17th Century Objets d'Art and Vertu

Unique 17th century fob pendant in silver mount with 3 seals carved in solid rock crystal,in original wood and leather case box that used to belong to Friedrich von Arensdorff (1626–...

The hourglass cage displays hexagonal bases. Six smooth iron columns complete the cage. Inside the glass bulbs joined in the center by a ring of fabric and rope. Germany, late 17th ...

A very rare church hourglasses from the 17th Century. These were fitted on the pulpit with a wrought iron basket. Visitors could see from the hourglass how much speaking time was lef...

The cameo at the center of this exceptional pendant is a stunning example of the art of gem engraving during the Renaissance. It likely dates to the early 17th century and features a sacrificial scene inspired by the Greco-Roman era. The central flaming altar is flanked by two figures preparing to sacrifice a ram, while a figure in a lion skin blowing horns stands in the left corner. The carver brilliantly uses the natural layers of the stone to achieve the illusion of shadow and musculature on the figures. A second, smaller cameo is set at the top of the pendant, while a myriad of multi-colored gems, pearls and enamel adorns the 18K gold setting. A large Baroque pearl suspended from an enamel dragon finishes the design, which embodies the opulence and theatricality of jewels from the Renaissance age. Cameos and intaglios were highly popular amongst wealthy connoisseurs in Renaissance Italy, and owning the finest pieces was the privilege of princes. Although they were often elaborately mounted for display alone, cameos were also frequently worn as pendants, surrounded by enameled and stone-set gold frames. Such pieces were particularly prized by the Medici and Lorraine families, many of which can now be seen at the National Archeological Museum in Florence. Very few Renaissance cameos...

Devotional Panel of the Severed Head of Saint John the Baptist. Southern Italy, probably Apulia, 17th century. Polychrome painting on wood panel. Measurements: approx. 33.5 × 2...

* PURCHASED AT CHRISTIE'S, NYC * This diminutive bronze was given **pride of place** astride massive red porphyry columns in the Chicago penthouse of famed philanthropic collectors, James & Marilyn Alsdorf, underscoring Hercules' commanding presence, even when surrounded by life-sized statuary (cf. Christie's Alsdorf Collection video of 8/18/2020 @ 0:08s - 0:10s). ORIGINAL OWNER: CHAIRMAN, ART INSTITUTE OF CHICAGO **1963 AIC MUSEUM LABEL & COLL. NUMBER ATTACHED!!** Nicolo Roccatagliata (c.1593 - c.1636) A Venetian Bronze Statue of Hercules 17th century, Circa 1600 Beginning his metalwork apprenticeship in Genoa at the prodigious age of 10, Nicolo Roccatagliata was a pupil of A. Groppo, later working for Tintoretto. Roccatagliata's darkly patinated bronzes of classical & religious subjects adorn the world's finest museums. Original to the artist's 17th century studio (in contrast to a proliferation of later Grand Tour copies), the present model's late Renaissance date is evinced by the variegated patination, unforced natural modeling, and archaic casting methods (which continued under his son, Sebastiano). Marked by superior rendering of the abdominal musculature & posterior flesh, a 16th century Renaissance contrapposto in Hercules' stance is counterbalanced by an evident trend towards early 17th century mannerism in the stylized treatment of the hair, beard, and eyes. While the Vienna version (provenanced by 1924) is argued by some to be the finest from Roccatagliata's workshop, Yale University's (London, 1958) has finer details. Yet, these details betray the Yale model's origins as a sophisticated product of an 18th/19th century copyist, who worked from an entirely new wax model, recast by later methods, and intricately tooled & reimagined the surface into an almost plastic patina. Still, the Vienna statue...

* PURCHASED AT CHRISTIE’S, NYC * JACOB VAN OOST (1603-1671) TRONIE STUDY FOR A NATIVITY SHEPHERD, CIRCA 1628 IN THE ADORATION OF THE SHEPHERDS (1630) THE HERMITAGE MUSEUM, SAINT PET...

Marble Heraldic Lion with Fleur-de-Lys Shield. France, 17th century. Measurements: 20 × 11 × 8 cm. This diminutive marble representation of a heraldic lion is modelled in the r...

An Engraved Turned Wooden Cup.   English, dated 1636.   Material Turned pearwood, engraved with foliate and geometric decoration.   Measurements Height: 20.5 cm. Diameter (rim): 10.2...

Chalcedony and Silver-Gilt Bust of the Emperor Vespasian. Italy, 17th–18th century. Measurements Height overall: 11 cm Height of bust: 5 cm Height of chalcedony head: 2.6 cm Descr...

A gentleman in silver-studded armour, full bottomed powdered wig oil on copper, gilt-metal mounts ovals (72 mm.) high.

Discover an exceptional collector's item: this gold-leafed wooden timepiece holder, a true treasure dating back to the 1st Empire. Combining elegance and history, it stands out for i...

A miniature blue glass scent bottle with silver-gilt filigree mounts. English, late 17th century. Measurements: 2.8 × 1.2 × 1.2 cm. Weight: 4.6 grams. Of faceted deep blue gla...

Silver-gilt and Enamel Figure of a Sailor from a Nef German (Augsburg or Nuremberg), early 17th century, c. 1600–1630 Materials and technique Cast silver, parcel-gilt and enamelled...

FACTORY / HOUSE: No Name, Swiss Made STYLE / REFERENCE: Alarm Travel Clock with Original Case METAL / MATERIAL: Gilded Brass CIRCA / YEAR: 1850's DIMENSIONS / SIZE: 2 1/4 Inches i...

TO U.S.A BUYERS: DON’T SWEAT ABOUT 15% TRUMP’S TARIFF - WE COVER IT BY GIVING YOU 15% DISCOUNT! This intriguing article is a Tsuba, a Japanese sword guard that forms part of the ...

A coral sculpture of Venus with two putti: one in her arms, the other in her lap, and holding a cornucopia. Sciacca, Italy, 17th century. Additiona...