17th Century Wall Decorations

In good condition From a private collection Free international shipping 17th Century Old Master Oil Painting Adoration of the Magi

French School of the 17th century, Mandylion or Holy Face Oil on panel with a gold background representing Christ and bearing on the reverse a painted inscription: « CHRISTI SERVATO...

Antique print, titled: 'Haliaetus Adler (…).' - This plate shows various birds of prey; Haliaetus, Adler, Meer Adler (White-tailed Eagle, Sea Eagle) - Aquila, Adler (Eagles species) ...

"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...

Antique map titled 'Holy Island, Staples and Barwick.' A map of the coast of Northumberland, England. This map includes Holy Island, Buckton, Sunderland and the Farne Islands. Th...

Antique print, titled: 'Petrus de Jode' - Portrait of Pieter de Jode II or Pieter de Jode the Younger (1606–1674), a Flemish Baroque printmaker, draughtsman, painter and art deal...

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...

A Flemish verdure landscape tapestry from the 17th century, depicting verdant hills with two large blossoming trees in the foreground, a stream and a large domicile in the middle gro...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

Stunningly vivid late 17th early 18th century Aubusson tapestry. Strong Verdure themes with a scene depicting Bathsheba and David in the centre. An unusually large amount of silk was...

“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...

Antique map titled 'Nova Totius Germaniae Descriptio'. Uncommon map of the German Empire including the Netherlands, Germany, Switzerland, Austria, Bohemia,...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

Antique map titled 'Belgii Regii Accuratissima Tabula Pluribus Locis Recens Emen'. Large map of Belgium and Northern France. Published by F. de Wit, circa 1680.

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

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...

Antique map 'Le Duche d'Aiguillon'. Decorative map of the Aiguillon region, France. Located at the confluence of the Lot and Garonne rivers. The map is based on the cartography of Pi...

Original vintage SNCF French National Railways travel poster - Visitez la France Cote d'Azur Prenez nos trains et nos autocars Societe Nationale des Chemins de Fer Francais / Visit F...

Alberto Carlieri (Rome 1672-1720) "Architectural capriccio with the preaching of Saint Paul in the Areopagus of Athens" Oil on canvas, measures with...

A Late 17th Century Painting Depicting A Cavalry Battle Height: 115 cm Width: 75 cm Depth: 6 cm. Provenance: Private Australian Collection.

17th Century Scourged Christ Religious Old Master Oil Painting on Canvas Dimensions: 70 x 51cm, depicting scourged Christ Good condition, with some professional restorations to verso...

A distinguished 17th Century Italian carved wooden panel, showcasing the artistry and craftsmanship of the Baroque period. The panel is meticulously carved with an intricate design f...

An antique Flemish landscape verdure tapestry from the late 17th century, envisioning two exotic birds in an idyllic woodland setting, with a stream separating the foliage in foregro...

Beautiful 17th century Italian school " Virgin of Sorrows " Oil on canvas Measures : 50.5 x 42.5 cm very good condition

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...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

Four paintings depicting the seasons, circle of Noel Coypel, second half of the 17th century Oil on canvas Measures: cm W 37 x H 46 x D 2 cm (canvas) The four paintings, presented in...

A truly stunning pair of 17th century Wall Brackets from the Provence region of France. Expertly carved with Putti heads having wonderful expressions. Excellent patina.

17th century French grotesque tapestry An antique French Beauvais tapestry from the 17th century, depicting a Grotesque scene with an Elephant and ...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

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

This is a heavy large carved wood plaque depicting an embossed scene of the Resurrection of Jesus Christ. He is standing victorious and elevated over a U shaped cluster of clouds wit...

This Flemish panel painting, dated circa 1620, masterfully depicts the Holy Family and young Saint John the Baptist. A Flemish School altarpiece work of art, a masterfully achieved ...

ANNUNCIATION TRIPTYCH Spanish School 17th Century Oil on canvas glued to wood, Spanish school 17th century Dim.: (total) 97 x 153 cm very good conservation condition

Handwoven recreation of the Classic French flat-weave Aubusson rugs that have been found in the finest homes and palaces since the late 17th century. Size: 9' 11” x 14' 2”.

17th Century Pair of Flemish Tapestry ( 2' x 3'4" - 62 x 102 )

This is a fascinating print by Johannes Kip (1652/53–1722), an accomplished Dutch engraver known for his works illustrating various subjects in philosophy, architecture, and landscap...

Étienne Dupérac (French, 1535-1604) A pair of etchings from I vestigi dell'antichita di Roma raccolti et ritratti in perspettiva depicting ruins of Ancient Rome, including the Temp...

A spectacular flemish 17 century combined verdure and mythological handwoven wool tapestry in a simple palette of beige, green, brown and blue, framed with a complete floral border and its original protective burlap backing .Combining romanticism, classicism and baroque artistry, this tapestry is a quintessential example of this highly evolved art form that flourished in Dutch-influenced Flanders throughout the 17th century. The exact mythological event represented by the tapestry is unfortunately not known and I urge viewers and readers of this write up who may recognize the scene to please contact us with the information, for which we would be greatly appreciative. The scene depicted by the tapestry revolves around three life-size classically draped figures with the leading protagonist consisting of a plumed helmeted and uniformed high ranking Roman official in the foreground taking up the entire left hand side of the tapestry. The official is holding the hand of a young woman and is pointing in the direction of a partially visible masted galleon suggesting a departure or a sea faring...

This 17th-century Baroque painting, in oil on copper, captures a serene portrayal of the Immaculate Conception, draped in yellow silk robes w...

Gorgeous 17th century wall bracket.

Beautiful oil painting on panel depicting Christ, made with a chalky preparation which gives brightness and depth to the figure. The work can be attributed to a Venetian painter or o...

Florentine or Flemish school 17th century study of the Medici Lion by Flaminio Vacca. Measures: Sheet 31.7 x 48.8 cm. (12.5 x 19.2 in.) Frame...

1681, Pair of Paintings signed Grechetto da Leone as Govaert G. VAN DER LEEUW Oil on Canvas Dimensions: cm W 91 x H 123 x D 6; canvas: cm W 72 x H 103.5 This pair of fine paintings,...

ITALIAN SCHOOL "SAINT JOHN THE SLEEPING EVANGELIST" 17th Century Oil on canvas. One of the three sleeping apostles depicted in “Cristo Nell’Orto” by Pietro Perugino (1450-1534), exh...

This detailed Dutch map entitled "Het Beloofe de Landt Canaan door wandelt van onsen Salichmaecker Iesu Christo, nessens syne Apostelen" by Nicolaes Visscher was published in Amsterd...

A very fine panel of 'King Charles II and his favourite Lady' in the gardens of a Church / Castle. The bright colours of the raised stumpwork embroidery, and fine detail of the faces...

Incredibly rare Icon on Oak board dating to the 17th century and depicting Saint Matrona (Agia Matrona), this Icon was originally from Chios in Greece and was discovered in Vatopedi...

A French rustic hunting tapestry from the 17th century, with a couple catching an elusive boar in the foreground, a cottage in the middle distance at ...

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

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...

17th Century, Italian Oil on Panel Painting Depicting Madonna della Purità The painting, executed in oil on a circular wooden panel and presented in an imposing carved and gilded wo...

Christoffel Van Sichem II (1577 - 1658) Title: Banquet scene with three young couples, an old man standing at right Series/Book Title: Bibel Tresoor ofte der Zielen Lusthof, Amsterda...

Fountain and Architecture This narrow silk and wool tapestry fragment dates to the 1600s and is from Brussels. It is depicting a statue of the Greek God, Hermes (Mercury to the Ro...

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...

From "Hesperides sive de Malorum Aureorum Cultura et Usu Libri Quatuor", published in 1646. Cassiano dal Pozzo, a friend and scholar on citrus led to the publication. Ferrari was the...

A Franco-Flemish mythological harvest tapestry from the 17th century, featuring the Roman goddess of the hunt, Diana, aiding people who are fishing in...

Coc Gallus Poulle Gallina Nicolas Robert (18 April 1614 – 25 March 1685) Issued in the scarce work: Diverses oyseaux dessignées et gravées d'apres le nature...