England

Large antique William and Mary burr walnut Herringbone inlaid two part bureau having a quality burr walnut Herringbone inlaid top above a burr walnut full opening to reveal a fitted ...

As part of our Japanese works of art collection we are delighted to offer this large and most charming Edo Period (1615-1868), ceramic fruit bowl manufactured during the late 17th ce...

A superb late 17th century William and Mary walnut escritoire. Of wonderfully figured walnut throughout, the upper section with a moulded...

The Grape Harvest Flemish/ Dutch School, 17th century oil on wood panel panel: 13 x 16 inches provenance: private collection, Belgium condition: very good and sound condition

An exceptional and fine 17th Century English Needlework Panel. The long panel worked in richly coloured threads and subdivided into 5 narrative figural panels framed in an applied bo...

Represents the element of water depicting Neptune and Thetis on a chariot drawn by sea horses. Etching with engraving made by Sébastien Leclerc in 1679, after tapestries by Charle...

'Topers in a Tavern' Circle of Jacob Toorenvliet (Dutch 1635 - 1719) oil on panel, framed framed: 9 x 7 inches panel: 7.5 x 6 inches provenance: priv...

Portrait Of Elisabeth of France Queen Of Spain & Portugal (1602-1644) School of Peter Paul Rubens (1577-1640) Large 17th Century Old Master portrait of ...

This exquisite mid-17th-century portrait miniature depicts a gentleman, believed to be King Charles I, wearing a lace collar. Following his execution in 1649, numerous portraits wer...

Oil on canvas Image size: 30 x 35 inches (76.25 x 89 cm) Carved gilt frame A half-length portrait of a man turned slightly to the left, gazing at the spectator, standing, wearing st...

Nude Figures in Wooded Landscape French School, 17th century oil on wood panel, framed framed: 25.5 x 21.5 inches board: 20 x 15.5 inches provenance: private collection, France condi...

A rare pair of three-quarter length 'marriage' portraits by one of the foremost dutch portrait painters of the 17th century, Nicolaes Maes (Dordrecht 1634-1693 Amsterdam). The gentleman signed middle left 'Maes 1679'. Oil on canvas in dutch style ebonised frames. Dimensions 58 x 47.5cms each. The gentleman is shown in a landscape at dusk, leaning against a stone capital, wearing a white chemise decorated with lace, a black coat and a brown silk cloak draped across his body. The lady is elegantly dressed in an ivory silk gown decorated with jewels on the neckline and shoulders, the contrasting sleeves in gold fabric, with a rose pink silk cloak draped over her shoulder and bodice. She wears a pearl necklace and earrings with her fair hair worn up with ringlets falling down onto her chest in the fashionable style of the day. She stands with one hand touching a lock of her hair as she rests her arm on the bowl of a stone water drinking fountain...

Hallmarked in London in 1698 by James Chadwick, this very handsome, William III Period, Antique Britannia Standard Silver Tankard, is straight sided, with reed details to the rim, b...

Study Of David, 17th Century School Of Peter Paul Rubens (1577-1640) 17th Century Dutch study of the head of David before the battle against Goliath & The Philistines, oil on canva...

An impressive, unique and monumental late 17th century Dutch oak and walnut cupboard or kussenkast. Made of walnut on solid oak. The architectural shaped moulded cornice with shaped frieze. Above two doors with geometrically rectangular panels set with moulded cornices, flanked by square pilasters with carved capitals, above a set of three lion’s masks carvings. Above another set of larger doors with rectangular panels set with moulded cornices. The lower section has two drawers with original wooden knob handles, seated on the five original period ball feet. The interior comprises the original oak shelves. The sides also have rectangular panels with moulded cornices. Original 17th century keys and working locking hardware. Original oak panelled back. These cupboards were a traditional armoire...

Late 17th Century Italian School. The Return of the Ark on the Covenant, Oil on Canvas, in a Fine 17th Century Italian Frame, canvas: 40.25" x 49.75" (102.3 x 126cm) Fine quality and rare 17th century Italian Old Master...

Sanguine chalk on paper Image size: 7 x 8 1/2 inches (18 x 22 cm) Acid free cut-out mount This 17th century drawing depicts a reclining woman with her back. The Sanguine chalk that...

Portrait Of Mary Of Modena, Queen Of England, 17th Century Studio Of SIR PETER LELY (1618-1680) Huge 17th century English Old Master portrait of Mary Of Modena, Queen Of England, oil on canvas. Huge full length portrait of the second wife to James II wearing a burgundy dress with blue wrap. Excellent quality and rare full length study of Mary typical of Lely and his studio from the period. Presented in an antique gilt frame. Authentication: by David Taylor...

Oil on oak panel, inscribed top left ‘AETATIS SUAE 32’ Image size: 27 x 35 inches (68.5 x 89 cm) Contemporary style handmade frame This is a portrait of a medical figure from the ea...

Shepherds in Field German School, late 17th century circle of Philipp Peter Roos (1655-1706) oil on canvas 19 x 31 inches, unframed provenance: private collection, France condition: ...

A large 17th Century and later carved oak overmantle, consisting of two moulded front panels with intricate carved leaf and fluted decoration, carved fi...

Louis XIV, French 17th century, rare, exceptional quality kingwood commode with fine quality guilt bronze mounts and created in parquetry technique. This is a beautiful piece for eit...

The Wind 1944 Toni Frissell’s daugther Sidney on the beach as the Wind from A Child’s Garden of Verses, Southampton, Long Island, USA, 194...

A very fine and interesting late 17th century English work box or travelling case English Circa 1680 Of conventional form with slightly domed lid, this piece has acquired a magnifi...

Morning Training At Saratago 1960 A racehorse at morning training, Saratoga, USA, 1960. by Toni Frissell 40 x 30" inches / 101 x 76 cm paper size Archival pigment print unframe...

Mountain Top 1951 A group of skiers decide which run to take, Klosters, Switzerland, 1951. by Toni Frissell 30 x 30" inches / 76 x 76 cm paper size Archival pigment print unfr...

Mustangs In Flight 1945 Four P-51 Mustangs fly in formation, Ramitelli, Italy 1945 by Toni Frissell 30 x 30" inches / 76 x 76 cm paper size Archival ...

A Beautiful and Well Preserved 17th century Charles II Walnut High Back Bergère Decorative Carved Hallway Chair 1680s This high-back chair made from walnut dates to around 1680. T...

A Pair of Ancient Corinthian Type Stone Columns, These are a very heavy pair of Hand Hewn Stone Pillars, they are very well weathered and probably originated from a Portico The Co...

Model In Montego Bay 1946 Fashion model bein rowed across Montego Bay, Jamaica, 1946. by Toni Frissell 30 x 30" inches / 76 x 76 cm paper size Archival pigment print unframed ...

A fine antique Georgian English sterling silver funnel; an addition to our silver wine and drinks collection. This fine antique George III sterling silv...

Immense 17th Century Flemish wool verdure tapestry Flemish, 17th Century Height 323cm, width 424cm This very large and exquisite tapestry was crafted in wool in Flanders during the ...

Saint Catherine Of Alexandria, 17th Century workshop of GUIDO RENI (1575-1642) Large 17th century Italian Old Master depiction of the ...

The Hunting Party German/ Italian School circle of Philipp Peter Roos (German 1655-1706) oil on canvas, unframed 19 x 31 inches provenance: private collection, France condition: good...

- Rare small size, perfect height for sofa's and modern armchairs - The thick single plank walnut top and bold turnings are characteristic of Spanish furniture - This table exudes ve...

A rare English 17th-century oak refectory table. Charles II period, ca 1675. The three-plank cleated detachable top is of superb color, figuring and patination. Raised on six baluster supports united by stretchers. The frieze is guilloche-carved on all four sides: this demonstrates that this table can be free-standing. Many of these were only carved on three sides. This versatile refectory table can be used as a hall table, dining table, serving table, or a wonderful kitchen table. A number of early oak pieces which we have sold have harmonized very well with modern interiors. A similar-sized refectory table (in generally poor condition) sold for £17,000.00 plus buyer's premium, in Duke's auctioneers ATHELHAMPTON HOUSE sale, Puddletown, Dorset, UK, 9th Oct, 2019. Nb. The turning of the supports on this antique table indicates a development away from an earlier, heavy, carved bulbous leg, to a simpler baluster leg of the later-seventeenth century. However the guilloche-carved frieze is a hint of an earlier period. Some historic restoration commensurate with 350 years of use. Dimensions: 8’5’' L. (256.5 cm) 2’8’' W. (81 cm) 2'7'’ H. (79 cm). Literature: R. W. Symonds 'The Present State of Old English Furniture...

Sandrart Joachim, von (1606-1688) Effigies antiquae Romae. redacta a Pyrrho Ligorio Romano, per XIIII Regiones, in quas Urbem divisit Imp. Caesar August. Nuremberg, Germany, pu...

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...

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

This is a hand-painted Chinese Export Kraak porcelain blue and white Side Plate or Dish, which we date to the Ming, Wanli period,( 1573-1620 ), dating to the early 17th Century. T...

Figure Studies Attriubted to Cornelis Schut (1597 - 1655) Flemish ink drawing on paper, inscribed on mount size: 4.75 x 7 inches private collection, France The painting is in overa...

- Rare small size, perfect height for sofa's and modern armchairs - The thick single plank walnut top and crisp, stylised carving are characteristic of Spanish furniture - This table...

17th century French School circle of Nicolas Poussin (French 1594-1665) "Figures in Arcadia" oil on canvas, unframed canvas: 16 x 20 inches provenance: private collection, England condition: very good and sound condition Nicolas Poussin was a renowned French painter of the 17th century. He is considered one of the greatest figures of classical French Baroque art...

Home / Stock / 18th Century Irish Carved Giltwood Mirror PrevNext A good quality George III carved giltwood Irish wall mirror, the scallop crest with foliate swags above a shaped fr...

Museum Quality, Small, Spanish, Walnut Chest With Rare Cypress Tree Carving, A Single Plank Top & Outstanding Colour & Patina - Rare carved decoration of cypress trees alongside more traditional Spanish ornamentation - Rare small size - Exceptional quality and condition - Exudes the charm and character of Spanish furniture The single plank top with deep, crisply carved moulding below. The front with two panels, each carved with a large flowerhead roundel with carved cypress trees interposed. On later trestle base. The escutcheon and lock removed. Original pin hinges. The interior with original candle box and lid. The back with two large 'X's and the date '1849' painted in black, probably relating to an inventory or acquisition. Provenance: Private Collection, purchased from William Job Ltd., Pimlico Road...

To see our other original vintage posters, 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 poster you want. after Dorothy Wilding (1893 - 1976) The Coronation Regalia (1953) Original vintage poster 75 x 50 cm Issued by the National Savings Committee, London, the Scottish Savings Committee, Edinburgh, and the Ulster Savings Committee, Belfast. Crown Copyright Reserved. Printed for H.M. Stationery Office by Waterloo & Sons Limited, London and Dunstable. A fantastic piece of royalist British history. The famous...

Circle of Godfrey Kneller (German, 1646 – 1723) Amelie Sophia von Wendt as Aphrodite in the judgement of Paris, later as King George II’s Courtesan, bestowed the title of the Countess of Yarmouth. oil on canvas 34.1/4 x 41 in. (87 x 104 cm.) Provenance: Historically at Bruggen Castle...

Portrait Of Maurice Of Nassau, Prince of Orange, 17th Century studio of Michiel Jansz Van Mierevelt (1566-1641) 17th Century Portrait of Maurice ...

Portrait Of Lieutenant George Addam, dated 1638 circle of Gerard VON HONTHORST (1604 - 1666) Large 17th Century Portrait of English Civil War Royalist officer Leiutenant George Add...

The Vintage French Brass Louis XV Style 5-Arm Wall Lights, the epitome of elegance and sophistication. In the period of the distinguished Louis XV era, these stunning wall lights eff...

Portrait of a Woman Identified as Francisca Van Luxemburg, dated 1528 inscribed to JAN VAN SCOREL (1495-1565) Large 16th Century portrait of a woman, Francisca Van Luxemburg, oil o...

Exceptional mid 17th century portrait of a very beautiful and elegant lady - wearing dress and jewels typical of the period - sadly the sitter is unknown - a superb quality painting...

A late 17th century oak coffer with two drawers and three fielded panels, good patina Circa 1695

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...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Lucas Vorsterman (1595 - 1675) after Peter Paul Rubens (1577 - 1640) The Fligh...

A 17th-century silk embroidery with the central subject of decollation of Saint John the Baptist presented on a large plate to the daughter of Herodias. The reserve with the sun & moon, extravagant birds, a seated lion and leopard guarding fortified towns. Flowers and insects throughout. In a period Tortoiseshell frame. Silk backing restored 17th Century Silk Work Embroidery - The beheading of John the Baptist The beheading of John the Baptist, also known as the decollation of Saint John the Baptist or the beheading of the Forerunner, is a biblical event commemorated as a holy day...

Oil on canvas Image size: 25 x 29 1/4 inches (63.5 x 72.25 cm) This is a striking 17th century half-portrait of a man. He sits with his body turned to the left and his head to the right. His left hand is held in front of him with thumb and finger together. He wears a loose white shirt that is opened low down onto chest while being closed at his neck with a black ribbon. An orange cloak has also been draped across his arms in a rather dramatic manner. This choice of costume is immediately notable and must be compared to other portraits of this time of Elizabethan courtiers wearing slashed silk outfits with ostentatious finery and silver swords. Indeed, if one examines 17th century English...

Portrait of Colonel William Helyar (1621-1698) and Rachel Helyar (c.1633-1678) c.1656 Circle of Robert Walker (act. 1637-1656) These fascinating portraits, presented by Titan Fine Art, depict Colonel William Helyar, High Sheriff of Somersetshire, and his wife Rachel Helyar nee Wyndham, a daughter and co-heiress of Sir Hugh Wyndham, 1st Baronet (died 1663) of Pilsden Court, Dorset. They are exquisite examples of portraiture during the Interregnum when England was under various forms of republican government. The history of the seventeenth century is in part the story of the Stewarts and their approach to government and the church; their ebbing and flowing popularity and the disastrous decisions that led to Civil War. But another fascinating dynasty also ruled Britain: the Cromwell’s. Between 1653 and 1659, following the Civil Wars and experimental Commonwealth, Oliver Cromwell governed as Lord Protector followed by his son Richard. Cromwell’s Protectorate is usually imagined as a grey, joyless, military regime. But the reality was rather different. Cromwell presided over a colourful and fashionable court where music and the arts flourished, masques were revived and the first English operas performed. Too often the London of the 1650s is painted as puritanical and repressive in contrast to the vivid, fun-loving capital of the Restoration. Yet, under Cromwell, this was the city where the first coffee houses were opening, where a young Samuel Pepys was embarking on his career as a civil servant with the patronage of one of Cromwell’s councillors and where Christopher Wren was enjoying his new Chair of astronomy at Gresham College, appointed after the personal intervention of Cromwell. When Cromwell was invested as Lord Protector for the second time in 1657, the lavish ceremony in Westminster Hall and procession through London matched any previous coronation for pageantry with thousands lining the streets, bells ringing, bonfires blazing and free French wine flowing through the city. The gentleman in our portrait is Colonel William Helyar (1621-1698), Sheriff of Somerset and as a Royalist during the English Civil War. As one of the most prominent old families of the South-West, the Helyar’s family roots in Somerset can be traced back to 1616 when the Reverend William Helyar (1559-1645), chaplain to Elizabeth I, who was also a cousin by marriage, purchased the family residence Coker Court in East Coker, Somerset. He married a Devonshire heiress and several estates were bestowed on him as a result. He was a warm supporter of Charles I in the Civil War and was in residence at Exeter in 1643 when the Parliamentarians pillaged the cathedral. Elderly as he was, he boldly resisted them, but was beaten, pelted with mud, and locked up in a ship in the port and only let out on payment of £800. He retired to Coker where he died in 1645. His eldest son Henry died in 1634 and he was succeeded by his grandson, Colonel William Helyar, the sitter in our portrait. Colonel Helyar raised a troop of horse for King Charles I and was a colonel in the king's army. He was at Exeter when it was captured by the Parliamentary forces in 1646 and thus deemed ‘Traitor to the Parliament’. His estates were sequestered, but they were returned and he was discharged and pardoned on payment of £1,522. During the Restoration he was a Sheriff and he also helped James II repel the Monmouth Rebellion. The companion portrait represents the Colonel’s wife, Rachel Helyar (baptised 24th June 1633 at St Mary Aldermanbury, London – died 1678). She was the youngest daughter and co-heir of Sir Hugh Wyndham, 1st Baronet of Pilsdon Court and Mary Wyndham nee Alanson (Sir Hugh should not be confused with his first cousin once removed from Somerset, also Sir Hugh Wyndham (bef. 1604 - 1684). Rachel is a thirteenth generation descendant of King Henry III. The couple resided at the family seat of Coker Court (interestingly, within the churchyard, lie the remains of the poet T.S. Eliot who once wrote a poem about East Coker). A marriage settlement in extant shows that the couple were married in 1656; the portraits were most likely painted to mark this important event in the sitter’s lives. Rachel holds roses, the flower of love, and the putto pouring water is representative of her purity, and possibly, the plighting of troth. Colonel Helyar wears a gold wedding band. The couple had four sons: George, William (MP) (1662-1742), John, and Richard. Colonel Helyar died in December 1697 and was buried at Whitechurch, Dorset 2 Jan 1698. This period in which this portrait was painted was known as the Protectorate (1653-1659). This period offered relative peace, as the English Civil War ended in 1651. It was an interesting time for portraiture in England and Scotland – in between the great artistic geniuses and dominance of Van Dyke and Peter Lely. Much of the foreign-born artistic talent had fled England and Scotland during the Civil War and the artists that had remained were in great demand, in part due to the newly exposed strata of society wishing to be painted. Sitters on both sides were depicted in portraits in very similar ways. They are not, on the whole, shown as the Roundheads and Cavaliers of popular history. In fact, it is usually impossible to guess their political allegiances from the style of their portrait and their Parliamentarian and royalist iconographies, as portraits on both sides followed the same conventions and looked identical. Colonel Helyar has been depicted in armour and holding a Marshal’s baton of command, confirming his status. There is a great sense of realism and a particular delicacy, note the finely rendered hand resting on the rapier. Rachel is wearing a satin dress with expansive sleeves and a crimson drapery over her shoulder and held up by her left hand. She wears large pearl...

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, Cambridge (1690) Engraving 80 x 50 cm Loggan's marvellous and large view of Trinity 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 (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells...

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...