17th Century Decorative Art

Antique print titled 'Soetendale'. Copper engraving of the Soetendale estate, Walcheren region, the Netherlands. This print originates from 'Nieuwe Cronyk van Zeeland' by Mattheus Sm...

Antique print titled 'Huys te Watervliet'. Copper engraving of the estate of Watervliet. This print originates from 'Nieuwe Cronyk van Zeeland' by Mattheus Smallegange. Artists a...

Antique portrait titled 'Franciscus I (..)'. Portrait of Francis I of France. This print originates from 'Tooneel der keyseren ende coningen van christenryck sedert den onderganck va...

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

Antique portrait titled 'Ioannes III D.G. (..)'. Portrait of John III of Portugal. This print originates from 'Tooneel der keyseren ende coningen van christenryck sedert den ondergan...

Antique portrait titled 'Thomas Fairfax General du Parlement'. Thomas Fairfax, 3rd Lord Fairfax of Cameron. Artists and Engravers: Engraved by P. Dre...

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

A stunning and monumental 17th century stump work - Embroidery Panel from Venice, Italy. Exquisitely crafted with silks and metallic thread and beading - ho...

Antique print titled 'Het Huys en Hof Vryburg'. Copper engraving of the estate of West-Souburg, the Netherlands. This print originates from 'Nieuwe Cronyk van Zeeland' by Mattheus Sm...

“Stop of the travelers” is a charming scene depicting several characters, horses and dogs with a backdrop of woods and a small house. The composition used here is a typical character...

Salvator Rosa last 17th century giltwood frame. Internal measurements cm 32.x 40.8 Pure example of Italian Salvator Rosa gild wood frame of 17th century. "Salvator Rosa" is the famo...

Antique print titled 'The Clog, or Stafford-Shire Perpetuall Almanack'. Engraving of a perpetual almanac (a type of calendar) devised for the English County of Staffordshire, and pre...

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

AMAZING PLATE MONTELUPO 17th Century Round earthenware bowl with contours on a pedestal, polychrome decoration of a soldier in a frame of floral reserves. Minor restorations. Diame...

Oil on canvas depicting a country scene: a man watering his horse near a river where two cows and a sheep wade accompanied by a farmer. Work of northern France or Belgium of the 17t...

A set of 6 polychrome Dutch Delft tiles with ornamental design. Made in Haarlem, The Netherlands. Circa 1625 - 1650. A panel of six colourful o...

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

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

Niche. Gilded and polychrome pine wood. Spain, 17th century. Niche made of carved and gilded pine wood, decorated with moldings, a venerated shape and plant elements in the upper p...

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

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

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

Amazing ALLEGORICAL PANEL in walnut 17th Century Magnificent quality wood, inspired by a 1617 panel from the Louvre. Justitia represents justice, equity and order and Mars embodies ...

Antique print titled 'Romanus Dictator coram populorem expediens'. Engraving of a dictator who signs his orders. This engraving shows one of the stage sets for 'Il Fuoco Eterno Custo...

An oil on canvas portrait of a young French courtier, circa 1690. This evocative antique French-school picture has been attributed to the portrait painter Jean-François de Troy (1679-1752). De Troy was famous as a portrait painter of fashionable society women. This is a very attractive late-17th century painting surviving in its original frame and stretcher. The canvas appears to be untouched. References: 'Jean François de Troy, The Alarm, or the Gouvernante Fidèle', at the Victoria and Albert Museum, London. 'Jean François de Troy, Paris 1679 - Rome 1752', at the Thyssen-Bornemisza Museum. Laurie G. Winters, Troy, de, Grove Art Online, Oxford Art Online, Oxford University Press, 6 May 2016. Everett Fahy & Jayne Wrightsman...

Antique print titled 'Het Huys en Hof ten Duyne'. Copper engraving of the estate of Oostkapelle, the Netherlands. This print originates from 'Nieuwe Cronyk van Zeeland' by Mattheus S...

This 17th century panel painting is a depiction of a praying Franciscan monk, or of Saint Francis. The grey-brown habit, the skull and the book are ...

This lovely 17th century painting was made in the last part of the European Renaissance period, also known as the high renaissance, late 17th century. This scene depicts the Madonna with her Child...

This silver bas-relief is an original decorative artwork realized in the mid-17th century. The work is an original relief realized in silver. A golden frame is included (cm 28 ...

Beautiful Tuscan Ceramic Plate 17th Century with a deepened centre, painted with a biblical scene, landscape and architecture, glazed on the underside, described and marked. Diamete...

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

A superbly carved, early 17th century decorative Renaissance walnut wall panel mounted within a carved oak frame, sourced from a private UK collectio...

A beautiful, highly detailed map of southeastern Europe by Nicolas Visscher. Includes regions of Northern Italy (showing the cities Bologna, Padua, and Venice), Bohemia, Austria (sho...

17th Century Flemish Garden tapestry depicting a serene countryside landscape. Woven in wool and silk, this tapestry displays an exquisite sense of artistry and depth. Two charming animals are depicted in the foreground surrounded by lush foliage revealing a view towards the formal gardens...

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

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

17th century, Roman School Mystical marriage of Saint Catherine of Alexandria Oil on canvas, 32 x 23 cm Frame cm 45 x 36 The saint is depicted in front of the Virgin holding the Child portrayed with the wedding ring in his hand, enriched with a precious stone. According to the Golden Legend, Catherine of Alexandria was a very beautiful young woman, the only daughter of the king of Costa, who had refused to marry the emperor Maxentius because she was a Christian and devoted to Christ. Maxentius, unable to convince her to sacrifice to idols, had sent to call the wisest men and fifty philosophers and orators who presented themselves and tried to divert her from faith in Christ. Catherine, however, played so well that she was able to convert them, arousing the anger of the emperor who condemned them to the stake. Catherine, however, who had criticized Maxentius for the new persecutions against the Christians, was sentenced to prison without food. Abandoned for twelve days, she was fed by a dove sent by God. Maxentius then decided to execute her with the torture of the toothed wheel become her attribute iconographic; but by divine intervention this broke and the young was saved. Finally, she was beheaded and milk flowed from her neck. Catherine’s princely status is witnessed here by her sumptuous dress. The iconography of the mystical marriage was born in the fifteenth century, probably because the traditional iconographic attribute, the wheel, was sometimes so small as to look like a ring, and refers to a vision that will always remain present in the mind and heart of the saint. In Heaven she appeared to her, among the Angels and Saints, Christ the Child, in the arms of the Virgin. He took a precious ring that the Virgin Mary handed to her and put it in her finger, saying "I, your Creator and Saviour, take you in marriage; confident that you will keep you pure until you celebrate your eternal wedding with me, in Paradise" When Catherine was laughing, she found in her finger the same ring that she had seen and had in Heaven, and she considered herself forever the bride of Christ. In this extraordinary episode we can see the heart of Catherine’s religious sense, and of all her spirituality. For her, Christ is like the bridegroom, with whom there is a relationship of intimacy, communion and fidelity; he is the beloved, whom she loves above all...

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

We are delighted to offer for sale this stunning original 17th - 18th century silk embroidered and stitched tapestry A very good looking and decorative piece, I'm sure there is s...

17th Century Italian Flemish oil on canvas painting depicting the Adoration of the Magi. Early Flemish painting was contemporary to the development of the early Renaissance in Italy. In the middle of the 15th century Italy...

Cosmography & Astrology Large oval engraved plate with inscriptions outlining the various parts of cosmography and astronomy; below, two emblematic figures with scientific instruments either side. Lettered with title, dedication, and various inscriptions. To his Excellency Roger Palmer, Earle of Castelmain and Baron of Limerick in Ireland, Embassador Extraordinary from his majesty King James II to his Holyness Pope Innocent 11th anno dom 1686. This plate is humbly DD by Richard Blome. On paper and retaining its original coloring. Sheet width 26 ½ cm., 10 ½ in., height 41 ½ cm., 16 ½ in., In a part-gilded Sansovino frame...

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

Italian Salvator Rosa last 17th century giltwood frame. Internal measurements cm 20 x 30 Pure example of Italian Salvator Rosa gild wood frame of 17th century. "Salvator Rosa" is th...

A pair of French 17th century wooden panels featuring carved silhouettes of a man and a woman. Set in a later 19th century wooden frame. ...

A very fine late 17th century allegorical Flemish Brussels Baroque tapestry Period: Late 17th century Country: Brussels, Belgium Measures: Depth 0.75" Width 111" Height 10...

Frans van de Casteele (Kasteels) called Francesco da Castello (Brussels, ca. 1541 - Rome, 1621) Adoration of the shepherds Crowning with thorns First decade of the 17th century. Tempera and gold on parchment, 290 x 240 mm (with frame). Original wooden frame with trimmed silver foil applications; in the corners, medallions with the four evangelists. The two refined miniatures of the Adoration of the Shepherds and the Crowning with Thorns are works of the artist's full maturity, dating from the first decade of the 17th century, characterized by formal simplification and pure colors in the invoice of the garments that stand out from the eburoral incarnations of the characters. Among the numerous motifs comparable to those of other miniatures by Francesco da Castello, the small medallions with the Evangelists barely outlined on a golden background, closely recall the miniatures, of reduced dimensions, inserted in the compartments of the frame of the altar with the Mysteries del Rosario, as well as those of another box with compartments with the Tree of Jesse...

After Jean Antoine Watteau (Valenciennes, 1684-Nogent-sur-Marne, 1721), Disembarkation for the Island of Cythera, Pastel drawing, Framed, 19th or 20th century.

We are delighted to offer this exquisite pair of extra large Burr Satinwood framed copper plate prints dating to circa 1660 by the genius that was Pierre Mignard...

17th century Flemish Shool Antwerp, wild boar hunt in the style of Frans Snijders, oil on oak panel marked by Guilliam Gabron 1609-1662, Antwerp. The st...

Portrait of a Noble Family in the landscape circa 1600 On foreground the nobleman with his family and a table where appear meats and fixtures, showing her ancestry. In background two servants on both sides. Oil on canvas. Antwerp School...

This is an antique county map of Dorset. An English, framed atlas engraving of cartographic interest By Robert Morden, dating to the late 17th century and later. Superb lithography ...

Italian old master painting, 17th century, oil on canvas. Good condition Measures: H. 54 W. 43 cm H. 21.2 W. 16.9 in.

Auction. Carved and polychrome wood, 18th century. Finished in carved, polychrome and gilt wood decorated with a light relief based on "ce" scrolls lying together in pairs by one of ...

In the 17th century landscape and peasants were a popular painting subject. The panel shows a scene next to a riverbank. The colors are very muted and mainly in shades of brown and g...

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

An antique pair of Portuguese Baroque hand carved Pinewood architectural wall reliefs with richly ornate detailed scrolls, Acanthus leaves and masks, in good condition. Original pain...

Antique map titled 'Rhenus Fluviorum Europae celeberrimus, cum Mosa, Mosella, et reliquis, in illum se exonerantibus, fluminibus'. Beautiful map of the course of the Rhine River...

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