England

A 17th century carved South American hardwood coffer with caryatids to the sides showing stylized figures of Indians Raised on carved recumbent animal feet. Circa 1680

A pair of mid 17th century carved wooden and painted highly animated triumphant cherubs Each seated on the heads satanic gargoyles. Parcel-gilt and retaining their original paint su...

A well carved, high back, genuine 17th century Carolean walnut armchair, carved with flowerheads and foliate scrolls and a shell at the centre of the top rail, with caned back panels...

Set with the most beautiful citrine stones outlined with diamonds, these earrings are so classic, versatile & fabulous. 2.98 grams 14kt gold; 6.4 grams silver; 1.47 carat diamonds; ...

Hendrick Jan Scholl (1717-1792) A hound and dead game in a woodland landscape Signed "H.J. Scholl pinx 1763" lower right Oil on canvas 46 1/2 x 36 1/4 in ...

Portrait Of William II Prince Of Orange, circa 1650 Dutch School Large 17th Century Dutch Schoo Old Master portrait of William II Prince Of Orange, oil on panel. Early important original court portrait on an oak panel of the young prince and father of William III, his only child and later King...

ATTRIBUTED TO TOMASSO RUES, VENICE, LATE 17TH CENTURY. A PAIR OF STATUARY MARBLE BUSTS OF ANTIQUE HEROINES. On late Rosso di Verona socles. PROVENANCE: Frédéric Spitzer Collection...

An unusual and possibly unique example of a Chippendale design for a carved mahogany bureau bookcase. See included photos of scans of the designs from Chippendale’s - The Gentleman...

A late 17th century oak side table with turned legs and stretchers, original handles to the single drawer above a wavey frieze. good mellow colour and deep patination

17th century flax stripping tool for linen making This tool was used to combed and straightened the flax in preparation for spinning. This separates the short fibers called tow an...

Beautiful set of six 17th century botanical engravings by Jan and Caspar Commelin. Presented in silver frames with hessian mounts and AR70 Art...

William Lord Russell MP 1639-1683 was executed under the instructions of King Charles II, Lord Russell was later exonerated under William III.

This rare heraldic silver intaglio signet ring dates from the late 17th century and originates from Western Europe. The flat, octagonal bezel is engraved with a noble family coat of arms depicting an eight pointed star. The silver ring is cast in one piece, the intaglio is framed within a chased octagonal border and the band displays flared and chamfered edges at the shoulders, all features typical of the period. After looking into heraldry archives, there are a few families in Western Europe which share this coat of arms, notably the Ambrogini family of Italy and the Counts of Waldeck, vassals of Luxembourg since the 14th century (see Ravensbury Antiques...

The Symplegades or Clashing Rocks, also known as the Cyanean Rocks, were, according to Greek mythology, a pair of rocks at the Bosphorus that clashed together whenever a vessel went ...

Broadside Türkischer Jamerspiegel, oder Buss sporren / C. Meyer fecit Meyer, Conrad [1618-1689]; Simler, Johann Wilhelm [1605-1672]; Burgerbibliothek Zürich, 1664. Flush ...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Pieter van den Keere (1571 - circa 1646) after John Speed (1551 or 1552 - 1629) Map of Cambridgeshire Engraving 8 x 12 cm A beautifully coloured map of Cambridgeshire, with an antique description of the county to the reverse. The map, along with many others, was published in Speed's atlas, 'The Theatre of the Empire of Great Britaine', first published in 1611. This particular miniature edition of the 'Theatre' was published in miniature by George Humble in 1627, entitled 'England Wales Scotland and Ireland Described and Abridged With ye Historic Relation of things worthy memory from a farr larger Voulume. Done by John Speed.’ Speed's original map was likely engraved for this edition by Peter van den Keere. van den Keere's maps soon came to be known as "Miniature Speeds". John Speed was an English cartographer, chronologer and historian. The son of a citizen and Merchant Taylor in London, he rose from his family occupation to accept the task of drawing together and revising the histories, topographies and maps of the Kingdoms of Great Britain as an exposition of the union of their monarchies in the person of King James I and VI. He accomplished this with remarkable success, with the support and assistance of the leading antiquarian scholars of his generation. He drew upon and improved the shire maps of Christopher Saxton, John Norden and others, being the first to incorporate the hundred-boundaries into them, and he was the surveyor and originator of many of the town or city plans inset within them. His work helped to define early modern concepts of British national identity. His Biblical genealogies were also formally associated with the first edition of the King James Bible...

A finely woven silk and wool tapestry, depicting a wooded landscape, with a bird resting on a tree trunk and ostrich plumes in each corner.

We are delighted to offer for sale this sympathetically restored, 1642 Charles I / Jacobean, hand carved English oak coffer, trunk or chest This piece is stunning, its hand carved t...

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) Wadham College Oxford Engraving 1675 34x42cm 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' (c. 1708). The contemporary artist Andrew Ingamells...

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. The...

The Cards Game, 17th Century Dutch School after Theodoor Rombouts (1597-1637) Large 17th century Dutch Old Master Interior scene of a game of cards, oil on canvas. Excellent quali...

The Triumph Of Galatea, 17th Century Attributed to Charles Le Brun (1619-1690) Large 117th Century French Old Master portrait of The Triumph Of Galatea, oil...

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 beautifully carved antique Flemish wooden pricket candlestick with putti dating from the late 16th or early 17th century. The floor standing candlestick...

Portrait Of Philadelphia, 17th Century Probably Philadelphia Carey Of Aske Hall, Richmond, North Yorkshire, English Courier & Lady In Waiting to Princess Elizabeth Studio Of Sir Pe...

Portrait of a 17th century lady, three-quarter length, in an ivory silk gown standing on a garden terrace. The lady, painted circa 1670, gestures with her hand towards the gardens and land beyond off her country estate, wearing a sumptuous ivory silk gown adorned with pearls and precious stones and pearl earrings and necklace, signaling her wealth and status. She wears a ring on her left hand, which combined with her pale gown possibly alludes to her recent marriage. There are traces of a signature in ligature 'JG' in a lower fold of the sitter's right hand sleeve. John Greenhill...

This exquisite portrait of a gentleman depicted in a sumptuous black coat edged with silver and slashed sleeves is an excellent example of the type of portrait fashionable in England and the Low Countries during the 17th century. The confident pose, striking orange sash - the colour of the house of Orange Nassau - and the leather gorget imbue the sitter with a sense of masculinity and power. The profusely decorated costume is of the highest quality and de rigueur of an elite class - the artist has carefully cultivated this portrait to emphasise the sitter’s wealth and standing in the society that he belonged to. The casual pose, with one arm resting on a hip, is much less formal than earlier decades, and it speaks of ‘sprezzatura’ – one’s appearance should not appear laborious, but instead, effortless. The oil on cradled panel portrait can be dated to circa 1650 based on the hairstyle and the attire - small falling collar, short doublet (doublets reduced in size to just below the ribcage in the late 1650’s), and the type of slashed sleeves with the sleeve seams left open to reveal the white fabric. The demand for portraits in the Netherlands was great in the 17th century. Bartholemeus van der Helst was considered to be one of the leading portrait painters of the Dutch Golden Age surpassing even Rembrandt as the most sought-after portraitist in Harlaam. The Dutch Golden Age, roughly spanning the 17th century, was a period when Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still life’s of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The new wealthy class were keen to have their portraits commissioned and many artists worked in this lucrative field. Such was the popularity of art that everyone had a painting, even the humble butcher, and hundreds of thousands of paintings were produced. By tradition the sitter is Maarten Tromp (1598-1653) who was an Admiral in the Dutch Navy (the reverse of the portrait contains an old handwritten inscription “van Tromp”). Certainly, the distinctive orange sash is similar to those worn by officers of the Dutch army in the Netherlands who served under the Princes of Orange and the House of Nassau. However, it should be noted that the physiognomy differs from other images of Tromp. Tromp was the oldest son of Harpert Maertensz, a naval officer and captain. He joined the Dutch navy as a lieutenant in July 1622 and was later promoted from captain to Lieutenant-Admiral of Holland and West Frisia in 1637. In 1639, during the Dutch struggle for independence from Spain, Tromp defeated a large Spanish fleet bound for Flanders at the Battle of the Downs, which marked an enormous change - the end of Spanish naval power. He was killed in action during the First Anglo-Dutch War in 1653 where he commanded the Dutch fleet in the battle of Scheveningen. Gloves were an absolutely vital accessory and the elaborate pair in this portrait are embellished with threads of silk and precious metals and salmon-coloured lining. He wears only one glove and holds the other, providing an opportunity to better display the cuffs and detail on his right wrist and forearm. The gloves are probably made from the most prized leather which came from Spain, in particular from Cordova. Cordovan leather was tanned with a special vegetal process that left it both highly impermeable and divinely soft. King Charles I, posed in a rather relaxed manner for Daniel Mytens’s portrait in 1631, is wearing gloves and boots in matching Cordovan leather. The hide is thick, but you can see just how supple it is from the way the gauntlet dimples and the long boot legs fold over themselves, rippling and wrinkling at the ankles. Apart from keeping hands warm the use of gloves during the 15th through the 19th centuries were full of symbolism and they were worn regardless of the season. They kept the skin unblemished - soft, smooth hands were considered highly attractive. This combination of necessity and proximity to bare skin made gloves a deeply personal gift and they took on a strong symbolic significance and were regarded as emblematic of fidelity and loyalty for hundreds of years. Such was the importance of their symbolism was that some gloves were never intended to be worn at all. Their luxury made them ideal gifts at court, and so in the 15th and 16th centuries, ambassadors often presented them as symbols of loyalty. Until the mid-19th century, it was customary to give gloves as tokens to guests at weddings and to mourners at funerals. Gentleman often gifted their bride-to-be with a pair of gloves (the obligatory gift) and were handed over at the betrothal and put on display before the wedding took place. It was probably their direct contact with the skin that led to the eroticism of gloves. Not only were pairs often exchanged between lovers, but from the 16th to the 18th centuries, it was common practice to remove one glove and give it as a gift to a favourite. The idea of the item being presented still warm from the wearer’s hand is certainly suggestive. Following the death of King George IV, his executors purportedly found over a thousand mismatched ladies’ gloves among his possessions. The sentiment of a 17th-century poem reveals the popularity of the practice: “Come to our wedding to requite your loves / Shew us your hands and we’ll fit you with gloves.” Such generosity might be pricey for the hosts, but gloves of varying quality could be offered depending on the status of the recipient. Pairs made with the finest Spanish leather might be reserved for immediate family, while coarse sheep’s leather could be distributed among the servants and tradesmen. The apportioning of quality according to class provided a very clear message of the gloves’ intended use. For refined guests, they were decoration; for the lower classes, they were functional. Bartholomeus van der Helst...

Royal House Antiques Royal House Antiques are delighted to offer this original early 17th century Jacobean Wainscot armchair with Tudor style panelling Please note the delivery fee listed is just a guide, it covers within the M25 only for the UK and local Europe only for international, if you would like an accurate quote, please send me your postcode and I’ll provide you with the exact price. A good early original piece, hand carved, very naïve by today's standards but at the time this would have been considered very ornate. Condition wise for the period is sublime, this chair is so tactile, and the patina is to die for, think how many hundreds and maybe thousands of people have used this chair, how many centuries of love and use it took to get looking like this. It is the best part of 380+ years old from new Dimensions: Height 103.5cm seat height 41cm Width 59.5cm Depth 54cm Please note all measurements are taken at the widest point.  ABOUT US Royal House Antiques is a privately owned family ran business founded in Wimbledon SW19 and now based in Pulborough RH20. We specialise in finding, restoring very Fine luxury antique leather seating...

Late 17th century William and Mary walnut chest on stand circa 1690. Good quality 2 piece William and Mary period chest on ori...

Dutch Fishing Boats & Naval Ships Offshore, 17th Century circle of LUDOLF BAKHUIZEN (1630-1708) Large 17th Century Dutch Old Master scene of Dutch fishing boats and naval ships offshore, oil on canvas. Good quality and condition early Dutch maritime...

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...

This late 17th-century Italian still life painting depicts an urn with flowers, a dish of fruit, porcelain bottle and bird. It was previously in the co...

Aniello Ascione (Naples, fl. 1680-1708) A still life of flowers in an urn with a parrot, melon, pomegranates and figs at its base, a view to an ornamental garden beyond Oil on canvas 59 3/4 x 39 3/4 in Provenance The Alexander Family Collection, Milford House, Co. Carlow, Ireland The latter half of the 17th century and earlier 18th century marked the golden age of Neapolitan still-life painting and Aniello Ascione was one of its most highly regarded exponents. His sumptuous paintings, brimming with fecund produce of the Mediterranean and painted in rich colours, were eagerly sought after by those who wished to decorate their palaces in that city. Naples in the seventeenth century had established a significant reputation and artistic tradition of producing flamboyant and technically excellent still-lifes which had largely been initiated by Caravaggio who, having stated that it required as much effort to paint a good flower piece as a figure subject, helped to revolutionise and eventually abolish the closed attitude to genres of painting. Caravaggio maintained that art was the mirror of nature and his superb Basket of Fruit, now in the Ambrosiana in Milan and painted in 1597, marked the birth of European still-life painting. Throughout the 17th century, Neapolitan still-life painting was founded on the principles demonstrated by Caravaggio and these artists seem to have been the only ones to correctly understand and utilise his ideas. These paintings were noted for their vibrant portrayals of flowers, often in great abundance, fruit and birds done in an elegant and decorative manner. Luca Forte (c.1615- c.1670) was one of the first Neapolitan artists to adopt the Caravaggesque naturalism in this genre of painting and with exceptional creativity sweeping through the city in the 1630s, he was soon followed by Paolo Porpora and Guiseppe and Giovanni Battista Recco and the Ruoppolo family. When Abraham Brueghel arrived in Naples in about 1670, his influence accelerated the transition of the portrayal of still-life to a more baroque style often epitomised by a mass of flowers, cascading over classical objects like water. This more baroque style was taken up by a new generation of painters and one of the first and most prominent of these was Andrea Belvedere (1652-c.1732). He taught Nicola Casissa and other artists working in a similar vein included Gasparo Lopez (called Gasparo di Fiori) d. circa 1732, Paolo Porpora (1617-1663) and Nicola Malinconico (1663-1721). The aforementioned Ruoppolo family were also eminent and Giovan Battista Ruoppolo (1619-1693) instructed the young Aniello Ascione. His pupil became one of the most celebrated representatives of Neapolitan Baroque which combined the traditional naturalism favoured by the city with the new 18th century decorative style. This style proved highly popular with the more secular Neapolitan middle classes as well as the aristocracy and royalty to furnish their grand homes. They loved the harmonious colouring and composition suffused with exuberance Ascione became the most prominent still-life painter in Naples at the transition from the seventeenth and eighteenth centuries. His paintings, which are often of a significant size, utilise intense decorative colours with an abundance of flowers and piles of fruit such as pomegranates, grapes, peaches, pears, melons and plums. Sometimes these spill down stone steps or are draped or stacked with flowers among classical statuary and there is often a view to a landscape or ornamental garden beyond to give the composition depth. Accompanying the fruit and flowers, Ascione occasionally added parrots, dogs or rabbits and he often signed with a monogram comprised of interlocking As although there are some works signed in entirety. His smaller pieces tended to be more intimate in construction with one looking at just different fruits with some of its foliage so that the different hues and skin textures could interact and to some extent, these reflect the legacy of Abraham Brueghel. One very rare piece, now in the Castellino collection in Naples, is a kitchen interior with a skinned lamb which owes its influence to Guiseppe Recco. There is a fine set of the Four Seasons, which also incorporates putti into the compositions and which are believed to have been contributed by Nicola Vaccaro (1659-1720) the son of Andrea Vaccaro...

King Charles I (1600-1649) took to the English throne in 1625. An unpopular monarch with a tyrannical bent, he soon turned the powerful institutions of government against himself. His marriage to a Roman Catholic (Henrietta Maria...

Antique rustic country made console table A two-plank oak top above turned oversized baluster legs with shaped stretchers. Two carved drawers with lozenge-shaped details and drop han...

This head and shoulders portrait is an outstanding example of the breadth, force and beauty of this artist's pictorial manner and abilities. This captivating portrait features a musi...

Beautiful set of 4, 17th century botanical engravings by Jan and Caspar Commelin. Presented in silver frames with hessian mounts and AR70 Artglass for optimal clarity. Jan Commelin...

Portrait Of Frederick Henry, Prince of Orange (1584-1647) At The Siege Of Maastricht 1632, 17th century circle of Palamedes I PALAMEDESZ (1607-1638) 17th Century Dutch portrait...

Ester before Ahasuerus Dutch School, 17th century circle of Rembrandt oil painting on wooden panel, unframed panel: 28 x 20 inches provenance: private collection, London condition: very good and sound condition for its age though there are old panel splits evident and minor, but stable, paint loss in those areas, as shown in the photos. The subject of ‘Ester before Ahasuerus’ was narrated by the Bible’s Book of Ester (V: 2-34). Here, the Persian King...

Portrait of Maximilianus II, Arch Duke of Austria, 17th Century Dutch School 17th Century Dutch School Old Master portrait of Maximilianus II, Arch Duke of Austria, oil on panel. G...

John Ogilby (British 1600-1676) Cosmographer and Geographick Printer to Charles II. A road map from Britannia, 1675/6. No 15. The continuation of the r...

Fiber ales Bieure 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). ...

Portrait Of Carlota de Hesse-Kassel, 17th Century Dutch School Large 17th Century Dutch old Master portrait of Carlota de Hesse-Kassel. Exc...

An Allegory Of War, 17th Century Workshop Of Carlo CIGNANI (1628-1719) Large 17th Century Italian Old Master Allegory Of War, oil on canvas from the workshop of Carlo Cignani. Excellent quality and condition scene of armed putti fighting among each other to take the top mantle as they combat for power. Unique work exceptionally well executed and typical of the artists work from the period. Presented in a hand carved antique carved gilt...

This is a very beautifully hand painted Chinese porcelain blue and white Dish or Plate from the Qing, Kangxi period ( 1662-1722), dating to Circa 1680 or slightly earlier This is a well potted dish with 16 lobes or ribs, a wavy barbed rim, a very well cut foot rim and a very white glaze. The plate is very finely hand painted in a free flowing style, characteristic of the period, in varying shades of a clear cobalt blue, from the very dark to the very light blue. The central well is hand decorated with an iconic outdoor...

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

Exceptional Roman Baroque Ebonised, Rosewood Cassettone with bone inlay and magnificent brass handles Magnificent transition piece displaying classical ornamentation within a tradit...

Circle of Cornelius Johnson Circa 1620’s Portrait of a Officer Oil on canvas Image size: 28 x 24 inches Period style hand made frame Provenance Private European Estate This striking portrait dates to around 1620, as you can see from the images of the sash the detail is very high. The sash is decorated with gold thread and would have cost a small fortune at the time. Sashes were originally developed for a military function (making officers more visible for their men during combat), but soon became a primarily male fashion...

An extremely large and rare William and Mary 17th century figured walnut cushion mirror, circa 1670-1690. The original soft bevelled edge mirr...

The Battle of Scheveningen, 10th August 1653, 17th Century Jan Abrahamsz Beerstraaten (1622-1666) Huge 17th Century Dutch Old Master scene of The Battle of...

A remarkable and extremly rare William and Mary olive oyster and floral marquetry escritoire, concealing eight secret drawers, circa 1680. England. Att...

A sumptuous pair of seventeenth century Italian walnut chairs, the backs surmounted by carved and gilt finials with red velvet seats and backs, wit...

An exceptional, large, early-17th century, carved, oak & ebony, Flemish, statue cabinet or 'Beeldenkast' depicting the three theological virtues of Faith, Hope and Charity and the Ca...

Unusally Large Italian Walnut Centre, Occassional or Writing Table, Genoa Unusual large size with classical elegance and form Conceived as a center table as the frieze decoration...

The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...

An English 17th century oak boarded and joined clap front coffer or ark chest with later replacement hinged lid. Beautiful dark colour and deep patination...

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) Magdalene College, Cambridge (1690) Engraving 38 x 43 cm Loggan's view of Magdalene 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...

This is a very beautifully hand painted Chinese porcelain "Famille Verte" Plate, dating to the late 17th Century Qing Kangxi period ( 1662-1722). This is a well potted plate, fairly deep, with a very well cut foot rim and a white glaze. The plate is very finely hand decorated, over-glaze in a free flowing style, characteristic of the period, in the Famille Verte (green) palette with five colours of green, blue, red , yellow and a mauvy-brown with black outlining, all in varying shades with some gold gilt highlights The central well is beautifully hand decorated with an iconic scene of two ladies (long eliza...

Depicting a peacock, a pheasant, a turkey and various other birds in a whimsical highland scene. Bearing an indistinct signature, In a later, egg and dart moulded giltwood frame. 59c...

An ornately carved desk originating from Spain in the late 17th century. Heavy turned legs joined by stretchers, supporting a two drawer frieze with geometric and floral carved d...