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Exceptional pair of carved giltwood mirrors refined with precious tortoiseshell rectangular plate scrolled acanthus leaf cresting, architectural elements, winged putti and scrolled f...

Lombard painter of the seventeenth century Ecce Homo Oil painting on canvas 56 x 43 cm. , framed 75 x 63 cm. Provenance: Florence, Pandolfini, 5.10.2021, lot 209 The proposed canv...

This original antique map titled "Le Gouvernement de l'Isle de France" represents the Île-de-France region, which historically was one of the provinces of France and contained the ci...

A fantastic bracelet with matching ear clips from Schiaparlli from 1950s Italy. The bracelet consists of 5 links, each with 2 ice rock glass stones, 2 handcra...

17th Century Florentine Velvet Metallique Pillow

Helge Borge Mortensen Desk. Front with four drawers with carved circular handles. H. 72 cm. L. 160 cm. D. 80 cm. Provenance: Made as apprenticeship tes...

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...

Antique map titled 'The Counti of Warwick the Shire Towne and Citie of Coventre described'. Map of Warwickshire, England. Includes inset town plans of Warwic...

Renaissance-stained glass panel, 'Seven Men of Good Reputation' French or Flemish, 17th century or older A Renaissance stained glass panel, "Seven Men of Good Reputation," originating from France or Flanders, dates back to the 17th century or earlier. This exquisite 12.5-inch square window features seven vivid medallion portraits, believed to depict the Seven Deacons: Stephen, Philip, Prochorus, Nicanor, Timon, Parmenas, and Nicolas. Each portrait is intricately stained, enameled, and painted, capturing the rich colors and detailed expressions typical of Renaissance artistry. The Seven Deacons were pivotal figures in the early Christian church, chosen to minister to the community of believers in Jerusalem, allowing the Apostles to focus on prayer and the ministry of the word. This stained glass panel not only represents significant religious history but also showcases the exceptional craftsmanship of the period. Its vibrant imagery and historical context make it a rare and valuable piece for collectors and enthusiasts of Renaissance art and Christian history. Whether displayed in a home, church, or museum, this historically significant...

A fine Japanese pictoral style lacquer cabinet with gilt-metal mounts Kyoto, Edo period, 1670-1690 Decorated in Japanese relief lacquer work, black lacquer ground decorated...

Antique print, titled: 'Vera effigies et delineato Insulae Ascenstio …' - Bird's eye view of Ascension Island. Five large sailing ships in the background and flying fish and waterfowl in the foreground. On the rear an image of four ships sailing towards a whale, accompanied by fowl, flying fish and dolphins. From 'Indiae Orientalis', 1598-1604. Artists and Engravers: Made by an anonymous engraver after 'Jean Theodore de Bry...

This original copper engraving depicts a lively scene of daily life in New Spain from Arnoldus Montanus' "Die Unbekannte Neue Welt oder Beschreibung des Welt-teils Amerika und des Su...

Antonio Travi, called Sestri (Genoa, Sestri Ponente 1608 - Genoa 1665) Landscape with ruins and biblical scene First half of the seventeenth century oil on canvas, 82 x 121 cm The beautiful painting published, which presents a vast landscape with architectural ruins, fully reflects the pictorial poetics of Antonio Travi (Sestri Ponente 1608 - Genoa 1665), the first landscape painter of the Genoese pictorial school; A poetic that remains constant throughout his career: Bernardo Strozzi...

This map, created by Giacomo Cantelli da Vignola in 1695, represents the "General Government of Guyenne and Gascony" in southwest France. Cantelli da Vignola was a renowned Italian c...

The map of Batavia (modern-day Jakarta) from 1681, attributed to Frederick de Wit holds significant historical importance for several reasons: Historical Context 1. Colonial Era: This map dates back to the Dutch colonial era when Batavia served as the administrative and commercial hub of the Dutch East India Company (VOC). The VOC was a powerful trading entity that played a crucial role in the global spice trade and colonization in Southeast Asia. 2. Strategic Importance: Batavia was strategically located on the northwestern coast of Java, providing the Dutch with a critical base for their maritime operations. The city became the center of Dutch political and military control in the region. Cartographic Significance 1. Detailed Urban Layout: The map meticulously details the layout of Batavia, including its fortifications, canals, streets, and significant buildings. This level of detail provides insights into the urban planning and architectural styles of the period. 2. Military Engineering: The fortifications shown on the map illustrate the advanced military engineering techniques used by the Dutch to protect their valuable colony. The walls, bastions, and moats indicate the strategic considerations taken to defend against potential invasions. 3. Maritime Activity: The depiction of ships in the harbor highlights Batavia's role as a major maritime center. The VOC's fleets were essential for trade routes connecting Europe, Africa, and Asia, making Batavia a crucial node in global commerce. Artistic and Cultural Value 1. Artistic Elements: The decorative elements, such as the lion holding a shield and the intricate cartouches, reflect the artistic trends of Dutch Golden Age cartography. These embellishments were not only informative but also served to display the cartographer's skill and the map's prestige. 2. Cultural Exchange: Maps like this one provide evidence of cultural exchange between the Dutch and the indigenous populations of Java. The blending of Dutch and local influences can be seen in various aspects of the map and the architecture of the city. Rarity and Preservation 1. Rarity: Maps from the 17th century, especially those in good condition, are relatively rare and highly valued by collectors and historians. Each map provides a unique snapshot of historical geography and urban development. 2. Preservation of History: This map serves as a historical document, preserving knowledge about Batavia's cityscape, infrastructure, and colonial governance. It helps historians and scholars understand the socio-economic and political dynamics of the period. Conclusion The map of Batavia from 1681 is special due to its detailed depiction of one of the most important colonial cities in Southeast Asia during the Dutch Golden Age. It reflects the strategic, economic, and cultural significance of Batavia, serving as a valuable resource for understanding the history of Dutch colonialism and its global impact. The map's artistry and precision make it an important artifact in the history of cartography. --------------- The map is an original and historical map of Batavia (present-day Jakarta) on the island of Java, dated 1681. There are several details to consider when evaluating its origins and possible authorship: 1. **Style and Detail**: The intricate details and style are reminiscent of maps created by Frederick de Wit, a prominent Dutch cartographer and engraver of the 17th century. He was known for his detailed city maps and sea charts. 2. **Lack of Signature**: The absence of "F. de Wit, Excudit" could indicate either an omission or a different engraver. However, it is essential to note that some maps from that period were reproduced or copied by other engravers and cartographers. This was not uncommon, as map-making was a collaborative effort, and copies of popular maps were frequently made. 3. **Map Characteristics**: - The depiction of ships and the detailed fortifications are typical of Dutch cartography in the late 17th century. - The decorative elements, such as the lion holding a shield, are also characteristic of Dutch map engravers. 4. **Other Possible Engravers**: While Frederick de Wit is a strong candidate, other notable Dutch engravers from that period include Joan Blaeu and Willem Janszoon Blaeu. They also produced highly detailed maps and could potentially be the creators or inspirers of this map. To determine the precise authorship, you might consider: - **Comparing** this map with other confirmed works of Frederick de Wit and his contemporaries to identify stylistic similarities and differences. - **Historical Records**: Consulting historical records or publications related to Dutch cartography in the 17th century might provide more context or even direct references to this particular map. If you have access to additional details or higher-resolution images of specific sections, it might help further pinpoint the map's origin and authorship. ------------- Frederick de Wit (1629–1706) was a prominent Dutch cartographer, engraver, and publisher known for his detailed and decorative maps, atlases, and globes. He played a significant role in the Dutch Golden Age of cartography, contributing to the wealth of geographic knowledge and artistic achievement during this period. Here are key aspects of his life and work: ### Biography - **Early Life**: Frederick de Wit was born in Gouda, Netherlands, in 1629. Little is known about his early years, but he moved to Amsterdam, the epicenter of Dutch cartography, in the mid-17th century. - **Career Beginnings**: De Wit began his career as an engraver and publisher, initially producing maps that were reissues of earlier works by other cartographers, such as Joan Blaeu and Willem Janszoon Blaeu. ### Contributions to Cartography - **Mapmaking**: De Wit was known for his meticulous attention to detail and artistic flair. He produced a wide range of maps, including world maps, regional maps, city plans, and maritime charts...

Gregorius 17th century Italian Louis XIV solid walnut wood antique sideboard. Equipped with three comfortable drawers and three beautiful doors. Beautiful large iron hinges can be se...

This beautiful carved Renaissance front section was a part of a built in cabinet. The carvings are typical for Bretagne area in France and it can be ...

Portrait of Oliver Cromwell (1599-1658), 17th century circle of Robert WALKER (1599-1658) Large 17th Century English Civil War portrait of Oliver ...

Engraving of the burning at the stake of a Franciscan friar. Here is a detailed analysis, including a description and a translated version of the text: The text at the bottom reads:...

Hendrick de Somer, known as Enrico Fiammingo (Lokeren 1602 - Naples 1655) Saint Jerome penitent in the cave oil on canvas 103 x 130 cm. - In original period frame 123 x 152 cm. Th...

This superb Dutch Old Master marine oil painting is attributed to the circle of Jacob de Heusch. Painted circa 1690 the setting is an Italian coast with fish...

Exceptional master tapisserie from Brocard Museum Royal collection, brought directly from the estate of the Museum; Vente collection brocard 1998; P.D... Silver thread tapestry origi...

Antique print titled 'Il Monte avec la Main, les Eperons, et Gaule (..)'. Plate 4 from "La Methode et Invention Nouvelle de Dresser les Chevaux" by William Cavendish. This engraving shows William Cavendish, first Duke of Newcastle...

Italian painter (18th century) - Landscape with ruins and characters. 97 x 138 cm. Antique oil painting on canvas, without frame. Condition report: Lined canvas. Good state of con...

Original 17th century painting attributed to the Circle of Sir Peter Paul Rubens as confirmed by Christies London. This beautiful work of art i...

Rare antique Italian kneeler, Mid-17th Century Louis XIV. Made of solid walnut with relief decoration carved into the wood. In the part dedicated to the knees there is a compartment. Of great value all the hand forged iron part of the escutcheons and fantastic large antique keys...

Antique print titled 'Vaisseau Royal de l'Angleterre, Konincklyke Schip van Engeland'. Beautiful hand-coloured engraving of the Royal Flagship of the English Fleet. Originally publis...

Good Condition, Original Design Modified.

An Arita dish in storage box. Edo Period ( 17th century) Decorated in overglaze enamel on underglaze blue. Flowers, landscape, Dragon and Phoenix. Color bursting from it. Period; ...

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

Antique map titled 'Barbariae et Biledulgerid nova descriptio'. Old map of coastal North Africa and the Mediterranean. The map extends from Morocco and the Sahara to Libya and sh...

This superb 17th century Dutch Golden Age oil painting has been more recently reattributed to Abraham Begeyn by Dr Marijke C. de Kinkelder formerly of the RKD - Netherlands Institute for Art History. Painted circa 1640 it is an Italianate wooded river landscape with drovers and their herd crossing a river with a watchtower beyond. Begeyn was one of the many 17th-century Dutch and Flemish painters to embrace the Italianate style, populating their decidedly non-Dutch, mountainous landscapes with rustic travellers and picturesque ruins bathed in warm, Mediterranean light. It has Begeyn's characteristic brightly lit cattle and grouping of figures, similar to a comparable painting in the Lichtenstein Princely Collections. The brushwork and details are superb. One can see the influence of his teacher Nicholaes Berchem (1620-1683) and the typical golden glow of the Golden Age painters. This is a stunning 17th century Golden Age oil painting and an excellent example of Begeyn's work. Provenance: With Koetser Gallery, Zurich. Private Collection (Rhine region). Anon. sale, Dorotheum, Vienna, 22 June 2010, lot 357, as by Jacob de Heusch (€18,600). Anon. sale, Christie's South Kensington,18 November 2015, lot 432, as 'Follower of Nicolaes Berchem'; where purchased by the present owner. Note: Begeyn was one of the many 17th-century Dutch and Flemish painters to embrace the Italianate style, populating their decidedly non-Dutch, mountainous landscapes with rustic travellers and picturesque ruins bathed in warm, Mediterranean light. He is thought to have studied under Nicolaes Berchem (1620-1683), a pioneer of this genre of landscape painting, and travelled extensively to Italy, London and later to Germany in 1688, where he lived out his days as court painter to Frederick III, Elector of Brandenburg (later Frederick I, King of Prussia). The present work was previously thought to be the work of Jacob de Heusch (1656-1701), but has been more recently reattributed to Abraham Begeyn by Dr Marijke C. de Kinkelder formerly of the RKD - Netherlands Institute for Art History. A comparable scene, which also includes Begeyn's characteristic brightly lit cattle and a similar figure group, was sold at Christie's Amsterdam, 18 November 2015, lot 110. Another can be found in the Liechtenstein Princely Collections (no.GE 290). Condition. Oil on canvas, image size 21 inches by 18 inches and in good condition. Frame. Housed in a beautiful gilt frame, 28 inches by 25 inches and in good condition. Abraham Begeyn (c. 1637 Leiden - 11 June 1697 Berlin), was a Dutch Golden Age painter. Begeyn was born in Leiden. Though perhaps known mostly for his Italianate landscapes and cattle in the manner of Nicolaes Pietersz Berchem, Begyn was a highly skilled painter active in many genres, who travelled widely. According to the RKD, Begeyn's earliest known work is from 1653, though he was first accepted into the Guild of St. Luke in Leiden in 1655. He stopped paying dues in 1667, because he set off for a trip to Italy. He is registered in Rome and Naples from 1659–1660. In the rampjaar or disaster year, of 1672, he is registered in Amsterdam, and after that he lived in London, where he painted at Ham House, Surrey, together with Willem van de Velde the Younger (1633–1707) and Dirck van Bergen...

Royal Navy Blue Squadron Off A Mediterranean Port, early 17th Century School Of Cornelis Claesz van Wieringen (1573-1633) Large 17th Century scene of the Royal Navy Blue Squadron o...

17th century oak refectory table. 3 Plank Top all held together with dowels. Table is solid as a rock! Beautiful signs of use and wear, I'm sure some refinishing has happened over it...

This map, titled "Novam Hanc Territorii Francofurtensis Tabulam," is an exquisite hand-colored engraved map from around 1663, created by the renowned cartographers J. and C. Blaeu of...

Alberto Carlieri (Rome 1672-1720) "Architectural capriccio with the preaching of Saint Paul in the Areopagus of Athens" Oil on canvas, measures with...

Antique map titled 'Hellas seu Graecia Universa' Detailed map of Greece, with Crete, the Aegean Islands, and part of Turkey. With two cartouches, compass rose and scale. Carolus Alla...

This is an original antique print that features an intricate engraving from 1698, depicting Charles XI, the King of Sweden, titled "Carolus XI, Suecorum Gothorum Et Vandalorum Rex,"...

This superb Dutch Old Master Golden Age oil painting is attributed to Pieter Bodding van Laer. Painted circa 1635 the composition is a group of travellers who have stopped to rest. I...

Antique map titled 'Accurata Scaniae, Blekingae et Hallandiae Descriptio per F. de Wit Amstelodami'. This map shows South Sweden with an inset of Halmstad and vicinity. Contemporary ...

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...

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...

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...

Large antique oil painting of Samson and Delilah after Anthony van Dyck Dutch, 17th Century Height 165cm, width 233cm This very large artwork ...

Aristocratic style is presented by this tapestry; a heraldic coat of arms formed by woolen cloth of different colors applied in collage on blue woolen cloth. Lucchese (Lucca) manufac...

This superb trompe l'oeil painting is in the circle and quality of the Antwerp Jesuit master Daniel Seghers. Painted circa 1650, the central cartouche,...

Wonderful pair of two baroque gilt oak ornaments, France, circa 1650-1750. Weathered and small losses. Measurement here below of the largest one and includes the wooden base.

Good Condition, Original Design Modified.

Rustic Antique Hand Carved Stone Birdbath Center Fountain Basin Sink Container . A beautiful 17th Century Hand Sculpted Benitier reflects t...

This lovely 17th century Old Master floral oil painting is attributed to the circle of noted Franco Flemish artist Jean-Baptiste Monnoyer. Painted circa 1670 it is a still life of a ...

Quality work attributed to the painter Peter Van Der Velde (Antwerp 1634 - c.1714) - Monogrammed Coastal view with vessels and perched castle Oil painti...

Antichità Castelbarco SRLS is proud to present: Claudio Ridolfi (Verona, c. 1570 - Corinaldo, 1644) Workshop/circle The Guardian Angel in Glory Oil on canvas 124 x 84 cm. - With fr...

Antique map titled 'Dania Regnum'. Large, attractive map of Denmark, Sleschwig-Holstein and southern Sweden. Good detail throughout. Embellished with a title cartouche with the Danis...

This stunning 18th century Old Master portrait oil painting is attributed to Swedish born, England based artist Michael Dahl. Painted circa 1690 it is a sumptuous half length portrai...

This map, "Westmoria Comitatus; Anglice Westmorland", was created by the esteemed Dutch cartographer Willem Blaeu and was published around 1645 in 'Le Theatre du Monde ou Nouvel Atlas'. It provides a detailed look at Westmorland, a historic county in northern England, based on John Speed’s earlier map. The map features numerous place names, parks, and estates, including Brigster Park, Colnhead Park, Crosbye, and Midleton, along with a detailed depiction of Windermere (spelled Wynandermere) and the surrounding regions. Additional Features: - Hand-colored map, with vibrant and detailed colors that bring out the topographical and decorative features. - Includes intricate cartouches, such as the royal coat of arms, a decorative title cartouche topped with putti (cherubic figures), and six coats of arms (two left blank). - Depicts the region’s rich landscape, including the rolling hills and mountainous terrain of northern England. - French text on the verso, indicative of the publication period from 1645-1648, part of Blaeu’s highly sought-after atlases. - Map shows precise details of small towns, estates, and parks, such as Brigster Park, Colnhead Park, Crosbye, and Wynandermere (now Windermere Lake). This map would be of particular interest to collectors of English county maps, antique maps of northern England, 17th-century cartography, and the decorative works of Willem Blaeu. Blaeu's maps are renowned for their accuracy, artistic beauty, and historical significance. Keywords: Willem Blaeu, Westmorland map, northern England, 17th-century map, antique map, English county map, John Speed, Windermere, decorative cartography, hand-colored map, rare map, antique cartography...

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

Antique map titled 'Bingen'. Bird's eye-view of Büdingen, Germany. The view shows a city surrounded by vineyards and well fortified with walls and moats. On the right is the castle w...

Jacques Waben (Alkmaar ca. 1575-1641/1642 Hoorn) Signed in the bottom centre and dated ‘J. Waben f./1620’. The Announcement to the Shepherds Oil on oak panel 103 x 63 cm in frame 107 x 67 Provenance: Vienna Palais Dorotheum Old master painting 10.12.2015 (lot 143) This is a spectacular depiction of the theme of the annunciation to the shepherds, set in a nocturnal atmosphere dense with photos but refined, the episode of the birth of Jesus reported in the Gospel according to Luke (Lu 2:8-15), in which an angel announces the birth of Christ to a group of shepherds. We see the scene just as described in the Gospel passage that sets the event at night where the shepherds, intent on watching over their flock, were startled by the sudden appearance of an angel of astonishing beauty who we see here radiating a powerful golden light, while at his side a multitude of other angels from the heavenly army sing praises to God. After exhorting them not to be afraid, he informed them that a saviour, the Messiah, had been born in Bethlehem, whom they would find wrapped in swaddling clothes in a manger, cared for by the Virgin and St Joseph. The annunciation to the shepherds was the most depicted night scene in Flemish painting from the 15th century...