England

An exceptional, fine and impressive antique German silver gilt tobacco box; an addition to our 17th century silverware collection. This exceptional antique 17th century German silver...

Pieter Nolpe (Dutch, 1613-1653) after Pieter Jansz Quast Man on skates carrying a basket, from a set of twenty four Peasants and Beggars engraving 7.3/4 x 6.1/4 in. (19.7 x 16 cm.) P...

The Road from Ipswich com Suffolk to Norwich and thence to cromer on the sea coast com Norfolk. By John Ogilby, Esq, His Majesties Cosmographer. Containing...

17th century oak coffer with the hinged three panelled top above a three panelled front with carved decoration, a wonderfully carved top rail above the three panelled front, standing...

Titan Fine Art are pleased to present this charming bust-length portrait, which is a good example of the style of portrait painted in England in the second quarter of the seventeenth century. The attire consists of the finest silks, and the full billowing sleeves, bows, and hairstyle help in dating this portrait to circa 1637. The accessory par excellence – pearls – are worn as a necklace and were a very popular accessory. The artist makes no attempt to obey the rules of Baroque and instead sensitively depicts in complete honesty his sitter against a plain wall, and without distracting backdrops and flowing draperies – this work is very redolent of the sumptuous half-length female portraits that Cornelius Johnson...

After Carlo Dolci "The Angel Gabriel" Oil on Canvas: Painted oval form :13 x 11 in. Frame: 29 x 23 in. Fine carved giltwood Florentine frame. Late 18t...

Giulio Carpioni was most likely born in Venice in 1613 and trained under the artist Alessandro Varotari known as Il Padovanino. After travelling to Rome early in his career he sett...

Broadsheet Memento Mori. Ein jeder ist dem Tod verpflicht, Wann, Wie und Wo, das weiss er nicht. (A Putto sleeping on a scull). Underneath a rime in two columns of 4 lines each. Einer Tugend liebenden Jugend in Zürich ab der Burgerbibliothec für das 1668 Jahr Verehrt. Etching. 1668 Reference: Hollst. XXVII, 323b. Engraved surface 16.6 x 22.5 cm flush mounted on paper (17th Century). This allegory on death as sleep, etched by Conrad Meyer, was published by the Burgerlibrary as present for the youth of Zurich on the occasion of the New Year of 1668. In the background a view of Zurich and the river Limmat. In the river are the letters NB, also repeated in the lower right of the image, with the date 5...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the ...

The Crucifixion, 17th Century circle of Anthony VAN DYCK (1599-1641) Huge 17th Century Dutch Old Master depiction of the Crucifixion, oil on canvas. Excellent quality large scale ...

A striking, late 17th century heavily patinated pine cupboard from the alpine region of Styria. Featuring intricately forged iron hardware and remnants of historic folk paintwork, wi...

Portrait of a lady richly dressed in a purple silk gown with white sleeves, a gold coloured cloak draped across one shoulder, her blonde curls worn up...

Rare surviving walnut turned joined bobbin backstool chair in original condition with fantastic wear. Plank seat dated verso 1684. Measurements: 95cm h x 46cm w x 40 cm d (37cm h s...

An outstanding and rare, 17th-century Japanese mulberrywood gilt-lacquer cabinet raised on a later stand. This fine and exceptional two-door, gilt-heightened cabinet - reputedly in mountain mulberry wood...

John Baptista Verbruggen (died 1708) Drury Lane Theatre, London actor and artist Stage set design for St. Paul preaching in Athens. 17th Century grisaille, oil on mahogany...

Copper engraving published by Giovanni Pietro Olina (1585-1645) for his scarce treatise: Uccellera overo discorso della natura e proprieta di diversi uccelli. Rome: Andrea Fei, 1622. Dimensions: Height: 8.82 in. (22.4 cm) Width: 6.3 in. (16 cm) Fine hand colour. Uccelliera is a discourse on the characteristics of the many birds to be found in Italy, and gives instructions on their care, and identifies their habits and songs. 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. Francesco Villamena was an Italian engraver and artist. Villamena was born in Assisi. He studied under Cornelis Cort...

This is a beautifully hand-painted Chinese porcelain blue and white large plate from the Qing, Kangxi period, 1662-1722. The plate is finely potted with a carefully cut base rim a...

A 17th century Dutch oak cabinet of nice small proportions and finely balanced carvings to the moulded panel doors. Having a moulded cornice top abov...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) University College, Oxford (1675) Engraving 29 x 40 cm Loggan's view of Univ from the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College...

The Road from London to Yarmouth com. Norfolk. By John Ogilby, His Majesties Cosmographer. Containing 122 miles, 5 furlongs. No 54. From Standard in Co...

"Madonna del Granduca", after Raphael Oil on Canvas: 34 x 22.5 in. Frame: 45 x 33 ½ in. Inscribed verso. Pitti Palace red wax seal verso*. Fine Gilt Carv...

Salome With The Head Of St John The Baptist, 17th Century Studio of GUIDO RENI (1575-1642) Huge 17th Century Italian Old Master depiction of Salome w...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) The University of Oxford Botanic Garden (1675) Engraving 40 x 50 cm An eighteenth-century view of one of Oxford's dreamiest spaces: the Botanic Garden, engraved by David Loggan, the noted engraver, draughtsman, and painter. The University of Oxford Botanic Garden was founded in 1621 and is the oldest botanical garden in Great Britain. Loggan's engraving focuses on its architectural qualities, with four features of the garden highlighted for their beauty, symmetry, and prowess of design. Of particular interest in this etching are the six trompe l'oeil pieces: four gently curling pieces of paper which frame the gates of the garden, and two heraldic banners borne by cherubs and sporting legends about the garden's foundation. The Danby Gate (bottom left) at the front entrance to the garden is one of the three entrances designed by Nicholas Stone...

The Battle of Nördlingen (1634), Thirty Years War, 17th century circle of Jacques COURTOIS (1621-1676) Huge 17th century European Old Master of ...

Figurative Group Roman Catholic Saints Italian School, late 17th century/ early 1700's sketch of a lamb showing verso to panel oil painting on panel, framed framed: 20 x 24 inches bo...

A very original 17th century oak joint stool of good colour and original patina.

Post-Medieval posy ring 'loue is the bonde of peace'. An ornately crafted gold posy ring featuring nine hollow domed half-spheres, each encircled by...

A fine miniature William and Mary 17th century diminutive walnut chest. From the reign of King William & Queen Mary (1688-1702), England. The cross...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) St Catharine's College, Cambridge (1690) Engraving 35 x 46 cm Loggan's view of St Catharine's College, Cambridge from the 'Cantabrigia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College...

Georgian jewellery is highly sought after. The Goldsmiths of this period were highly skilled. This unique and beautiful brooch features 51 rose cut diamon...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) Trinity College, Oxford (1705) Engraving 32 x 41 cm Loggan's view of Trinity from the second edition of the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College...

The Conversion Of Mary Magdalene, 17th Century Studio Of Il Domenichino (1581-1641) Large 17th century Italian Old Master depiction of the Conversion of Mary Magdalene, oil on canvas. Circa 1630 intimate toilette scene, in which a magnificently dressed Mary removes her jewellery, this allegory has both moral and apologetic purposes in line with the Counter Reformation. The painting records the first steps of Mary Magdalene towards her religious conversion, to renounce worldly belongings and ephemeral pleasures, thereby taking off her precious jewelled pieces, in favour of a frugal and contemplative way of life in the desert. The Magdalene remained one of the most popular saints after the Reformation...

Oil on canvas Image size: 23 1/4 x 19 1/2 inches (59 x 50 cm) Dutch Ripple frame PROVENANCE Private Collection, London Here a glass vase containing an exuberant display of flowers stands on a ledge. With only one known exception, Verelst included vases in all of his flower paintings. The asymmetrical arrangement of the flowers fills most of the canvas and the vibrant bouquet contains peonies, a bearded iris and a poppy set amidst a perfusion of twisting leaves and stems. Poppies were one of Verelst's favourite flowers and were commonly featured in his still life's. This painting shows a superb understanding of light and colour that is consistent with Verelst's other works. Indeed, the strong contrast between the brightly lit, the colourful blossoms and the surrounding darkness lends to the flowers and foliage a hyper realistic quality and a strong sense of three-dimensionality. The Artist Verelst was born in The Hague in 1644 and came from a family of painters. His brothers Johannes and Herman also became painters and, like Simon, were trained by their father. In 1663 Simon became a member of the Confrérie Pictura, the painter's association in The Hague, and soon afterwards moved to nearby Vooburg with his brother Herman, who also painted flowers. In 1668 Simon he moved to London where the Duke of Buckingham became his principle patron and on 11 April 1669 he met with Samuel Pepys. He was enormously successful in London and his elegant portraits became popular for a time during the 1670s among court circles. He painted this portrait of Prince Rupert, son of Frederick V, Count Palatine and Elizabeth Stuart...

The Dutch Navy Off A Turkish Ottoman Trade Post, 17th Century attributed to Bonaventura I PEETERS (1614-1652) Large 17th Century Dutch Old Master of the D...

Rare small antique 17th century oak gate leg table boasting a marvelous top with two drop leaves, bobbin and reel turned column and su...

Portrait Of Katherine Stanhope, Countess of Chesterfield (1609–1667), 17th Century circle of PETER LELY 1618-1680 Huge 17th Century Old Master portrait of Portrait Of Katherine Stanhope, Countess of Chesterfield (1609–1667), oil on canvas. Three quarter length portrait of the daughter of Thomas Wootton, Baron Wotton seated in a cavern wearing an elaborate gold satin dress...

A rare William & Mary period walnut double-dome bureau bookcase / cabinet. Circa 1685. Of compact size and proportions. In excellent overall condition with old, waxed, well-patinated surfaces of very good color. This bureau bookcase, or cabinet, divides into three separate sections (which helps date it to the last quarter of the 17th century). The bold double-dome pediment and cross-grain mouldings are typical of this period, and are repeated in the side returns. The book-matched, hand-cut veneers are well figured throughout, and are contained within herringbone lines. The bookcase section has candle slides, contains shelves and fitted drawers. Gilded finials are later. The centre section with a quarter-veneered fall reveals a fitted interior, concealed well and a secret compartment. The writing section is raised on a three-drawer base with an unusual and boldly-arcaded apron, in turn raised on its apparently original walnut bun feet. The drawer dividers are faced with cross-grain walnut ‘D’ mouldings. The brass engraved mounts are correct for period but not original, however the locks and hinges are. It is unusual to encounter these early bookcases / cabinets constructed in three stages; an indication of a transition taking place from the 17th into the 18th century. This is a fine, rare and sophisticated piece of late-17th century walnut furniture...

Post Medieval gold puzzle ring. A gold puzzle ring consisting of three interlinked hooped sections featuring a twist to top, the three sections can be...

This 17th-century engraving by Flemish draughtsman Adriaen Frans Boudewyns (1644-1719) is after a painting by Adam-François van der Meulen (1632-1690). ...

Oil on oak panel Image size: 18 x 17 inches (45.5 x 43.5 cm) Period style frame This painting is a half-length portrait of a lady in the guise of a shepherdess. She is holding a ho...

A high quality beaker embossed with three oval cartouches depicting architectural scenes and swags of fruit suspended from ribbon-bows, on three ball feet. weight 90 grams. This is a...

Anser; Oye. Nicolas Robert (18 April 1614 – 25 March 1685) Issued in the scarce work: Diverses oyseaux dessignées et gravées d'apres le naturel. Paris, F. Pilly, (1673). Sheet: 36.5 x 24 cm. Later hand color. Nissen, IVB 787; Ronsil 2599; see Bradley Martin 1837. 17th century ornithological engraving...

Antique William and Mary quality figured walnut chest on stand having a quality figured walnut polished rectangular shaped top above two short and three long herringbone inlaid figur...

Giovanni Francesco Barbieri Guercino Italian 1591-1666 Portrait of a Merchant Sanguine on laid paper Image size: 12 ¾ x 16 inches (32 x 40....

The son of Cosimo II and his wife, Maria Maddalena of Austria, Ferdinando II was born in Florence on 14 July 1610. His father's early death in 1621 marked the start of a long regency...

Artist/ School: Italian School, 17th century Title: Two figures in an interior, one holding an urn or jug. Possibly a Biblical narrative subject. Medium: oil painting on canvas, u...

A highly decorative painted and gilded display pedestal with a circular stand at the top, above a profusely carved column and standing on a triform base with figural heads and scroll...

The Storm, 17th Century by Bonaventura Peeters (1614-1652) Large 17th Century Dutch Old Master depiction of Naval and fishing ships caught in a storm off a rocky coast, oil on can...

We are delighted to offer for sale this stunning original 17th - 18th century silk embroidered and stitched tapestry A very good looking and decorative piece, I'm sure there is s...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) The Church of St Mary the Virgin, Cambridge (1690) Engraving 38 x 47 cm Loggan's view of Great St Mary's from the 'Cantabrigia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College...

17th century English oak dresser base with a moulded edge, plank top and three deep drawers below with excellent moulded panels as geometric decoration, brass pull handles and escutc...

Portrait of Grace Saunderson, Viscountess Castleton (1635-1667) c.1665-67 Sir Peter Lely and Studio (1618-1680) Titan Fine Art present this work, which formed part of a collection of family pictures and heirlooms of the Saunderson, Viscount Castleton family and their descendants, the Earls of Scarbrough, at their magnificent family seat Sandbeck Park, where the Earls still reside today almost four hundred years later. It was painted in the studio of Sir Peter Lely...

John Ogilby (British 1600-1676) Cosmographer and Geographick Printer to Charles II. A road map from Britannia, 1675/6. The road from London to Kings Lynn, showing Royston to Downham. In oak and gilded frame. In a remarkable life John Ogilby pursued, several careers, each ending in misfortune, and yet he always emerged undeterred, to carry on. His modern reputation is based on his final career, started in his sixty-sixth year, as a publisher of maps and geographical accounts. Ogilby was born outside Dundee, in 1600, the son of a Scottish gentleman...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) New College, Oxford (1705) Engraving 31 x 49 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645 - 1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College...

A Jacobean oak mule chest Antique English 17th century Jacobean Oak Mule Chest circa 1660 A Charles II Jacobean oak mule chest 17th...

A large reclaimed Rococo style fireplace in white marble. Well carved and of good proportions, good quality white marble. Mid 18th century style Opening sizes 102.5cm w x 90cm h

FINE, PAIR OF LATE 17TH CENTURY, FLEMISH, BRASS CANDLESTICKS WITH PRICKETS - Cast with a variety of turnings and shapes to create a striking aesthetic and enhance the reflection of...

The road from London to the lands end. Commencing at the Standard in Cornhill and extending to Senan in Cornwall. By John Ogilby His Majesties Cosmographer. A road map from Britannia, 1675/6. No 25. Continuing 308 miles, 3 furlongs. London Southwark to Brentford, to Hampton Court, to Hounslow, to Windsor, to Cobham, to Farnham, to Basingstoke to Winchester The handcoloured sheet free floated. In a brown painted and gilded, ogee moulded frame. Some foxing and creasing, uneven edge of sheet, all commensurate with age Provenance : purchased as pair from a collector with no 15 London to St David's. Framed as a pair. Sheet width 48cm., 19 ”., height 38cm., 15 “ Frame width 66.5cm., 26”., height 56cm., 22 ” In a remarkable life John Ogilby pursued, several careers, each ending in misfortune, and yet he always emerged undeterred, to carry on. His modern reputation is based on his final career, started i Black Linear Border around Map Length 44cm., 17 1/8" Height 32cm., 12 1/2" Full Sheet Length 58cm., 22 3/4" Height 38cm., 15" Frame Length 66cm., 26"., Height 56cm., 22" In a remarkable life John Ogilby pursued, several careers, each ending in misfortune, and yet he always emerged undeterred, to carry on. His modern reputation is based on his final career, started in his sixty-sixth year, as a publisher of maps and geographical accounts. Ogilby was born outside Dundee, in 1600, the son of a Scottish gentleman. While he was still a child, the family moved to London. When the elder Ogilby was imprisoned for debt, the young John invested his savings in a lottery, won a minor prize, and settled his father's debts. Unfortunately, not enough money was left to secure John a good apprenticeship; instead, he was apprenticed to a dance master. Ogilby was soon dancing in masques at court but, one day, while executing a particularly ambitious leap, he landed badly. The accident left him with a permanent limp, and ended his dancing career. However, he had come to the attention of Thomas Wentworth, later Earl of Strafford, Charles I's most senior minister. Ever one to exploit his contacts, Ogilby became a dance instructor in Strafford's household. When Strafford was sent to Ireland, Ogilby accompanied him as Deputy-Master of the Kings Revels, and then Master of Revels. In Dublin, he built the New Theatre, in St. Werburgh Street, which prospered at first, but the Irish Rebellion, in 1641, cost Ogilby his fortune, which he estimated at £2,000, and almost his life. After brief service as a soldier, he returned to England, survived shipwreck on the way, and arrived back penniless. On his return, Ogilby turned his attention to the Latin classics, as a translator and publisher. His first faltering attempt, in 1649, was a translation of the works of Virgil, but after his marriage to a wealthy widow the same year, his publishing activities received a considerable boost. One means by which Ogilby financed these volumes was by subscription, securing advance payments from his patrons, in return for including their name and coats-of-arms on the plates of illustrations. Another approach was to secure a patron, preferably in the court circle. Ogilby's first patron was Strafford, who found out too late that all leading ministers are dispensable when Charles I assented to his execution in 1641. As he re-established himself, Ogilby sought a new patron, the King himself. In 1661, Ogilby was approached to write poetry for Charles II's coronation procession; he later published 'The Relation of His Majesties Entertainment Passing Through the City of London', and a much enlarged edition the following year, which included a fine set of plates depicting the procession. Royal favour was bestowed in 1674 when John Ogilby received the title of 'His Majesty's Cosmographer and Geographick Printer' with a salary of £13.6s.8d per annum. In 1665, Ogilby left London to avoid the Plague then ravaging the capital. The following year, in the Great Fire of London, Ogilby claimed that he lost his entire stock of books valued at some £3,000, as well as his shop and house, leaving him worth just £5. As he sought to restore his fortunes, Ogilby was already looking in new directions. The initial opportunity he seized on was the reconstruction of London's burnt-out centre. He secured appointment as a "sworn viewer", whose duty was to establish the property boundaries as they existed before the Fire. Ogilby was assisted in the project by his step-grandson, William Morgan...

An architectural English Georgian style fireplace in Lincolnshire stone. The moulded jambs and frieze and ogee moulded shelf. A quality copy of an earlier piece. N.B. May be subject...

Sunset Port Landscape, circa 1690 after Claude LORRAIN (1600-1682) Huge 17th/18th Century classical harbour landscape with figures and moored ships at sunset, oil on canvas. Huge and magnificent landscape of an extensive view of the harbour and ancient architecture. Typical of the works of Claude Lorrain. Framed in a 17th Century gilt frame...