Europe

Landscape with martyrdom of Saint Stephen is an old master artwork realized in 17th century. Mixed colored oil painting on canvas. Includes coeval gilded frame cm. 148x196. The artwork is attributed to Vincent Adriaenssen called il Manciola (Antwerp, 1595 - Roma, 1675) Among the painters who worked in the first half of the seventeenth century it is possible to indicate only the Neapolitan Scipione Compagno (1624-1680) as the author of scenes of martyrs set within a landscape or a view such as, for example, the Martyrdom of Saint Stefano recently hesitated at the Ansorena in Madrid on June 16, 2021. It should be noted, however, that the landscape represented in the painting examined here, characterized by luxuriant vegetation, meticulously represented "in the Flemish style", shows differences with the typical settings of the paintings di Compagno, characterized above all by urban views, visionary architectures or rather arid vegetation. Even the refined figures, so elongated and lanky, represented in our painting, in particular the group of knights in the foreground on the right, are not reflected in the production of the Neapolitan painter. These elements, to which we add the depiction of the Eternal Father amidst the clouds and the detail of the dog in profile in the foreground, instead recall a painter mainly known as a battle soldier, but who was also the author of many works depicting episodes from ancient Rome set within luxuriant landscapes, or rather Vincent Adriaenssen known as Manciola, a painter from Antwerp whose figure has been shed light thanks to recent studies. The group of horsemen represented to the right of the examined painting is, in fact, comparable with other groups on horseback present in numerous works by Manciola such as, for example, in the Triumph of Caesar (Rome, Babuino, 23-03-2010; formerly Florence, Collection Privata, 2006), while similar elongated and somewhat lanky figures, dressed in red, yellow, blue and white, can be found in the three paintings conserved at the Cassa di Risparmio di Pesaro, which in the past were erroneously attributed to the Umbrian painter Francesco Allegrini...

Francis Sartorius British, (1734-1804) Bay Hunter & Groom Oil on canvas, signed Image size: 24.25 inches x 29.25 inches Size including frame: 32 inches x 37 inches A wonderful spor...

Circa 1800 English Georgian Hexagonal Glazed Brass/Bronze Verdigris Lantern Exceptional quality, rewired with original chain & hanging hook Measures: W33 x D33 x H57 cm.  

Large Louis Quinze chaise longue with curved legs and intricately carved floral decorations on the apron. The upholstered and rounded side panels add an elegant and inviting touch to...

Bronze Bust Of 1600s, cast depicting a young boy with curly hair and a gathered robe over his neck ending in an oval section with beaded border. This antique bronze knob of Italian ...

Circa 1790. 18thC large French walnut drapers table Sourced from the South of France (lower stretchers removed in the past) W 270 x D ...

Jacobean Style Chest Of Drawers. A Jacobean style oak chest of drawers raised on four large bun feet. The graduating cushion moulding drawers are full length and with brass drop hand...

These are always great characterful chairs that get people talking. This is a beautifully original 18th century French example with a stunning walnut frame and patinated ironwork. Th...

Antique map titled 'L'Empire du Grand Mogol'. Old map of India and Central Asia. The map extends from Persia in the West to Lake Chimay and the Bay of Bengal...

Exceptional, rare and unusually large pair of late Gustavian gilt wood mirrors with gouaches in neoclassical Pompeian style and faux porphyry marble mirror frame. Stockholm, ca 1790.

18th Century Spanish hand-painted glazed ceramic plate from Triana.

A pair of antique Altar Frontals Dating from 18th Century Gold silk ground brocaded with a Crown above Eight Point Stars , Cross, and stylized Pomegranates Lined in crimson silk ...

A copperplate print from 1752, showcasing portraits of six Incan rulers from different periods. Each ruler is depicted within a circular frame, symbolizing their historical and cultu...

Antique Iberian Emerald Earrings, ca. 18th Century A rare pair of antique Iberian - Portuguese earrings in yellow gold and silver, studded wi...

Title: 18th-Century Engraving of European Monarchies with Heraldry and Imperial Regalia This intricately detailed 18th-century engraving, *Statua Regum et Ropotorum P.C.N.*, offer...

Abraham Brueghel (1631 - 1690) Attribution - "Triumph of Flowers and Fruits in Plein Air" oil on canvas 95 x 130 cm without frame 100cm x 135cm with frame good conditions Abraham Br...

Antique George III quality mahogany dining/centre table having a quality mahogany top with two drop leaves, swing out gateleg action for support standing on turned tapering legs with...

Splendid 17th-century Italian painting by unknown artist, but certainly a follower of Caravaggio, relying on style and drawing. The painting has a very beautiful gilded wooden frame, with a subtle greek with spheres and an overlying rectangular frame with sinuous flowers on each corner, very elegant and beautiful. The painting depicts one of the most depicted religious scenes ever, the scourging of Christ, and is entirely done in oil on copper. The scourging of Jesus is an episode narrated in the Gospels (Mk15:15-16; Mt27:26-27; Lk23:16-26; Jn19:1-17[1]). Scourging is a flogging, particularly bloody, by means of sticks, rods or cat-o-nine-tails, the latter instrument consisting, in the Roman typology, of a short stick to which were secured several strings ending in metal claws, leads and bone splinters that caused tremendous lacerations and fractures to the tortured person. Chains are used in this scene, both to immobilize Jesus Christ and to flog him, as we can see in the upper right hand of the scourger. According to some personal research, it turned out that the actual scourging of Christ was mostly depicted at the column, while this Christ is on the ground, so presumably Christ here is scourged during the Way of the Cross at one of those stages where he fell. The painting has a very dark coloring, which is why this painting is believed to faithfully follow Caravaggio's style of dry, authoritarian brushstrokes. The painting shows a figure agonizing on the ground that continues to receive beatings and floggings of all kinds, representing Christ; his face is crucified in a loquacious expression of pain, he turns his eyes to heaven as if to invoke God, but at the same time those same eyes admonish the wickedness and arrogance inherent in humanity. Christ has one hand resting on the ground in the act of holding himself, while the other takes a completely unnatural stance against the barren ground. His body appears hardened to wanting to parry the blows, his legs are curled up on his knees as he takes kicks from the soldier above him. Christ is depicted pinned down from the neck with a very large and strong black iron bolt held by the other soldier. The soldier on the right in the foreground wears a one-shoulder tunic with an orange tunic and blue pants. On his feet he wears gray shoes, at his waist he has a belt with an iron helmet...

Predominantly uncarved, this stripped pine and gesso chimneypiece is of neoclassical form and austere complexion. A waterleaf moulding in gesso frames the aperture and the central ta...

This tapestry has already been cleaned in our craft workshop The setting sun bathed the hills of Canaan in golden light, but in Jacob’s heart, darkness reigned. He sat bent, his eye...

A hand-crafted wood and applied gesso altar vase, late 18th century with gilt rose silver finish. Small areas of loss to the gesso and wear to the paint commensurate with the age of...

A Roman marble trapezophorus in the Form of a Barbarian Dacian young figure. Circa 1st-2nd century A.D. Measure: height 24 1/4 inches (62 cm). Property from Mr. Radu Moldovan, Skokie, Illinois Provenance: B.C. Holland Gallery...

This is a magnificent example of a George II brass face red walnut longcase clock. The hood having and elegant broken swan-neck pediment and bras...

This large amethyst chapel, a complete half of the original geode, shows deep purple amethyst crystals punctuated with small stalactites and overlaid ...

17th century Antique Aubusson/Gobelin tapestry, France Architectural landscape, silk Antique Museal Aubosson tapestry made of silk and partly wool. Very fine and antique design. Dep...

Dutch Delft blue tiles serving tray, 1650-1700 A serving tray in oak wood with Dutch Delft blue tiles, 1650-1700. The tiles with scene of animal in blue lined circle. The most unusu...

Venetian-Cretan master of the early 16th century, icon of Christ the Bridegroom (or Nymphios). Tempera on gold ground on panel. Measure 41 x 29 cm Holy Week, in Eastern tradition an...

An extraordinary very rare Holy Sabbat oil lamp with the Hebrew language inscriptions which means “Holy Sabbat”. Made out of bronze and has an untouched patina. Those kind of Oil Lam...

Chest of Drawers Black Baroque Period Sweden. A chest of drawers made during the baroque period 1650-1750 Made in oak repainted in Laserow Black. Later hardware.

Beautiful Baroque hand carved limestone holy water font or stoup, Unique and original period piece. Italy, circa 1750. Good but weathered condition just as it should. Measures: H:10c...

A very handsome George III tea caddy, made from Mahogany and beautifully inlaid with panels and highly decorative foliate marquetry to the front and top. The top has a handsome cast ...

An Italian monumental sized bureau with flap dating back to the second half of 18th century. Three deep drawers and a fall-front opening to reveal a fitted interior with six small dr...

Glazed ceramics with lustre-painted decoration This is glazed ware, i.e. it is glazed with a white enamel bath, very pure in the best examples, which is f...

An authentic Byzantine gold coin—Histamenon (1068-1071 AD)—is set in this beautiful 18kt Gold pendant. On the front, Christ crowns Emperor Romanus ...

Portrait of a young Lady Robert Le Vrac Tournières (1667-1752) 18th century French school, circa 1725 Oil on canvas Dimensions: h. 81 cm, w. 65 cm Important 18th century Régence per...

A fine example of a late 17th century Spanish vargueno on stand. The early mahogany cabinet has the original iron mounts and the fall front opens to reveal a beautifully fitted inter...

Italian 18th century rococo carved walnut sofa or canape Standing on four cabriole legs with stylized foliage a carved rocaille shaped apron with a padded seat. The padded back with a carved wooden frame decorated with acanthus leaf scrolls and a cresting centered by a large rocaille. The carving presents elegance and movement in a vivid manner with powerful rocaille carving as is characteristic of Italian Rococo furniture...

A large and highly variegated Breche de Saint Maximin marble fireplace from the very late 18th century. Rich in colours of purple, creams, white, gold and deep reds. The console jamb...

Feast your eyes on this breathtaking polished citrine from Brazil, a true marvel of natural artistry. This stunning specimen boasts remarkable transparency, allowing the rich brownis...

Its devotional pinjante votive offering which origin is Spanish, of Canarian manufacture. The piece represents a salamander crafted in solid gold, richly adorned with emeralds, rub...

"Canterano" chest of drawers with flap/desk Measurements: H. 102 cm - W. 142 cm - D. 62 cm Period: 1600 Origin: Emilia - Italy Wood: Walnut, Poplar Description: Beautiful "Canteran...

An original engraving titled "Iroquois Warrior," created by Teodoro Viero in 1783. The artwork is a detailed depiction of a member of the Iroquois, an Indigenous confederacy located ...

circa 1790 Large 18thC English Vernacular Oak Dresser Base / Counter sku 1991 W210 x D60 x H82 cm Weight 121 kg

Coat of arms of the House of Bourbon, an originally French royal house that became a major dynasty in Europe. It delivered kings for Spain (Navarra), France, both Sicilies and Parma....

Circa 1850/1880 antique Swedish Gustavian Grey White painted chest of drawers commode in gustavian style with classic Gustavian ribbing detail on the drawer fronts and leading edge...

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...

Nicolò Zafuri (circle of) (documented in Candia between 1487 and 1500, died before 10 July 1501) Title: Madonna with Child Medium: Oil on panel Dimensions: without frame 49 x 40 cm ...

An exceptionally, rare 18th century, upholstered wing armchair with a scalloped back from Notley Priory & the collection of Vivien Leigh & Laurence Oliver...

This is a fine quality English Sheraton period antique Toilet Mirror, dating to the late 18th century, late Georgian period, circa 1810. The m...

Original vintage sport event poster for the 1972 Summer Olympics in Munich / Olympische Spiele Munchen featuring a great image by the notable British artist David Hockney (b 1937) depicting a diver with his reflection on the shaded water background. Limited Olympia edition 1971. This Munich Olympic diving poster...

'Cain et Abel' Circle of Franois Devosge (1732-1811) French pencil drawing with watercolour wash on paper size: 12.25 x 9 inches private collection, France The painting is in overall...

Our Ancient Surfaces team recently reclaimed this extremely rare statuary fountain. The story behind this masterpiece is that in the mid 1700s a team of Italian master carvers were tasked to create an exceptionally phenomenal limestone fountain for a noble Milano family estate. After 8 months of hand-carving they completed the job by creating a very unique and large pool fountain...

Examining with interest this "Sacred Scene" from the end of the 1500s/beginning of the 17th century (oil painting on canvas, 32 x 26 cm without frame and 40 x 33 cm with frame) representing the Madonna supporting the Infant Jesus on her knees, S. Giovannino with the lamb of god, I can say that it is a Cremona school close...

BRONZE FIGURE OF MARS, 18th Century gilt bronze on marble base 35.6 x 8.9 x 7.6 cm 14 x 3 1/2 x 3 in

Pair of large painting oil on canvas with the Wedding Feast of Bacchus and Ariadne scene . Italy 18' century . Amazing landscape background and roman Temple with classical archite...

Georgian padouk pier table A small and elegant George II padouk pier table, the rectangular grey veined marble top with a cross-banded border to quadrant beading above a frieze of w...

An Extremely Good Quality, Mid-18th Century, George II Period Solid Mahogany Oval Drop Leaf Dining Table, To Seat 8 People, Having Extremely Well Figured Two Flap Top Retaining Exceptional, Rich, Untouched Colour And Patina, Raised On Four Elegant Turned Legs Terminating With Original Pad Feet. Georgian drop leaf dining tables of this design are relatively common to find, however it is rare to find one of this size and in this condition, which retains such a fabulous colour and patina. It is also quite nice to find an oval one, which is not far off being circular when extended. This is a superb example of its type, constructed from what would have been the absolute best solid mahogany available in the mid 18th century and because of that the table is still as fit for purpose as the day it was made. It is particularly solid even with the moving legs fully extended and this allows for great functionality. Of course another tick on the desirability scale for this table is that it can be easily folded down and even pushed against a wall, or into a corner when not in full use, meaning one does not require such a large dining room as may otherwise have been required. The table also retains a fabulous untouched colour and patina and has very clearly not ever been stripped and repolished or anything like that. Seating 8, this table is one of one of the most desirable antique dining table forms available and would work with a whole variety of different dining chairs...

This rare Renaissance cabinet is richly decorated on the doors and drawers with carvings depicting the four seasons, and on the uprights and the entablature, alternating flower bouquets inlaid with mother of pearl. This is a beautifully conceived piece of furniture, representing a crowned portico with its entablature and cornice. The upper body Articulated separately in a ternary rhythm, as with the lower body, the upper part opens with two carved doors. The doors are framed by both the lateral uprights and the casing. There are cartouches carved into the casing in which mythological figures are depicted with flower bouquets. On the doors: On the right: Spring, a female figure crowned with a wreath of leaves, holding a basket full of flowers. She is wearing necklaces and bracelets on each arm, with drapery discretely wrapped around her body and is standing on a winged putti’s head. On each side are depicted a tree and a village with a steepled church. Above her head floats the three signs of the zodiac corresponding to the season: Aries, Taurus and Gemini. On the left: Summer, a bearded man crowned with ears of corn and bearing armfuls of corn. He is standing on a similar winged putti, flanked by a tree and an ear of corn. The following three signs of the zodiac appear: Cancer, Leo and Virgo. On the uprights and the central casing a number of smaller figures seem to represent virtues and vices that newly wedded couples should aspire to and avoid. On each side, at the bottom of the uprights, there is a dog representing fidelity. Above, a lion embodies power, wisdom, and justice. In between, on the left upright, there is a figure of noncombatant Athena wearing a helmet and holding a spear, an arrow pointing down and in her left hand, a shield, symbol of protective power. On the right upright, the goddess Venus controls the arrow of Cupid. The iconography here acts as a clear reminder of the required virtues that both parts of a young couple need to fulfill: fidelity, power, wisdom and justice. For him, the goddess Athena focuses on the power. Whereas for her, it is Venus who shows how to control Cupid’s arrow. On the central casing at the bottom, by way of contrast, there is a peacock, a symbol of pride and at the top, a monkey representing lust and mischief. In between, a woman holding a chain and a cup full of precious stones while on the floor sits a half empty opened casket. This can be interpreted as a symbol of extravagance. Above, the entablature, decorated with male figures resting on leaking urns, may symbolize the passing of time. They are flanked by two consoles decorated with acanthus leaves and separated by flower bouquets (inlaid with mother of pearl). Finally on top, a cornice acts as a crown for the piece of furniture. The lower body The moulded base stands on four round, flattened feet. Represented on the doors: On the left: Autumn, a stocky, naked man crowned with vine leaves, holding fruits in his right hand and with his left, picking a bunch of grapes from a climbing vine. Standing on a mound, he is surrounded by a vine and a hill, at the foot of which a man presses the grapes in a big vat after the harvest. Above the climbing vine appear the signs of Libra, Scorpio and Sagittarius. On the right: Winter, an elderly man wearing a fur cloak...

18th century Spanish "Puente del Arzopispo" Mardrid hand painted earthenware "salvilla" dish, a type of plate which stands on a pedestal and was used to hold and display smaller reci...

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...