England

A good set of four Yorkshire backstools consisting of three and one similar. Having turned legs and front stretchers. The shaped back crests with carved scrolls, central flower heads...

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 ...

This is a very beautifully hand painted Chinese Imari porcelain very large Dish or Plate / Platter from the Qing, Kangxi period, 1662-1722, dating to Circa 1710. Very large diameter...

A very good 17th Century Cushion Moulded Chest Of Drawers, of small proportions and in excellent original condition. The drawer linings are constructed of elm and are hung on side ru...

A fine Dutch walnut, kingwood and marquetry side table, the top late 17th-early 18th century and later, in the manner of Jan van Mekeren. With a later base, rectangular, inlaid with ...

Jan Kupetsky (1667 - 1740) Czech School An artist grinding colours, possibly a self-portrait Oil on canvas Signed, verso : "Joseph Prinzig" Provenance: Private Collection, Hungary ...

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) Clare College Cambridge...

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

An exceptional late 17th century, early 18th century Japanese Imari vase, decorated in the typical Imari palette of dark blues and iron reds on a white background with gilded highlig...

An exceptional 17th Century Cuzco School (Spanish School, Peru) Oil on Canvas of St. Anthony of Padua holding the Christ Child. We have had this incredible painting framed in a fi...

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...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning, late 17th century, hand caved 1684 lift top writing work table traditionally used for bible s...

A pair of 18ct gold mabe' pearl earclips. Diameter: 25mm. Total weight: 26.1 grams . English hallmarks for 1985. Price: 3,880£. Item is in very good condition without any damage. R...

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...

Charles II period (1630-1685) oak and walnut chest of drawers, or commode. Retaining old waxed surfaces of very good rich color and patination. With typical geometric drawer fronts and side runners, confirming a late 17th century date of c 1680. Walnut panel inserts to the drawer fronts. Retains its original stile feet and the base with its original bold moulding. Brass key escutcheons...

This superb Dutch Old Master portrait oil painting is attributed to circle of Nicolaes Maes. Painted circa 1670, the painting is of a lady, sat by a classical fountain with statue an...

A rare pair of late 17th century oak wainscot chairs. Very striking detail: grand cresting rail with very similar carved detail to the main panel and a further smaller panel with 4 c...

This fantastic Dutch Old Master marine oil painting is by noted Dutch marine artist Abraham Storck. Painted circa 1670 the composition is a number of ships heading out to sea, their ...

An antique round patch box, crafted in sterling silver during the 17th century, is potentially from the era of Charles II. The silver circular box and cover showcase embossing featur...

Late 17th Century Oak Side Table with Drawer, nice well turned legs and original wood nobs. Good 2 plank cleated top. size 98 cms long 56 deep 78 high

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...

An exceptional, fine and rare antique Charles II English silver counter box; an addition to our 17th century collection. This exceptional and rare antique Charles II silver counter ...

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A good clean and original 17th Century Oak Coffer. With a crisply carved strapwork top rail. The legs and wide centre rail are carved with a fluted design. Excellent colour and condi...

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 rare late 17th century (circa 1690) yew wood side table having exceptional colour and surface. The two piece top above a moulded drawer, having four well turned legs united by peri...

17th century Welsh carved oak court cupboard circa 1680. Comprising of 2 parts. Top section with a central bank of drawers flanked either side by a single door cupboard. Bottom se...

A very good oak six legged refectory table dating to the later part of the 17th Century. Having a three piece cleated top, sitting on six tapering turned legs which are joined by a m...

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...

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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...

This stunning 17th century Old Master portrait oil painting is attributed to Godfrey Kneller. Painted circa 1680 it is a superb full length portrait of a blo...

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...

This stunning 17th century Old Master portrait oil painting is attributed to Godfrey Kneller. Painted circa 1680 it is a superb full length portrait of a blonde haired boy holding a struggling bird. He is bare foot and dressed in a white shirt with gold shawl around him. In the background is a blue drape. There is lovely detail and brushwork in his facial features and vibrant colouring. This a superb 17th century Old Master oil painting housed in a lovely frame. Provenance. Two ascribed labels verso Christie's stamp verso. . Condition. Oil on canvas in good condition, 36 inches by 28 inches approx. Frame. Housed in an ornate frame, 43 inches by 35 inches approx. Sir Godfrey Kneller, 1st Baronet (born Gottfried Kniller; 8 August 1646 – 19 October 1723), was the leading portrait painter in England during the late 17th and early 18th centuries, and was court painter to English and British monarchs from Charles II to George I. Kneller was born Gottfried Kniller in the Free City of Lübeck, the son of Zacharias Kniller, a portrait painter. Kneller studied in Leiden, but became a pupil of Ferdinand Bol and Rembrandt Harmenszoon van Rijn in Amsterdam. He then travelled with his brother John Zacharias Kneller, who was an ornamental painter, to Rome and Venice in the early 1670s, painting historical subjects and portraits in the studio of Carlo Maratti, and later moved to Hamburg. The brothers came to England in 1676, and won the patronage of the Duke of Monmouth. He was introduced to, and painted a portrait of, Charles II. In England, Kneller concentrated almost entirely on portraiture. In the spirit of enterprise, he founded a studio which churned out portraits on an almost industrial scale, relying on a brief sketch of the face with details added to a formulaic model, aided by the fashion for gentlemen to wear full wigs. His portraits set a pattern that was followed until William Hogarth and Joshua Reynolds. Nevertheless, he established himself as a leading portrait artist in England. When Sir Peter Lely died in 1680, Kneller was appointed Principal Painter in Ordinary to the Crown by Charles II. For about 20 years (c.1682-1702) he lived at No. 16-17 The Great Piazza, Covent Garden. In the 1690s, Kneller painted the Hampton Court Beauties depicting the most glamorous ladies-in-waiting of the Royal Court for which he received his knighthood from William III. He produced a series of "Kit-cat" portraits of 48 leading politicians and men of letters, members of the Kit-Cat Club. Created a baronet by King George I on 24 May 1715, he was also head of the Kneller Academy of Painting and Drawing 1711–1716 in Great Queen Street, London, which counted such artists as Thomas Gibson amongst its founding directors. His paintings were praised by Whig members including John Dryden, Joseph Addison, Richard Steele, and Alexander Pope. On the landing in Horsham Museum hang works of art from the Museum's extensive painting collection, featuring a large 18th-century portrait of Charles Eversfield and his wife, of Denne Park House. In the painting Eversfield is giving his wife some violets which signifies fidelity, love and honesty. It is likely that the picture was cut down at some time as it was unusual to stop just below the knee. It may have been painted by more than one person: someone who specialised in clothing, another in drapes, and so on, with perhaps Kneller painting the heads, for it was the portraits that gave the sitters their identity, everything else is rather formulaic. He married a widow, Susanna Grave, on 23 January 1704 at St Bride...

A good Charles II silver trefid spoon by john King and hallmarked in London in 1683 with a plain rat tail. It has an oval bowl with a thick gauge ...

A Fine Silver Mounted Hunting Hanger The pommel mounted with a silver gilt recumbent lion Steel, silver, agate, leather England Late 17th Century Size: 74cm long - 29¼ ins long / 77cm long - 30¼ ins long (with leather scabbard) Provenance: Ex Private collection cf: For two similar hunting hangers see Finch and Co, catalogue number 25, winter 2015, item number 37 a. and b. The hunting hanger was also a status symbol. Sometimes their ivory or agate handles would be richly embellished with jewels proudly displayed in sets of engraved steel hunting accessories and worn at the belt by European princes. Hunting and forestry officials could be distinguished by the design of their hunting swords...

This stunning 17th century Dutch Old Master Golden Age floral oil painting is by noted Dutch artist Simon Pietersz Verelst. The full attribution...

A Fine and Rare Silver Mounted Hunting Hanger Displaying a ‘blackamoor’ head to the pommel Steel, silver, stag horn England Late 17th Century Size: 61cm long - 24 ins long Pr...

Indistinct silver hallmarks for 1691 Silver, gilt, steel, agate England Late 17th century Size: 58cm long - 22¾ ins long Provenance: Ex Private English collection, Mrs How, ren...

A late 17th Century walnut Bobbin turned armchair, the rectangular padded back and seat base upholstered in green Byram by Colefax and Fowler, the turned arm rests with block termina...

A good transitional oak coffer, combining the earlier planked construction with the more sophisticated panelled method for the front. Top rail carved with interlocking lunettes, thre...

A superb Oak Refectory table dating to c.1680. The table sits on gun barrel legs with side and centre stretchers. It has a two plank quarter sawn oak top with bread board edges and o...

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Heading : Bellarmine jug Date : Second half seventeenth century Origin : Germany Colour : Mottled brown Body : Moulded bearded man "Bartmann" above a medallion. Applied applied handle. The string rim is to secure a cork Size : 44cm tall and approximately 26cm in diameter at widest Condition : Some chips as expected. Restoration : None Weight : 5534 grams References : The Decanter, An Illustrated History of Glass By Andy McConell - Page 27 Plate 23. Antique Sealed Bottles 1640-1900 By David Burton - Page 9. A Bartmann "bearded man" jug also known as a Bellarmine in English . These were made in Germany and imported to Britain by Dutch merchants...

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A fine and documented William and Mary period chest of drawers. The top is veneered in well chosen olive oysters laid in geometric patterns incorporating, concentric circles, roundel...

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Portrait of John Ludford (1653-1681), wearing a lace jabot and brown and gold trimmed cloak in a feigned stone oval cartouche. Inscribed 'John Ludford, Esq, nat. 14th March 1653, Ob,...

A superb 17th century oak serving dresser having a tremendous presence. The two planked top above a central cupboard door, flanking the cupboard are two banks of cushion and geometri...

A beautiful, rare solid silver Anglo-French octagonal pocket sundial with compass by Michael Butterfield, circa 1700. The sundial is made for a latitude of 44° and could be used in places in the south of France such as Avignon and elsewhere along this parallel. The elaborately engraved base plate has a Roman chapter ring on which the gnomon (a triangular flap) casts its shadow. It is signed by the maker in the following manner: Butterfield A Paris. On one side is a glazed recessed compass with a blued steel hand to position the instrument in such a way that the time can be read. The hinged triangular gnomon is richly engraved and in the shape of a bird’s head. The folding gnomon and cut corners enable the dial to be carried in the pocket. The underside shows the latitudes of various Southern-French places in the relevant areas Its maker Michael Butterfield was an English instrument maker who based himself in 'Le Quay de l'Horloge' of Paris from circa 1685. These types of dials, often replicated by other makers, became known as Butterfield Dials...

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

A MASSIVE STATUARY AND POLYCHROME MARBLE BUST OF AN EMPEROR, PROBABLY ROME, LATE 17TH / EARLY 18TH CENTURY. Incorporating Verde Antico, Nero Belgio and Marmo Africano from ancient s...

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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 ...

An exceptional, fine and impressive antique George III Newcastle sterling silver quart tankard made by John Langlands I & John Robertson I; an addition to our Georgian silver tankard...

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...

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) Pembroke College, Oxford (1705) Engraving 31 x 44 cm Loggan's view of Pembroke from the second edition of the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (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...