England

Giovanni Agostino Cassana (c.1658 – 6 May 1720) Venetian Birds with an Upturned Basket of Fruit Oil on canvas: 25 x 35 in. Frame: 33 x 43 in. Abate, or Giovanni Agostino Cassana ...

A William & Mary olive wood and marquetry cushion framed wall mirror, foxed 19th century split mirror plates.

A Highly Impressive and Decorative Very Large Flemish Oak Figure of a Winged Angel, late 17th Century, previously part of a church interior. The piece has been beautifully carved wit...

A superb quality 17th Century walnut Vargueno on stand, the rectangular case having the original iron carrying handles either side and strapwork decoration, the front having a shield...

A 17th Century Olive Oyster Wood and cross grain moulding cushion mirror. This is a wonderful Olive wood cushion mirror from the 17th Century, circa 1690.  Wonderfully proportioned frame with stunning Olive wood oyster veneers, in very good original condition, no repairs, and has a beautiful finish to it.  The mirror plate has been replaced at some point with a 19th Century mercury silvered plate and shows some nice signs of ageing with foxing all over.  It would have originally had a cresting to the top of the mirror, this is no longer with it, but it has the original dovetailed slots for locating to the rear of the mirror and a grove to locate the bottom edge of the crest to the top of the mirror. It retains the original back board. A very lovely oyster cushion mirror...

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 Bishop's Hostal, Trinity College Cambridge...

just purchased more information to follow

The straight grain plank top in two sections with a moulded edge on all sides. The carpenter has selected oak with beautiful graining for the frieze fitted with a single drawer with...

The plank top with moulded edge and fine medullary rays creating wave-like pattering in the top. In three sections bearing old butterfly cut out un...

A beautifully shaped William and Mary oak armchair with well carved horse-bone legs and arm supports, scrolled feet and handsomely carved front stretcher with S scrolls and geometric motif. The tall upholstered back over spiral turned legs and original spiral and bulb turned stretchers. In very good condition for age with some small old dings, some old woodworm, long long dead and a couple of small very old repairs - not affecting structure. The chair is extremely comfortable and solid with a good width between the arms, deep well padded seat and gentle rake to the padded back. Upholstered in a moss green high quality velvet with matching fringed braid in very good condition also. A really beautiful and rather rare early chair of generous proportions all made by hand in c. 1690. The oak has developed an excellent dark and rich colour throughout. A good and honest William and Mary chair...

A very rare and exceptionally beautiful William and Mary cushion mirror with yew wood oyster veneers and retaining its original shaped ...

Oil Painting Portrait of John Campbell, 4th Duke of Argyll,, att to John Vanderbank (1694-1739) Housed in a swept frame which has been restored after photo. Canvas Size 50" x 40", Fr...

This is a very rare sized and incredibly fine silver footed salver London 1692 William Gamble. It is a truly magnificent large 17th century silver taz...

Armeria is a genus of flowering plants. These plants are sometimes known as "lady's cushion", "thrift", or "sea pink" (the latter because as they are often found on coastlines). Thi...

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 ...

A William and Mary Gilt-Japanned Chinoiserie cabinet on gilt wood stand. The cabinet depicting Court and rural scenes, with pierced and engraved strap...

This is an antique bible box. An English, oak chest on stand, dating to the 17th century and later, circa 1690. Captivating William & Mary period chest meets bespoke Victorian stand...

Abraham Begeyn, Dutch Golden Age painter and Prussian court painter painted this wonderful 17th century Old Master oil painting. Painted circa 1690 and signed lower right, the subjec...

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 ...

Hallmarked in London in 1699 by John Porter, this wonderful, William III Period, Antique, Britannia Standard Silver Mug, is straight sided, and features swirled fluting and bands of ...

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...

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...

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

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...

An exceptional, fine and impressive antique William III English sterling silver tazza; part of our dining silverware collection This exceptional antique...

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...

This highly decorative, folio botanical engraving from Abraham Munting's "Naauwkeurige Beschryving der Aardgewassen." Exquisite hand colour. The work was published by Pieter va...

Fine pair of late 17th century, Italian, carved & gilded pricket candlesticks upcycled into table lamps, 29” high Finely carved with classical turnings and ornamentation of the Baro...

A scarce Chinese Kangxi porcelain octagonal yen yen vase decorated with vases containing floral arrangements in the Famille Verte palette and ...

Exceptionally rare, 17th century, pewter candlestick upcycled into a table lamp, 20” high Elegant, classical form typical of the Baroque period, with all the surfaces reflecting l...

Elegant, 17th /early 18th-century, x-stretcher, oak Anglo-Dutch sidetable • Elegant sidetable injecting period charm into contemporary, modern or historic interiors • Fluid form ...

Hallmarked in London in 1693 by Thomas Allen, this handsome pair of William & Mary period, Antique Sterling Silver Candlesticks, are in the traditional fo...

An exceptional, fine and impressive antique William III English Britannia standard silver cup and cover; an addition to our 17th century silve...

An exceptional, fine antique William III English Britannia standard silver brandy pan; an addition to our collection of 17th century silverware. This exc...

A rare, late 17th century. ‘X’ stretchered, ebonised, oak stool upholstered in 17th century verdure tapestry Unusual simulating ebony which was phenomenally expensive and only found in Royal and aristocratic collections at this time This stool is sophisticated, elegant and refined and the flying bird on the tapestry is a charming and unusual feature. The fine turnings, and x-stretcher evolved into the design of late-17th century English furniture in response to Continental fashions. At the same time, cabinet makers responded to the fashion for expensive Oriental laquered furniture by ebonising or black-japanning...

A museum quality, late-17th century, walnut, upholstered sleeping armchair • Exceptionally rare model; one of the first models of upholstered armchair with the addition of the wings intended to conceal draughts. • Transitional form : many of the carved features are characteristic of Baroque furniture dating from 1680 and the incorporation of upholstery is influenced by the desire for comfort post restoration of Charles II introducing French fashions to the English court. • Striking, statement piece. The cresting, “H” stretcher and scrollwork carving which features throughout the chair inject gravitas. • Practical size and ergonomic comfortable design, suitable for regular use. The original, carved, walnut cresting supported by a pair of dragons with scrollwork either side of a central stylised leaf spray. The shaped rectangular back with wings. The sweeping arms with carved scroll ends supported by tapering turned uprights emerging from blocks. The rectangular seat supported by double scroll carved and column turned legs joined by an ‘H’stretcher which mirrors the shape of the back in the centre with finial, column turned side and back stretcher and back legs. Exceptional original colour and patina. c.1690. CONDITION : re-upholstered in a recreation of 17th century, Italian, bargello embroidery which is characteristic of the period. Tiny marks, wear and losses as expected throughout the armchair. The finial is a C19 or early C20 replacement. The stretcher has suffered from worm damage and there are replaced sections at either end of 1” and 1½ “ respectively, and an area to the left of the finial has been filled. This work was not done by me and has some age to it and the finial was probably replaced at the same time. The armchair is sturdy and suitable for regular use. PROVENANCE: Private Collection, Cheyne Walk, London RELATED : Few sleeping chairs...

- Characterful open armchair injecting atmosphere into any interior - Pared down form with a contemporary feel - Tactile with original patina and thick modern leather. - Character...

William & Mary Joined oak centre table, Circa 1690. Raised on turned legs. Stunning aging and colour.

An exceptional, fine and impressive antique William III English Britannia silver porringer, an addition to our 18th century silverware collection. This antique William III Britannia standard silver porringer has a circular rounded form. The lower portion of this 17th century silver porringer is embellished with chased alternating fluted decoration accented with an engraved simplified scalloped border. The upper portion is encircled with a chased rope twist decorated girdle. The decoration to the anterior surface displays the contemporary pin struck initials 'R.T A.D' and the date '1697'. This Britannia silver porringer is fitted with two rope twist decorated S scroll handles. Britannia Silver - The Britannia silver standard of 958 (95.84% of fine silver), denoted by the icon of the seated Britannia holding an oval shield, was introduced by William III in 1697. This was to indicate the slightly higher standard of silver from sterling silver standard of 925 (92.5% of Fine silver). Condition This antique silver porringer...

Jan Wyck (1645 - 1702) William III at the Battle of the Boyne Oil on Canvas 33 1/4 X 28 inches framed Jan Wyck was born in Haarlem, the son and pupil, of the painter Thomas (van) Wyck (c.1616–1677). Wyck was renowned in England for being a specialist at painting horses in battle and hunting scenes. He brought the Dutch equestrian portrait genre to England. His oil studies of individual horses are perhaps his most original contribution to the history of English art. This painting by Wyck depicts the Battle of the Boyne, in 1690 with William III proudly mounted on his horse. The battle was part of the Williamite war in Ireland that spanned three years between the forces of the deposed King James II of England...

An exceptional, fine and impressive antique William III Britannia standard silver Dog Nose Rat Tail pattern spoon; an addition to our silver cutlery co...

A fine, large, late 17th century, Flemish, open armchair in the style of Daniel Marot with an upholstered seat This fine, armchair is an, unusually, large size and the carving is of exceptional quality reflecting the status of the owner it was made for. It is sturdy and in usable condition. Chairs of this type, with tall, intricately carved backs, were placed in rows against a wall forming part of the decoration of a room. The carving of the back of this chair is French in style and was based on decorative prints by Daniël Marot The cresting carved with a profusion of acanthus leaf scrolls. The back with fine, pierced carving. The mid-section with a central flowerhead with scrolled shields above and below ornamented with flowerheads acanthus leaf crestings. Two pairs of carved ‘S’ scrolls ornamented with acanthus leaves either side. The tapering turned sections surmounted by ionic capitals and supporting back of the scroll arms carved with acanthus leaf ornament. The front arms supported by baluster and tapering turned sections ornamented with acanthus leaf carving. The legs joined by a shaped ‘H’ stretcher with central finial, on bun feet. The upholstered seat reupholstered in a bargello woven in tones of blue, green, red and gold faced with braid and brass studwork. The back of the chair has an incredible, 19th century, oak support from the cresting to halfway down the back, which has been beautifully carved to conform with the open sections of the back, and two braces down the length of the back. There are also two oak supports behind seat blocks at the top of the legs. These repairs are sensitive to the model of chair and have become part of its character and features in their own right and they are very interesting from a conservation history perspective. There are two old repairs to a small break in the cresting on the right hand side and the hairline cracks are visible, an old repair to a small break in the top right of the central splat with a small piece added and a visible hairline crack. The right side of the back has noticeable worm damage on the right seat block which is probably the root cause of the break on the block on this side from impact as the chair probably fell backwards at some point and either onto its right side or it hit something on that side and the block weakened by worm gave way as the damage to the chair is localised on the far right side. Because the backs are high on these Daniel Marot chairs they are top heavy and invariably do have damage to the backs and crestings from impact damage so this is not unusual. The right block has been repaired thoroughly and is stable and there is no live worm in the chair. It would be possible to disguise these repairs but I have left them as they are consistent with the 19th century date of the supports and conform with museum standards. A full set of photographs...

Flowers in A Basket by Jean-Baptiste Monnoyer. A Still Life of flowers in a basket including jasmine, honeysuckle, dahlias, parrot tulips, delphiniums and white carnations.

An exceptional, fine and impressive antique Charles I English sterling silver communion chalice and paten set; an addition to our diverse religious s...

Hallmarked in London in 1698 by William Andrews, this exemplary, William & Mary Period, antique Brittania standard silver porringer, is in the traditional form, and is engraved with ...

An exceptional, fine and impressive antique William III English Britannia standard silver tazza; part of our dining silverware collection. This exceptio...

One 85 cm + 10 cm pricket Other 89 cm high + 10 cm pricket Just purchased more information to follow.

An exceptional, fine and impressive antique German silver wine taster; an addition to our 17th century wine and drinks related silverware collection. This exceptional antique German silver wine taster has a circular rounded, lobed paneled form. The molded, paneled surface of the wine taster is embellished with the later engraved inscription 'To J.C.P.L from his Godmother E.L.A.E.T, Oct 5th 1894'. The well of this silver wine taster is encircled with engraved textured decoration. The impressive example of antique silverware is fitted with two cast scrolling handles with plain elevated thumbpieces. This drinking vessel retains the original gilding to the interior; this has worn with age in a sympathetic fashion to an aesthetically pleasing mellow color. The hallmarks struck to this impressive wine taster include: Maker's mark: Untraced City mark: Augsburg, Germany Assay scrape: Zickzack line (Tremolierstrich) Condition This antique silver wine taster...

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) King's College Cambridge Engraving 1690 40x51cm Baptised in Danzig in 1634 Loggan's parents were English and Scottish. Studying engraving in Danzig with Willem Hondius (1598-1652 or 1658) he moved to London in the late 1650s producing the engraved title-page for the folio 1662 Book of Common Prayer. Marrying in 1663 he moved to Nuffield, Oxfordshire in 1665 to avoid the Plague and was in 1668/9 appointed Public Sculptor to the nearby University of Oxford having been commissioned to produce bird’s-eye views of all the Oxford Colleges. He lived in Holywell Street as he did this. Oxonia illustrata was published in 1675, with the help of Robert White (1645-1704). Following its completion he commenced work on his equivalent work for Cambridge, Cantabrigia Illustrata which was finally published in 1690 when he was made engraver to Cambridge University. Oxonia illustrata also includes an engraving of Winchester College (sharing its founder – William of Wykeham – with New College) whilst Cantabrigia illustrata includes one of Eton College (which shares its founder – Henry VIII – with King’s College). Bird’s-eye views required a particular talent as an architectural perspectivist of that era as it was not until 1783 that the first living thing (a sheep, named Montauciel ‘climb to the sky’) was sent aloft by the Mongolfier brothers in a balloon. 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 the bottom right-hand corner), those of Cambridge were printed in smaller numbers and it is thought largely no second edition was produced. 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. Edmund Hort New (1871-1931) produced a series of pen-and-ink drawings of views of Oxford that paid homage to Loggan showing the development of the city in the following two hundred years. They were turned into photoengravings by Emery Walker...

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) Charles Duke of Somerset...

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 ...

This very fine example is modelled in the Trefid style with a reeded rat tail on the reverse of the bowl. This piece is very well marked and is engraved at the top of the stem with 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) New College...