17th Century More Art

Seventeenth Century Old Master Biblical themed Oil Painting on Panel of Joseph recounting his Dream. A Follower of Rembrandt Harmensz Van Rijn 1606 - 1669. This painting follows a ...

Copper-plate engraving, hand-colored, 1608 - c.1630 and published by Joannes Jansonius, Amsterdam. Image size 15.75 x 21.19 inches (40 x 53.9 cm). A classic example of a world ma...

The gentleman in this exquisite oil on canvas portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the English School of painting. He is portray...

Rare and striking 17th-century funeral vestment, embroidered on both sides with precious silver threads on black velvet, a symbol of mourning and solemnity. One side depicts a skelet...

This 17th-century parade helmet, made in Milan, is an outstanding example of Lombard weapons art of the period. Its iron frame is embellished with embossing and chiseling techniques,...

Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract. The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period. According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance. Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted. This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately. Frans Pourbus the Younger...

A fine European portrait of a priest, oil on canvas, probably dating to the 17th or 18th century, unsigned, with original stretcher, minor surface losses and damage, craquelure, edge...

Unknown artist Prague School Portrait of Emperor Ferdinand I. (1503-1564) 17th century Oil on copper, 21,3 x 16,8 cm Provenance: Private collection, Pennsylvania, until 2016 This work by an unknown artist is a semi-portrait in predominantly brown-green tones. brown-green tones of the emperor Ferdinand I, who was crowned emperor in 1558. Ferdinand I of the Habsburg dynasty, who was crowned emperor in 1558. in a suit of armour lavishly decorated with gold ornaments. The portrait of Ferdinand...

This drawing shows several studies of a donkey with a carriage. Its style is close to Flemish 17th century artists. On the passepartout one reads "Mathias Scheyer/ Jacob Weyer", both...

A beautifully detailed late 17th or early 18th century Dutch or Flemish landscape with cows grazing in the water, goats, dogs, and other animals near the water’s edge, under the watchful eye of the herdsmen, on a backdrop of rolling hills and trees. Oil on wood panel, unsigned, and housed in a Rudolph...

In this exquisite work, painted around the time of the Great Fire of London in 1666, a beautiful young woman is wearing a green dress over a white chemise and a russet-coloured scarf...

Portrait of a Gentleman with Blue Cloak and Portrait of a Lady in Russet Dress c.1697 Thomas Murray (1663-1735) These fascinating portraits are exquisite examples of portraiture in ...

Thai Bronze Head of Buddha (Original) 17th c.

Flowers in A Basket by Jean-Baptiste Monnoyer. A Still Life of flowers in a basket including jasmine, honeysuckle, dahlias, parrot tulips, delphiniums and white carnations.

Francesco Albani Circle Italian Mythological Painting This important oil painting on wood depicts a subject that is very rare in the iconography of ancient mythological paintings: the birth of Erittonio. Erichthonius who succeeded Amphictyon becoming the fourth mythological king of Athens and married the naiad Praxithea who made him the father of Pandion. The extremely high quality of this very rare painting suggests that it was painted by an artist who frequented Francesco Albani's studio. The period, the mythological subject, the harmony of the colours and, above all, the sublime quality of the flesh tones all point in this direction. This artwork, never before on the market, comes from an important Italian private collection Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. ERYTHTONIOS (᾿Ερυχϑόνιος, Erychthonios) Born of Hephaestus' love for Athena, from the breast of Ghe, who was impregnated by the god; welcomed by Athena, who placed him in a basket together with one or two snakes, entrusting him to the care of Cecrops' three daughters. Against the goddess's wishes, they opened the chest, from which emerged, according to different versions of the myth, either the child wrapped in snakes or a snake, which, in some versions, killed the girls, while in others, they threw themselves from the Acropolis in fear. Erittonio, in the form of a snake, is welcomed by Athena into her temple and curls up under the goddess's shield. Alongside this myth, of Ionian origin, are others due to the doubling of the figures of E. and Erechtheus The scene of the birth appears in figurative tradition: in a Melian terracotta relief from the early 5th century, Ghe, half-emerging, holds out the baby Erittonio. to Athena, who welcomes him in the presence of Cecrops; the same scene appears on various painted vases, such as a red-figure kölix by the Painter of Kodros, from Tarquinia, in the Berlin Museums, dating from around 440 BC, where Hephaestus also appears alongside Cecrops. A modest red-figure vase from Camiro, in the British Museum, depicts the moment when the fleeing Cecropids discover the cista, from which the infant Erittonio. emerges between two snakes, greeting Athena. The moment when the chest was opened was depicted by Phidias on the xiii and xiv S metopes of the Parthenon, where Cecrops and Pandrosus appear in the first and Erisichthon and Aglaurus with the chest uncovered in the second. A kölix in the style of the Brygos Painter in Frankfurt, on the other hand, depicts the large snake E. chasing the fleeing Cecropids towards their father's palace. Luciano (De dom., 27) recalls a painting depicting the scene of the birth and the representation of the myth in pantomime on the theatre (De salt., 39). Bibliography: Engelmann, in Roscher, cc. 1303-1308, s. v. Erichthonios; P. Jacobstahl, Die Melischen Reliefs, Berlin 1931, pp. 96-98, plate 75 a; W. Züchner, in Jahrbuch, LXV-LXVI, 1950-51, p. 200 ff., figs. 34-35; J. D. Beazley, Red-fig., p. 720; G. Becatti, Problemi fidiaci, Florence 1951, p. 22. Questo Francesco Albani (Bologna, August 17, 1578 – Bologna, October 4, 1660) was an Italian painter. Albani was born in Bologna, Papal States, in 1578. His father was a silk merchant who intended his son to go into his own trade. By the age of twelve, however, he had become an apprentice to the competent mannerist painter Denis Calvaert, in whose studio he met Guido Reni. He soon followed Reni to the so-called "Academy" run by Annibale, Agostino, and Ludovico Carracci. This studio fostered the careers of many painters of the Bolognese school, including Domenichino, Massari, Viola, Lanfranco, Giovanni Francesco Grimaldi...

Pierre Berchet, Drawing of Putti playing in a landscape, Painter of decorative history subjects; trained under La Fosse; worked in France and during the 1690s...

Two putti with symbols of war and victory (cannons, cannonballs, armour, anchor, lion's head, laurel branch/ olive branch, flag, staff with helmet) in pediment triangle. Probably a design for a painting or architecture Pen-and-ink drawing in black on brownish paper, black wash Plain gold moulding with UV glass Allegory of Victory, 18th Century, Old Master Drawing, By De Wit, Figurative Jacob de Wit...

Venetian Frame 17th Century Gilt carved wood Sight size: 30 x 26 cm (The middle being the largest size) Exterior size: 52 x 47 cm Due to the curves of...

Pair of tiles in clerical stone and rare marble on black comparison ground. On a shelf of gray marble rest two similarly shaped bi-anodized Medici vases in which two floral arrangeme...

Etching and drypoint, circa 1630s. Cream laid paper. Narrow margins.

This striking 17th-century Italian gilt frame embodies the expressive craftsmanship of the Baroque era. Its luminous gold surface is softened by a time-worn patina that speaks to cen...

These lavish portraits, presented by Titan Fine Art, illustrate the elegant and exuberant type of portrait that the French court and the bourgeoisie favoured at the end of the 17th c...

MERIAN, Maria Sibylla. Maria Sibylla Merian. Leningrad Watercolors. Two volumes. Edited by Ernst and Helga Ullmann. Text volume with 146 colour illustrations, all with descripti...

In 1607, the Delft city council decided to commission a portrait of Stadholder Maurits of Nassau for the town hall, with Michiel van Mierevelt as the chosen artist due to the passing...

Complete title: Nova Iconologia di Cesare Ripa Perugino Cavalier de SS. Maurition & Lazzaro Nella quale si descrivono diverse imagini di Virtu, Vitij, Affetti, Passioni humane, Arti,...

Exceptional and rare 17th-century Tibetan ritual tool case used in mortal rites. This artifact combines a leather frame with fine chiseled silver decoration, depicting sacred iconogr...

Italian 17th Century Antique Gilt Frame Frame Size: Width: 28.50″ X Height: 39.25″ Thickness: 4″ Picture Size: Width: 22.25″ X Height: 33.25″ B...

Ludovico Ariosto, Orlando furioso, Venice, Felice Valgrisi, 1603. Vol. in 8°, pp. 654 with index of tables, cm 27 x 4.5 x 20, in Italian Complete Tit...

Battista Platina Cremonese, Historia della vita dei sommi pontefici dal Salvator Nostro sino a Clemente VIII, Venice, Isabetta di Bernardo Bafa, 1600. Vol. in 8º, pp. 539, cm 24.5 x...

Complete title: La Perspective Pratique, necessaire a tous peintres, graveurs, sculpteurs, architectes, orfeures, brodeurs, tapissiers & autres fe fervans du Deffein, par un Parisien...

Portrait of a Gentleman in Armour and Azure Cloak with Diamond Brooch c.1700 Attributed to Joseph Vivienne (1657-1735) The sitter in this superb portrait, offered by Titan Fine Art...

Small silk tapestry, with some applied inserts in painted canvas, corresponding to the faces and hands of the characters. The scene depicts Plato's Academy, with the philosopher sitt...

The Peruvian Chancay (pre-Columbian) Mummy Bundle mask, from around 1600 is made of painted wood, textiles, and human hair. According to the Walters Art Museum: Andean cultures are ...

Antique carving of a saint or martyr. 17th century Flemish hardwood carving. Wonderful wear and rich color.

Old Master Drawing, Flemish School, Portrait or Sketch of a standing young boy. Condition : see photos The drawing is on paper.

Pair of large oval-shaped baroque mirrors (II / II) Roman master carver of the seventeenth century Carved, lacquered and gilded wood Antique mercury silvered glass mirror 92 x 76 cm. (at the mirror 59 x 43 cm.) We present this pair of prestigious oval-shaped mirrors (of which a second pair is also available, of excellent executive level, which interprets the period of the Italian Baroque in an exemplary way. The works are in carved and gilded wood with a black lacquered background, richly decorated with a deep volute carving with particularly vigorous leaf motifs, coping and lateral ends embellished with cherub heads. This type of boldly carved volute acanthus mirrors...

Decorated with a cartouche on which the family coat of arms was probably engraved, this interesting small bronze object is a "cheer mortar" (also called a "mascolo" or "mastio" of ch...

Jan van der Heyden (1637 Gorinchem - 1712 Amsterdam), attributed. Old Master Drawing, Westerkerk Keizersgracht in Amsterdam, 17th century, Dutch Westerkerk and Keizersgracht in Amsterdam Backside: later drawn backside with village church of the 18th century Chalk and pen on paper 23,5 x 18,5 cm Preliminary drawing for a painting from the creative period c. 1667 - 1670. This painting has been published a few years ago by Peter C. Sutton in the catalogue raisonné of the artist. Van der Heyden was initially a pupil of a glass painter, but later turned exclusively to architectural painting and went to Amsterdam, where he painted views of churches, castles, palaces, public squares, streets, canals, etc., most of which are richly decorated with staffage. In addition, van der Heyden was also active as an inventor, for example, he developed a street lighting system for Amsterdam by means of oil street lamps, which was in operation from 1669 to 1840. After a stay in London, he painted the London fire of 1666, which he either witnessed himself or had seen the consequences of. Certainly influenced by this, he did much to further the technical and organisational development of the fire brigade from 1669 onwards. His greatest invention was probably the fire hose, which enabled significant improvements in fire-fighting technology and tactics. He also improved the hand-operated fire engines of the time by making them smaller, more mobile and more powerful, and he developed the series connection of several pumps to increase the pressure in order to achieve a greater range for the water jet. In 1690, together with his son, he was the author and illustrator of the Brandspuiten-boek, the first manual for fire fighting. Johann Lingelbach, Adriaen van de Velde and Eglon van der Neer...

PORPHYRY MORTAR, 17th Century porphyry 11 x 15 x 13 cm 4 1/4 x 6 x 5 in

Japanese Fukusa Silk embroidery and gold thread