17th Century Portrait Paintings

Portrait of Lady Sarah Cowper, nee Holled [1644-1720]-Circle of Michael Dahl 17th century, oval,bust-length . She has dark hair tied high and wearing a b...

John Clostermann (Osnabrück 1660 - 1711 London) Portrait of a boy, maybe Charles Hinde Oil on canvas, 61 x 74,6 cm John Closterman (also Klosterman) was a portrait painter of the late 17th and early 18th centuries. He primarily portrayed English noblemen and European aristocratic families. His father was already an artist and he trained his son. In 1679 he went to Paris and studied with Francois de Troy. In 1681 he was in London and worked for the artist John Riley, whose studio he took over after his death. In 1696 he was invited to the Spanish court...

Artist/ School: Italian School, 17th century Title: Two figures in an interior, one holding an urn or jug. Possibly a Biblical narrative subject. Medium: oil painting on canvas, u...

Carvaly Skirmish At Night, 17th Century school of Jacques Courtois (1621-1676) Large 17th Century Italian Old Master night battle with cavalry offic...

Michele Desubleo (Maubeuge, 1602 - Parma, 1676) - attributable Portrait of gentleman like Solomon, the wise king Oil painting on canvas 120 x 141 cm., By gilded wooden frame cm. 134 x 162 cm. The beautiful painting shows us an image of the famous Solomon king, legendary biblical figure who became the personification of the good reigning over the centuries, and proverbially recognized as one of the wisest politicians in history. The features of the off are presumably those of the client of the work, who wanted to emphasize his image by impersonating a character with legendary fame. The reigning, with an elegant coron head of Corona of Eastern Foggia, is dressed in a sumptuous silk clothes...

The Penitent Magdalene, 17th Century circle of CARLO DOLCI (1616-1686) Large 17th century Italian old Master depiction of the Penitent Magdalene, oil on ...

The Annunciation, 15th Century circle of Andrea del Castagno 15th Century Italian Renaissance depiction of the Annunciation, oil on panel. Early...

Titan Fine Art are pleased to present this charming bust-length portrait, which is a good example of the style of portrait painted in England in the second quarter of the seventeenth century. The attire consists of the finest silks, and the full billowing sleeves, bows, and hairstyle help in dating this portrait to circa 1637. The accessory par excellence – pearls – are worn as a necklace and were a very popular accessory. The artist makes no attempt to obey the rules of Baroque and instead sensitively depicts in complete honesty his sitter against a plain wall, and without distracting backdrops and flowing draperies – this work is very redolent of the sumptuous half-length female portraits that Cornelius Johnson...

Arrival To The The New World, 17th Century European School - Early historical depiction of 16th Century Europeans Large 17th Century scene of ...

Guido Cagnacci (Romagna, 1601 - Vienna, 1663) workshop / attributable Quality work depicting David with the head of Goliath (or the Triumph of David) oil painting on canvas Dimensio...

A fascinating portrait dating from circa 1695-1700 with wonderful provenance: it belonged to the British industrialist Leonard Pelham Lee (1903–1980) and hung in his manor house in W...

The Battle Of The Peasants, 17th Century by M D HOUT (1627-1680) Large 17th Century Dutch Old Master scene of peasants fighting, oil on panel by M ...

Ancient painting depicting Jesus with the Commissioner's son (Alternative reading: St. Joseph with the Child, or the 'Paternity') Giovan Battista Salvi known as "the Sassoferrato" (1609 - 1685) circle / follower Oil painting on canvas 76 x 59 cm. -With frame in the shape of a small temple, not coeval 99 x 84 cm. The interesting canvas that we are pleased to offer you recalls the iconographic model of classic paternity, which traditionally sees Saint Joseph holding the sleeping baby Jesus...

Genoese school of the second half of the seventeenth century Circle of Domenico Piola (Genoa 1627-1703) The Holy Family Oil painting on canvas 83 x 68 cm. - in an antique frame 99 x...

Lombard painter active in the 17th century Infant Jesus Oil painting on canvas 70 x 82 cm. - In antique frame 78 x 91 cm. This painting depicts an unusual and pleasant iconographic...

After Carlo Dolci "The Angel Gabriel" Oil on Canvas: Painted oval form :13 x 11 in. Frame: 29 x 23 in. Fine carved giltwood Florentine frame. Late 18t...

Giovanni Bernardo Carbone (Genoa, 1616 - 1683), workshop Portrait of a gentleman in armor with battle scene in the background Oil on oval canvas (117 x 105 cm. - In gilded frame 124...

Still Life Of Flowers In A Vase, 17th Century circle of JEAN BAPTISTE MONNOYER (1636-1699) Large 17th century French Old Master Still Life of various flowers in a vase upon a mantle, oil on canvas by Jean Baptiste Monnoyer. Excellent quality and condition example of the famous still life painters work, authenticated from the published designs of Nicolas de Poilly...

Madonna Of The Harpies, 17th Century Italian School Large 17th Century Italian Old Master depiction of Madonna Of The Harpies, oil on canvas. Magnificent large scale scene of the Madonna accompanied by Saint Bonaventure...

Indistinctly signed and dated In the first quarter of the 17th century a new form of flower painting was developed in Flemish painting, which, recreated by a large group of artists and workshops, would achieve considerable success throughout the century in much of Europe: the garland of flowers surrounding a central figure. Brueghel de Velurs was the initiator of this type of composition, however, it was his pupil, Daniel Seghers, who was the dominant figure in this specialised production and the creator of a prototype that would serve as a model for the numerous artists who followed in his wake. It seems undeniable that the artist of the present painting had seen the Garlands of Flowers Surrounding a Medallion Depicting the Triumph of Love by Daniel Seghers and Domenico Zampieri (now in the Musée du Louvre in Paris). In our painting, the present floral wreath encircles a carved cartouche within which sits Saint Dorothy of Caesarea and the attribute which often accompanies her in art, a basket of roses. The extremely delicate flowers have been rendered in meticulous detail, so that every species can be identified from exotic tulips to roses, irises and forget-me-nots; this obvious attention to naturalism is inherited from the Flemish manner. Each flower is so precise and refined that they are an individual study in their own right. The still-lifes are from the hand of Jan Anton van den Baren, with the central figures by another accomplished hand. Van den Baren’s arrangement of flowers would have delighted connoisseurs in both Flanders and in Vienna, where the impossibility of their all blooming at the same time of year would have been understood as a further statement of the wonder and beauty of the divine. Van den Baren worked first in Brussels, where he collaborated with Erasmus Quellinus II for the figures in his works, before moving with Archduke Leopold Wilhelm, his patron, to Vienna in 1656, where he instead worked with fellow Flemish émigré painter Nikolaus van Hoy. The iconography relates to an eighth century legend where she was presented a basket of roses by a child. In addition to the brilliance of his handling of still-lifes Van den Baren played an important art historical role as Director of Archduke Leopold Wilhelm’s Picture Gallery in Vienna, then one of the greatest collections in the world and the core of what was to become the present collection of the Kunsthistorisches Museum, Vienna. Van der Baren compiled an inventory of the collection in 1659, and his predecessor as Director of the Archduke’s Picture Gallery (when it was still housed in Flanders), David Teniers, depicted van der Baren (third from right) in his celebrated Archduke Leopold Willem in his gallery at Brussels, conserved at the Kunsthistorisches Museum. It is a shining example of the Flemish Baroque and is a very rare object indeed, considering there are only 14 paintings accepted as authentic works by this artist. We are grateful to Fred Meijer for confirming the attribution to Johannes Antonius van der Baren. A feature of this painting is its outstanding carved and gilded frame with a plethora of flowers and foliage. Titan Fine Art

Nude bathing in A Landscape, 16th/17th Century Italian / Flemish School Huge 16th 17th century Italian Flemish School landscape with nude bathers, oil on canvas. Excellent quality and condition circa 1600 extensive landscape with the nudes / nymphs bathing...

Portrait Of A Young Lady, Traditionally Identified As Rachel Russell, Duchess of Devonshire (1674-1725) circle of Sir Godfrey Kneller (1646–1723...

Francesco Fracanzano (Monopoli 1612-Napoli 1656) Testa di vecchio Olio su tela, cm 66x52,5 La tela presenta la figura di un uomo anziano a mezza figura con lo...

Venus Warning Adonis, 16th Century school of Paolo Veronese (1528-1588) Huge 16th century Italian Venetian School Old Master depiction of Venus & Ado...

Sir Peter Lely (Soest 1618 – 1680 London) Portrait of lady with a crown, possibly Bridget Drury Lady Shaw, formerly Viscountess Kilmorey, later Lady Baber (d.1696) c.1665 Oil on canvas 46 1/2 x 40 3/4 inches, Framed 42 1/4 x 36 1/4 inches, Unframed Inscribed left [……….]Isabella James Mulraine wrote the following for this piece: This portrait dates to the middle of the 1660s, the decade when Lely’s career took off as successor to Sir Anthony van Dyck. At the Restoration Charles II had appointed him Principal Painter to the King and paid a pension £200 per annum ‘as formerly to Sr. Vandyke...’1 Lely had trained in Haarlem and he was in his early twenties when he came to London in 1643. He was an astute businessman and a wise courtier. In 1650 he painted a portrait of Oliver Cromwell (Birmingham Museum and Art Gallery) while maintaining links with the Royalist exiles through the 1650s. He had arrived in England as a painter of small-scale portraits and lush scenes of nymphs in landscapes in a Dutch style. His experience of Van Dyck in English collections transformed his painting. His lavish and alluring vision of Arcadia exactly captured the spirit of the Court and as Principal Painter he dominated English portraiture for the next twenty years. Lely ran a highly efficient studio along Netherlandish lines, employing a team of specialists like the drapery painter John Baptist Gaspars and young artists-in-training like Nicolas de Largilliere. He had numerous rivals during that period, and by 1670 he had introduced numbered standard poses to speed up production, while collaborating with printmakers for further revenue and advertising. He died in 1680 of a stroke while painting, working to the last. The portrait, painted at a date when Lely’s poses and execution were still individual and inventive shows a lady sitting at three-quarter length facing away from the viewer. She has begun to turn towards the viewer, a pose with a long pedigree in art, first used by Leonardo da Vinci in the Mona Lisa (Louvre). She steadies her blue drapery where it might slip from her arm with the movement, a flash of realism beautifully captured. Like Van Dyck, Lely painted his female sitters in a timeless costume rather than contemporary fashion, showing a loose gown and floating silk draperies. It presented the sitter as a classical ideal. The portrait would not date. The saffron dress may be the work of a drapery painter but the brown scarf must be by Lely himself, and appears unfinished, broadly sketched in behind the shoulder. The delicate blue glaze and nervous highlights suggest shimmering translucence. Lely was a master of painting hands – his hand studies are marvels of drawing – and the lady’s hands are superb, exactly drawn, delicately modelled and expressive. The fidgety gestures, clutching the gown, fiddling with the edge of the scarf, give the portrait psychological bite, suggesting the personality behind the calm courtier’s expression, adding to the sense shown in the look of the eyes and mouth that the lady is about to speak. The portrait’s language is Vandykian. The inspiration comes directly from Van Dyck’s English portraits of women. Lely owned Van Dyck’s Portrait of Lady Elizabeth Thimbleby and Dorothy Viscountess Andover (National Gallery, London) and the sitter’s costume quotes Lady Andover’s saffron dress and brown scarf. But Lely paints a generation who sat nearer to the ground and through a dialogue of expression and gesture he shows sitters who are more flesh and blood than Van Dyck’s. The background with a column and curtain is different to those shown in most of Lely’s portraits of women. They tend to include trees or fountains, with a glimpse of landscape. But there are other examples. A portrait of the King’s reigning mistress, Barbara Villiers Duchess of Cleveland...

Portrait Of Lady Mary Villiers, later Duchess of Richmond and Lennox (1622-1685), As Saint Agnes, 17th Century after Anthony VAN DTCK (1599-1641) Portrait Of Lady Mary Villiers, later Duchess of Richmond and Lennox, As Saint Agnes, oil on canvas. Excellent quality and condition three quarter length seated portrait of the Duchess as Saint Agnes holding a palm leaf, accompanied by the lamb and wearing a white satin dress...

Portrait Of A Senior British Military Officer, Identified as Charles Sackville, 6th Earl Of Dorset (1643-1706) circle of Sir Godfrey KNELLER...

Portrait of Sir William Cowper [1639-1706] Circle of Michael Dahl 17th century oval, bust-length, with a long dark wig, and wearing a lace cravat and bro...

Marcantonio Bassetti (Verona 1586-1630) Ritratto di uomo di legge Olio su tela, cm 38x27,5; con cornice cm 59,5x48,5 Le caratteristiche pittoriche della persona ritratta sembrano rin...

Portrait Of General George Monck, 1st Duke of Albermarle (1608-1670), 17th Century by Jacob Huysmans (1633-1696) Huge 17th Century British Old Master portrait of General Monck...

PPortrait Of Barbara Villiers (1640–1709), Countess of Castlemaine and Duchess of Cleveland Circle of Sir Peter Lely (1618-1680) Huge 17th Cent...

Barend GRAAT (Amsterdam 1628 – Amsterdam 1709) Diana the Huntress Oil on wood H. 33.5 cm; L. 44 cm Signed lower right on the stone A discreet painter with respect to history, Barend...

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...

Portrait of a lady by Dutch Golden Age painter Nicolaes Maes (1634-1693). Half-length, within a feigned oval, the lady wears a pearl necklace and earrings, an ivory silk gown adorned...

Amazing painting of Cleopatra oil on canvas with a gilt wood frame. Attributed to Giuseppe Diamantini (Fossombrone 1621-Venice 1705) The dramatic subject of the painting depicts th...

Portrait of Barbara Palmer 1st Duchess of Cleveland 1640-1709, half-length wearing a red dress and portrayed within a cartouche. Circa 1680 Oil On...

Erasmus Quellinus The Continence of Scipio Oil on Canvas The painting is included in the Catalogue Raisonné of the artist. The Roman commande...

The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. This charming portrait, presented by Titan Fine Art, of a fashionable young gentleman and his faithful pet is an excellent example of 17th century child portraiture in England. There is a remarkable beauty and sensitivity to the portrait. The face, particularly well rendered, has captured the character of this young man – both charming and at the same time mischievous. Only the playful attention of a small dog suggests anything less than patrician dignity. Symbolism was important in portraiture and it provided a pointed and aspirational narrative that would not have been lost on contemporary viewers. For example, the presence of the dog, which was likely the boy’s pet, is at once a charming pictorial device and also a clear allusion to fidelity, trust and loyalty. The hairstyle and the attire, notably the type of cravat with the blue ribbon, help to date this portrait to between 1670 to 1685. Until the late eighteenth century children were dressed as adults - boys were dressed like men in breeches, vests, and coats between four and seven years of age. The expensive lace is an indication to his family’s wealth. Held in a good quality and condition antique gilded frame. Born in Suffolk, Mary Beale, nee Cradock (1633-1699) was employed by many of the most distinguished persons of her time including nobility, landed gentry, and clergymen. Technically accomplished, her paintings are noteworthy for their honest and sympathetic portrayal. In 1651 she married Charles Beale...

Portrait of a Girl holding a Posy. Oil on Panel 17 1/2 x 13 inches 44.4 x 33 cm ABOUT THE ARTIST:  Jacques d'Agar  was a French portrait painter born i...

Portrait Of A Lady As Diana, 17th Century Salomon de Bray (1597-1664) Large 17th Century Dutch Old Master portrait of a lady as Diana, oil ...

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

Workshop of Giovanni Francesco Barbieri, known as Il Guercino (Cento, 1591 - Bologna, 1666) Saint Mark the Evangelist Oil on canvas - 85 x 71 cm., Framed 100 x 86 cm. Of great cha...

The Stoning Of St Stephen, 17th Century School of François VERDIER (1651-1730) Fine 17th century French Old Master depiction of the stoning of St Stephen, oil on canvas. Excellent ...

Attributed to Sir Godfrey Kneller (1646 - 1723) A Portrait of Ochius, also called The Passia Ahmed Oil on canvas In a gilded frame Painted circa 1689 following the siege of Belgrad...

Studio of Sir Peter Lely Dutch, (1618-1680) Portrait of a Lady Oil on canvas Image size: 29.25 inches x 24.25 inches Size including frame: 37...

Portrait of Maximilianus II, Arch Duke of Austria, 17th Century Dutch School 17th Century Dutch School Old Master portrait of Maximilianus II, Arch Duke of Austria, oil on panel. G...

Chickens & Other Birds In A Farmyard, 18th Century circle of Marmaduke CRADOCK (c.1660-1717) Fine 18th Century English School farmyard scene of var...

The Brith Of Eve, 17th Century French School - Huge Piece Huge 17th Century French Old Master depiction of The Birth of Eve, oil on canvas. Huge scale early French Old Master unusu...

Circle of Michael Dahl Swedish, (1659-1743) Portrait of a Lady Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inches A fine half-length portra...

Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576) follower of Portrait of the emperor Julius Caesar (Rome 100 BC - 44 BC), inscribed above C. IVLIVS. CAESAR Portrait of the Emperor Octavian Augustus (Rome 63 BC - 14 BC), inscribed on top OCTAVIANUS II ROM IMP 17th century oil painting on canvas Measurements (cm.): 65 x 50, with frame 81 x 68 cm. The Latin writer Suetonius with his work 'De vita Caesarum' (and in particular with his tradition in the vernacular of 1543, edited by the Florentine scholar Paolo del Rosso) inspired Tiziano Vecellio who, in 1537, painted for Duke Frederick II of Gonzaga portraits of the eleven emperors, adorning the walls for a small room in the Palazzo Ducale in Mantua, later known as the Cabinet of the Caesars. These effigies were intended to establish the link between the new era and classicism with its splendor, as well as to celebrate the value and wisdom of the rulers, who perceived themselves, in their lordships, as valiant new emperors. Titian's paintings soon became enormously popular and many patrons and lords of the time, including Ferdinando d'Avalos, Marquis of Pescara and Governor of Milan or Vespasiano Gonzaga, turned to the workshop of the Cremonese Bernardino Campi...

A very fine oil on canvas of Sir John Pettus ,circle of Mary Beale 17th century Wearing a red cloak and a black tunic with white collar. His coat of arms to the right. Housed in a gilt frame, the size overall being 85 x 74 cm whilst the painting is 76 x 63.5cm In overall excellent condition. There is a wealth of history about the sitter online , below is a brief resume John Pettus Sir John Pettus (1613–1690) was an English royalist, politician and natural philosopher. Pettus was an expert on metallurgy and became a deputy governor of the royal mines in England and Wales under Charles I and II. He is known for the first English translation of the work of the German metallurgist Lazarus Ercker. Pettus’s grandfather was a wealthy Norwich merchant ,he purchased the manor of Rackheath in 1590 and represented the city in 1601 and 1604-10. Although a younger son, Pettus inherited the manors of Chediston and Wenhaston, He married well; but even before the Civil War most of his estate was mortgaged, and his wife’s expectations were never realized, owing to her father’s misfortunes as leader of the City Royalists. Pettus became a servant to Charles I, and took part in the farcical royalist attempt on Lowestoft in March 1643, but was exchanged after nearly a year in prison. It is unlikely that he resumed command of his regiment, such as it was, since he ‘continued inoffensive till the taking of Bristol’ by the New Model Army...

Artist/ School: 17th Century Dutch School Title: Ladies Collecting Flowers Medium: oil painting on panel, framed Oval : 6.75 x 9.25 inches, frame...

Madonna of the Harpies, 17th Century follower ANDREA DEL SARTO (1486-1530) Huge circa 17th century Italian Old Master of the Madonna Of The Harpies...

An Allegory Of Motherhood & Charity, 17th Century Huge Italian Old Master Huge circa 1600 Italian Old Master scene of a mother and infants as an al...

Portrait Of A Man Wearing A Turban Smoking a Pipe, 17th Centuey school of Adam DE COSTER (1586-1643) Large 17th Century Dutch School Old master portrait of...

Portrait Of A Elizabethan Gentleman Traditionally Identified As Edmund Spenser (1552-1599) Large Elizabethan School portrait of gentleman traditional...

Cesare Gennari (Cento, 1637 - Bologna, 1688) Rinaldo holds back his beloved Armida Oil on canvas - 119 x 164 cm. - In frame 141 x 189 cm. The work is accompanied by a critical study written by prof. Emilio Negro (Bologna) This valuable work can be ascribed to the production of Cesare Gennari (Cento, 1637 - Bologna, 1688), and depicts the episode of the last canto of the heroic poem the 'Gerusalemme Liberata' by Torquato Tasso, which features the two famous lovers...

Circle of John Riley British, (1646-1691) Portrait of a Gentleman Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inch...