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The engraving depicts the assault and capture of the Danish fortress Friderichsodde (now known as Fredericia) located on the island of Fyn. The scene, captured on October 24, 1657, vividly illustrates the Swedish main army's takeover under the command of General Carl Gustaf Wrangel. This historical event is meticulously documented in the artwork, which showcases not only the military action but also the strategic landscape and fortifications characteristic of the time. Erik Jönsson Graf von Dahlberg, the artist behind this work, was a prominent Swedish field marshal, architect, and fortress builder. Born in 1625 and passing in 1703, Dahlberg's contributions to military and architectural fields were significant. He was renowned for his detailed and artistically valuable drawings which served as the basis for large-scale copperplate engravings. These engravings are of substantial topographical and architectural historical importance as they provide a detailed visual account of Swedish territories during the era. In 1661, Dahlberg began work on his magnum opus—a comprehensive geographical and historical depiction of Swedish territories, which received royal privileges. His journey in 1667-1668 to Paris for the engraving of the initial plates reflects the international scope and ambition of his project. However, the work was intermittently paused when Dahlberg was tasked in 1674 with overseeing all Swedish fortress constructions, a role that significantly impacted his career and works. The project resumed and was published in 1684, highlighting a significant period of Swedish history and military achievements under his visual documentation. MORE ABOUT THE BATTLE: The image is an intricate engraving depicting a battle scene. Based on the details and the text in the cartouche, the scene illustrates a significant historical battle involving Prussian forces. The presence of multiple ships and extensive fortifications suggests a combined land and naval engagement. Key Features in the Engraving: 1. Land Battle: The forefront of the image shows numerous troops, artillery pieces, and cavalry in action, depicting the intensity and scale of the land combat. 2. Naval Elements: Ships in the background indicate that this battle had a naval component, which would have been crucial for controlling trade routes or strategic waterways. 3. Fortifications: Extensive fortifications, including bastions and protective walls, suggest a well-defended location, possibly a city or a significant stronghold. Historical Context: From the text, it appears the battle involves "Prinz Heinrich," referring to Prince Henry of Prussia, who was an influential military leader during the reign of his brother, Frederick the Great. Under Frederick’s rule, Prussia engaged in several key conflicts, including the Seven Years' War (1756-1763), which saw major battles across Europe and involved complex alliances. Given the level of detail and the era suggested by the style of ships and fortifications, the battle was of the significant engagements during the Seven Years' War, where Prince Henry played a critical role. His campaigns often involved maneuvering to protect Prussia from multiple fronts, including naval engagements in the Baltic. Interpretation: This engraving serves not only as a historical document but also as a piece of propaganda, likely glorifying the prowess and strategic capabilities of the Prussian military...

Antique Italian painting from the second half of the 17th century. Artwork oil on canvas depicting a religious subject Penitent Magdalene of excellent pictorial quality. Large size p...

An antique 17th century Flemish historical tapestry, size 7' H x 11' W, depicting the Roman general Coriolanus, enthroned at left, with his domineering m...

The engraving shows a scene of martyrdom involving members of the Jesuit Society. The text at the bottom reads: "P. EDMONDUS CAMPIANUS, ROBERTUS SHERWINUS, ende ALEXANDER BRIANTUS ...

Oil work on canvas sold with frame. Total size with frame: 58x39x5 cm

Great Italian painting from the second half of the 17th century. Oil artwork on canvas depicting the sacking of a seaside city by the Saracens, of good pictorial quality. We find cou...

Antique map titled 'Venezuela cum parte Australi Novae Andalusiae'. The map extends from Coquibocoa to the Orinoque River, centered on Bariquicemento and Cape de Curiacao. Large cart...

Attributed to Ludolf Backhuysen Dutch Coastal Vessels and a Merchantman Off a Harbour Mouth Oil on canvas Canvas Size 22 1/4 x 30 in Framed Size 29 x...

Antique map titled 'Partie de Barbarie, ou est le Royaume d'Alger (..)'. Copper-engraved map showing the Algerian coast of North Africa. Published 1683. Artists and Engravers:...

An absolute top quality large Kangxi cobalt blue dishes, all with similar landscape scenes and moulded in a nice shape. These dishes tend toward the...

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 ...

Antique print titled 'Genua'. Bird's-Eye View of the City of Genoa, Italy. Published by Matthäus Merian the Elder, circa 1650. Matthäus Merian sr. (the Elder; 1593-1630) was born in Switzerland but eventually settled in Frankfurt; he was trained as an engraver. He married Maria Magdalena de Bry, daughter Johann Theodore de Bry...

This engraving depicts a group of Carthusian monks being executed, likely by hanging, in a gruesome scene reminiscent of the religious persecution during the Reformation. Here is a detailed analysis, a translated version of the text, and context for the engraving: The text at the bottom reads: "VMFRIDVS MIDELMOR, GULIELMUS EXMEY, ende verscheijden andere Carthuysers worden gehanghen." Translation: "Humphrey Middlemore, William Exmew, and various other Carthusians are hanged." The engraving depicts the martyrdom of Humphrey Middlemore, William Exmew, and several other Carthusian monks, who are shown being hanged. In the foreground, one monk lies dead or unconscious on a bench, while another man—likely the executioner—prepares a knife, suggesting the process of drawing and quartering. A large cauldron stands...

Title: The Capture of Two Spanish Admiral Ships by the Fleet of the Dutch West India Company under Admiral Pieter Adriaensz Ita, 1628 Description: This mid-17th century engraving, c...

This superb 17th century French Old Master oil painting is attributed to Jean Francois Millet. Painted circa 1670 it is a classical landscape with figures by a bend in a river in the...

Antique map titled 'Tabula Itineraria Patriarcharum Abrahami, Isaaci et Iacobi'. Decorative regional map of the Holy Land, showing the travels of Abraham, Isaac and Jacob. Published ...

Very nice carved oak Christ figure with a strong expression. Beautiful weathered , France circa 1600-1700. Weathered, and losses. Measurement with the base

17th century oak Dutch side table, turned.

Portrait Of Elizabeth Percy, Countess of Northumberland (1646-1690), 17th Century Studio of Jan MYTENS (1640-1670) Large 17th portrait of Elizabeth Percy Countess of Northumberland, oil on panel. Excellent quality and condition portrait of the daughter of the Earl of Southampton and granddaughter of the Earl of Chichester. Percy came to fame in the 1660's as one of the Windsor Beauties in the court of Charles II. Presented in its original antique hand carved frame...

Antique map titled 'Ducatus Silesiae Glogani vera delineatio'. This decorative map shows the Odra River valley based on the Silesian cartographer, Jonas Scultetus. The map is oriente...

Antique map titled 'Pannonia et Illyricum.' Charming miniature map of Pannonia and Illyria, from the pocket atlas 'Introductionis in Universam Geographiam tam Veterem quam novam .. A...

This original antique print shows the Hindu god Vishnu incarnated as Krishna. Dutch text on verso. From: 'Naauwkeurige Beschryvinge van Malabar en Choromande...

17th century Flemish school The Mismatched Couple Oil on canvas 75 x 96 cm. Framed 96 x 118 cm. The curious subject we see depicted in the canvas proposed here belongs to the trad...

Antique portrait titled 'Iacobus V'. Portrait of James V of Scotland. This print originates from 'Tooneel der keyseren ende coningen van christenryck sedert de...

Magnificent Flemish tapestry after the renown painting of Peter Paul Ruben's "Decius Mus preparing for Death," 1616-1617. Upon hearing his fate pronounced by the High Priest of Rome, Decius Mus receives his last rites...

Antique map titled 'Accuratissima Galliae Tabula vulgo Royaume de France'. Detailed map of France. Shows provinces, cities, rivers etc. Artists and Engravers: Frederick de Wit (1...

Spirally moulded and painted with bands of overlapping petal panels of figured riverscapes Period : Qing Dynasty, Kangxi Period Production Date : 1690-1699 Made in : Jingdezhen Destination : Netherland Found/Acquired : Southeast Asia , South China Sea, Vung Tau...

The engraving depicts a historical execution scene, likely related to religious persecution. Below is a detailed description and analysis of the image and text: The text at the bott...

Life-size Carved Wood Buddha, possibly by the great 17thC Japanese carver Enku. One of the all-time greats, this piece has all of the qualities of one of his best (look online or at ...

Description A rare Ming blue and white Porcelain dish. Great quality decoration Three Friends of Winter. Chenghua marked. Box included. Condit...

This is a large Chinese 17th Century Stoneware Martaban Jar. Martancan Jars were created to store food items such as grain, tea, oil, etc. The ...

Antique map titled 'Vetus descriptio Daciarum nec non Moesiarum'. Impressive map of the area of Romania and Bulgaria centered on the Danube River. The map is based on Ortelius' map o...

Ilario Mercanti, known as ‘lo Spolverini’ (Parma, 1657 - 1734) Scene of a night-time naval battle oil on copper (oval) 59 x 74 cm - with frame 83...

Sharing with you this very nice edo period, 1680-1700, example. With a garden floral scene. Marked at base: made in the Hua Qing period of the great Ming Dynasty Arita ware, also known as Arita-yaki, has its origins in 1616, when a Korean farmer, Yi Sam-pyeong, discovered white clay kaolin in Arita and used it to create Japan’s first porcelain. Arita was the first place to produce ceramics in Japan. After the discovery, a number of kilns opened in the area and it soon became a source for Japanese export porcelain...

Antique map titled 'Persia sive Sophorum Regnum'. Original old map of Persia. The map extends from the Eastern Mediteranian to Tacalistan and the Indus River and the Dalanguer Mounta...

Giovanni Battista Paggi (Genoa 1554 – Genoa 1627) Venus, Bacchus and Ceres (Parallel title: ‘Sine Cerere et Baccho, friget Venus’) Oil on canvas 103 x 78 cm. - Framed 125 x 100 cm. ...

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...

Antique map titled 'Kaart van Oost Indie'. Old map of the East Indies. It shows the routes of Captain William Dampier's voyage throughout the regio...

Beautiful weathered marble baroque angel. Italy 17/18th century. Weathered, losses and old repairs. More pictures are available on request.

Presenting an absolutely gorgeous and historic 17th century English carved oak dowry chest. Made of solid oak in England,...

Charles d’Agar (1669-1723) (attrib.) Portrait of a lady in widow’s weeds, three-quarter-length, seated in an architectural setting Oil on canvas In an original carved and gilded Le...

Historical Map of the Margraviate of Brandenburg by Giacomo Cantelli da Vignola - 1687 This magnificent map, titled Marchesato, et Elettorato di Brandeburgo con una gran Porzione ...

Bon Boullogne (Paris, 1649 - Paris, 1717) workshop of Episodes from the myth of Diana oil painting on canvas Dimensions: 84 x 114 cm. with antique frame 100 x 132 cm. The beautiful painting proposed shows a series of episodes taken from the myth of the divinity Diana, the Roman divinity of hunting, forests and wild animals, masterfully captured in this valuable painting, which shows a luxuriant wood, a favorite place of the divinity, as a theater of his adventures. The composition opens, on the left, with a sort of presentation of the divinity, portrayed as an attractive young girl, surrounded by her faithful Nymphs, one of whom holds her quiver with arrows, and by one of her beloved dogs. hunting her. The 'story' continues in the central part where we can see the divinity during a wild boar hunt...

1640 Antique Map of North Africa 'Nova Barbariae Descriptio' by Johannes Janssonius This antique map titled Nova Barbariae Descriptio*, published by Johannes Janssonius around 1640,...

Set of 5 antique horse riding prints. Published circa 1680.

Antique print titled 'Underwaldia - Das Landt Underwalden'. View of the city of Unterwalden, the old name of a forest-canton of the Old Swiss Confederacy in central Switzerland, south of Lake Lucerne...

Ancient Religious Painting From The 17th Century 17TH CENTURY RELIGIOUS PAINTING. SANTA CATARINA. LATIN WRITING. MEASUREMENTS: 116X80CM

Lombard School, 17th century Portrait of a Young Boy oil on canvas 109 x 78 cm - 127 x 97 cm with frame The protagonist of the offered canvas is a chubby little boy, aged approxima...

Fine early plan of Batavia (Jakarta), published by Arnoldus Montanus. This map has a vignette at the bottom showing Jakarta from the sea with the volcanoes Mount Gede, Mount Pangrnago and Mount Salak in the background. The plan is based on the earlier, much larger map of Batavia published by Clement de Jonghe...

Antique map titled 'Peru'. Original antique map of Peru. With cartouche, compass rose, ships and two sea-monsters. Published by W. Blaeu, circa 1645.

This antique print, titled "Salvia Lutea Variegata," originates from Abraham Munting's renowned botanical work published in 1696. The print features the Salvia plant against an imagi...

This superb Italian 17th century Old Master animal oil painting is attributed to Baroque artist Giovanni Agostino Cassana. Painted circa 1650 the composition is of two rabbits, a guinea pig and a dove in an interior. The two rabbits, one brown one grey are in the immediate foreground, head to head eating something and the dove is standing to their right. The brown and white guinea pig is sitting above and behind them. As the background is dark the animals really stand out and there is superb detail in their respective fur and feathers. This is a charming Italian Old Master animal oil painting and an excellent example of Cassana's work. Provenance. Scottish estate. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a ebonised frame, 32 inches by 28 inches, in good condition. Giovanni Agostino Cassana (c.1658 – 6 May 1720) was an Italian painter of the Baroque period. He was a son of Giovanni Francesco Cassana and an elder brother of Niccolò and Giovanni Battista. He was born at Venice, and was initially instructed by his father. In 1670 he worked at the court of Ferdinando de' Medici in Florence and travelled regularly between the two cities, but spent at least the years 1718–1720 in Genoa, where he later died. He painted portraits with some success, but preferred painting animals in the style of Antonio Maria Vasallo, Benedetto Castiglione, and Joannes Fyt, a style which he learned from Jacques van de Kerckhove...

Antique map titled 'Basse Partie de la Basse Saxe ou sont les Duchés de Sleswick, Holsace, Meckelenbourg et Lauvenbourg (..)'. Original old map of northern Germany, including Schlesw...

Antique Pewter Spoons On Custom Stand, set includes a custom wooden stand, markings on the spoon suggest they are European possibly from the 17th ...

Claudius Ptolemy was a mathematician, astronomer and geographer who worked in Alexandria, then a part of the Roman Empire, in the 2nd century AD. One of the most learned and influent...

An antique 17th Century French Verdure Landscape Tapestry, envisioning a scene in which a dog chases an exotic bird at left, and a villagescape is visible in the middle distance. Th...

Antique map titled 'Royaume de Navarre (..)'. Decorative map of the province Navarre (Spanish: Navarra) in Northern Spain centered on the city of Pamplona. Published by N. Sanson, 16...

Antique Burmese wooden seated crowned Buddha, or sometimes known as 'King Buddha', wearing diadem-crowns and ornaments of kings instead of ordinary monk's robes. Crowned Buddha repr...