England

Red chalk on paper Image size: 7 1/2 x 9 1/4 inches (19 x 23.5 cm) Contemporary frame An enigmatic portrait of a young woman after Sir Peter Lely's drawing, currently shown in the B...

17th Century obelisk-shaped table clock Italian, 17th Century Height 28cm, width 9cm, depth 7cm A stunning piece from the 17th century, this table clock is a precious element of horological artistry and mechanical innovation. Encased in gilt and glass, the delicate clock is shaped akin to an obelisk, an intriguing symbol that lends a striking visual appeal. The foundation of the timepiece is a gilt brass and...

Lovely, characterful example of a good late-17th century oak chest of drawers with an exceptional lustrous and rich colour and patin...

From the rare deluxe series. Designed by Frick and lithographed in stone by Holbein. Beautiful original hand colour. Measures: 50.5 x 39 cm Issued in: Anatomisch-chirurgische Abbildungen nebst Darstellung und Beschreibung der chirurgischen Operationen nach den Methoden von v. Graefe, Kluge und Rust Bierkowski gained his medical doctorate in Leipzig in 1829, after the publication of this major work. In 1831 he became professor of surgery at the medical faculty of Krakow. Bierkowski took on the leadership of the military field hospital...

Extraordinary scale and gauge, 17th century oak coffer. Primitive iron mongery. Simple, diamond detail, carved wood panelling to front and sides. Clean and solid. Hand Carved D...

IDE VAS ORDINATIS FLORIBUS CONSPICVVM Giovanni Baptista Ferrari (1584 - 1655) - Fine Quarto engraving with land colour 1638 Issued in the 1638 edition of Ferrari's spectacular Flora ouero cultura di fiori. Measures: 16 x 23.3 cm Later hand colour. Engraved by Anna Maria Vaiani (or Anna Maria Vaiana), an Italian engraver. Anna Maria Vaiani was born in Florence in 1604. Her father Alessandro Vaiani was an artist and was brought up and worked in Rome. In 1647 she married Jacques Courtois, another artist, but it was not a success. Vaiani specialized in botanical engravings, although her first recorded work was the completion of her father's paintings in the Pope's Capella Segreta in Rome. Vaiani exchanged letters with Galileo Galilei...

Attributed to Cornelius de Neve (circa 1612-1678) Portrait of John, Lord Belasyse (1614-1689) Oil on canvas; held in a period style carved polished wood frame. Dimensions refer to framed size. Cornelius de Neve, was born in Antwerp, possibly training under the Dutchman Mierveldt and settling in London by 1627. It has been suggested he possibly associated with Van Dyck, though his works show a strong debt to painting in England prior to his arrival, particularly John de Critz...

Characterful, naive charm Perfect height for occassional table beside armchair or sofa for a drink and nibbles A mid-17th century oak joint stool...

Manner of Nicolas Poussin (1594-1665) French The Holy Family with the Infant Saint John the Baptist Oil on canvas: 32 x 27 ½ in. Frame: 37 x 33 in. This fabulous and well execut...

Five Delft tiles Featuring Horsemen. These characterful Delftware tiles depict soldiers on horseback in expressive blue colouring on a white background....

AN UNUSUAL, FLEMISH, BAROQUE, OAK, SPLIT, GATELEG, OVAL TABLE WITH ORIGINAL IRONWORK & SINGLE DRAWER, 5ft - The turnings are architecturally inspired and the split leg creates a par...

A STRIKING, MUSEUM QUALITY, BAROQUE, PORTUGUESE BRAZILIAN, ROSEWOOD & VINHÁTICO CONTADOR OR CABINET ON STAND WITH BRASS MOUNTS - Masterpiece of carved ornament, with tremidos or flut...

Act for Preventing Frauds and Abuses in His Majesty's Customs 1662. Publisher: London : Printed by John Bill and Christopher Barker, printers to the Kings Most Excellent Majesty. First edition: Very good condition for its age other than some wear to spine. Customs act 1662: Ten-line decorated initial on first page. Royal arms on cover title page: approximately 8 x 6.5 cm. Crawford arms 66. See Crawford, J.L.L. Bibliography of royal proclamations of the Tudor and Stuart sovereigns and of others published under authority, 1485-1714, II, page 511. Public General Acts. 1662. 14 Car.II.c.11. "Anno regni Caroli II. Regis Angliae, Scotiae, Franciae, & Hiberniae, decimo quarto. At the Parliament begun at Westminster, the eighth day...

Moroccan Water Jug – Ochre Moroccan Water Jug – Ochre. Hand-made in Morocco. The glass is mouth blown and available in a beautiful ochre colour. Due to the a...

Oil on panel, monogrammed mid left Image size: 15 x 12 1/4 inches (38 x 31 cm) Dutch ripple style frame Loeding was born in Leiden in around 1637 and was admitted into the Leiden Guild of St Luke in 1664. Like other Dutch cities, Leiden required membership in the guilds in order to sell wares falling under the various specifications. There is no record of his artistic training or influences, but he likely belonged to the circle of artists including Pieter de Ring and Gerrit Dou, who founded and maintained the Guild.  Loeding is last registered as a member in 1673. One of the most versatile genres that emerged from Dutch 17th Century artistic specialisms is that of 'pronkstilleven'; a laden table with a variety of rich textures, like ornate glassware, gilded goblets, exquisite nautilus cups...

French Hand Made Antique Stained Glass Window Panel This lovely Artisan made piece has been made from 19th century Jewel Etched an...

- In wonderful original condition from a West Country farmhouse where it has reputedly been all its life - The top is rare because it reversible with a patinated surface on one side...

We are delighted to offer for sale this Jan Jansson Date: 1660 (published) Amsterdam map of Greece. This is an authentic antique map of Peloponnese or...

This is a Chinese Export provincial ceramic jar hand painted with a blue and white lakeside scene with other symbols and dating to the mid 17th century. This is a hand potted piece ...

FLOREAE POMPAE FERCVLVM TVRRITVM Giovanni Baptista Ferrari (1584 - 1655) - Fine Quarto engraving with land colour 1638 Issued in the 1638 edition of Ferrari's spectacular Flora...

DUTCH SCHOOL 17TH CENTURY A Goshawk perched on a Falconer's Gloved Hand Oil on Canvas Circa. 1660 29 3/4 x 24 7/8 inches (75.5 x 63 cms) Provenance: Private Collection, Paris

Rare, mid-17th century, Tortoishell, small, cushion framed, mirror with the original plate & back, length 14 ½” height 16”, depth 2½” The tortoishell is striking and was highly prize...

An exceptional, fine and impressive vintage Elizabeth II English sterling silver goblets; an addition to our range of wine and drink related silverware. These exceptional vintage sterling silver goblets have a flared bell shaped form supported by a plain paneled pedestal to a circular domed spreading foot. The surface of each solid silver goblet...

A Neoclassical gilt-wood table with marble top above a panelled frieze decorated with interlaced circles puntuated by carved leaves spaced by mouldings. The square tapered and fluted...

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...

17th century carved Oak Court cupboard, Livery cupboard This Old and roomy cupboard is made in solid Oak and needless to say it is very heavy, lucki...

An exceptional antique 17th century Norwegian silver spoon; an addition to our silver teaware collection. This exceptional antique Norwegian silver spoon...

Dance of Death Broadside. Todtentanz Einblattdruck. Meyer, Conrad 1618-1689. Stirb, eh du sterbst, dass nicht verderbst [Der Todesengel zwisch...

A Pair of Art Deco bookends by Antoine Bofill (1875-1925). Solid bronze Frogs set on marble bases. Signed 'Bofill' to bronze. Dimensions: H 11cm W 10cm D 7.3cm Origin: French...

Fine folio engraving in hand color. This rare antique engraving was published in the series: 'Historiae Naturalis De Avibus Libri VI' by John Johnston, published and engraved by Matthias Merian in 1657. Matthaus Merian...

German 18th century silver Hanukkah lamp by Herfurth German, c. 1760 Height 17.5cm, width 23cm, depth 7cm This exceptional German Hanukkah lamp was produced in the 18th century ...

School of Liège, mid-17th century The Martyrdom of St Paul oil on canvas 57 3/4 by 42 3/8 in.; 146.8 by 107.6 cm. PROVENANCE J.J. Chapuis (red wax seal...

Jean Bérain, French, 1640–1711 Unnumbered plate by BÉRAIN of Commodes. 38.5 x 28.7 cm Engraved by Johann Christoph Hafner (1668-1754) [after Bérain], signed Iohann Christop...

Charles II joined and boarded oak mural ventilated livery cupboard, the single door with two rows of eight baluster-turned spindles within carved molde...

Sir Peter Lely (Soest 1618 – 1680 London) Portrait of lady with a crown, possibly Bridget Drury Lady Shaw, formerly Viscountess Kilmorey, later Lady Baber (d.1696) c.1665 Oil on canvas 46 1/2 x 40 3/4 inches, Framed 42 1/4 x 36 1/4 inches, Unframed Inscribed left [……….]Isabella James Mulraine wrote the following for this piece: This portrait dates to the middle of the 1660s, the decade when Lely’s career took off as successor to Sir Anthony van Dyck. At the Restoration Charles II had appointed him Principal Painter to the King and paid a pension £200 per annum ‘as formerly to Sr. Vandyke...’1 Lely had trained in Haarlem and he was in his early twenties when he came to London in 1643. He was an astute businessman and a wise courtier. In 1650 he painted a portrait of Oliver Cromwell (Birmingham Museum and Art Gallery) while maintaining links with the Royalist exiles through the 1650s. He had arrived in England as a painter of small-scale portraits and lush scenes of nymphs in landscapes in a Dutch style. His experience of Van Dyck in English collections transformed his painting. His lavish and alluring vision of Arcadia exactly captured the spirit of the Court and as Principal Painter he dominated English portraiture for the next twenty years. Lely ran a highly efficient studio along Netherlandish lines, employing a team of specialists like the drapery painter John Baptist Gaspars and young artists-in-training like Nicolas de Largilliere. He had numerous rivals during that period, and by 1670 he had introduced numbered standard poses to speed up production, while collaborating with printmakers for further revenue and advertising. He died in 1680 of a stroke while painting, working to the last. The portrait, painted at a date when Lely’s poses and execution were still individual and inventive shows a lady sitting at three-quarter length facing away from the viewer. She has begun to turn towards the viewer, a pose with a long pedigree in art, first used by Leonardo da Vinci in the Mona Lisa (Louvre). She steadies her blue drapery where it might slip from her arm with the movement, a flash of realism beautifully captured. Like Van Dyck, Lely painted his female sitters in a timeless costume rather than contemporary fashion, showing a loose gown and floating silk draperies. It presented the sitter as a classical ideal. The portrait would not date. The saffron dress may be the work of a drapery painter but the brown scarf must be by Lely himself, and appears unfinished, broadly sketched in behind the shoulder. The delicate blue glaze and nervous highlights suggest shimmering translucence. Lely was a master of painting hands – his hand studies are marvels of drawing – and the lady’s hands are superb, exactly drawn, delicately modelled and expressive. The fidgety gestures, clutching the gown, fiddling with the edge of the scarf, give the portrait psychological bite, suggesting the personality behind the calm courtier’s expression, adding to the sense shown in the look of the eyes and mouth that the lady is about to speak. The portrait’s language is Vandykian. The inspiration comes directly from Van Dyck’s English portraits of women. Lely owned Van Dyck’s Portrait of Lady Elizabeth Thimbleby and Dorothy Viscountess Andover (National Gallery, London) and the sitter’s costume quotes Lady Andover’s saffron dress and brown scarf. But Lely paints a generation who sat nearer to the ground and through a dialogue of expression and gesture he shows sitters who are more flesh and blood than Van Dyck’s. The background with a column and curtain is different to those shown in most of Lely’s portraits of women. They tend to include trees or fountains, with a glimpse of landscape. But there are other examples. A portrait of the King’s reigning mistress, Barbara Villiers Duchess of Cleveland...

An exceptional, fine and impressive antique Charles I English sterling silver seal-top spoon; an addition to our 17th century silver flatware collection This exceptional antique Charles I sterling seal top spoon* has a pear-shaped bowl to a faceted stem. The rounded bowl of this impressive antique silver spoon is plain and unembellished, apart from the feature assay mark. The faceted stem terminates with a knopped circular seal matrix...

Large Spiral-wrapped pencil reed pendant in diabolic shape, Italy, 1970s, is suspended from a reed chain and matching ceiling rose in the style of ...

Fine folio engraving in hand color. This rare antique engraving was published in the series: 'Historiae Naturalis' by John Johnston, published and engraved by Matthias Merian in 1657. Matthaus Merian...

Sought after plate from the very decorative 1668 edition of Pluvinal's L'instruction du roy, en l'exercice de monter à cheval, Amsterdam 1668. Engraved by Crispijn de Passe II from ...

Dance of Death Broadside Todtentanz Einblattdruck Meyer, Conrad 1618-1689 Stirb, eh du sterbst, dass nicht verderbst [Der Todesengel zwischen Laste...

Jan WYCK (1652-1702, Dutch) The Grey Arabian oil on canvas Signed J Wyck 78 x 88 cm canvas size 108 x 98 cm; inc frame This magnificent work by Jan...

A scarce document signed by Oliver Cromwell and dated 1650 With military content, regarding payment of New Model Army troops The man who changed Brit...

Original US Herald for the 1936 Comedy romance directed and starring Charlie Chaplin. This Herald would have been given out in the cinema in 1936. This piece is conservation paper b...

- Particularly fine example with deep cushion and geometric mouldings. - Atmospheric piece with character - Secret drawers add intrigue A rare mid-17th century oak and cedar spi...

- Rare small, low 24" high Bologna rent table with sliding top - Stunning, finely figured 1.5inch, 4cm thick, original sliding top - Characteristic Bologna turnings and ornamentat...

Exceptionally rare, Italian, 17th century, green and ivory, damask, linen, woven bedcover - Made as a luxury item in the mid-17th century, woven with a damask pattern characteristic...

Carlo De Carli set of chest of drawers and two nightstands in red lacquer with brass detailings. The commode consists of 3 drawers with mirrored ...

A 1960 vintage stunning and rare Sculptural Light shaped as “ Venus of Milo “ ancient classical Greek sculpture. This sculpture functions equally we...

This exceptional 17th-century chest / cabinet has one long working drawer, and one deep drawer, with cupboards retaining internal shelving below. All faced with elaborate, mitred, geometric mouldings, applied split balusters, carved corbels, roundels and engraved mother-of-pearl and bone panels. Some panels apparently in ebony. Dentil cornice to the frieze. Bun feet replaced following the original design. Great colour, old surfaces and overall condition is excellent. It conveniently divides into two sections. Circa 1660. Provenance: Lisgoole Abbey, N. Ireland. Literature: R. W. Symonds, 'The Present State of Old English Furniture', Duckworth, London (1921) fig. 7, dated 1673. Vis a very similar 17th c chest. Percy Macquoid RI, 'A History Of English Furniture - The Age Of Oak', Lawrence & Bullen, London (1904-08) p. 76, figs. 140 & 141, for two similar chests of ''well considered proportions and details’’. Figs. 203 - 210 exhibit further similarities in design, and MacQuoid states that “the fashion for these chests must have been great, as many varieties of them… followed rapidly upon one another in date” [sic] pp. 97-99. Viz p. 77, fig. 141 (Oak chest with drawers). The top opens in a long drawer, below is a very deep drawer, panelled in strong projection, the bevels of which are of so-called zebra or snake-wood. The lower portion of the chest, opening in two doors... [sic]. Nb. The chest illustrated in Macquoid is of oak, but in 1680 it was probably to match some other furniture, painted black and lacquered in what was then termed ''The Indian Taste'', so very fashionable for a time. The bone and pearl inlay is very cleverly imitated in the lacquer-work. Ralph Edwards CBE FSA, 'The Shorter Dictionary of English Furniture', Hamlyn, London (Fourth Impression 1972) “The next stage in the evolution (of the chest) was delayed until c. 1650, when a hybrid form, half cabinet and half chest...

An English oak and walnut chest of drawers. Charles II period (1630-1685). The drawer fronts with walnut inserts of super colour. The substantial moulded top has cleated ends. Conta...

A stunning vintage 1940s 1.87 carat diamond and 18 karat white gold, platinum set floral cluster ring; part of our diverse diamond jewelry and estate jewelry collections. This stunning, fine and impressive vintage diamond ring has been crafted in 18k white gold with a platinum setting. The platinum set floral cluster design is ornamented with a central feature 0.82 Ct transitional modern brilliant round cut diamond, eight claw set in subtle relief. The feature diamond is surrounded by eight 'petals', each ornamented with a pavé set transitional modern brilliant round cut diamond. The pierced decorated, elevated and tapering ring shoulders integrate with the main setting and blend seamlessly with the plain ring shank. The ring is hallmarked to the interior with the marks for 18k gold and platinum (18CT PLAT). This vintage floral cluster ring...

Michael Ayrton (1921-1975) Girl Wringing out her Hair Patinated bronze, 1962 26cm in height Michael Ayrton was a British artist and writer, renowned as...

An early 17th century, Flemish, Malines, ebonized and alabaster cabinet with removable sliding sides revealing secret drawers 12” long. The ebonized top with two carved alabaster ...

A Charles II 17 century oak chest with moulded front drawers, snakewood and bog oak panels and turned spindles and applied designs down each side. The top four drawers are half width...

"The Working Landscape" Italian School, 17th century oil painting on canvas, framed canvas: 42.5cm x 60cm framed: 50.5cm x 68cm Fine quality Italian Old Master oil painting on can...

This extremely fine and rare Charles II Lace back trefid spoon was made in London in 1682 by the prolific, quality, spoon maker, Lawrence Coles. As you will see from the images, the ...

An impressive vintage 1960s 0.38 carat diamond and 14 karat yellow gold, 14 karat white gold set twist ring; part of our diverse diamond jewelry and estate jewelry collections. This...

A mid seventeenth century carved walnut torchere of large scale, with three hairy paw feet, with carved acanthus leaves to the central section, and scrolling palm fronds to the capit...

United with a mid-17th century rustic oak stool table. The plank top with a moulded edge. Two sets of metal nails and another set of screws show where it has been secured at differen...

This charming small mirror has survived in extraordinary condition with its original gilding and mirror plate which is very unusual particularly for a piece made from a delicate medi...