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A late 17th c. Italian carved figure of Mermaid, Circle of Filippo Parodi (Genoa, 1630 – July 22, 1702) Dimensions: h. 29.13 in, w. 30.31 in, p. 18.9 in (at the base) Magnificent Italian Baroque sculpture depicting a mermaid seated on the rock. All the virtuosity of the sculptor unfolds in this carved group. The fantastic creature is featured seated, the upper part of the body darting forward, the head looking upwards. Sophisticated hairstyle with rows of pearls intertwined in her hair, her loose locks fly in the wind and bring movement to the whole sculpture. The wide-open eyes with hollowed-out pupils make it possible to follow the mermaid's gaze, towards the sky. The half-open mouth further magnifies this bewitching and seductive attitude. Its long double tail ending in fins wraps on either side of a rocky mound strewn with objects evoking the underwater world: seashells and shells, branches of coral. The ornamental richness combined with the great care taken in its execution make it a work in which the splendor of Italian Baroque art unfolds in such characteristic scenic movement. The composition betrays a strong influence from Filippo Parodi, the leader of Genoese Baroque sculpture, and points to an artist from his circle. Our sculpture was probably part of a decorative monumental palace. The iconographic theme evoking the marine world finds its application in the numerous fountains and artificial grottos, designed in Italian palaces at the turn of the 17th and 18th centuries. Giacomo Filippo Parodi (Genoa 1630 – July 22, 1702) was an Italian Baroque sculptor of the Genoese school, who introduced Bernini's aesthetic to Genoa. In his youth fathers a first apprenticeship with a carpenter, he went to Rome where he became a pupil of Bernini. He had the opportunity to admire in person the works and style of the French sculptor Pierre Puget...

Burmese bronze Buddha sitting in Mara Vijaya (calling the earth to witness) posture on a base. Age: Burma, Shan Period, 17th Century Size: Height 25.8 C.M. / Width 12.1 C.M. / Thick...

The image is an original antique copperplate engraving by Swidde, completed in 1695. The scene is a meticulous depiction of an elegant palace and its formal gardens, rendered in the ...

An handcolored original antique print of Svartsjö Castle, located on the island of Färingsö in Ekerö Municipality, Sweden. The castle has a rich history, with the current building da...

Gemstone Type : Peridot Weight : 2.0 Carats Dimension: 7.2x6.4x5.5 Mm Origin : Suppat Valley Pakistan Clarity : Eye Clean Certificate: On Demand Color: Green Treatment: Non Shape: E...

Portrait Of Charles I Of England (1600-1649) Wearing The Order Of The Garter, 17th Century circle of Sir Antony VAN DYCK (1599-1641) Large 17th Century English portrait of King Cha...

The engraving depicts a grand manor house surrounded by formal gardens. It is titled "Facies Splendidissimi Ornatißimique Palatii," which suggests it is an illustration of an opulent and ornate palace. The year noted for the engraving is 1696, and it was engraved by Swidde, referring to Willem Swidde, a Dutch artist known for his work in Sweden and his significant contributions to the collection "Suecia Antiqua et Hodierna" by Erik Dahlbergh...

This is an antique hand-colored print depicting the manor known as Schelenora, showing the building's facade and garden. The engraving is part of the collection "Suecia Antiqua et Hodierna" ("Ancient and Modern Sweden") by Erik Dahlbergh, a monumental work illustrating the grandeur of Sweden during its period as a great power. Sköldnora Manor, previously known as Skällnora, is located in Fresta parish, Upplands Väsby municipality, Stockholm County, on the eastern shore of Lake Norrviken. The estate dates back to 1276 and has a rich history including ownership by Birger Persson, the father of Saint Bridget, in 1296. The original main building depicted in "Suecia antiqua et hodierna" was demolished in 1718. The current main building, completed in 1741, showcases Rococo...

Antique print China titled 'Kuching'. Old print depicting a view on the Chinese city of Kuching or Kuchin (Gui Jiang, Kuei Chiang), near the river Gui (Guei). This area is close ...

Antique print titled 'Nicaea Civitas'. Original antique print with a view of the city of Nice, France. Rare in this edition. Source unknown, to be determined. Artists and Engraver...

Antique map Holy Land titled 'Perigrinatie ofte Veertich-Iarige Reyse, der kinderen Israels uyt Egipten, door de Roode-Zee; mitsgaders de Woestyne tot int Beloofde Landt Canaan, : met groote vlyt uyt verscheryden auctoren by een gestelt, uyt de H. Schrift gecorigeert, ende int licht gegeven'. Beautiful and rare antique map of the Holy Land...

These images are rare but fine examples of original 17th-century European engravings, displaying characteristics that might point to an Italian origin based on stylistic analysis. Th...

A detailed map of a region in eastern Germany. Cartouches depict coat of arms surrounded by cherubs. The map is fully engraved with towns, political boundaries, rivers and forests. P...

Pieter de Witte, also known as Peter Candid (Bruges, 1548 - Munich, 1628) - Workshop/School The Annunciation oil on canvas (cm): 79 x 110 - framed 92 x 127 We are delighted to present a fascinating work, dating back to the beginning of the 17th century, inspired by the prototype of the Annunciation created around 1586-1595 by Pieter de Witte, also known as Peter Candid (Bruges, 1540/1548 - Munich, 1628), which has been lost but made famous thanks to an engraving made and published by Jan Sadeler I (1550-1600). A painter of Flemish origin with strong affinities to 16th century Italianising culture, De Witte tackles the theme of the Annunciation numerous times, revealing knowledge of both Roman and Florentine Mannerism, inherited from his Italian sojourn. Some of these works are now housed in various international museums, in addition to autograph or workshop works that can be found in numerous public or private collections; in this regard, we may mention the following: - National Museum in Prague [1] - Carrara Academy of Bergamo, Angelo Annunziante and Vergine Annunziata [2]. - Finnish National Museum, Helsinki  - Private property, religious institution Bergamo (Bergamo area) Observing the composition, we can admire the rather well-established iconographic scheme, with the two figures immersed in an almost dreamlike atmosphere: the Archangel Gabriel on the left, of an ethereal beauty, appears imperious as he delivers the supreme annunciation to the Virgin Mary, who greets him with lowered eyes, composed in her amazement; surprised in the act of reading a book, she receives the white lilies...

Ducks On The Riverbank, 17th Century circle of MARMADUKE CRADOCK (1660-1717) Large 17th Century scene of Ducks on the riverbank while a hunt ensues on the distance, oil on canvas. ...

Good Condition, Original Design Modified.

Original antique map titled 'Regna Congo et Angola'. Decorative 17th Century English map of a portion of West Africa, focused on the Congo and Angola. The map is centered on the Zair...

Antique portrait titled 'Maria Stuaert (..)'. Old portrait of Mary Stuart, Queen of Scots. This print originates from 'L'histoire des Pays-Bas d'Emanuel de...

Beautiful coin rare and very authentic, please look at the certificate for details. Will come with fast shipping and all the documents. WHAT YOU GET AT STAMPAR JEWELERS: Stampar Jew...

Antique print titled 'Hercules inter Hesperides Romanis in hortis Mediceoru'. Engraving of Hercules in the Garden of the Hesperides. This print o...

Large rare vase painted with petal-shaped panels of 'Flowers' pattern. Decorated in underglaze blue with flower blooms borne on leafy stems. Period : Qing Dynasty, Kangxi Period Production Date : 1690-1699 Made in : Jingdezhen Destination : Netherland Found/Acquired : Southeast Asia , South China Sea, Vung Tau ship Reference : Double checked with reference to the original catalogues 1) Christies Amsterdam 1992 - Vung Tau Cargo...

The Hehe Erxian (和合二仙, Ho Ho Erh Hsien), Taoist immortals known for symbolizing harmony and union, are vividly depicted on this blue and white porcelain jar. Within the central medal...

Guido Reni (Bologna 1575 - 1642) Workshop of Saint Catherine of Alexandria (full details LINK) Oil on canvas Measurements (cm): 96 x 73 - with frame 112 x 88 This splendid work dep...

Title: "Livonia: Antique Map of the Northern Baltic Region" Description: This antique map, titled "Livonia," is a detailed representation of the northern Baltic region. Centered on ...

The Procession Of The Ark Of The Covenant, The Battle Of Jericho, 17th Century Flemish School - rare & early depiction of the Old Testament - oil on light wood panel Large 17th Century Flemish Old Master depiction of the Ark Of The Covenant carried around Jericho, oil on panel. Excellent quality and condition antique panel painting...

Frans van Everbroeck (Antwerp, ca. 1628 - London or Antwerp 1676/1693) attributed A stone cartouche surrounded by garlands of flowers with tulips, roses, daffodils, peonies and daisi...

Untitled print of a woman from Cairo, Egypt. This print originates from 'Reizen van Cornelis de Bruyn, door de vermaardste deelen van Klein Asia, de eylanden Scio, Rhodus, Cyprus, Me...

Good Condition, Original Design Modified.

Portrait Of A Lady, Frances Bard (1646-1702) Mistress of Prince Rupert von de Pfalz, Duke of Cumberland (1619-1882) follower of Anthony Van Dyck (1...

Important antique solid oak wood table from the mid 17th century. Oak wood has acquired a beautiful antique patina presenting the signs of all the past centuries. This type of table ...

Burmese bronze Buddha sitting in Mara Vijaya (calling the earth to witness) posture on a base. Age: Burma, Shan Period, 17th Century Size: Height ...

This original print is a hand-colored engraving of Ulriksdal Castle, also historically known as "Jacobsdal" due to its location in the area of Solna near Stockholm, Sweden. The title...

An engraving by Willem Swidde from 1696. The print features a palatial estate surrounded by formal gardens, a common representation of baroque architecture and landscaping. The centr...

The engraving depicts Ericsberg Castle (Erichsberg), a baroque castle located in Södermanland, Sweden. This hand-colored print is from "Suecia Antiqua et Hodierna" (Ancient and Moder...

Set of 2 antique horse riding prints. Published circa 1680.

The print is aan original detailed 1695 engraving of Ekolsund Castle in Sweden, crafted by Willem Swidde. The engraving is part of the collection from "Suecia Antiqua et Hodierna," which was a grand work showcasing the estates and landmarks of Sweden through elaborate illustrations. The scene depicted in the engraving is a classic example of the baroque garden architecture style, with geometrically arranged gardens, symmetrical layouts, and an expansive approach leading up to the castle, emphasizing the grandeur and formality of the estate. The meticulous detail in the gardens and the inclusion of figures within the grounds suggest a vibrant and cultured estate life. Ekolsund Castle, located in Enköping Municipality in Uppsala County, Sweden, is a manor house with a rich history dating back to the 14th century. By the 15th century, it was owned by the prominent Bengt Jönsson...

The entire surface of the vase is adorned with elaborate chrysanthemum motifs, elegantly connected by flowing, curved stems, while the background's leaf patterns enhance its sense of...

This lovely Dutch Old Master oil painting is attributed to noted Dutch artist Nicholaes Berchem. Painted circa 1665 it is a charming pastoral scene of a shepherd and his animals including sheep, goats, donkey and cows and of course his trusty dog. They are all resting beneath trees while he looks on attentively. The light in the sky and the light and shadows on the animals is beautiful. A really superb example of Dutch Old Master art with great detail. Provenance. Surrey estate. Christies stamp verso. Condition. Oil on canvas, 38 inches by 32 inches and in good condition. Frame. Housed in a complementary gilt frame, 46 inches by 30 inches and in good condition. Nicolaes Pieterszoon Berchem (1620-1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn are sought after. Berchem also painted inspired and attractive human and animal figures (staffage) in works of other artists, like Allaert van Everdingen, Jan Hackaert, Gerrit Dou, Meindert Hobbema and Willem Schellinks. Born in Haarlem, he received instruction from his father Pieter Claesz, and from the painters Jan van Goyen, Pieter de Grebber, Jan Baptist Weenix, Jan Wils and Claes Cornelisz. Moeyaert. According to Houbraken, Carel de Moor told him that Berchem got his name from two words "Berg hem" for "Save him!", an expression used by his fellows in Van Goyen's workshop whenever his father chased him there with the intent to beat him. No trip or Grand Tour by Berchem was documented by Houbraken though he mentioned another story about the "Berg hem!" nickname which came from Berchem's conscription as a sailor; the man in charge of impressment knew him and sent him ashore with the words "Save him!". Today his name is assumed to come from his father's hometown of Berchem, Antwerp. According to the RKD he traveled to Italy with Jan Baptist Weenix, whom he called his cousin, in 1642–5. Works by him are signed both as "CBerghem" and "Berchem". In 1645 he became a member of the Dutch reformed church and married the year after. According to Houbraken he married the daughter of the painter Jan Wils, who kept him on a short allowance, but to finance his collection of prints he would borrow money from his pupils and colleagues and pay them back from the proceeds of paintings that he didn't tell her about. Around 1650 he travelled to Westphalia with Jacob van Ruisdael, where a dated piece showing Burg Bentheim is recorded. Maybe Berchem went to Italy after this trip and before he moved to Amsterdam - he is not clearly documented in the Netherlands between 1650 and 1656. Around 1660 he worked for the engraver Jan de Visscher designing an atlas. In 1661-1670 he is registered in Amsterdam and in 1670 he moved back to Haarlem, but was living back in Amsterdam by 1677, where he died in 1683. He was a popular teacher and his pupils were Abraham Begeyn, Johannes van der Bent, his son Nicolaes, Isaack Croonenbergh, Simon Dubois, Karel Dujardin, Johannes Glauber, Pieter de Hooch, Jacob van Huchtenburg, Justus van Huysum...

Antique print, titled: 'Hasselt.' Bird's-eye view plan of Hasselt in The Netherlands. With key to locations and coats of arms. Text in Dutch on verso. This plan originates from the famous city Atlas: 'Toneel der Steeden' published by Joan Blaeu...

Quality work attributed to the painter Peter Van Der Velde (Antwerp 1634 - c.1714)  Coastal view with fortified city and boats (city of Antwerp?) Oil pa...

Good Condition, Original Design Modified.

Lucas de la Haye, called Luca Fiammingo (Nivelles, 1612-Rome, 1682) Saint Cecilia and two cherubs Oil on canvas 118 x 91 cm. -Framed 129 x 102 cm. Expertise of Prof. Emilio Negro (Bologna) This evocative painting, which we are delighted to exhibit to you, has Saint Cecilia, the Roman noblewoman who later converted to Christianity and a very popular figure in the Baroque period as the patron saint of music, instrumentalists and singers, at the centre of the composition. She is depicted here as a splendid maiden dressed in regal robes...

Antique map titled 'Hondius his Map of Paradise'. Beautiful map of the region bounded by the Holy Land. Syria, Mesopotamia, Chaldea and part of Arabia. W...

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

Description: Antique print, titled: 'Reba, Koning der Arabieren (…)' - This plate shows Reba, the King of Arab people. Reba was one of five Midianite kings killed during the ...

Portrait Of Two Girls & A Servant, 17th Century circle of Sir Godfrey KNELLER (1646-1723) Huge 17th Century English Old Master portrait of two ...

One sheet with two engravings: One print is titled: 'Siccabonsii, Japansche Papen. [verso: Japanese soldiers].' An image of a Japanese priest. In one hand hee holds a long rope with a thick knot in it. In the other he holds aloft a copper gong...

Good Condition, Original Design Modified.

Plate 'Harlingen.' (Plan of the city of Harlingen, The Netherlands.) This attractive original old antique print / plate originates from: 'Ausführliche und grundrichtige Beschreibung ...

Mattheus Terwesten (The Hague, 1670 - 1757) Portrait of a young woman with palette and brushes, as Allegory of the art of Painting Oil on canvas 160 x 91 cm. - In frame 178 x 107 cm...

Antique map titled 'Prussiae Nova Tabula'. Rare early edition of Blaeu's map of Prussia, embellished with a gorgeous large format cartouche, compass ros...

Bonaventura Bettera (Bergamo, 1663 - documented until 1718) Still Life with Musical Instruments (LINK) Oil on canvas 90 x 116 cm - Framed 105 x 131 cm. The pendenat of this paintin...

English oak refectory table with balustrade turned legs and stretcher base. Original finish with great patina. Maintains all the scratches, notches and wear of almost 350 years. See ...

Figure 10 of first part: The French king Louis XIII (aged sixteen) standing at left, with Messieurs de Pluvinel and le Grand, a horse tethered b...

Antique portrait titled 'Matthias I (..)'. Portrait of Matthias I of Hungary. This print originates from 'Tooneel der keyseren ende coningen van christenryck sedert den onderganck va...

Dish with iron-red, green, aubergine, yellow, brown and black with an insect in flight above flowering peony issuing from rockwork, the rim with flower sprays reserved on diaper-patt...

Antique print titled 'Mogolsche gezant'. Old print depicting a Moghul Embassy. This print originates from 'Het gezantschap der Neêrlandtsche Oost-Indische Compagnie, aan den grooten...

***Reduced In-House Delivery Rates - Click on “Ask Seller” to Request a Quote*** Antique Continental Walnut & Leather Throne Chair with Gilt High...