The atmospheric work in oils on one inch thick panel, made for the family chapel or altar, of good size and in memory of a patrician family, the symmetrical composition showing seventeen males and females, with the two respective coats of arms beneath each with the helm situated above the shield, torse and crest, the figures amongst an impressive architectural background with an arched façade having a caryatid support to each flank and two masks to the centre, the whole in untouched condition an
The trio of cushions woven with tapestry fragments of an urn of flowers, an angel and a fleur de lys, all against foliate grounds, with pleated edgings, worked in blues, greens and golds, survive from the seventeenth century, incorporated into cushions in the twentieth century.
The seventeenth century hide-upholstered joined walnut side chair, with traces of an attractive blue paint remaining to the lower carving, the whole having a rectangular back and seat upholstered in hide attached with over-sized nails, foliate carved and pierced front stretcher and scroll-cut low side stretchers survives from the baroque Spanish period.
The very large French School oil on canvas portraits at approximately eight feet high each, in faux grained painted frames, depicting the Comtesse de la Rochelle and Rene Ferdinand de Precipiano, Baron de Cuse, both in their splendour, amongst country house settings and both surviving from the second quarter of the seventeenth century, and from the Fonthill Abbey estate in Wiltshire, UK.
The rather large and early English school oil on oak panel depicting a bearded gentleman or nobleman in typical period attire, head and shoulders wearing a fur-trimmed cloak and crested gold signet ring, his fixed gaze stern and authoritative, the work in as found order, with a fragmented inscription upper left, and surviving from seventeenth century England.
The beautifully decorative painted and gilt decorated chest or casket, of Iberian origin, the rectangular carcass having iron strapwork and hinges, being clad with sectional pressed metal in the form of two crosses, with Islamic inspired motifs of maidens and mermaids with roundels, the powder egg blue turquoise paint remaining in many areas, with small amounts of gilding also remaining, the lid opening to reveal the original painted interior with candle box, the whole surviving from the first q
Painted in oils on canvas and then laid loose onto board, the fragment cut down from a larger composition depicting a bearded saint, possibly that of St. Jerome, and a winged putto, presented in a simple twentieth century glazed frame survives from baroque period Italy.
Of large size, at over eight feet, the beautiful silk embroidery frieze, backed onto linen and hessian, worked in gold, blue and green silk and metal threads, spangles; stem, plaited braid and knots, depicting a repeating pattern of opposing parrots and songbirds amongst flower heads and foliage, the whole surviving from late seventeenth century England.
The beautifully sculptural and decorative, yet fully functioning, iron strong box, of Spanish origin, the rectangular casket having paneled sides with large drop carrying handles, the heavy duty four gated lock opening with the original key to reveal a vacant interior, the whole sitting on the original ornate baroque iron stand with scroll decoration, to twisted and scrolled feet, and surviving from the second half of the seventeenth century in super condition.
The rare and principally seventeenth century oak and pine scullery table with a beautifully dry aged patination to the whole, the loose (possibly eighteenth century) flippable pine plank top having very unusual hexagonal groupings of pegs in its construction, bearing a huge drawer to one end with later nineteenth century iron handles, to a plain frieze showing the darker dry oak texture and carcass with a central stretcher, survives from the middle part of seventeenth century Wales.
Dating from the Baroque period the mid to late seventeenth century chapel dedication or devotional fragment in a near period scarlet painted pine and gesso moulded frame with a hand painted calligraphy parchment paper panel with seven lines of script and a circular armorial to the top, remaining in beautiful un-meddled with condition.
Painted in oils on thick panel, the Italian school work depicting Mary Magdalene, penitent for her sins and with a sorrowful expression, clutching a crucifix, with fleshy arms and bosom, a halo of light around her head, the whole painted by a Bolognese painter and surviving from baroque period Italy.
Size: Octavo (standard book size). 373 pp. Text is in German. Text is free of previous owner's markings. Binding is tight, covers and spine fully intact. Slight browning throughout. Edges browned slightly. Top edge gilt, faded. General shelfwear to covers edges and corners with fraying, tearing or wear along edges. Quantity Available: 1. Shipped Weight: Under 1 kilo. Category: History; Renaissance 16thc to 17thc; German Language; #101158; Art & Design. Pictures of this item not already displayed
A late 17thC elm mule chest / coffer of small proportions with a carved front above a single long drawer and having a lid opening to reveal candle box section within. 43'' long x 17'' wide x 26'' long