17th Century Decorative Art

Antique print titled 'Molenbaix - Huys te Molenbaes'. Copper engraving of the estate of Molembaix, Walcheren. This print originates from 'Nieuwe Cronyk van Zeeland' by Mattheus Small...

Antique print depicting two horses near the Louvre, France. Also depicted are a group of men, including Mr. LeGrand. This print originates from 'L'Instruction du Roy en l'Exercice de...

Belgium / 17th century / wooden sculpted panel / oak / Gothic / Rustic / Antique A panel in oak wood enriched with Gothic carvings. Hand carved in Belgium in the 17th century. This ...

A single, antique Portuguese Baroque architectural wall fragment or sconce made of hand carved partly gilded Pinewood, in good condition. Authentic and naturally aged patina. Minor f...

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...

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...

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

XVII Century Madonna and Child Oil on canvas, 116 x 83 cm The canvas under consideration depicts the Icon of the Most Holy Virgin Consoled, or more correctly Consoler of the Affl...

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 monumentally scaled and most decorative Italian late 17th century Baroque Period Venetian st. patinated Wood and Giltwood wall decor. This most impressive wall decor/plaque is unde...

A group of eight Russian and Greek Orthodox icons painted over gold leaf and gesso laid on a wooden board. These are mounted on a Lucite panel and ...

"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...

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...

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 ...

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 ...

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...

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...

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...

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...

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 ...

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...

Each tile of square form and decorated in cobalt blue, green, red, mustard yellow and manganese on a white ground with lobed cartouches filled with varied floral motifs and surrounde...

A fashinating 17th century Italian Virgin with Child, an hand-made rectangular shaped relief devotional plaque in polychrome glazed terracotta depicting a Madonna with Child, dating ...

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...

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...

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...

Superb original hand-coloured engraving of Sunflowers by Basilius Besler dating to 1640. Basilius Besler (1561-1629) was a prominent botanist and apothecary in Nuremberg. He was ta...

A pair of 17th century medieval style carved oak panels, sourced from an ex private collection of a 17th century manor in East Anglia. The pair showcase handcarved knights standing ...

Salvator Rosa, the Italian Baroque painter was also a significant etcher and printmaker. Rosa’s is series of small prints of soldiers was very popular and influential. This etching i...

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...

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...

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...

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 ...

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...

An original signed lithograph by Georgi Daskaloff. Georgi Daskaloff was born in Sofia, Bulgaria and attended the art school at Sofia University, graduating in 1949. He moved to the...

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...

Antique print titled 'Spinhuys'. Engraving of the spinning house, a prison and workhouse, in Batavia, Indonesia. This print originates from 'Joan Nieuhofs Zee en lant-reize, door ver...

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: 'Nyseus Bachus in Aedibus, Burghesys.' Statue of Bacchus or Dionysus, the god of the grape harvest, winemaking and wine, of ritual madness, fertility, theatre and religious ecstasy in ancient Greek religion and myth. From the 1660 Dutch edition of 'Icones et Segmenta Nobil. Signorum et Statuarum quae Romae extant' by Francois Perrier...

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...

Ancient 17th century gilded wooden frieze, once used as a candlestick; now it bears a branch of madrepore cm.35 x 24. ref. O/2803.

N. 48 fir ceiling boards, painted with tempera, showing geometrical and floral patterns. This kind of ceiling boards were mounted on joists also decorated and painted. Period: end ...

Italy, probably Venice, circa 1680 A late seventeenth century red velvet panel, with appliqued interlocking arabesques and cut flowers. Height 63.00cm Width 71.00cm

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. ...

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...

Antique portrait titled 'Ioannes II (..)'. Portrait of Johan II of Sweden. This print originates from 'Tooneel der keyseren ende coningen van christenryck sedert den onderganck van h...

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...

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...

Antique print of a camel and a dromedary. This print originates from 'Historiae Naturalis (..)' by John Johnston, published by Matthias Merian in 1657. Artists and Engravers: John...

Beautiful oil on canvas with four protagonists, the Virgin breastfeeding baby Jesus with St. Joseph and a young St. John the Baptist. Typical 17th century composition with the secondary characters in the background. Relined canvas and original gold leaf gilded frame...

A beautiful pair of burin engravings depicting "Saint Bernardo degli Uberti" and "Saint Hilary of Poitiers" two of the patron saints of the city included in the base of the cupola ( dome ) of Parma cathedral frescoed by Antonio Allegri known as Correggio (Correggio, August 1489-Correggio 5 March 1534) between 1524 and 1530. Admirable work by the great master in which his genius as a forerunner of the Baroque is fully seen. In 1642 Giovanni Battista Vanni etched a series of fifteen plates from Correggio's frescoes. Giovanni Battista Vanni was born in Pisa around 1599; he studied successively under Jacopo da Empoli, Aurelio Lomi, and Matteo Rosselli, and then became a disciple of Cristofano Allori. He is better known as an engraver than as a painter. From 1624 to 1632, he lived in Rome, then returning to Florence after visiting Venice. In addition to the series of prints...

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

" Ceres and Phytalus" To left, Phytalus, kneeling, receives the fig tree from the goddess Ceres, standing to right, as a reward for his hospitality. Etching and drypoint, circa 1662,...

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...

Tab LXX: This antique print shows various dog breeds. This print originates from: 'Historiae Naturalis De Quadrupetibus Libri I' by John Johnston, published ...

Exceptional late 17th Century Flemish finely worked needlepoint. In excellent condition housed in a high quality hand made wood frame. Provenance: from the collection of London coutu...

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 ...

Description: Antique print religion titled 'Het aanliggen op de Tafel-Bedden; hoedanigen Eetwyse der Assyriers, Persen, Grieken en Romeinen, ook by de Joden in gebruyk geraakt is'. ...

Antique print titled 'Dr. J. Jonstons Beschrijving van de Natuur der Vogelen (..)'. Frontispiece of the Dutch edition of 'Historiae Naturalis de Avibus' by John Johnston. Transla...

On linen ground, with central undulating stalk with perched birds and blossoming berry laden branches, embroidered in rich and colourful ‘worsted’ wool yarns. Of portrait, rectangula...