17th Century Paintings

Great Italian painting from the second half of the 17th century. Work oil on canvas depicting a religious subject Madonna with child of good pictorial quality. Painting with a partic...

Antique Flemish panel from the second half of the 17th century. Oil artwork on panel depicting a religious subject with an interior scene with the Holy F...

An exceptional Continental late 17th century oil on canvas still life painting, in a 19th century giltwood frame. The beautiful painting displays a wonderful array of vivid colors an...

Emilian school, 17th century Putto with rose Oil on canvas, 43.5 x 32 cm - with frame 45 x 32.5 cm The figure of the putto, when equipped with specific attributes, lends it...

17th century, Emilian school Rest on the flight to Egypt Oil on canvas, 42 x 33 cm Frame 65 x 55 cm The present Holy Family, ...

17th century Old Master Flemish School oil on copper painting depicting a picturesque Scene from the Commedia dell'Arte, scenery crowded with a multitude of figures in the foreground...

17th century Mystical marriage of Saint Catherine Measures: Oil on canvas, 98 x 81 cm - with frame 119 x 102 cm The scene represents the mystical marriage between Catherine of A...

17th century Italian old master painting Madonna and Child with St. Anne and St. John the Baptist. Important Tuscan School Old Master painting in oil on a hand shaved wood panel. ...

Florentine school, 17th century St. John Baptist Oil on canvas, diameter cm 20 - with frame diameter 30 In this small round-format canvas, St. J...

Pines and Cranes Anonymous. Kyoto Kano School. Late 17th/early 18th centuries, circa 1700. Pair of six-panel Japanese folding screens. Ink, gofun, pigment and gold leaf on paper. This bold composition presents two pine trees extending to the left and right across a gold leaf background. One tree is silhouetted against a green ground, golden clouds obscuring its true size, the other stretches across a stylized waterway. The pines are paired with Manchurian cranes with red crests and snow white plumage. Both have been highly auspicious motifs in East Asia since Chinese antiquity. Here the artist utilized fluid and instinctive ink brushstrokes to define the trunk, branches and tail feathers, in strong contrast to the precision and sharp angularity of the crane’s legs and beaks. The adoption of this vast metallic painting support required an unerring sense of design and composition, so that the negative space surrounding motifs could imply context for the otherwise floating pictorial elements. The brushwork detailing the trunks of the pines, the exaggerated dimensions of the pine trees and the strength and dynamism of the composition are all reminiscent of Kano Eitoku...

Hawks on plum and pine Soga Nichokuan (active circa 1625-1660) Pair of six-fold screens. Ink, mineral pigments, gofun, gold and speckled gold leaf on paper. Upper seal: H...

Giovanni Battista Castello, known as "Il Genovese" (1547-1637) Penitent Magdalene Tempera on parchment, 21 x 17 cm Frame 26 x 22 cm The precious tempera painting on parchment is to be referred to the hand of the painter Giovanni Battista Castello (1547-1637), called “il Genovese” to distinguish him from the homonymous contemporary, architect and painter, called “il Bergamasco”. Older brother of Bernardo, a famous painter of late Ligurian Mannerism, he began his activity in the field of religious goldsmithing, to which he soon joined the art of miniature, an art to which he ended up dedicating himself completely and with greater satisfaction, bringing it back to a success and to a disclosure that he had not known since the Middle Ages and which now found incentive and justification in the spiritual and cultural climate of the Counter-Reformation. In the sources he is cited as self-taught; However, his assiduous frequentation of Luca Cambiaso...

The third series of photographs by fine Taxidermists Sinke & Van Tongeren. After observing and analysing so many 17th century paintings, they were inspired to create a new series of work focused on still life masterpieces. They chose photography as the medium to portray their Fine Taxidermy work interpreted through vanitas still lifes. The collection, ‘Les Peintures des Taxidermistes’, comprises eight works. Vanitas still lifes were enormously popular in the 17th century, often inspired by biblical themes and the saying that “All is vanity...

Roman school, late 16th-early 17th century Praying Madonna Oil on canvas, 81 x 69 cm Frame 83 x 95.5 cm A divine whiteness reverberates with vibrant luster on the maphorion of the present Virgin. The palpable iridescence that structures the thin rosaceous garment, woven with the same fresh light, produces a slight rustle when she takes her hands off. The Madonna in fact takes a prayerful pose, opening her palms to underline her fervent ecstatic intention; the white neck is rendered with perishable fullness of pigments, like the hands, perfectly alive, and the very shiny eyes. With fine shrewdness the artist of the present styles the Virgin's hair with thin white ribbons, exacerbating the purity. An evocative light falls gently on the bust, a materialized sign of divine glory. The present can be traced back to the late Mannerist climate that prevailed in the capital after the emanation of the Tridentine council (1545-1563). The late Mannerist licenses that can still be seen there, such as the intense lyricism in the stylistic code adopted by the artist, are innervated in the new basic catechetical intent, which at the end of the century produced a certain figurative rigorism. The present, however, still responds to that extraordinary Roman dynamism that raised the capital to a bulwark for the entire mannerist lesson, matched only by a second artistic center, the Florentine one. The engaging carriage of the Virgin reflects the contemporary examples of Giuseppe Valeriano (1542-1596), a Jesuit painter, returning in the Marriage of the Virgin of the Roman Church of Jesus, as well as in the Madonna of Sorrows in the Recanati Altarpiece, equal ardor. But it is in the Assumption of the Virgin painted in four hands with Scipione Pulzone...

Area of ??Giovanni Battista Ruoppolo (Naples, 1629 - 1697) Still life with fruit and little bird Measures: Oil on canvas, 62 x 83 cm The still life in question shows juicy citrus fruits, among which we can recognize oranges and cedars, together with red berries scattered on the ground. A cheerful little bird rests on the edge of a terracotta pot in which some pink-mottled carnations grow. The landscape that can be observed all around is veiled by clouds and shaded by shrubs, while in the distance there is a green hill. Dominating the foreground and standing out from the dark background is the fruit which, lush and juicy, stands out in the vivacity of the colors in contrast with the dark background. The full-bodied brushstroke that delineates the wrinkled peel of citrus fruits to restore the realism of the fruit, just as the green leaves of the stems softly folded on themselves are sketched with extreme truthfulness, they ascribe the work to a painter working in the circle of Giovanni Battista Ruoppolo. Ruoppolo is a Neapolitan artist, specialized in the genre of still life, indeed De Dominici himself in his Lives of Neapolitan painters, sculptors and architects recognizes him a primary role in the Neapolitan school of the genre. He studied, together with Giuseppe Recco (1634 -?), In the workshop of Paolo Porpora (1617 - 1673). He painted almost exclusively fruit and flower paintings...

Antique Flemish painting from the second half of the 17th century. Oil on oak panel depicting Musicians, elegant duet with lute player and hunting scene in ...

A wonderful Italian 17th century still life oil on canvas from Rome. The painting depicts a parrot with fruit at his feet standing next to a vase with a stunning array of colorful an...

After Jean Antoine Watteau (Valenciennes, 1684-Nogent-sur-Marne, 1721), Disembarkation for the Island of Cythera, Pastel drawing, Framed, 19th or 20th century.

Area of ??Bon Boullogne (Paris, 1649 - there, 1717) Venus and Cupid with Bacchic procession Measures: Oil on canvas, 64 x 94 cm - with frame 83.5 x 113 cm In the present painting Venus, softly lying on a stone seat equipped with an opulent finely decorated indigo cushion...

Circle of Antonio Amorosi (Comunanza, 1660 - Rome, 1738) Portrait of young people Oil on canvas, 87 x 67 cm The painting depicting this portrait was made by an artist activ...

Anonymous. Korean, 17th century. Joseon period. Hanging scroll. Ink on paper. Seal: Shinso Dimensions: Scroll: H. 200 cm x W. 31 cm (79” x 12”) Image: H. 122 cm x W. 29.5 cm (48” x 11.5”) The grapevine came to China and then Korea from western Asia via the silk road trade routes. By the mid-Joseon period, it was one of the most popular subjects for Korean literati painters. Grapevines were painted as a singular subject or, less commonly, in combination with squirrels, which are associated with children due to their playful nature. Together, grapevines and squirrels embody wishes for abundant offspring and wealth. For the Korean literati artist the twisting vines, curling tendrils and round, plump grapes provided ample opportunity for expressive "brush play”. In this painting the artist has abstracted the scene and is seemingly unconcerned with discontinuities and proportion. Vines spring up from nowhere, grapes hang in random clusters and the squirrel’s head appears as if twisted backwards. For the vines and leaves we can feel a sense of speed in the brushstrokes, imparting a dynamic feel which is at once intense and animated. This contrasts dramatically with the countless tiny strokes of ink which realistically capture the texture of the squirrel’s fur...

Attr. Jacobus or Iacomo Victors (Amsterdam c. 1640 - 1705) Still life with birds Oil on canvas, 112 x 133 cm The still life examined here is a rare example of the simultaneous presence of live and dead animals in a single composition. On two rocky levels different ornithological species are neatly arranged, reproduced with the utmost fidelity and adherence to life. Mallards, doves, sparrows and a partridge placed on their backs can be recognized. The soft mantles with different chromatic tones, with the characteristic streaks and spots of color, together with the precise investigation of the various ornithological typologies, denote an observation of the real datum typical of the seventeenth-century Flemish tradition. Another mallard, this time alive, seems to have just settled on the rock, as if to observe the rich composition moving its neck. Its characteristic colors, the bright green of the head and the upper part of the neck, the yellow of the beak and the orange of the legs characterize the painting and capture the viewer's attention. The flight of the dove in the foreground is splendid, seen from above, the virtuosic pose and the brightness of its feathers, in an elegant modulation of grays tending to white, denote the stylistic quality of this work. It was probably created by a Flemish artist working in Italy in the second half of the seventeenth century: close analogies can be found with the game of Jacobus Victor...

Carlo Lanfranchi (Mirafiori, 1632 - ivi, 1721), attr. Still life with pumpkin, grapes, peach and fig Measures: Oil on canvas, 54 x 56 cm - with frame 73.5 x 76 cm A plastic lig...

Painter active in Rome (late 17th century) Coastal landscape and ships under repair Oil on canvas, 113 x 143 cm With frame 125 x 159 This fantasy coastal view can be attributed to a foreign painter active in Italy between the 17th and 18th centuries. The Italianizing taste, in our case deduced from the models of Agostino Tassi and especially from the examples of Gaspare Vanvitelli...

17th century, Emilian school Rural landscape with gallant scenes Oil on canvas, 37 x 47.5 cm With frame 61 x 50.5 cm The bucolic amenity of the present is reflected in the joyful gallant scenes that dot its surface. The locus amoenus described reflects on the more traditional inflection of Arcadia, which in the literary transfiguration was the scenario par excellence of the most carefree pastoral life and out of this world; the painting is therefore a forerunner of what was professed by the actual poetic academy of Arcadia which was established in Rome in 1690, but enthusiastically testifies to the feverish invitations to its acceptance, then widespread in the most avant-garde cultural salons throughout Italy. First Theocritus and Virgil later had awakened with Idilli and Bucoliche that capacity typical of the natural world to allow an escape from reality; the contemplation of perfect natural fruits that followed would have evoked in the spirits of dreaming men back to origins. The bucolic landscape was able to positively give a rhythm to material life, and constituted the concretization of a place devoid of incivility and ugliness, where only dreams, wild music and homages to fruitful nature were allowed. In the present painting widespread figures of shepherd children trace the same intent to the sublimation of earthly life, gathered in pairs, while children on the model of the ancient cherubs cheer the field with flowers and petals. The games of these and the sweet affections of the other characters are rendered through liquid and vibrant brushstrokes, flickering with a white light that opposes the dark shadow of the undergrowth. In the distance, the sky tapers with a silvery and flat brushstroke, while the vertical development of the promoters with architectures helps to introject a bright beam of light into the grassy clearing. The foliage and the turf of the landscape piece are rendered through a digital brushstroke, betraying the Italian brand of the present, influenced at the same time by the seventeenth-century European influences that then conveyed to the capital. The evocative culture of the city attracted many artists from the city of Bologna, from the Italian north but also from the territories beyond the Alps, such as Claude Lorrain and Nicolas Poussin. The historical-artistic heritage of the Italian pastoral scenes was thus able to fill up with the more functional and particular formalisms of the charms coming from elsewhere, such as the expressive tremor of the present, similar to the contemporary French lexicon. The typological restitution from pastoral idyll, in accordance with the intrinsic stylistic qualities of the work, allows us to specify the solid belonging of the present to the Italian hand, similarly to what was then emerging in the pictorial sphere within the Emilian school. In this regard, we should recall the latent influences of two decisive foreign landscape painters who passed through the Emilian belt, such as Claude Lorrain (1600-1682) and Nicolas Poussin (1594-1665); before them, Giovanni Battista Viola...

A beautiful pair of Italian 17th century oil painted on wood still life paintings. Each painting is set within their original mottled rectangular giltwood frames with a fine decorati...

Circle of Simone Cantarini known as the Pesarese (Pesaro, 1612 - Verona, 1648) St. Joseph Oil on canvas, 62 x 48 cm Frame 80 x 64 cm The sty...

Circle of Nicolaes Berchem (1620, Haarlem - 1683, Amsterdam) Architectural capriccio with herds Oil on canvas, 57.5 x 74 cm With frame 76 x 93 cm The examined canvas is...

Depicting playing putti Southern Netherlands 18th century Oil on canvas.

A very beautiful early 17th century oil on board painting of Saint Eugene - The Archbishop Of Toledo, Spain. Wonderful brushwork and intricate detail....

Our still life depicting a metal brazier on ledge is a rare painting by Baudouin Yvart (French, 1611-1690).  Stretcher measures 15 1/4 by 19 inches.  It has an extraordinary ebonized sgraffito frame, 24 by 28 by 1 3/4 inches, with inlaid mother of pearl and pewter mounts.  Professionally relined and mounted on keyed stretcher. Provenance: Private Collection, Paris, by 1974; Anonymous sale; Boisgirard et Associés, Paris, June 26, 1985, lot 26; Jocelyn Fielding Fine Art Ltd., London; Mr. and Mrs. John H. Gutfreund, CEO Salomon Brothers, New York. Literature: Michel Faré, Le grand siecle de la nature morte...

Oil on canvas depicting a country scene: a man watering his horse near a river where two cows and a sheep wade accompanied by a farmer. Work of northern France or Belgium of the 17t...

Bernard Keil known as Monsù Bernardo (Helsingør, 1624 - Rome, 1687) Portrait of a woman Oil on canvas, 67 x 48 cm - frame 78 x 62 cm Identified for the first time only starting ...

Antique portrait miniature of Thomas Osborne, 1st Duke of Leeds Dimension: W: 6 cm H: 8 cm In miniature is depicted Thomas Osborne, wearing a s...

Soldiers looting a village XVII century oil on panel Oil on panel: 75 x 110 cm Signed and dated 1650 lower left Sold at Christie's Amsterdam, 11/18/93 For 130,000 DG = 60,827 € - joint purchase invoice for the year 93 About painter dutch painter Utrecht 1586 - 1666 Utrecht Painter of genre scenes, generally of peasants, views and landscapes of villages and towns (including some winter landscapes) and some religious and allegorical subjects (mainly at the beginning of his career). We do not know under whom our painter studied. Seeing the Flemish character of his work, some scholars believe that he could have studied in Flanders, in Antwerp. Droochsloot was a versatile and productive painter. The central museum in his hometown of Utrecht holds 15 of his paintings, showing the diversity of his work, many other museums exhibit his works Our painting represents a scene that took place during the Eighty Years' War. This Dutch War of Independence from Spain was a long, slow war that lasted from 1568 to 1648. The war began with a Protestant uprising in Flanders and Holland against the Spanish...

ENTOURAGE OF FRANCOIS DE TROY (TOULOUSE 1645-1730 PARIS) Portrait of a young mulatto aristocrat Oil on canvas Measures: 80 x 63 cm.

17th Century Dutch Old Master Painting Jan Josefsz van Goyen, Provenance For the Netherlands, the seventeenth century was a period of remarkable artistic ...

A stunning and most impressive Flemish late 17th century/early 18th century oil on canvas painting possibly by Frans Francken III. The beautiful and...

A stunning Italian 17th century oil on canvas still life, from Rome. The painting depicts a beautiful fruit bowl and grapes in the foreground and wonderfully executed bouquet of flow...

A stunning pair of Italian 17th century oil on canvas paintings by Antonio Travi. Each painting displays an impressive array of rich colors, typical of T...

English oil painting portrait of 17th century man in black cape with red drape in a mahogany and decorated frame.   

Sst of 20 Renaissance (17th century) engraved, hand-colored etchings for Johann Bayer's book 'Uranometria', a star atlas, in wooden frames with white mat....

A sensational Dutch 17th century Oil on Wood painting in the manner of Frans Francken. The painting depicts the scene of a feast with a young male and female enjoying a feast while musicians are playing music in the background. To the left of the table that are spectators who are turning their heads away from two guards killing a traitor seated at the table. In the background you have architectural buildings and additional figures. At the bottom center is a pet monkey...

A striking Italian 17th century Venetian st. oil on canvas painting of Joseph fleeing Potiphar's Wife. The painting depicts the classical scene of Potiphar's wife seducing Joseph. As...

An oil on canvas portrait of a young French courtier, circa 1690. This evocative antique French school picture has been attributed to the portrait painter Jean-François de Troy (1679-1752). De Troy was famous as a portrait painter of fashionable society women. This is a very attractive late 17th century painting surviving in its original frame and stretcher. The canvas appears to be untouched. References: 'Jean François de Troy, The Alarm, or the Gouvernante Fidèle', at the Victoria and Albert Museum, London. 'Jean François de Troy, Paris 1679 - Rome 1752', at the Thyssen-Bornemisza Museum. Laurie G. Winters, Troy, de, Grove Art Online, Oxford Art Online, Oxford University Press, 6 May 2016. Everett Fahy & Jayne Wrightsman...

OIL ON CANVAS OF 17th Century LANDSCAPE OF WINTER OF THE NETHERLANDS. Good CONDITION. MEASURES WITH FRAME: 114X90 CM WITHOUT FRAME: 96X74 CM      

This rare mural was painted in China over four centuries ago, and is an exquisite example of Buddhist art. The enlightened Buddha is shown standing at the center of the painting, dre...

Alberto Carlieri (Italy-Roma 1672-1720), "Christ and the adulteress", Oil on canvas, with frame cm H 115 x L 151 x 6.5, only canvas H 98.5 x L 135 cm...

17th century, oil on canvas Dutch painting with hunting scene Oil on canvas. Dimensions: frame W 81 x H 75 cm, canvas 58 x 49 cm The oil on canvas painting depicts a hunting scene in a predominantly rocky landscape. On the right, at the center of the canvas is depicted a group of characters dressed for hunting according to the 17th century fashion of northern Europe. The men stop with their horses and dogs; one of them points downstream, while another one sounds a Horn, used as a call sign in hunting trips. In the foreground on the left another character sits on the ground, turning his back on the observer, in the company of two hunting dogs. The scene takes place in the open air, in a rocky context and the landscape widens towards a valley, beyond which the horizon is lost among mountain reliefs with blue tones. The bright sky is characterized by some clear clouds. The color palette of the canvas is characterized by brown tones; a ray of light that emphasizes the right group, where it stands out illuminated a dog and the spotted steed on which is rising a man with a red mantel...

English School, 17th Century. A pair of portraits of William Mellish (1605-1667) and his wife, Martha (1610-1684). Inscribed respectively: Ano Domi 1639 Aetatis June 34 and N ...

Italian 17th century still life painting in period carved gilt frame Italian school still life painting from the workshop of a great master. The 17th century Baroque painting in oil...

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

Large canvas featuring roosters, hawk and ducks in a landscape. signed indistinctly. Unframed.

Ancient Flemish painting from the late 17th century. Framework oil on canvas depicting an interior scene of a tavern with characters of good pictorial quality. Painting of good size ...

Kano Sansetsu (1589-1651) Plum blossoms in snow Edo period, circa 1640 Framed painting. Ink on paper. Kano Sansetsu is a Japanese painter who...

Antonio Calza (Italy, Verona, 1653-18th April 1725) "Battle between Christian and Turkish cavalry with castle" The painting depicts a bloody battle between Christian and Turkish cavalry. Characterized by dynamism, intensity of color and light, the main scene occupies the lower horizontal section of the canvas, optically interrupted by the black fumes of the shots from which emerge, on the left, the towers of a fortress. On the right, in the distance you can see the combat in progress in the countryside, beyond which you can see the pale presence of hills that create a fifth, marking the horizon. To frame the scene contributes to the left, against light and in the foreground, a portion of the wall. The painter, however, introduces a horse on the ground, of which we see only the back, a ruse to involve the observer making him become active and participate in the scene. In the foreground, lifeless bodies, wounded horses and, scattered on the ground, weapons and a drum enhance the drama of the clash. The excitement and expressive force, the intense chromatic range attentive to the conditions of light and the fine brushstrokes, decisive and dramatic, suggests the attribution to Antonio Calza, one of the most important painters of battles of the seventeenth century, excellent student and continuator of the greatest interpreter of the genre, Jacques Courtois called il Borgognone (Saint-Hyppolite 1621 - Rome 1676). Il Borgognone, although not having had a real school or direct students, places itself as a primary reference point by the Italian and foreign "battaglisti". The genre of battle painting found great success in the collections of the Italian and European nobility of the seventeenth and eighteenth centuries. The battles of the Italian Renaissance, in which the scene converged towards a precise protagonist, evolve towards a type of combat "without hero". The bloody realism of the details and the dynamic development of the narrative confuse the figure of the protagonist, when present, to give importance to the swirl of horses and armed fighters, among which, moreover, does not emerge a winner. The certain documents relating to the life and movements of Antonio Calza are scarce; it was equally difficult to reconstruct, from the critics, a catalogue of autograph works. Through paintings in private collections, in museums and paintings passed on the antiques market it has been possible to identify a copious corpus of works that can be traced back to his hand. The work of art historians, together with that of antique dealers, in conferring proper attributions in order to best outline the figure of Calza, continues but studies are still in progress. In this sense, the work of Giancarlo Sestieri should certainly be noted, who investigated the artistic production of the battaglisti and Calza, thus allowing the comparison of the numerous photographic works reported, to identify and recognize the stylistic qualities that distinguish the corpus of paintings assigned to him today. Antonio Calza was born in 1653 in Italy, in Verona and in 1664 he entered the school of Carlo Cignani in Bologna, dedicating himself to painting battles and landscapes. He then perfected in Rome, where he knew the works of the then undisputed head of the sector, Jacques Courtois called the Burgundian. In 1675 he returned to Verona and married an 88-year-old widow who, dying, left him a rich inheritance. Much appreciated by the nobility and the bourgeoisie, he received numerous commissions. Bartolomeo Dal Pozzo (Le Vite de' pittori, de gli scultori et architetti veronesi, 1718) praises "three great paintings of battles...

A fine matching pair of hanging scrolls ink on paper mounted in green brocade borders circa Edo period (17-18th century). The Kano school painting depicts wild geese in the reeds by the margin of water, a popular subject borrowed from the Chinese tradition. Both painting were signed as Tanyu with a red seal of Morinobu, his birth name. The storage box is also present and was inscribed with the title Painting of Geese and Reeds and Kano Tanyu...

This 17th century panel painting is a depiction of a praying Franciscan monk, or of Saint Francis. The grey-brown habit, the skull and the book are ...