Early 1700s Furniture

Antique portrait titled 'Macedonius'. Portrait of Macedonius I. Macedonius (died after 360) was a Greek bishop of Constantinople from 342 up to 346, and from 351 until 360. He inspired the establishment of the Macedonians, a sect later declared heretical. This print originates from 'Historie der kerken en ketteren van den beginne des Nieuwen Testaments tot aan het jaar onses Heeren 1688 ... In het Neederduyts vertaald' by G. Arnold. Artists and Engravers: Gottfried Arnold (1666 – 1714) was a German...

Description: Antique map titled 'Erster Abriss der Stadt Jerusalem wie sie Furnemblich zur Zeit des Hernn Christi beschaffen (..).' Spectacular town plan...

Title: "Map of Turcomania, Georgia, and Comania" This print presents an intricately detailed map of the Caucasus region, titled “Turcomania, Georgien Commanie,” by the esteemed cart...

Hallmarked in 1709 by Matthew Cooper I, this very handsome pair of Queen Anne period, Antique Brittania Standard Silver Candlesticks, are octagonal in shape, and feature engraved shi...

By Johannes Van den Aveelen and engraved by Holmice. Six views of Swedish royal residences. Hand colored engravings. Framed and matted.

Antique map titled 'Het Heylige Land verdeeld in de Twaalf Stammen Israels (..)'. Decorative and detailed map of the Holy Land divided into 12 Tribes, sh...

A magnificent, fine and impressive antique William III English Britannia standard silver flat topped quart tankard; an addition to our range of collectable 18th century silverware. This magnificent antique William III Britannia silver tankard has a plain tapering cylindrical form onto a spreading collet style foot. The surface of this 18th century quart tankard is embellished with an impressive engraved leaf and floral bordered coat of arms depicting party per pale to the first a chevron between three lion's heads erased and to the second a bend raguly. The upper and lower portions of the body are encircled with bands of tooled decoration, with an applied moulded border to the upper rim. This antique quart tankard retains the original double stepped flat topped, hallmarked cover surmounted with an impressive volute scrolling thumbpiece. The cover is further ornamented with a band of tooled decoration to the rim accented with an applied shaped thumbpiece to the anterior edge. The hinge is decorated with ribbed ornamentation and retains the original pin. This antique Britannia standard silver tankard is fitted with an S-scroll handle ornamented with a plain rounded terminal. The spreading collet foot is encircled with a band of applied moulded decoration to the rim. Imperial quart = 2 pints/1.14 litres. Britannia silver - The Britannia silver standard of 958 (95.84% of fine silver), denoted by the icon of the seated Britannia holding an oval shield, was introduced by William III in 1697. This was to indicate the slightly higher standard of silver from sterling silver standard of 925 (92.5% of fine silver). The armourial bearings are those of the Wyndham and Penruddocke family, to commemorate the marriage of Henry Wyndham and Arundel Penruddocke on 11th September 1735. Further detailed information available on request. Condition This antique tankard...

Ca.1700 Antique Brussels Tapestry Pillow - 19'' X 14'', Wool, Empire Traditional, Handmade and Needlework,

Description: Antique print, untitled. This original old antique print shows an ancient Roman tomb and a floor plan in Rome, Italy. This original old ant...

Antique map titled 'Eigentliche Vorstellung der Statt Jerusalem und derselben umliegenden Gegenden zu Salomonis auch zu und kurtz nach Christi Zeiten.' Rare town plan...

With a rectangular top over a drawer and a door and a lower drawer. Bracket feet.

Italian antique wooden writing table with shutter and brass key, 1700s Wooden desk or writing desk. The upper part is composed of the top ...

An engraving of the Arch of Septimius Severus in Foro Boario, circa 1700. sight: 14 ¼ by 13 ¾ inches frame: 19 ½ by 19 inches

A FINE JAPANESE IMARI CHARGER DECORATED WITH A VASE OF FLOWERS, CIRCA 1700. With 18th century riveted repairs.

Known as an homme debout Malouin, this gorgeous cabinet from Saint-Malo, France, has luxurious and deep carvings paired with brass fittings. Hand-carved in oak, circa 1700, the turne...

Antique map titled 'Horna vulgo Hoorn'. Bird's eye view plan of Hoorn, The Netherlands. With title cartouche, coats of arms and key. From an atlas published by De Wit, ca. 1698-1...

Antique portrait titled 'Thomas Muntzer'. Portrait of Thomas Müntzer. Thomas Müntzer was an early Reformation-era German theologian, who became a rebel leader during the Peasants' War. He turned against Luther with several anti-Lutheran writings, and supported the Anabaptists. In the Battle of Frankenhausen, Müntzer and his followers were defeated. He was captured, tortured and decapitated. This print originates from 'Historie der kerken en ketteren van den beginne des Nieuwen Testaments tot aan het jaar onses Heeren 1688 ... In het Neederduyts vertaald' by G. Arnold. Artists and Engravers: Gottfried Arnold (1666 – 1714) was a German Lutheran...

Centerpiece light blue maiolica shell Ferniani factory, early period: 1693-1776 Faenza, 1700 circa 5.5 in x 14.72 in x 13.77 in (14 cm x 37.4 cm X cm 35) lb 4.40 (kg 2) State of con...

Fine 17th century geometric marquetry inlaid rosewood casket with strapwork hinges, pewter string inlay around ebony and fruitwood panels, the lower portion with long drawer on side,...

The rectangular top with a distinguishing raised burl supported by elegantly shaped legs and braced by iron stretchers.

A rare and elegant set of six antique Italian chairs dating back to the 17th-18th centuries, crafted with exceptional artisan skill. These chairs are a magnificent example of the Roc...

Late 17th Century French Tapestry ( 10'9" x 13'8" - 327 x 416 cm ) Material: Wool warp,18 warps per inch; wool and silk pattern wefts, Z-2; woven sideways. This extremely attractive...

A Louis XVI kingwood small chest with brass mounts. Opens to a metal lined interior and two velvet working lower drawers. Circa 1700, France.

Antique French Commode commonly referred to as a Pantalonnière, which simply means trousers. The concept of a Pantalonnière Commode was that it enabled you to lay out your cloths wit...

Rectangular top upholstered in old needlepoint that needs replacement. Turned legs and stretchers.

An early blanket or keepsafe chest having flat hinged top over front with geometric molded decoration, lightly canted sides with integral shaped feet and boarded back. Featuring orig...

Dutch chest of drawers from the 18th century with its original patina and three bombé drawers with period iron handles and claw feet.

A fantastic example of a period Louis XIV trunk, the oak body, which features a domed top, is bound with ornate iron strapwork. The trunk originated in northeast France and was hand-...

An early 18th century English oak side table having molded edge three plank top with large overhang over single drawer with three molded panels having two brass drop pulls and centra...

Antique print titled 'La Representation du Grand Pontise'. Old print depicting a Jewish Priest. This print originates from 'Introduction à l'écriture sainte, où l'on traite tout ...

Centerpiece white maiolica shell Ferniani factory, early period: 1693-1776 Faenza, circa 1700 Measures: 5.6 in x 14.72 in x 13.46 in (14.3 cm x 37.4...

Six maiolica “ambrogette” (tiles) Rampini manufactory, painter probably Siro Antonio Africa Pavia, 1693-1704 a) 6.88 x 5.51 in (17.5 x 14 cm); 0.55 lb (252 g) b) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) c) 6.88 x 5.70 in (17.5 x 14.5 cm); 0.54 lb (245 g) d) 6.81 x 5.51 in (17.3 x 14 cm); 0.50 lb (230 g) e) 6.88 x 5.51 in (17.5 x 14 cm); 0.50 lb (229 g) f) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) State of conservation: intact. These six ”maiolica fina” small “ambrogette” belong to a family of ceramic works considered among the finest produced between the 17th and 18th centuries. For a long time, this type of maiolica was attributed to the Venetian village of Angarano, but later it was definitively attributed to the pottery factories in Pavia. A fundamental study ascribed this production specifically to Pavia through an analysis of Lombard collections and a comparison with archaeological remains found near the two main manufacturing sites in the city. (E. Pelizzoni - M. Forni - S. Nepoti, La maiolica di Pavia tra Seicento e Settecento, Milano 1997). The six small oval tiles have rounded edges and are decorated with a historiated motif. They were created using high-fired polychrome technique, with a predominance of cool tones and a dominance of gray and blue, interspersed with manganese, citrine yellow, orange-yellow, and green. The six small “ambrogette” are characterized by the same stylistic features, with a similar decorative design. The first tile (a) depicts a female figure, holding a stiletto and sitting near a pedestal supporting a relief-decorated baluster vase. Behind her, a child is holding a chalice, while through the arches of a portico, a glimpse of a mountainous landscape can be seen in the background. The female figure could possibly be Lucretia, an example of virtue in ancient Roman culture. In the second “ambrogetta” b), the Biblical episode of Judith and Holofernes is depicted through canonical iconography: the decapitated body of Holofernes lies on the bed in the background, while the protagonist, Judith, is seen placing his head into a sack held by a maidservant. Through an archway a shining slice of the moon gives the perception of nighttime. Surprisingly, within the narrative, there is the presence of a basin in the shape of a large shell, closely resembling the products of Pavia's factories. The third small plaque (c) depicts a female figure standing on a plinth and framed by an architectural arch with a vast mountainous landscape in the background. The woman, with her breasts exposed, is accompanied by two children: one approaching her as if wanting to be picked up, and the other seated with an apple in his hand. The protagonist lends herself to different interpretations: perhaps she represents Rea Silvia with the two twin founders of Rome, or perhaps she is an allegory for the Pietà, a common theme depicted on maiolica. In the fourth tile (d), three characters are depicted near a column. The main figure is an old man with a sad expression, holding a cup, while a woman, wearing a turban on her head, also holds a cup in her right hand and a pitcher in her left. A second woman with her hair bound holds another pitcher behind the old man: at his feet a traveller's bag can be seen, along with some apples and a slice of cheese on a rectangular base. It is likely the sad Biblical episode of Lot and his daughters...

Having a rectangular top with molded edge above a conforming case housing four drawers with original bronze handles and escutcheons, giltwood leaf-form scrolls at upper front, the si...

Fine round antique walnut table, 18th century, Italian manufacture. The table has a very complex base consisting of three large feet, connected to a single central stem. The feet a...

These French, patinated bronze putti heads surrounded by spiral fluting are mounted on geometrically shaped marble plinths. Dating to circa 1700, the rising busts feature a cherub wi...

The engraving provided is a hand-colored work by the artist and engraver, Johannes or Johan van der Aveelen,. He worked on engravings for Erik Dahlbergh’s project, "Suecia Antiqua et Hodierna," which was a grand collection of engravings...

Six maiolica “ambrogette” (tiles) Rampini manufactory, painter probably Siro Antonio Africa Pavia, 1693-1704 a) 6.88 x 5.51 in (17.5 x 14 cm); 0.55 lb (252 g) b) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) c) 6.88 x 5.70 in (17.5 x 14.5 cm); 0.54 lb (245 g) d) 6.81 x 5.51 in (17.3 x 14 cm); 0.50 lb (230 g) e) 6.88 x 5.51 in (17.5 x 14 cm); 0.50 lb (229 g) f) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) State of conservation: intact. These six ”maiolica fina” small “ambrogette” belong to a family of ceramic works considered among the finest produced between the 17th and 18th centuries. For a long time, this type of maiolica was attributed to the Venetian village of Angarano, but later it was definitively attributed to the pottery factories in Pavia. A fundamental study ascribed this production specifically to Pavia through an analysis of Lombard collections and a comparison with archaeological remains found near the two main manufacturing sites in the city. (E. Pelizzoni - M. Forni - S. Nepoti, La maiolica di Pavia tra Seicento e Settecento, Milano 1997). The six small oval tiles have rounded edges and are decorated with a historiated motif. They were created using high-fired polychrome technique, with a predominance of cool tones and a dominance of gray and blue, interspersed with manganese, citrine yellow, orange-yellow, and green. The six small “ambrogette” are characterized by the same stylistic features, with a similar decorative design. The first tile (a) depicts a female figure, holding a stiletto and sitting near a pedestal supporting a relief-decorated baluster vase. Behind her, a child is holding a chalice, while through the arches of a portico, a glimpse of a mountainous landscape can be seen in the background. The female figure could possibly be Lucretia, an example of virtue in ancient Roman culture. In the second “ambrogetta” b), the Biblical episode of Judith and Holofernes is depicted through canonical iconography: the decapitated body of Holofernes lies on the bed in the background, while the protagonist, Judith, is seen placing his head into a sack held by a maidservant. Through an archway a shining slice of the moon gives the perception of nighttime. Surprisingly, within the narrative, there is the presence of a basin in the shape of a large shell, closely resembling the products of Pavia's factories. The third small plaque (c) depicts a female figure standing on a plinth and framed by an architectural arch with a vast mountainous landscape in the background. The woman, with her breasts exposed, is accompanied by two children: one approaching her as if wanting to be picked up, and the other seated with an apple in his hand. The protagonist lends herself to different interpretations: perhaps she represents Rea Silvia with the two twin founders of Rome, or perhaps she is an allegory for the Pietà, a common theme depicted on maiolica. In the fourth tile (d), three characters are depicted near a column. The main figure is an old man with a sad expression, holding a cup, while a woman, wearing a turban on her head, also holds a cup in her right hand and a pitcher in her left. A second woman with her hair bound holds another pitcher behind the old man: at his feet a traveller's bag can be seen, along with some apples and a slice of cheese on a rectangular base. It is likely the sad Biblical episode of Lot and his daughters...

A red walnut drop-leaf dining table dating from between the very end of the 17th and early 18th century. This drop-leaf dining table features three solid, high quality and well figur...

Italian antique wooden fratino table with decorated legs, 1700s Refectory fratino table with rectangular top. It has four legs and two richly decorated and shaped diagonal central be...

This is a beautiful c1680 to c1720 English dresser. Stunning patina and natural wear that shows its age beautifully. The front is simple yet so appealing with the clean lines of the ...

An archer's jade ring from the Qing Dynasty. This is a rare antique archer's ring created during the Qing dynasty period, back in the 1700-1740. The ring is masterfully carved in na...

Beautifull tapestry 17th c from Brussels depicting the rescue of Alexander the great Restorations Nice Colors beautiful large frame

Japanese six-panel screen: Women of the Court in the Garden. Edo period (circa 1700) painting of an early Kano school subject matter: nobility socializing in a coutryard garden. Deta...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely exquisite and important antique pair of George I circa 1700 Polychrome painted hanging corne...

This is an antique carved coffer. An English, oak linen chest or window seat, dating to the William III period, circa 1700. Superb William III example with great colour and beautifu...

Antique print titled 'La Representation du Grand Pontise'. Old print depicting a Jewish Priest. This print originates from 'Introduction à l'écriture sainte, où l'on traite tout ...

Beautiful early Pewter cupboard or Plate cabinet dates from around 1700. Made of solid oak in the Netherlands. Has a very nice appearance and thick pat...

An exceptional, fine and impressive pair of antique English cast Britannia standard silver candlesticks; an addition to our early 18th century silverware collection. These excepti...

✓ Special presence ✓ Great workmanship ✓ Original lock and fittings Dimensions: W: 180.5cm H: 222cm D: 69cm Interior dimensions: W: 156cm D: 50cm Article: Antique cupboard hall ...

Early 18th century oak moulded front chest of drawers from the Stuart period, the rectangular top with a decorative carved frieze along the front and sid...

Pair of Italian carved wood torcheres with traces of gilt paint Italy:

This is a special and rare find. This Louis XIV period 1700-1720s era mirror is done in a gorgeous original gold leaf finish and intricately carved with birds, floral arangements and...

A magnificent, fine and impressive, rare antique Queen Anne English Britannia standard silver quart tankard; an addition to our range of collectable 18th century silverware This m...

Antique print, titled: 'Majorinus Numida' Majorinus was a bishop of Carthage in dispute with Ceacilianus. He favored the so-called Donatist sect. Het died ca. 329 AD. The background to the controversy was the wave of persecutions of Christians by the Roman Emperor Diocletian. At that time some Church leaders - unwilling to endure torture or death and become martyrs - had been ready to take such acts as worshipping the gods of the old pantheon, considered idols by Christians, or surrendering church books and property to the imperial authorities. Such people became known as 'traditors' ("surrenderers"). One of these "traditors", named Caecilian, had returned to the fold of the Church once the persecutions ended, and was consecrated Bishop of Carthage and Primate of North Africa. Those of the faithful who refused to accept the authority of such a spiritual leader raised Majorinus as a rival bishop; however, Majorinus died shortly after being consecrated, and it fell to Donatus to take his place and continue the struggle. This rare print originates from: 'Historie der Kerken en Ketteren van den beginne des Nieuwen Testaments tot aan het Jaar onses Heeren 1688. Onzydig in 't Hoogduytsch beschreeven, door den Hoog-geleerden Heer Godfried Arnold, Voor deezen Hoog-Leeraar in de Historien tot Giesen. In het Neederduyts vertaald. Vercierd met verscheyde Koopere Plaaten door den Heer Romeyn de Hooghe.' (transl.: History of Churches and Heretics from the start of the New Testament until the year of our lord 1688 ...), by Godfried Arnold, Dutch edition published by Sebastiaan Petzold, Amsterdam 1701. This edition contains portraits of heretic figures, etched by the reknown Romeyn de Hooghe. Artists and Engravers: Made by 'Romeyn de Hooghe' after an anonymous artist. Gottfried Arnold (pseud. Christophorus Irenaeus) was an important representative of the so-called radical Pietism, publicist, church historian and chants writer (so he was believed to have written the well-known Church song 'O Durchbrecher aller Bande'). Arnold studied theology in Wittenberg. From the Lutheran Orthodoxy he converted, through writings of Spener, to Pietism, associating later into a circle around the court preacher Sprögel, who was influenced by Jakok Böhm. Many medieval mystics were later re-issued by him. In addition he was clearly influenced by Grotius and the early enlightenment. His quest for the 'true' Christianity rightly brought him in the early Church. So he arranged an edition containing the sermons of the desert father Macarius. Arnold was a skilled patristicus, although he did not escape from the creation of an ideal image of the Christian life in the early Church, in his view a flowering time which ended with the reign of Constantine. His first study of the early Church ('Die erste Liebe der Gemeinen Jesu Christi') provided him a professor position in Gießen, a post which he soon left, disappointed by what he called the 'Ruhmsachtige Vernunftwesen des akademischen Lebens'. He continued as an individual scientist and he published books and poems. His main work is 'Unparteiischen Kirchen- und Ketzerhistorie' (1699-1700), of which this is the Dutch translation. He adapts in this study the reformatory decay theory, where the censure lies no longer with Constantine, but the post-Apostolic time. The decay is temporarily lifted with the Reformation, but occurres again soon, so that even the contemporary institutional Protestantism lies under the fire of his criticism. On the other hand he favours the 'Church of the spirit' that existed in all times (invisible) and is characterised by avoiding the world and asceticism. Not the orthodoxy, but the subjectivity of religious man...

Italian antique green and gold wooden armchairs with orange cushions, 1700s Pair of armchairs or chairs with armrests. The structure is in light green painted wood with golden profil...

An exceptional, fine and impressive antique William III English Britannia standard silver lighthouse style caster; an addition to our silver teaware ...

Caminiera dorata riccamente intagliata, cornice d’appoggio e montanti laterali sporgenti a doppia cornice con specchi sormontati da cimase architettoniche intagliate. Al centro impon...

A superb example of late 17th to early 18th-century German silverwork, this magnificent silver-gilt covered bowl was crafted in Augsburg circa 1700 by the accomplished silversmith Jo...

With rectangular oyster veneer top with molded edge over a frieze drawer. Raised on barley twist legs joined by a shaped X form stretcher.

Royal House Antiques Royal House Antiques is delighted to offer for sale this one of a kind, Museum Quality, fully restored hand carved English circa 1700 wing armchair with uniquel...

Coppia di consolle barocco in noce, Lombardia inizio XVIII secolo. Il fronte è composto da un susseguirsi di riccioli ed elementi mossi, secondo un disegno ben definito; riserve, ele...

This statement midcentury round table boasts a sleek, cylindrical, chrome-plated base that exudes a strong sense of modernity and sophistication. The flat surfaces of the table are d...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely exquisite and important antique George I circa 1700 Polychrome painted hanging corner wall c...

Title: 1706 Heraldic Engraving of Scotland’s Unicorn and Royal Arms by Coronelli Description: This elegant antique print, likely from Vincenzo Maria Coronelli’s 'Isole Britanniche: ...

Neoclassical mirror in carved and partially lacquered and gilded wood, Lombardy last quarter 18th century. Medallion cymatium with love knot placed on top, made from ribbon and held ...

Normandy Map by Frederick de Wit, 1705, with Inset of Channel Islands Description: This beautifully engraved and hand-colored map, titled Duché et Gouvernement General de Normandie,...

This map, "Assyria vetus diuisa in Syriam, Messopotamiam, Babyloniam, et Assyriam", by Pierre Mortier, is a late 17th-century depiction of the historical Middle East. Title: Ancie...