18th Century and Earlier Decorative Art

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

18th century Italian spolvero fresco pattern printed onto canvas and framed with a custom frame and red phantom quartz crystals. Spolvero is an artistic method of transferring a des...

18th century Italian spolvero fresco pattern printed onto canvas and framed with an antique red frame and adorned with red ruby stones. Spolvero is an artistic method of transferrin...

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...

18th century Italian spolvero 'cherubs' pattern printed onto canvas and framed with an antique scroll frame and adorned with fossil agate coral. Spolvero is an artistic method of tr...

This print originates from ‘Biblia Sacra, dat is, de H. Schriftuer van het Oude, en het Nieuwe Testament, naer de laetste Roomsche keure der gemeine Latijnsche overzettinge, in neder...

Adorning the walls, two gracefully framed botanical engravings from 1771 capture nature's elegance in exquisite detail. Delicate strokes of...

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

18th century Italian spolvero fresco pattern printed onto canvas and framed with an antique wood frame. Spolvero is an artistic method of transferring a design from a print to the p...

18th century Italian spolvero rococo scroll pattern printed onto canvas and framed with an fragment scroll frame and adorned with polished fossil agate coral. Spolvero is an artist...

18th century Italian spolvero fresco pattern printed onto canvas and framed with an antique molding frame and citrine crystals. Spolvero is an artisti...

18th century Italian spolvero "fruit and foliage" fresco pattern printed onto canvas and framed with an antique wood frame. Spolvero is an artistic method of transferring a design f...

18th century Italian spolvero fresco pattern printed onto canvas and framed with a custom frame and citrine crystals. Spolvero is an artistic method of transferring a design from a ...

18th century Italian spolvero fresco pattern printed onto canvas and framed with an antique molding frame and citrine crystals. Spolvero is an artisti...

Wonderful print of Alexander Selkirk, the so called " Real Robinson Crusoe " Copper-plate engraving Published C.1780 Unframed.     

Antique print titled 'Les Pyramides de l'Egypte'. A vue d'optique of the pyramids of Egypt, one of the Seven Wonders of the World. This is an optical print, also called 'vue optiq...

A regence boulle marquetry ormolu-mounted bracket clock Our violin-shaped cartel is decorated with a marquetry Boulle with engraved brass decorated with windings, florets, cartridge...

Antique portrait titled 'Thomas Lord Fairfax'. A half length portrait of Thomas Fairfax turned slightly left but looking at the viewer, wearing armour and a white collar, all in a architectural oval with a flag leaning against he left above decorative vignette of a battle scene. Thomas Fairfax, 3rd Baron Fairfax of Cameron (January 17, 1612- November 12,1671), Parliamentary Commander-in-Chief. Perhaps the most accomplished Parliamentarian officer, Fairfax was appointed Lord General of the New Model Army after his victory at Marston Moor, 1644. His decisive string of victories, beginning with the battle of Naseby in 1645, won the Civil War for Parliament. Extremism alarmed him and he refused to serve on the court which tried the King or to lead the army into Scotland in 1650. He retired from public life until 1660, when he supported General Monck...

Antique print, titled: 'Niobe in Hortis Mediceis.' - Statue of Niobe in Rome. In Greek mythology, Niobe was a daughter of Tantalus and Dione. From the 1660 Dutch edition of 'Icones ...

Wonderful print of indigenous Siberians Copper-plate engraving Published C.1780 Unframed.     

Collection of nine 18th Century coral engravings. Mounted then framed in Italian wooden frames. Circa 1780.

Italy, late 18th Century Antique hand-coloured map of Venice. Measures: H 52 x W 59 cm.  

A fine mythological etching by the great Italian engraver Antonio Tempesta (Florence, 1555 – Rome, 5 August 1630) printed by François L'Anglois or Langlois (12 May 1589 (baptised) – 13 January 1647),also called F. L. D. Ciartres (" Francois Langlois from Chartres"). Beautiful sheet , very sharp . The dimensions below are inclusive of the frame, the print without the frame measures 27x19 cm Antonio Tempesta, also called il Tempestino (1555 – 5 August 1630), was an Italian painter and engraver, whose art acted as a point of connection between Baroque Rome and the culture of Antwerp. Much of his work depicts major battles and historical figures. He was born and trained in Florence and painted in a variety of styles, influenced to some degree by "Counter-Maniera" or Counter-Mannerism. He enrolled in the Florentine Accademia delle Arti del Disegno in 1576. He was a pupil of Santi di Tito, then of the Flemish painter Joannes Stradanus. He was part of the large team of artists working under Giorgio Vasari on the interior decoration of the Palazzo Vecchio in Florence. His favourite subjects were battles, cavalcades, and processions. He relocated to Rome, where he associated with artists from the Habsburg Netherlands, which may have led to his facility with landscape painting. Among his followers was Marzio di Colantonio. Tempesta and the Flemish painter Matthijs Bril were commissioned by Pope Gregory XIII to paint wide panoramas of the Procession to Transfer the Relics of St. Gregory of Nazianzus (1572) for the loggias on the third floor of the Vatican Palace. He completed frescoes in the Palazzina Gambara at the Villa Lante in Bagnaia (1578-1609). From 1579–83, Tempesta participated in the decoration of the Villa Farnese in Caprarola, notably of this villa's Scala Regia. He is also known to have collaborated on frescoes in the Villa d'Este at Tivoli and the Palazzina Gamara at Villa Lante, Bagnaia. He painted a series of turbulent and crowded battle scenes for the Medici. He also completed a series of engravings on outdoor courtly hunting scenes. Tempesta painted frescoes for the Palazzos Colonna, the Doria Pamphilj, and for the Marchese Giustiniani in his Roman palace, where Tempesta collaborated with Paul Bril, and at Bassano di Sutri. He painted a Massacre of the Innocents for the church of Santo Stefano Rotondo in Rome. Tempesta is now best known as a printmaker in etching and engraving. He also left numerous etchings, among them: Plates from the Old Testament; twenty-four plates from the Life of St. Anthony; a set of 150 prints from Ovid’s Metamorphoses; 13 plates on The Labours of Hercules and four plates on respectively The ages of man; The entry of Alexander into Babylon; Diana and Actaon, and The crucifixion (1612). In 1612 he engraved a series of plates under the title "Batavorum cum Romanis Bellum" after designs of the Netherlandish artist Otto van Veen, also known as Vaenius (1556-1629) and court painter to Alessandro Farnese. Van Veen was influenced by the Italian mannerists but had developed his own style anticipating the Flemish baroque of his pupil Peter Paul Rubens. The series consists of 36 numbered engraved plates and illustrates the armed struggle between the ancient Dutch tribes and their Roman oppressors as narrated in Tacitus' Histories. Each plate bears at the bottom an engraved legend in Flemish and in Latin while a detailed explanation is printed on the otherwise blank verso. Plate I, signed 'Ant.Tempesta f. Anno 1611', shows 'Roma' and 'Batavia' in battle dress with respective scenic backgrounds, symbolizing the two nations. Fifteen other plates bear Tempesta's monogram. The plates depict heroic events, sieges, and battle scenes. This historicist work was very popular in its time. Tempesta also drew many designs for tapestries. François L’Anglois or Langlois (12 May 1589 (baptised) – 13 January 1647), also called F. L. D. Ciartres ("François Langlois from Chartres"), was a French print publisher, print seller, engraver, bookseller, art dealer, and painter. He is widely considered to have been the first important print publisher in France and to have contributed significantly to spreading awareness of contemporary artists' work throughout Europe. François L’Anglois was born in Chartres and baptised there on 12 May 1589. He visited Italy on several occasions: Rome in 1613 and 1614 and Genoa, Florence, and Rome again in 1621. On these trips he met Anthony van Dyck and Claude Vignon, who both painted his portrait. He also became acquainted with the engravers Stefano della Bella and François Collignon. It was probably around this time that he acquired the nickname of Chartres (Ciartres in Italian). In 1624–1625 he was associated with Vignon as an art dealer (paintings) and acted as a print collector for Thomas Howard, 14th Earl of Arundel, and Charles I of England...

Wonderful marine print. Copper-plate engraving Published C.1780 Unframed.     

Set of 5 original antique botany prints from the work 'Botanica Pharmaceutica exhibens plantas officinalis quarum nomina indispensatoris recentur, cum Iconibus (..)' by A. Happe. The...

Fabulous handwritten and illuminated book page. Beautiful period piece with gorgeous faded colors and typical Gothic gilded initials, France, 15th cent...

Nice pastel portrait representing a young woman. Wonderful weathered wooden frame and its old glass, France, 18th century. Weathered, small losses.

Antique print titled 'De Banck van Leeningh'. View of the City Bank of Loan in Amsterdam, the Netherlands. Also known as the Lombard, located on the Oudezijds Voorburgwal of Amsterda...

Antique print titled 'De Kerk der Mennonisten die men de Waterlanders noemt' and 'De Kerk der Mennonisten de Son genaemt'. This print depicts two church interiors in Amsterdam, The N...

An exceptional high relief Renaissance Revival carved black Pietra Serena panel. The right facing profile bust of a lady in front of a garland of flowers and leaves suspended above ...

17th century Portrait of Saint Paul Measures: Oil on oval canvas, 67 x 50 cm - with frame 81 x 64 cm The portrait examined here depicts the Apostl...

Set of 2 original antique botany prints from the work 'Botanica Pharmaceutica exhibens plantas officinalis quarum nomina indispensatoris recentur, cum Iconibus (..)' by A. Happe. The...

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...

Original antique print of opossums. Originates from Bertuch's 'Bilderbuch für Kinder'. In 1790 Friedrich Justin Bertuch started his biggest book-project ever. Issued in 12 volumes it...

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 'Les Murailles de Babylone'. A vue d'optique of the ancient city of Babylon. This is an optical print, also called 'vue optique' or 'vue d'optique', which were m...

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...

Set of six early 18th Century Architectural engravings by Sir Colin Campbell. Sir Colin Campbell’s “Vitruvius Brittanicus” is ...

A mid-18th-century Italian terracotta relief of the Virgin & Child appearing to St Philip Neri In a silver filigree, gilt-bronze and gilt-copper-mounted, lapis lazuli and wood frame. Known as the ‘Apostle of Rome’ due to his labours amongst the sick and poor of the city, Philip Neri (1515-1595) became an influential figure of the Counter-Reformation. Many miracles were attributed to him, and he was beatified by Paul V in 1615. His popularity and place in the folklore of Rome created a demand for his depiction within the church. For example, Carlo Maratta’s painting for San Giovanni dei Fiorentini, the preliminary study for which bears relation to the present composition (Royal Collection, inv. 905553). The fresh and freely modeled handling of the present relief is in the tradition of Giovanni Antonio Mazzuoli’s (1644-1706) small-scale modelli for altarpieces (C. Sisi and G. Gentilini, La Scultura : bozzetti in terracotta, piccoli marmi e altre sculture dal XIV al XX secolo, Florence, 1989, nos. 92-95). Additional information: Origin: Italy Period: Circa 1750, 18th Century Style: Religious, The Virgin and...

Antique print titled 'Coupe sur la longueur d'une Maison d'Hiver (..)'. Copper engraving of a house in Greenland. This print originates from volume 18 of 'Histoire generale des voyag...

Interesting Flemish painting representing a characteristic tavern interior scene with characters intent on playing cards. Oil on canvas in a round shape. The frame is an original gil...

Set of 2 original antique botany prints from the work 'Botanica Pharmaceutica exhibens plantas officinalis quarum nomina indispensatoris recentur, cum Iconibus (..)' by A. Happe. The...

Antique print titled 'Conterseytsel vande Oude Onder-Koning'. Old print depicting the ancient Viceroy of Guangdong. This print originates from 'Het gezantschap der Neêrlandtsche Oost...

"Pablo Picasso Wall Rug For Desso" Carpet made by Dutch brand Desso under license from the estate of Pablo Picasso. It is edition 147 of 500. Made of wool. Depicts the 1964 pain...

Original antique print of a bison. This print originates from 'Boeken op Google Play Beschryving van den Amerikaanschen gebulten stier, genaamd...

Refined work by a painter from the first half of the 19th century, from the landscape of the "Rinpa" school by a painter from the end of the 18th century, the Rinpa school. Six panels painted in ink on gold leaf and "gofun" on vegetable paper. The flowers are made with the "gofun" technique, natural or pigmented white oyster powder. Rinpa is one of the major historical schools of Japanese painting. The style was consolidated by the brothers Ogata Korin (1658–1716) and Ogata Kenzan (1663–1743). This folding screen has a very clean design that leaves plenty of room for the beautiful golden landscape. It comes flat and you can easily hang it with our hooks. Lucio Morini...

5 engravings framed, 18th century period. Dimensions with frame : 59 x 24 x 1 cm Images dimensions : 8 x 14 cm.

Antique print titled 'Het Slot te Heusden, op de linker syde en van achteren'. View of Heusden Castle, the Netherlands. Source unknown, to be determined. Published circa 1730. Art...

Antique print titled 'Orchis antropomorphos (..)'. Old botany print depicting white stonecrop and other plants. Originates from the first Dutch editon of an interesting travel accoun...

Male head. Carved stone. Century XVI. Carved stone relief showing a male face turned to the right. It is necessary to highlight both the quality of the fac...

18th Century front panel of an altar. This panel is originally from the private chapel of an important house in Montelimar. With beautiful decorative stitched floral design with fl...

17th century, Tuscan school Madonna and Child Oil on canvas, 31 x 21 cm With frame, cm 37,5 x 27,5 The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit. The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi...