish and Aztec art schools. The Aztecs had developed the most splendid feather art in the world. Feather mosaics (arte plumario in Spanish, amantecayotl in Nahuatl), were created by specially trained and talented Aztec nobles. The blue green iridescent color of hummingbird feathers had made them a regular form of tribute to Aztec rulers and art that featured these feathers were incomparable. The Spanish art instructors adopted feathers into traditional Catholic imagery and this piece shows the result of such hybrid. Here feathers are prominently sculpted into the background and were polychromed with sensational hues to reflect the native love and cultural appreciation for feather art. Few feather mosaics survive because of their temporal frailty, but the wood worked feathers in this piece give scholars and collectors a lasting indication of how Aztecs stylistically used the feathers in their pieces. Aztec religious leaders wore headdresses and garments made of feathers - and here these saints appear to be wearing feather headdresses! Even after centuries, the colors of this piece are incredibly compelling. Fragments of the rich blue green pigment that was applied to mimic the hummingbird feathers are still present. The golds, yellows and browns display spectacular understanding of complementary colors. What's more this piece also shows Aztec sun imagery incorporated into the design! On the reverse side of the Saints' faces we see a vivid blue sun burst type design which clearly was an Aztec motif of the period and has no comparable counterpart in Catholic holy treasures...

Thomas, Antoine Jean-Baptiste Un an à Rome et dans ses environs; Recueil de dessins lithographiés, représentant les costumes, les usages et le cérémonies c...

France Map 1757 – Southern Provinces by Isaak Tirion in Dutch Engraving This original copperplate engraving published in 1757 by Isaak Tirion in Amsterdam presents a highly detailed...

The black leather binding in faux shark skin, with silver fittings, unmarked, front and back centrally with a VOC ship within a symmetrical rococo cartouche, the two clasps with VOC ...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Important and sturdy pair of antique curtain...

An early 18th century French 3-panel folding screen, oil-on-canvas, depicting village and maritime scenes in cartouches with other decoration.

Large 18th Century Dutch Chinoiserie Leather Screen. Screen has five panels painted with flowers in urns with nail head trim on wooden frame...

Tall grand scale with six panels with reds and greens on a black background. Decorated with pagodas and people doing a variety of whimsical things.

Baldaquin -large four-poster bed in patinated steel, topped with a large canopy. The sides are equipped with a system of "rods" for draperies. Signed with initials W.C.H Wear a...

A remarkable Louis XVI 18th-century French antique screen with an illustrious provenance, presumed to have belonged to the Duke of Uzès. This exquisite five-panel folding screen show...

French Louis XVI painted and carved daybed, 18th C. Beautifully carved with with spiral fluted columns supporting upholstered head and footboards, top...

This large and attractive architectural piece is known as a pulpit canopy. Before the advent of microphones and speakers, orators would often address assemblies from elevated platforms known as “wine glass pulpits”. These podiums featured domed roofs called abat-voix, sometimes known as sounding boards, that would project sound outwards. Our walnut wood pulpit canopy is a fine example of such a device. Hand-carved and hand-painted in Italy in the 1700’s, our abat-voix is roughly octagonal in shape. Each of the sides have edges with luxuriously thick step molding, alternating between stained and gilded wood. Each of the corner cornices are adorned with gilded flower carvings, although some are missing. The interior of the canopy features a gilded open sun with sinuous rays emanating all around. Each of the sides are adorned with foliate margents surrounded by scrolls, again with some losses. All the edges are bordered with a thin layer of gilding. Although our fascinating 18th century Italian walnut pulpit canopy was designed for a church pulpit...

18th Century Spanish Polychrome Wood Sculpture of the Immaculate Virgin A captivating 18th-century Spanish School sculpture of the Immaculate Virgin, masterfully hand-carved in poly...

Title: 1705 Sanson Map of Southern India and Malabar with an Inset Map Description: This finely engraved and beautifully hand-colored antique map, published in 1705, depicts south...

The map of Batavia (modern-day Jakarta) from 1681, attributed to Frederick de Wit holds significant historical importance for several reasons: Historical Context 1. Colonial Era: This map dates back to the Dutch colonial era when Batavia served as the administrative and commercial hub of the Dutch East India Company (VOC). The VOC was a powerful trading entity that played a crucial role in the global spice trade and colonization in Southeast Asia. 2. Strategic Importance: Batavia was strategically located on the northwestern coast of Java, providing the Dutch with a critical base for their maritime operations. The city became the center of Dutch political and military control in the region. Cartographic Significance 1. Detailed Urban Layout: The map meticulously details the layout of Batavia, including its fortifications, canals, streets, and significant buildings. This level of detail provides insights into the urban planning and architectural styles of the period. 2. Military Engineering: The fortifications shown on the map illustrate the advanced military engineering techniques used by the Dutch to protect their valuable colony. The walls, bastions, and moats indicate the strategic considerations taken to defend against potential invasions. 3. Maritime Activity: The depiction of ships in the harbor highlights Batavia's role as a major maritime center. The VOC's fleets were essential for trade routes connecting Europe, Africa, and Asia, making Batavia a crucial node in global commerce. Artistic and Cultural Value 1. Artistic Elements: The decorative elements, such as the lion holding a shield and the intricate cartouches, reflect the artistic trends of Dutch Golden Age cartography. These embellishments were not only informative but also served to display the cartographer's skill and the map's prestige. 2. Cultural Exchange: Maps like this one provide evidence of cultural exchange between the Dutch and the indigenous populations of Java. The blending of Dutch and local influences can be seen in various aspects of the map and the architecture of the city. Rarity and Preservation 1. Rarity: Maps from the 17th century, especially those in good condition, are relatively rare and highly valued by collectors and historians. Each map provides a unique snapshot of historical geography and urban development. 2. Preservation of History: This map serves as a historical document, preserving knowledge about Batavia's cityscape, infrastructure, and colonial governance. It helps historians and scholars understand the socio-economic and political dynamics of the period. Conclusion The map of Batavia from 1681 is special due to its detailed depiction of one of the most important colonial cities in Southeast Asia during the Dutch Golden Age. It reflects the strategic, economic, and cultural significance of Batavia, serving as a valuable resource for understanding the history of Dutch colonialism and its global impact. The map's artistry and precision make it an important artifact in the history of cartography. --------------- The map is an original and historical map of Batavia (present-day Jakarta) on the island of Java, dated 1681. There are several details to consider when evaluating its origins and possible authorship: 1. **Style and Detail**: The intricate details and style are reminiscent of maps created by Frederick de Wit, a prominent Dutch cartographer and engraver of the 17th century. He was known for his detailed city maps and sea charts. 2. **Lack of Signature**: The absence of "F. de Wit, Excudit" could indicate either an omission or a different engraver. However, it is essential to note that some maps from that period were reproduced or copied by other engravers and cartographers. This was not uncommon, as map-making was a collaborative effort, and copies of popular maps were frequently made. 3. **Map Characteristics**: - The depiction of ships and the detailed fortifications are typical of Dutch cartography in the late 17th century. - The decorative elements, such as the lion holding a shield, are also characteristic of Dutch map engravers. 4. **Other Possible Engravers**: While Frederick de Wit is a strong candidate, other notable Dutch engravers from that period include Joan Blaeu and Willem Janszoon Blaeu. They also produced highly detailed maps and could potentially be the creators or inspirers of this map. To determine the precise authorship, you might consider: - **Comparing** this map with other confirmed works of Frederick de Wit and his contemporaries to identify stylistic similarities and differences. - **Historical Records**: Consulting historical records or publications related to Dutch cartography in the 17th century might provide more context or even direct references to this particular map. If you have access to additional details or higher-resolution images of specific sections, it might help further pinpoint the map's origin and authorship. ------------- Frederick de Wit (1629–1706) was a prominent Dutch cartographer, engraver, and publisher known for his detailed and decorative maps, atlases, and globes. He played a significant role in the Dutch Golden Age of cartography, contributing to the wealth of geographic knowledge and artistic achievement during this period. Here are key aspects of his life and work: ### Biography - **Early Life**: Frederick de Wit was born in Gouda, Netherlands, in 1629. Little is known about his early years, but he moved to Amsterdam, the epicenter of Dutch cartography, in the mid-17th century. - **Career Beginnings**: De Wit began his career as an engraver and publisher, initially producing maps that were reissues of earlier works by other cartographers, such as Joan Blaeu and Willem Janszoon Blaeu. ### Contributions to Cartography - **Mapmaking**: De Wit was known for his meticulous attention to detail and artistic flair. He produced a wide range of maps, including world maps, regional maps, city plans, and maritime charts...

A lovely antique Spanish Colonial hand carved and painted wood santo altar figure - religious folk art sculpture. 18th/19th century, possibly earlier, most likely depicting Saint F...

A Spanish strong box from the 18th century. This antique safe from is constructed or iron clad wood, and is handsomely adorn in domed iron nailhead trim throughout it's top, front, a...

19th C. French 'Ave Maria' Bénitier / Holy Water Font, Devotional Reliquary  France, circa 1890s, artist signed 'Ale'  A stunning late 19th-century French Bénitier/Holy Water Font D...

English Camphor wood sea captain's chest with hinged top, exposed corner dovetailing, original mounted braided beckets, and terminating on the original rectangular molded edge base....

A verry rare and quite large Gothic chest in untouched condition. Strongbox like these where made for the safekeeping of money, important documents and pr...

Crucified Christ, Sorrowful Crucifix. Carved and polychrome wood. Possibly southern German school, 15th century. Polychrome and gilded wood carving showing Christ with the Crown of Thorns, on the Cross, already deceased (eyes closed), with the usual INRI phylactery on the upper crossbar of the Latin cross, three nails (note the crossed feet) and a short, golden and polychrome purity cloth or perizonium. It is known, in German, as “Gabelkreuz” or “Gabelkruzifix” (“Sorrowful Crucifix” in Spanish) to a type of Gothic Crucified Christ that is especially expressive (prioritizing external suffering over other aspects) and that, normally, presents the cross in a of Y or ypsilon (alluding to the Tree of Life), created, apparently, thanks to the influence of the mysticism of the late 13th and early 14th centuries (Saint Brigid...

A fine antique of the colony of Pennsylvania. Noted at the top of the sheet as a 'Map of the province of Pensilvania'. This undated and anonymous map is thought to be from the Gentleman's Magazine, London, circa 1775, although the general appearance could date it to the 1760's. The southern boundary reflects the Mason-Dixon survey (1768), the western boundary is placed just west of Pittsburgh, and the northern boundary is not marked. The map has a number of reference points that likely refer to companion text and appear to be connected to boundaries. The western and southern boundaries are marked Q, R, S, for example. A diagonal line runs from the Susquehanna R to the Lake Erie P. A broken line marked by many letters A, B, N, O, etc., appears in the east. There are no latitude or longitude markings, blank verso. Framed in a shaped contemporary gilt wooden frame and matted under a cream colored matte. Bearing an old Graham Arader Gallery...

A very good antique Scandinavian carved Baroque Folk Art dowry chest, Circa 1780. The chest having a gently domed top with a hinged lid having the original 'snipe' hinges, the edge ...

Huge 18th C. Venetian Larger Then California King Bed Crest Finials Panel Board. Imposing circa 1700’s Venetian bed detailed with cartouches. Composed of two smaller frames. Exquisit...

Good Condition, Original Design Modified.

Good Condition, Original Design Modified.

Wooden altar of late 17thC richly decorated. Polychrome faux marble lacquer, embellished with carvings depicting putti with typical aesthetic characteristics of 17th-century Baroque....

Rider, Cardanus Rider's British Merlin 1774 + The Court and City Register London: R. and M. Brown / Company of Stationers & J. Jolliffe, G. Woodfall, an...

18th century French hand carved and painted wood statue still shows vestiges of its original painted finish. Depicting a nun reading a bible, the n...

Original hand-carved 18th century French original paint panel just removed from a French chateau. A warm complimentary bluish putty gray finish highlights this fine architectural fra...

An extraordinary and extremely rare rustic early 18th Century Baroque trunk or chest. Made of oak featuring a domed top with brass bound hardware and pegged wood wheels...

Rare 18th century Syran blanket chest, beautiful art work and nice proportion.

These four books printed in Latin are covered in beautiful old vellum covers and spines. Each book contains text, margin commentary and pictorial illustration to the fronts pages. All but one is from the same library with like beautifully embossed bindings and like blue colored paper borders. These three had at one point clasp binders now gone or in a damaged state. The final book is vellum bound but not in embossed covers and spines. Condition Disclosure: While we do our best to carefully inspect and give a full report on the condition of any item we sell, pointing out any repairs or alterations that may have been done to the best of our knowledge, as is the case with any antique and vintage item, there is a possibility that at some point in the life of the piece that there may have been damaged which has been professionally repaired and as such a repair undetectable, it is therefore impossible for us to disclose... we recommend that you also read and agree to the 1st dibs user agreement...

Goldsmith, John An Almanack for the Year of Our Lord God M.DCC.LXXXIV. 1784 London: Company of Stationers, 1784 48mo, 4 x 2 1/2 in. (113 x 53 mm); pp. 48 + blank pages for each mont...

The Buddha statue was made from a copper alloy in a standing position with hands in double Abhaya mudra. This mudra symbolizes the act of dispelling fear in the face of adversity. In Laos and Thailand where this mudra are used as one of the most iconic gestures, with its origin was pre-Buddhism era, when it was a symbol of good intentions and friendship when approaching strangers. In contrast to Indian iconography, it was often shown with both hands raised to the level of the shoulder in Southeast Asia. The statue was made in the classic Lopburi style, which historically was heavily influenced by Khmer art...

Johann Michael Bergauer (Simonsfeld, 1676 - Innsbruck, 1745 circa) Mechanical equatorial sundial Signed: Michael Bergauer Insprugg? Innsbruck? Ante 1745 Gilded and silvered brass; glass. Measures: closed 1.29 x 3.50 x 4.92 in (33 x 89 x 125 mm); open 5.19 x 3.50 x 3.81 in (132 x 89 x 97 mm). Weight: the sundial 0.49 lb (224 g); the case 0, 20 lb (95 g) Original wooden case covered in brown leather. State of conservation: very good. It has some signs of use. The spring that allowed for the two parts of the instrument to remain open is missing (absent even in the comparative specimens kept in museums). The sundial is composed of two overlapping plates hinged together on the north edge. The base plate is octagonal and is supported by three turned legs. The upper face is gilded and a compass with a magnetic variation index has been inserted. The rest of the surface is occupied by a rich decoration of engraved scrolls, centered around the inscription “Michael Bergauer Insprugg”. A foldable oval support with a plumb-bob is attached with a hinge on the southern edge. On the reverse of the base plate a table of the latitudes of some European cities (expanded with the vertical writing “Meiland 40” on the edge and “Rome” deleted) and of Jerusalem has been engraved. A Cam marked for 0 °-70 ° is applied near the northern edge. This can be adjusted to change the inclination of the upper plate according to the latitude; originally a spring, now lost, made it possible to keep the two plates of the clock open. The second plate is round, has a toothed edge and measures 3.26 in (83 mm) in diameter: it is slightly smaller than the octagonal base which it rests upon and overlaps when the instrument is closed. The recto is gilded and there are three concentric graduated circles engraved on it: - the outermost is the equatorial hour dial, numbered I-XII, I-XII; - the second-one is that of days 1-30 of the lunar month and has “Aetas lunae” engraved on it; - the third, silvered, is a subsidiary hour dial, with double numbering 1-12; originally it could have been rotated. The engravings of the first two circles are enameled in red. In the center - on the polar axis - there is an alidade, at the end of which is associated the silvered minute dial. This, in turn, is welded, perpendicularly, to a small disc, also silvered, with a triangular gnomon. The plate, alidade and minute dial are connected to each other by toothed mechanisms. Below is the procedure for measuring the time: 1) Adjust the Cam under the base of the clock, based on the latitude of your location; 2) Place the watch on a flat surface using the plumb-bob and with the side closest to the compass facing south; 3) Keeping the instrument still, manually rotate the alidade until the shadow cast by the triangular gnomon on the small silvered disc falls on the line marked below it; 4) The hour and minutes can therefore be read on the hour and minute dials set on the alidade respectively. Johann Michael Bergauer, who sometimes only signs his works as Michael Bergauer, was born in Simonsfeld, north of Vienna. His apprenticeship as a watchmaker took place in Landshut and he probably worked as a laborer in Augsburg before becoming a watchmaker at the court of Karl Philipp von der Pfalz in Innsbruck in 1708. In the following years, his repeated attempts to obtain Innsbruck citizenship are documented and, in 1721, he is listed as a resident. In 1724 he was admitted to the guild of watchmakers, with which however he had continuous problems. In 1732 he presented a "masterpiece". This is the last reference to his business; he must have died before or in 1745 because in that year his widow appealed to the City Council. The mechanical sundial...

Title: 1616 Petrus Bertius Map of Cambay and Gujarat, India Description: This early seventeenth-century map, titled Descriptio Cambaiæ, was published in 1616 by Petrus Bertius, a ...

English mahogany stick Barometer with a broken arch pediment, brass urn finial, Satin wood string inlay, hinged glass door revealing a numeral steel engraved dial with original mounted thermometer and barometric pressure gauge. Signed F. Tarone. Late 18th Century Barometer...

Antique map titled 'Tabula V Asiae'. Important early woodcut map of Persia, depicting the area of Mesopotamia, Armenia and the Gulf, to the Caspian and Carmania (Iran). Includes name...