17th Century Furniture

An antique Persian Iranian Safavid dynasty hand woven embroidered textile, circa 17th century, showcases the dynastys intricate craftsmanship. The fabric features horizontal bands fi...

Period Early 17th Century English Jacobean Oak Refectory Table. Incredible patina with carved elements throughout. Original stretchers. St...

17th C. Italian Tuscan Walnut Cabinet, original lock & key, original back (very good antique condition, never touched) H: 73.5 D: 22.5 W: 80.75 ...

17/18thC or earlier Sri Lankan Stupa turned bell is 9.75 inches tall, 11.5 inches on custom Stand. Clapper (may have been added later) is a bit too long for bell to sit flat, so Stan...

Good Condition, Original Design Modified.

Terra Sancta sive Promissionis, olim Palestina – hand-coloured copper-engraved map of the Holy Land by Frederic de Wit, Amsterdam, circa 1670 This impressive folio sheet, bearing th...

A German Repousse Brass Alms Dish, 17th Century These dishes were originally used as everyday flatware by the wealthy during the Medieval period, serv...

A rare 16-17th cenury Ming Dynasty standing table screen. Untoched original condition. Hand carved wood, the panel is carved with relief details depicting a dragon, cranes, mythical...

The jar features a balanced and robust form, typical of the Transitional period, which was a time of significant change and innovation in Chinese porcelain art. The decoration is exu...

A tall Chinese green and amber glazed figure of an attendant, Ming Dynasty, 16th-17th century, China. The figure stands upon an integral plinth, dressed in long robes...

This 17th-century Spanish walnut Vargueno on stand is a masterwork of Baroque craftsmanship. Featuring original iron handles and a shield-shaped lock plate, its hinged fall front rev...

Antique Italian escabelle with nice sculpture 17 th century

A late 17th century French Os de Mouton armchair, circa 1690. Completely stripped and reupholstered using a high quality stylish off whit...

Rare 1699 Map of the Failed Scottish Colony of Caledonia in Panama This scarce and historically fascinating map, titled 'The Scots Settlement in America or New Caledonia A.D. 1699',...

A wonderful 17th century French Arte Populaire Padelle - Copper Pan. A Padelle is a large copper vessel used in large wood burning ovens to make nut oils. Wonderfully crafted in ve...

This original copper engraving hails from Arnoldus Montanus' seminal work, "Die Unbekannte Neue Welt oder Beschreibung des Welt-teils Amerika und des Sud-Landes," a comprehensive depiction of the Americas published in 1673. It presents a vivid scene set in colonial New Mexico, showcasing a moment of interaction—possibly a ceremonial or everyday event—between indigenous people and European settlers or explorers. The detailed attire and adornments of the figures suggest a narrative rich in cultural exchange and complexity. This piece is not only a reflection of the artistic style and engraving techniques of the 17th century but also serves as a historical document capturing the early encounters between different worlds. Published in Amsterdam by Jacob Meurs, this rare German edition offers a unique glimpse into the perceptions and imaginations of European society regarding the New World during the Age of...

This WV 339 flush mount was designed by Prof. Wilhelm Wagenfeld for Lindner Leuchten in Bamberg, Germany in the 1950's. It has a white opaline glass diffuser on a white porcelain cei...

Rare, small, late-Renaissance, Nuremberg, iron, 'armada box', strongbox or travelling safe with its original, naïve, painted decoration on later sledge feet...

Alberto Carlieri (Italy-Roma 1672-1720), "Christ and the adulteress", Oil on canvas, with frame cm H 115 x L 151 x 6.5, only canvas H 98.5 x L 135 cm...

Pier Francesco Cittadini (Milan, 1616-Bologna, 1681) "Jacob and his family go to Egypt" Oil on canvas, cm 109 x 190 (canvas only) The valuable painting, made in oil on canvas, depicts Jacob and his family go to Egypt and we believe it can be, given the high quality painting, autograph work of Italian Pier Francesco Cittadini (Italy Milan, 1616 - Bologna, 1681) made after 1647. The work, in excellent condition is accompanied by a coeval frame in wood finely carved and golden. The scene depicted, which was confused with the Flight to Egypt in the past years, is instead identified with the biblical episode of Jacob’s journey. In the foreground, reading the painting from left to right, we see a caravan composed of animals, including donkeys, dromedaries, goats, dogs and horses and people, women, men and slaves, who carry on their journey along the banks of a river, following a path that to the right, would seem to lead to the through of a bridge. In addition to the watercourse is described an environment characterized by large rocks and impervious come far to cover the entire verticality of the canvas. On the left, in the distance, we see the tail of the caravan that runs along the steep path. Large trees enliven and harmonize the environment, as well as white and grey clouds characterize the predominantly clear sky and illuminated on the right by sunlight. The story is told in the Bible, Book of Genesis, 30, 25, passage in which is described the flight of Jacob from Haran after the contrasts with Laban, father of his wife Rachel. Jacob is the third great patriarch of the Bible. From his descendants originate the twelve generations of the people of Israel. He is the son of Isaac and Rebekah, who led him to flee from the wrath of Esau to Haran to seek refuge from his brother, Laban. At his uncle’s house Jacob met his daughter Rachel. As soon as he saw his cousin, Jacob was taken. Jacob will stay seven years in the service of Laban to marry his beloved Rachel. But Laban, with a deception, will give him in marriage first Lia, the least beautiful eldest daughter, and only after another seven years the splendid Rachel. From his first wife he will have several children, while Rachel will give birth to the beloved son, Joseph, who will become viceroy of Egypt. After years of service, Jacob asked to be paid with every dark-coloured garment among the sheep and every spotted and dotted garment among the goats. Laban accepted and sent away from his sons all the leaders of that kind. So Jacob took fresh branches of poplar, almond and plane tree, and flayed them, and put them in the troughs. The optical suggestion induced the goats and the sheep to conceive and give birth to dark, striped and dotted garments. He also ensured that all the strongest and healthiest leaders of the flock of Laban would drink near the barked branches, thus assuring a genetic superiority to his part of the flock. His flocks grew numerous and strong and he became richer than his relative, arousing envy. It was clear that Laban would not respect him much longer. At the suggestion of the Lord, Jacob decided to return to Canaan. Trying to avoid any possible dispute, he left with his family while Laban was absent for shearing sheep. But when, three days later, his uncle returned home, he became angry, feeling offended because Jacob had gone secretly and had not allowed him to greet his daughters and grandchildren. In addition, his teraphim, statuettes, or idols, which depicted the family deities, had disappeared. After 7 days of pursuit, Laban and his men reached Jacob’s group on Mount Gilead, in the mountainous region west of the Euphrates River, where his uncle and grandson had a stormy conversation. The younger man was outraged at being accused of stealing idols and told Labano to rummage through his family’s tents at will. Neither of them could know or even imagine that it was Rachel who took the idols and hid them in the saddle of the camel. During the search, she sat down firmly on the saddle, apologizing for not being able to get up, «because I usually have what happens to women» (Gen 31:35). So the loot wasn’t discovered. The author of this work was inspired by the composition of an engraving by Stefano Della Bella (1610-1664) of circa 1647. The engraving by Stefano della Bella bears the title "Iacob sur ses vieux jours quitte sans fascherie pour voir son filz Ioseph, sa terre et sa patrie" and is signed on the bottom left "Stef. of the Beautiful In. et fe." while on the right it is declared "Cum privil. Regis", that is with license of the king. Stefano Della Bella (Italy - Florence, May 18, 1610-Florence, July 12, 1664) was born in a family of painters, sculptors and goldsmiths and was left early orphan of his father sculptor, he dedicated himself first to the art of goldsmith at the school of Giovanni Benedetto Castiglione and Gasparo Mola, then turning his attention to drawing and engraving. He soon began drawing figures and copying the etchings of Jacques Callot, which inspired his early works. Under the protection of the Medici, in particular of Don Lorenzo, cadet son of Grand Duke Ferdinand I, Della Bella has the opportunity to make study trips to Rome, where he stayed from 1633-1636; In Rome he met French engravers and publishers of prints such as Israël Henriet and François Langlois, who influenced his decision to move to Paris in 1639, four years after the death of Callot. In Paris he soon reached, thanks to the engravings commissioned by Cardinal Richelieu, the success also worldly; he frequented courtiers, theatre artists and writers, while refusing too oppressive honors. In 1646-1647 he continued his travels in the Netherlands to Amsterdam, Antwerp and Dordrecht. He returned to Florence in 1650 and resumed working under the protection of the Medici court, working for his patrons. In 1656 he became a member of the Academy of Apatists. The painting object of this study is reasonably attributable to Pier Francesco Cittadini, or Pierfrancesco Cittadini, called the Milanese or the Franceschino (Italy - Milan, 1616-Bologna, 1681) as some exemplary stylistic comparisons proposed to follow can prove. Pier Francesco Cittadini was an Italian baroque painter, mainly active in Bologna. His artistic training first took place with the painter Daniele Crespi...

Beautiful antique mahogany dining table with many possibilities. The table consists of several parts. A central table on 1 solid claw leg and 2 more wall tables with which the table ...

A rare and magnificent example of early Spanish ironwork, this 17th-century hand-forged wrought iron wall rack is a true testament to the artistry and craftsmanship of the period. Or...

A Chinese porcelain dish from the first half of the 18th century. Lotus and pommegranate Condition Rimfritting and Chips. Size 21cm Period 18th century

17th century monumental sized French Gothic firedogs made of wrought iron.

Sofa designed by Roberto Pamio and Renato Toso for Stilwood, Italy, 1960s. The LARA model consists of two modules that fit together perfectly. Designed with a modular concept and a ...

circa 1690 English 17thC Oak Geometric Dresser Base sku 1765 W193 x D65 x H84 cm. Weight 80 Kg

Rare Charles II carved and gilt wood mirror, the rectangular plate surrounded by carved branches, fruit and sunflowers, surmounted by a cresting featuring a central putto with traili...

This is a hand-painted Chinese Export Kraak porcelain blue and white Side Plate or Dish, which we date to the Ming, Wanli period,( 1573-1620 ), datin...

A fine example of a money chest or cash box with steel engraved figures on each side and an intricate locking mechanism under the lid, typical of metalwork coming out of a host of ci...

Brussels late 17th century tapestry, "Asia" from a Four Continents series. Designed by Lodowijk van Schoor, Woven in the Workshop of J. van der Borcht I Size: 9'4 high x 18' wide. Wool, silk and metal thread pattern wefts This extremely colorful and attractive late Baroque Flemish tapestry with a popular iconography is the product of two important figures in 17th century Brussels weaving. J. van der Borcht I (circa 1650–1713) was a master weaver and tapestry entrepreneur who established a most distinguished family tapestry firm and was followed by J. van der Borcht II, Jasper van der Borcht, Pieter van der Borcht and Jan Frans van der Borcht, taking the operations into the mid18th century. Their wealthy patrons allowed the firm to engage some of the best designers and as a result the artistic quality, as well as the sheer technical execution, is always high. The Van der Borchts wove tapestry series (or single pieces) of Mythological Scenes, Months, Allegories, Armorials, Triumphs of the Gods, The Continents, as well as more down-to-earth genre scenes designed or inspired by David Teniers II or Teniers III. Their artist designers included, besides the Teniers, Jan van Orley, Augustin Coppens, Gerard Lairesse, Phillipe de Hondt, and the Antwerp-born Lodowijk van Schoor (circa 1650–1702), the designer of U-1362. Van Schoor was the successor of David Teniers III. He was the designer or co-creator of about fifteen sets of tapestries. His cartoons were utilized and copied in both the Northern and Southern Netherlands, and continued popular well into the 18th century. His style, especially in his later works, is more harmonious and refined than Teniers and he avoided genre scenes with peasants. Van Schoor sometimes collaborated with other artists, for example Lucas Aertschellinck (1620 – 1699) who specialized in landscape backgrounds as in the set of Mythological Scenes” woven circa 1700 in the Van der Borcht shop. He did not collaborate on this tapestry, Van Schoor’s figures are graceful and his color schemes vivid, in keeping with the best of contemporary Flemish tapestry. Van Schoor’s designs influenced artists working at great remove from Brussels, even so far as the Florentine workshop of Bernini and Demignot where a Van Schoor inspired “Four Continents” set was woven in the early 1720s. The “Four Continents” or “Four Parts of the World” was a popular theme in the 17th and 18th centuries for tapestry patrons. Each continent was identified by native peoples and animals: America (North and South together) by Indians and the Turkey bird...

Antique map titled 'Venezuela cum parte Australi Novae Andalusiae'. The map extends from Coquibocoa to the Orinoque River, centered on Bariquicemento and Cape de Curiacao. Large cart...

Antique Norwegian bridal bench made from rare black alder, this bridal bench approximately dates back to the 17th century. Wear consistent with age and use adds character, with a b...

Sweet little carved walnut 17th century English Jacobean period mirror frame with the original glass. This simple small frame exudes character, with the unusual rounded corners and l...

This is an absolutely incredible early 17th century oil on canvas painting representing Holy Family-Virgin Mary, St.Joseph, St. Elisabeth, John the Baptist and Baby Jesus. Sir Peter ...

This is a historical sea chart titled "Carte Generale des Costes d'Irlande, et des Costes Occidentales d'Angleterre avec une Partie de celles d'Ecosse," which translates to "General Map of the Coasts of Ireland and the Western Coasts of England with a Part of Scotland." The map was first published in 1693 in the atlas "La Neptune Francois," created by Jaillot and published by Pieter Mortier in Amsterdam. This initiative was started by the French minister Colbert to improve maritime navigation. Details of the Map: 1. **Geographical Coverage:** - The map primarily focuses on the Irish coast. - It also includes the west coast of England and Wales. - Parts of the west coast of Scotland are also depicted. 2. **Inset Map:** - There is a detailed inset map showing the area around Chester and the course of the River Dee. 3. **Features:** - **Depth Soundings:** The Irish Sea is detailed with depth soundings to assist in navigation. - **Coastal Towns and Islands:** Numerous coastal towns, islands, and geographical features are indicated. - **Rhumb Lines:** The map includes extensive rhumb lines, which are lines used by navigators to plot a straight-line course. - **Key:** There is a key describing the quality of the terrain along the coast, important for navigators to understand the nature of the coastal landscape. 4. **Labels and Annotations:** - **Coastal Settlements:** Ports, forts, and villages along the coast are labeled. - **Geographical Features:** Islands and other significant features are marked. 5. **Artistic and Practical Elements:** - The map is printed on thick paper and is hand-colored, reflecting contemporary coloring techniques. - Detailed lines and soundings are included to help ships navigate around the numerous small islands and narrow inlets safely. 6. **Historical Context:** - The map was part of a significant French maritime project aimed at improving navigation and charting European waters more accurately. - It reflects the high level of cartographic skill and knowledge of the late 17th century. This map would have been a valuable tool for mariners of the time, providing them with crucial information about the coastal features, depth soundings, and safe passage routes around the complex coastlines of Ireland, England, and Scotland. About the Makers and the Atlas **1. Alexis-Hubert Jaillot (1632-1712):** - **Background:** Jaillot was a prominent French cartographer and publisher in the 17th century. He was known for his detailed and accurate maps and atlases. - **Work:** He collaborated with other notable cartographers of his time and played a key role in improving and publishing detailed maps. Jaillot's work was characterized by its precision and artistic quality. - **Contribution:** He was instrumental in the creation of "La Neptune Francois," a maritime atlas aimed at improving French naval navigation. **2. Pieter Mortier (1661-1711):** - **Background:** Mortier was a Dutch engraver, publisher, and mapmaker based in Amsterdam. He was well-known for his high-quality prints and maps. - **Work:** Mortier published several important atlases and maps, often collaborating with other cartographers and engravers. His work was recognized for its detailed craftsmanship and accuracy. - **Contribution:** Mortier published "La Neptune Francois" in Amsterdam, making significant contributions to maritime navigation by providing highly detailed sea charts. About the Atlas "La Neptune Francois": **1. Purpose:** - The atlas was created as part of an initiative led by Jean-Baptiste Colbert, the French minister of finance under King Louis XIV. The goal was to enhance the accuracy and availability of maritime charts for French naval and commercial vessels. - "La Neptune Francois" was designed to be a comprehensive and detailed reference for navigators, covering various European waters with a focus on the French coast and adjacent regions. **2. Content:** - The atlas includes a series of sea charts, each providing detailed information on coastal regions, depth soundings, rhumb lines, and other navigational aids. - The maps were printed on high-quality paper and hand-colored, reflecting the artistic standards of the time. **3. Historical Significance:** - "La Neptune Francois" was a landmark in the history of cartography, representing a significant advancement in the accuracy and detail of maritime maps...

Splendid 17th-century Italian painting by unknown artist, but certainly a follower of Caravaggio, relying on style and drawing. The painting has a very beautiful gilded wooden frame, with a subtle greek with spheres and an overlying rectangular frame with sinuous flowers on each corner, very elegant and beautiful. The painting depicts one of the most depicted religious scenes ever, the scourging of Christ, and is entirely done in oil on copper. The scourging of Jesus is an episode narrated in the Gospels (Mk15:15-16; Mt27:26-27; Lk23:16-26; Jn19:1-17[1]). Scourging is a flogging, particularly bloody, by means of sticks, rods or cat-o-nine-tails, the latter instrument consisting, in the Roman typology, of a short stick to which were secured several strings ending in metal claws, leads and bone splinters that caused tremendous lacerations and fractures to the tortured person. Chains are used in this scene, both to immobilize Jesus Christ and to flog him, as we can see in the upper right hand of the scourger. According to some personal research, it turned out that the actual scourging of Christ was mostly depicted at the column, while this Christ is on the ground, so presumably Christ here is scourged during the Way of the Cross at one of those stages where he fell. The painting has a very dark coloring, which is why this painting is believed to faithfully follow Caravaggio's style of dry, authoritarian brushstrokes. The painting shows a figure agonizing on the ground that continues to receive beatings and floggings of all kinds, representing Christ; his face is crucified in a loquacious expression of pain, he turns his eyes to heaven as if to invoke God, but at the same time those same eyes admonish the wickedness and arrogance inherent in humanity. Christ has one hand resting on the ground in the act of holding himself, while the other takes a completely unnatural stance against the barren ground. His body appears hardened to wanting to parry the blows, his legs are curled up on his knees as he takes kicks from the soldier above him. Christ is depicted pinned down from the neck with a very large and strong black iron bolt held by the other soldier. The soldier on the right in the foreground wears a one-shoulder tunic with an orange tunic and blue pants. On his feet he wears gray shoes, at his waist he has a belt with an iron helmet...

Wonderful Italian painting from the second half of the 17th century. Oil on canvas artwork depicting a splendid pastoral scene, with elements of classical arcadia that recall the tra...

Italian school; second third of the 17th century. "The Healing of Tobias". Oil on canvas. Relined. very good condition Dimensions: 117.5 x 107 cm; 130 x 118 cm (frame). This canvas ...

An extraordinary Renaissance Period walnut small side cabinet with fruitwood inlay detail. Of museum quality, in remarkable original condition (has not been reconstructed in any way)...

Coppia di colonne in legno dorato in foglia e intagliato con motivi vegetali in rilievo, colonne Italiane tortili, a tortiglione integralmente dorate e scolpite con motivi vegetali e...

A nice Imari Rose coffee cup with beautiful flower scene. Qing Dynasty – Qing Period. Additional information: Material: Porcelain & Pottery Region of Origin: China Emperor: Qianlon...

Incredible 17th-early 18th century Italian Baroque walnut trestle table from Tuscany. Hand carved throughout, this table features massive paw feet, scrolled knees and carved apron. E...

Grand 17th C. Viennese Baroque Archway Wood Door Surround Architectural Element . Outstanding workmanship of the Masters of the Craft. Large Carved wood black, tone down red and Gilt...

British 17th century bible box - early oak with beautiful carvings. Six solid wood slab sides. Bought in the north of England. #5329.

An exquisite Chinese late Kangxi period (1661 - 1722) blue and white porcelain charger of large size made for export to Europe, of circular form with raised convex central roundel pa...

This exquisite perfect-imperfaction 17th-century fireplace surround is a testament to craftsmanship and history. Fashioned from luxurious black-grey marble with delicate white veinin...

17th century Antique Flemish Tapestry Wool & Silk Verdure Art Nouveau 4x6ft 122cm x 178cm "This is a very fine high quality rare authentic Antique Frenc...

lovely 17th century walnut table Louis XIII style table resting on a very elegant base with turned legs connected by a spacer and ending wit...

Sphinx from Florence of the Early 18th Century: A Symbol of Grace and Power The Sphinx, crafted around 1700 in Florence from sandstone, is a captivating example of garden and park a...

Bolognese frame from the first half of the 17th century made of richly carved wood gilded with gold leaf. Carved profile with a pattern of bluebells and ribbons. Beautiful intact pu...

Unique panel depicting a Saint figure and Angels. Wonderful layers of its original color, France, circa 1650-1750 . Weathered, small losses. Treated against woodworm. Measurements in...

17th century oak refectory table. 3 Plank Top all held together with dowels. Table is solid as a rock! Beautiful signs of use and wear, I'm sure some refinishing has happened over it...

A very beautiful early 17th century oil on board painting of Saint Eugene - The Archbishop Of Toledo, Spain. Wonderful brushwork and intricate detail....

Italian baroque single drawer table with turned legs, all in walnut. This table is a wonderful example of an Italian entry or library or bedside tables...

Odiot Rare French Louveciennes Sterling Silver Flatware Set Head of Mercure 1st titre on the dessert knives for 950/1000 French Sterling Silver Guarantee Head of Minerve 1st titre on...

17th century wood frame is an original ancient object realized in Italy in the 17th century. Original wood. Very good conditions. Exceptional frame in carved and gilded woo...

"Exquisite fragment of a border of a French Aubusson tapestry from the middle of the 17th century, featuring a beautiful design of flowers and nice natural colours, entirely hand wov...

A magnificent antique wall tapestry Flemish and dating from 17th century Very fine weaving depicting Mythical Dragon like creatures in a woo...

Title: "1699 Hand-Colored Bird's-Eye Plan of Jerusalem with Ancient and Biblical Landmarks" This beautifully hand-colored, imaginary bird's-eye plan of Jerusalem, published in 1699,...

A wonderful Charles II Carved Oak Coffer Circa 1670, with three front plain panels sitting below a carved foliage freeze. Initialed TR on each side of center lock with a two plank hi...