Benelux

Moustiers faience Chinoiserie plate Good condition: light chipping and some usual wear to the rim.

This is an 18th-century hand-colored engraving from Johann Michael Seligmann's collection, displaying a parrot species. Here’s the transcription and translation of the visible text: ...

Embriachi workshop marquetry casket Northern Italy, 15th century Alla certosina inlays (bone, stained bone, pewter and wood) H 28.2 x W 18 x D 14 cm This beautiful casket of rectangular form is richly decorated with the characteristic geometric patterns of the Embriachi style. The intricate geometric patterns are fashioned by juxtaposing lighter and darker pieces of wood, (colored) bone, horn and pewter. The lid and base are framed by a broad band of horn. When ivory became scarce in Europe due to disrupted trade routes, bone was substituted. The attention to Symmetry and balance created an harmonious visual effect Enhancing the overall aesthetic appeal of the casket. The application of geometrical motifs is in Italy known as marquetry ‘alla Certosina’, named after the Certosina Church in Pavia with its famous altarpiece decorated in this way. This is ‘intarsia technique’, a term derived from the Arabic 'tarsi', which means ‘incrustation' recalling ancient mosaics made from various materials. These geometric elements not only enhance the aesthetic appeal of the caskets but also demonstrate the versatility and skill of the artisans in creating multifaceted works of art. ‘Alla Certosina’ became famous through the Northern Italian Embriachi family who achieved a particularly high standard in working in this technique. Venice in particular was known for the production of these luxurious boxes. The caskets, hexagonal or rectangular, surmounted by a lid decorated in several registers constitute the secular, albeit equally renowned component of the workshop’s production, in addition to mirror frames and various everyday objects. The method of fabrication of those objects was based on two concepts that underlay pre-industrial production: standardization and modularity, thanks to a distribution of skills according to the different phases of fabrication. even the realization of the marquetry motifs (in the form of ingots from which portions of the desired size were cut) were therefore entrusted to various specialized craftsmen, as were the assembly phase. Today better known thanks to the extensive research work recently carried out by Michele Tomasi, this workshop owes its name to its founder and owner, the Florentine Baldassare Ubriachi (or degli Embriachi), a merchant and banker established in the Tuscan capital before he settled in Venice in 1395. Together with sculptor Giovanni di Jacopo, who directed the workshop, from the last years of the fourteenth century, Baldassare oversaw a production that was truly original, and still easily recognizable today, comprising monumental altarpieces and various objects, primarily triptychs and caskets. The precise location of the workshop is unknown, except that it originated in Florence and in ca. 1431 there was apparently a workshop in Venice, in the area of S Luca. They employed local workers specializing in 'certosina' (inlay of stained woods, bone and horn), and the workshop produced items carved in bone (usually horse or ox) with wood and bone marquetry. The geometric decoration of Embriachi caskets reflects the artistic complexity and attention to detail that characterized their work. this inlaid casket is a testament to the skill and artistry of the Embriachi family and serves as a stunning example of the decorative arts of the late Middle Ages. Related Literature : E. Berger, Prunk-Kassetten: Europäischen Meisterwerke aus acht Jahrhunderten / Ornamental Caskets...

A very nicely decorated set of 3 plates. Dating to circa 1720-1740 Additional information: Material: Porcelain & Pottery Region of Origin: China Period: 18th century Qing (1661 - 19...

Vienna Porcelain Coffee or Mokka pot with floral decoration and Rococo ornaments on the lid and handle. Product of the Vienna Porcelain Manufactory (German: Kaiserlich privilegiert...

French Louis XVI Ormolu-Mounted Marble Mantel Clock, circa 1780. Enamel dial with Roman numerals, signed in red 'Hilger A Paris', fine pierced engraved gilt hands, 8-day anchor move...

17th century old master Portrait painting of Anna Maria De Camiudo Anna Maria de Camiudo was a Spanish noblewoman and daughter of Don Pedro Velasques de Camiudo and Dona Maria de l...

A fine example of an 18th-century botanical engraving. Created by Carlo Antonini between 1777 and 1790, it showcases a detailed depiction of a flower in full bloom. The illustration is highly detailed, with individual petals, stamens, and shading rendered with precision, indicating a high level of craftsmanship and attention to detail that was characteristic of botanical illustrations of the period. The image is likely part of a larger work, perhaps a botanical compendium or study, which would have been used for both scientific study and artistic appreciation. The text at the bottom of the print, "Rarone Antico nel Foro di Nerva," analysed: The phrase "Rosone Antico nel Foro di Nerva" could potentially be translated as "Ancient Rosette in the Forum of Nerva." Breaking down the phrase: - "Rosone" typically refers to a "rose window," a large circular window with mullions and tracery radiating in a form suggestive of a rose, commonly found in Gothic architecture. However, in this context, without the surrounding content, it might refer to a specific design or feature that is described as "antique" or ancient. - "Antico" means "ancient" or "antique," indicating that the item or feature referred to as "Rosone" is of historical significance or from a past era. - "Foro di Nerva" refers to the Forum of Nerva, which is one of the Imperial Forums in Rome. Therefore, the phrase seems to describe an ancient or historically significant rosette (or possibly a design or feature similar to a rose window) located in the Forum of Nerva. This might be referencing a specific architectural detail or decorative element that was part of the forum's structure or adornment. For a detailed analysis or historical context, you would typically need to consult historical texts, architectural studies, or archaeological reports related to the Forum of Nerva. The style of the print suggests that it was created using engraving techniques that involve incising a design onto a hard surface (like a copper plate), which was then inked and used to produce the image on paper. This method allowed for reproductions of the design and was commonly used for scientific illustrations because it could capture intricate details with great accuracy. Such prints would have been important in the 18th century for the dissemination of botanical knowledge, contributing to the fields of botany, horticulture, and medicine. They also reflect the Enlightenment's value on reason and empirical evidence, where plants were not only appreciated for their beauty but also studied for their structure and utility. Carlo Antonini's notable work includes a series of 85 etchings that were published in Rome in 1780, dedicated to Count Stanislao Potocki. This collection, titled "Serie di LXXXV disegni in varie grandezze composti dal celebre pittore Salvator Rosa publicati ed incisi da Carlo Antonini," consists of reproductions of Salvator Rosa's 'Figurine' series and other prints. It includes various pieces like a title-page with a coat of arms, a dedication, a preface, and several other individual works ranging from small prints to larger ones, such as depictions of mythical and historical scenes. The etchings were printed in sanguine ink, indicative of the period's artistic preferences for printmaking. These works are an example of Antonini's precision in reproducing another artist's work and are recognized for their faithfulness to Rosa's original designs. Additionally, Antonini is associated with other works such as the "Manuale di varj ornamenti componenti la serie de' vasi antichi," a collection that includes designs and engravings of ancient vases, and prints dedicated to the Duomo Di Orvieto. Another significant piece is his engraving titled "Prospetto degli Orti Farnesiani sul Monte Palatino," which was created in collaboration with Francesco Panini...

Beautiful and rare Dutch Renaissance two-door cabinet. This cabinet stems from an era in Dutch history that is called "the golden age'. This cabinet has the typical arched panelled ...

Antique Fireplace in Sint Anne Marble. A very nice mid 18th century fireplace made from beautiful Sin Anne marble. The well profiled and shaped topshelf rest on a strong craved and...

The image is an original antique architectural print, specifically a rosette, which is a round, stylized flower design, commonly used in architectural decoration. The print is titled "Rosone preso da Frammenti Antichi T.2. plate 41", indicating that it is the 41st plate from volume 2 of a work that deals with designs taken from ancient fragments. This particular print was created by Carlo Antonini between 1777 and 1790, as part of an art print set...

From Metamorphosis Insectorum Surinamensium, first published 1705 Engravings by J. Mulder, P. Sluyter (Sluiter) and D. Stoopendaal after Maria Sybilla Merian...

Title: "Baroque Elegance: Van der Horst's Staircase Engravings" Description: These detailed engravings from Tieleman van der Horst's "THEATRUM MACHINARUM UNIVERSALE" are a remarkabl...

The Netherlands Amsterdam Circa 1625 – 1650 A blue and white Dutch tile with a decoration of a Dutch soldier from the period of the 80 Years War. The decoration of this tile is very...

This original antique hand-colored engraving by Johann Michael Seligmann is a representation of the Golden Thrush, derived from George Edwards' "Natural History of Uncommon Birds" and "Gleanings of Natural History." The artwork was part of Seligmann's own work, "Sammlung Verschiedener Auslandischer und Seltener Vogel," which translates to "Collection of Various Foreign and Rare Birds," published in 1749. The engraving contains several lines of text in different languages, likely identifying the bird and giving references to the work it was derived from. Here’s the transcription and translation of the visible text: - "Gallula Bengalensis." - This is Latin, likely the scientific name of the bird at the time, which translates to "Bengal Gallula" or "Bengal Thrush." - "N:o 80./VII.Heft." - This seems to be a reference to the plate number and the volume or issue number of the collection. - "Le Grive Dorée, Icterus." - In French, this means "The Golden Thrush, Icterus." 'Icterus' refers to the genus that includes birds commonly known as orioles, which are often characterized by their yellow and black plumage. - "Goldbrostel." - This could be an old or regional name for the bird in German, which might translate to something like "Gold Breast" referring to the bird's golden chest...

Fabulous quality blue and white porcelain plates. Additional information: Material: Porcelain & Pottery Color: Blue & White Region of Origin: China Period: 17th century, 18th centur...

The image is an original engraved portrait, depicting King Edward IV of England. This engraving was created for "Harrington’s Edition of Rapin’s History of England." The text below...

Crafts of Comfort and Style: Upholstery and Furniture Design in the 1760s from Diderot's Encyclopédie This original hand-colored antique engraving is from the "Encyclopédie, ou Dict...

These engravings are a series of detailed architectural drawings from "THEATRUM MACHINARUM UNIVERSALE of Nieuwe Algemeene Bouwkunde" by Tieleman van der Horst, engraved by Jan Schenk...

An engraved portrait of Edward VI, who was King of England and Ireland from 1547 until his death in 1553. Edward was the son of Henry VIII and his third wife, Jane Seymour, and he ...

Dutch Delftware pouring jug with soft blue decoration of a chinoiserie landscape with persons. The neck with two stylised flowers above a lambrequin border at the neck, the handle wi...

A trio of architectural engravings from Tieleman van der Horst's "THEATRUM MACHINARUM UNIVERSALE" from 1739. Each panel dissects the intricate design and structural mechanics of ba...

A very nicely made pair of two 18th century Amsterdam Bont porcelain dishes. Most probably Qianlong period blue and white dishes with Amsterdam bont over-decoration of flowers, quails and parrrots. Truly museum pieces. We take a look at Amsterdams Bont porcelain from China. A relatively unknown niche of Chinese porcelain from ca 1680-1740 that was partly decorated in Europe. Because mainstream Chinese collectors have yet to discover the historical significance of these wares they are relatively easy to find in Holland. While also being highly interesting and of often super quality and with an amazing array of decorations. Amsterdams Bont is a name given to porcelain partly decorated in the Netherlands (most likely in cities like Delft, Haarlem, Makkum). Because Amsterdam was at this moment in time the trade centre of the western world and also of the porcelain trade a lot of this over enamelling was probably commissioned by Amsterdam merchants, to reap higher profits on otherwise boring Chinese wares. The name Amsterdam Bont probably derives from the fact that these type of decorated ware was sold by Amsterdam Merchants. Amsterdam Bont consists of either blanc or under glaze blue decorated Chinese porcelain of basic quality, that was later enhanced with red and sometimes other colours in the Netherlands. It must not be mistaken for other type of Chinese & Japanese blanc wares decorated in Europe. Those we simply call European Decorated Chinese porcelain. Amsterdam Bont really is easily recognisable by its colour and style. An interesting side note is that a similar process of overdecorating with red was done in London in more or less the same colours. Method of manufacturing. This enhancemend was done on “petit feux” or small fire at a lower temperature. This technique of baking enamels on a lower temperature that was perfected in the Delft around 1670-1680 to compete with the colourfull Japanese porcelain of the time. At the turn of the 17th c Chinese porcelain...

Very happy with this new arrival. An Arita/Kakiemon bowl or shallow dish with lobed corners. Additional information: Material: Porcelain & Pottery Region of Origin: Japan Period: 1...

The image is a colored print depicting a "Lady of Quality in Burgundy in 1577," as indicated by the title below the illustration. The lady is dressed in a fashion typical of the late...

This image is an engraved portrait of Mr. Rapin de Thoyras, created for Harrington's edition of "Rapin's History of England." The individual in the portrait is Paul de Rapin, Lord ...

A beautiful hand-colored engraving from Johann Michael Seligmann's collection, which was based on the earlier works of George Edwards. The text on this image is in German, Latin, a...

This 16th century hand-carved wooden Virgin Mary polychrome statue comes from a church in Sint-Niklaas, Belgium (Europe), and was bought directly fr...

wonderful patina on this Spanish ebonised and guilt pearwood framed mirror, lovely foxed mirror glass ... chic, elegant, timeless ...

The image is an ornate botanical and ornithological illustration from one of Johann Michael Seligmann's collections, which were based on George Edwards's natural history studies. Th...

From Metamorphosis Insectorum Surinamensium, first published 1705 Engravings by J. Mulder, P. Sluyter (Sluiter) and D. Stoopendaal after Maria Sybilla Merian. This plate is part of a comprehensive collection comprising 17 plates. Check out other listings to view the entire series. 1964 Hoffman and Campe Verlag, Hamburg Complete production Mladinska Knjiga, Ljubljana/Yugoslavia. This 1964 official reproduction table come from the editions: Dissertation sur la génération et les transformations des insectes de Surinam, The Hague, Pierre Gosse, 1726, and Over de Voortteeling en Wonderbaerlyke Veranderingen der Surinaamsche insects, Amsterdam, Jean Frederic Bernard, 1730. CORAL TREE AND SILK MOTH The plant is Erythrina glanca, the blue-green coral tree, easily recognized as a legume by its fruits, called Koffiemama by the Surinamese Dutch because it is used as a shade tree in coffee and cocoa plantations. Both crops do not tolerate the direct rays of the tropical sun well. Erythrina is also called pallisade booms because the Indians split the logs and build huts and walls from the boards. The inflorescences are so heavy that the branches are pulled against the ground and only stand up again when the petals fall off. The ripe fruit cluster has pods like a broom and also serves this purpose among the natives. If the sheet with the pomegranate (original plate no. 9) lived in the tension of red and blue, one can speak less of tension here, one must speak of a moving fullness of life, which is expressed in green, yellow and brown along the two diagonals is formed by the branch, the other by the opposition of the two butterflies, the upper female and the lower male. The butterfly is Arsenura cassandra from the family Syssphingidae, from the family group of silk moths. This species creates interest through the molting of the caterpillars. Those that have just hatched from the egg are striped black and yellow and have thorns on the front and back. Over the course of five molts, the animals turn orange with a black spot on each limb, the thorns wither and finally disappear completely before pupation. Here, too, the author of the composition has made a sacrifice of accuracy: the caterpillar pupates in the ground or on the surface in leaves and mulch, but not at the top of the tree. (Original plate no. 11) ____________________________________ Maria Sibylla...

Title: "Ornate Baroque Stairs: Van der Horst's Design Mastery" Description: These original antique engravings are from Tieleman van der Horst's comprehensive architectural work, illustrating the intricacy and grandeur of Baroque staircase designs. Engraving XVII reveals a dual staircase...

This is an original detailed engraving of the greater coat of arms of Sweden, referred to in Swedish as "Svea rikes huvudvapen." The engraving was printed in Paris in 1669. The coat...

Set of 4 cups and saucers with decoration of gilt flower sprays and blue border by the Kaiserlich priviglierte Porzellan Fabrique in Vienna. It was founded in 1718 and continued unti...

This original antique print is labeled "Rosone Antico nell'Arco degli Argentari," which can be translated as "Ancient Rosette in the Arch of the Silversmiths." The phrase "Rosone An...

This unusual silvered clock was a very popular model in the Louis XVI period. The model is typical Osmond and the case is signed Osmond. The 8 day striking movement with silk threat ...

This is an original antique print that features an intricate engraving from 1698, depicting Charles XI, the King of Sweden, titled "Carolus XI, Suecorum Gothorum Et Vandalorum Rex,"...

This image is an original architectural print depicting a rosette, a decorative motif fashioned after a stylized rose, commonly found in ...

An engraved portrait of Edward I, also known as Edward Longshanks and the Hammer of the Scots, who was King of England from 1272 to 1307. The text beneath t...

Title: "Architectural Grace: Van der Horst's Staircase Artistry" Description: The engravings, drawn from Tieleman van der Horst's "THEATRUM MACHINARUM UNIVERSALE," are masterful rep...

This is a hand-colored engraving from Johann Michael Seligmann's work, depicting a butterfly and a two-headed snake. Below is the transcription and translation of the text: - "Di...

Dutch Delft Chinoiserie plate with a 'Mille Fleurs' decoration of flower buds and flower sprays. Good condition: light chipping and some usual wear to the rim.

An engraved portrait of Henry IV, King of England. Henry IV was the first English monarch from the Lancastrian branch of the Plantagenets and came to power after deposing his cousin Richard II in 1399. His reign was marked by the start of the 15-year civil strife known as the Wars of the Roses, numerous rebellions, and efforts to consolidate his power and legitimize his somewhat tenuous claim to the throne. The text mentions that the portrait is based on a picture at Hampton Court, which is a royal palace in the London Borough of Richmond upon Thames. Published as the act directs on June 18th, 1787, this engraving is part of the collection for "Harrington's Edition of Rapin's History of England." Henry IV's reign is notable for the rebellion led by the famous knight Henry Percy...

A rare piece. Late Ming for the Japanese market. Additional information: Material: Porcelain & Pottery Region of Origin: China Period: 17th century Transitional (1620 - 1661) Age: P...

17th century Old Master painting depicting the Infant Christ with Mary and St. Anne attributed to Nicolas de Liemaker The artist of the present work wonderfully captured the loving gaze of Maria, looking in awe at her child. One can sense the tenderness and love in her eyes. The eyes of Christ appears to be filled with wisdom and love and a finely painted aura crowns his and his mother's heads. St. Anne, Mary's mother, gently holds the infant whilst gazing adoringly at him. The painting is not only a beautiful depiction of Christ and his mother and grandmother, but also a sweet image of the tender bond between a mother's and their children. The vibrant and soft colours of the fabric create a soft cocoon around the figures and seem to further emphasis the beauty and importance of the depicted scenery and its protagonists. Nicolaas de Liemaecker (also spelled as Liemaker or Liemackere) was a Flemish painter born in Ghent in 1601. He was also known under the name Nicolaas Roose. His father was Jacobus de Liemaecker, a painter upon glass. Nicolaas is reported to have been trained by his father and Gaspard de Crayer II (1), an apprenticeship with Otto Van Veen has also been suggested. In 1624 he worked at the Court of the Bishop of Paderborn and for Ferdinand of Bavaria. He later returned to his native city, where he focused on religious and historical paintings. He was a very accomplished and celebrated artist who attained a high rank in his profession. He witnessed the baptisms of Pieter and Janne-Marie Van Hulle...

A very nice example of chine de commande style with sepia and pink color. 1 bowl (broken one) is different. Additional information: Material: Porcelain & Pottery Emperor: Qianlong (...

Original antique engraving of a Comparative Anatomy of Primate Skulls Description: This detailed print by Carl Johann Georg Reuss, an illustrious illustrator, features a striking il...

Title: "Baroque Splendor: Van der Horst's Staircase Visions" Description: These engravings from "THEATRUM MACHINARUM UNIVERSALE" exemplify the grandeur and complexity of Baroque sta...

An original antique engraved portrait from Harrington's edition of "Rapin's History of England." The text identifies the subject as Edward the VI, King of England, France, and Irel...

These engravings are a series of detailed architectural drawings from "THEATRUM MACHINARUM UNIVERSALE of Nieuwe Algemeene Bouwkunde" by Tieleman van der Horst, engraved by Jan Schenk...

This elegant engraving from the late 18th century features a rosette, an ornamental design resembling a stylized rose, which has been a recurring motif in architectural design throug...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...

This is a hand-colored atnique print, this time depicting the "Habit of the Lady Mayoress of London, in 1640." It's a historical costume illustration showing the fashion of a high-ra...

Title: "Architectural Grandeur: Van der Horst's Baroque Ornaments" Description: This collection of six engravings from Tieleman van der Horst's "THEATRUM MACHINARUM UNIVERSALE" show...

This composite image features three separate engravings from Tieleman van der Horst's "THEATRUM MACHINARUM UNIVERSALE," a pivotal work in the field of architectural design published ...

Polychrome lobed dish with Queen Mary II Stuart Delft, circa 1690 The polychrome lobed dish is composed of twenty-seven double lobes and painted in blue, green and yellow with a depiction of Queen Mary II Stuart between two tulips. The border is decorated with a continuous frieze of tulips and flowers. Dimensions: diameter 34.9 cm / 13.74 in. The colour scheme of blue, yellow and green is frequently found on lobed dishes from the sixteen-nineties, especially with images of King William III and his wife Queen Mary Stuart. After the Glorious Revolution...

lovely dresser base with 2 doors and three drawers from the 18th century in oak Very elegant sideboard of small proportions which opens with two leaves with very pure lines typical o...

A very nicely decorated kraak plate. Dish on footring, spreading sides, lobed rim. Kraak porcelain, decorated in underglaze blue with a bird of prey perched on a rock near a flowerin...

Polychrome lobed dish with King William III Delft, circa 1690 The polychrome lobed dish is composed of eight wide and twisted lobes and is painted in blue, green and yellow with a depiction of King-Stadholder William III between two flowering branches. The border is decorated with a continuous frieze of tulips and flowers. Dimensions: diameter 34.4 cm / 13.54 in. The colour scheme of blue, yellow and green is frequently found on lobed dishes from the sixteen-nineties, especially with images of King William III and his wife Queen Mary Stuart. After the Glorious Revolution...

This hand-colored engraving, part of Johann Michael Seligmann's collection, is a precise and vibrant representation of wildlife, based on the works of George Edwards. It showcases an...