17th Century Figurative Paintings

Oil on Canvas. Venetian school of the 17th century. The figures, portrayed in the half-length foreground, have Mary placed in the center holding the infant Jesus; behind them on the ...

In the foreground, we see two conquistadors and three natives accompanying them landing on the shore, presumably on a reconnaissance mission in an unfamiliar bay. Perhaps they are in...

Travellers in a Country Landscape circle of Jacques d'Arthois (Flemish 1613-1686) oil on canvas, framed frame: 13.5 x 18.5 inches canvas: 11 x 16 inches provenance: private collectio...

Ester before Ahasuerus Dutch School, 17th century circle of Rembrandt oil painting on wooden panel, unframed panel: 28 x 20 inches provenance: private collection, London condition: very good and sound condition for its age though there are old panel splits evident and minor, but stable, paint loss in those areas, as shown in the photos. The subject of ‘Ester before Ahasuerus’ was narrated by the Bible’s Book of Ester (V: 2-34). Here, the Persian King...

Alms for the Poor by Richard Brakenburg (Flemish 1650-1702) oil on canvas, unframed Canvas: 25 x 30 inches Provenance: private collection, France, extensively inscribed verso Conditi...

This extensive late 17th-century oil painting by Dutch artist Jacob van der Does II (1661-1699) depicts a river landscape with a hunting party, riverside buildings, various craft, a ...

Alessandro Salucci (Florence 1590 - Rome c. 1655/60) - Architectural Capriccio with Characters. 73.5 x 106.5 cm without frame, 84 x 116.5 cm with frame. Antique oil painting on can...

Late 17th Century Italian School. The Return of the Ark on the Covenant, Oil on Canvas, in a Fine 17th Century Italian Frame, canvas: 40.25" x 49.75" (102.3 x 126cm) Fine quality and rare 17th century Italian Old Master...

Mythological Figures in Woodland Glade Dutch School, late 17th century oil on wood panel, unframed panel: 11 x 9 inches provenance: private collection, UK condition: minor surface sc...

This evocative Veronese School painting captures the moment in the Garden of Gethsemane when Christ, overwhelmed with sorrow, prays to God before his arrest and crucifixion. Supporte...

Gaspar van den Hoecke (Antwerp, 1585 - 1648) Herod's banquet Early 17th century oil on panel, with gold highlights (in the guise of Salome and in the curtains of the building in the background) 56 x 80 cm. framed 72 x 90 cm. Note: The painting probably dates from an original by Frans II Francken (1581 - 1642), which is shown under the number 0000344789 in the RKD. Valuable oil painting on panel depicting King Herod and the beautiful Jewish princess Salome according to the episode taken from the Gospel of Matthew (14.3-11), which sees her as the protagonist in the story of the martyrdom of John the Baptist. The event shown is a cross between history and legend, a myth faced for centuries by artists in every field: Caravaggio in painting, Oscar Wilde in theater, Richard Strauss...

An extraordinary example of Alessandro Bernardino Deho's grotesque and fantastic production, this painting illustrates an imaginative scene in which anthropomorphic insects and dwarv...

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

This painting, attributed to the circle of Peter Paul Rubens, presents a classic depiction of the Johannesschüssel—the severed head of John the Baptist on a platter. While Rubens him...

Pietro Della Vecchia (Venice, Italy, 1603 - Vicenza, Italy, 1678) Title: The Alchemists Medium: Oil on canvas Dimensions: without frame 73 x 97 cm – with frame 90.4 x 114.3 x 6 cm ...

The painting "The Road to Emmaus in a Landscape" by Gillis de Hondecoeter is a masterful example of early 17th-century Dutch landscape painting. The sce...

This superb Dutch 17th century Golden Age Old Master cityscape oil painting of Amsterdam is by noted artist Jacobus Storck. Painted circa 1670, ...

Portrait of a Gentleman wearing white lace trim collar Flemish School, circa 1630's circle of Anthony van Dyck (Flemish 1599-1641) oil on canvas, unframed Canvas: 30.5 x 25 inches Pr...

Impressive Painting of the philosophy Euclid, painted in the Manner of Luca Giordano. Provenance: Amsterdam, Sotheby's, 21.11.1995, Lot 46

Giovanni Domenico Ferrucci (Fiesole, Italy, 1619 – Lucca, Italy, post 1669) Title: The Death of Cleopatra Medium: Oil on canvas Dimensions: without frame 85 x 70.7 cm – with frame 10...

This remarkable early 17th-century three-quarter length English School portrait depicts Alderman Edward Hill of The Charterhouse, Coventry, holding a pair of leather gloves. The orig...

Fine huge 17th Century Italian/French Old Master Battle Scene of the Crusades, oil on canvas. Grand scale extensive landscape view of a battle from the 1670-80 period, with cavalry f...

Giovanni Giacomo Sementi (Bologna, Italy, 1580 - Rome, Italy, 1636) - Pier Francesco Cittadini (Milan, Italy, 1616 - Bologna, Italy, 1681) Danae Oil on canvas, without frame 119 x 179 cm, with frame 140 x 200 x 12 cm, weight 35 kg Expertise by Professor Giancarlo Sestieri Publications: Carne - la materia dello spirito, exhibition catalogue curated by Father Alessio Geretti, project of the scientific catalogue curated by Father Alessio Geretti, Nicole Pravisani and Giulia Toffoletti, (21 May - 22 October 2023), Illegio, Casa delle Esposizioni, pp. 56-59; Body, Love and Feelings - Works of Ancient Masters from the 16th to the 19th century. In the paintings of Giorgio Baratti private collection, Milan, exhibition catalogue curated by Alessandro Marchi, (27 July - 18 September 2011), San Marino - Historical Centre, pp. 38-39; Giorgio Baratti Collezione. Selezione di opere d’arte antica (Giorgio Baratti Collection. Selection of ancient works of art), curated by Professor Giancarlo Sestieri and with the participation of Professor Andrea Emiliani, Grafiche Veneziane, Venezia 2011, pp. 22-23. It is a gentle and graceful Danae the one portrayed by Giovanni Giacomo Sementi. A painting in which the Milanese painter Pier Francesco Cittadini also collaborated by painting the golden basin filled with flowers to the left of the scene. The work shows various pictorial influences; from the Bolognese Emilian style, to that of Ludovico Carracci (1555 - 1619) and Guido Reni (1575 - 1642), to the Baroque and Roman style. The work features an elegant red drapery which serves as the background to the entire scene, but the real protagonist is the young woman with long red hair who is lying on a bed covered by a white sheet. The girl is naked except for a lapis lazuli blue mantle...

Moses with the Israelites before Parting the Red Sea circle of Matteo de Pitocchi (Italian 1626-1689) oil on canvas laid on board, framed framed: 26 x 48 inches canvas: 21 x 43 inche...

An engraving by Jerónimo Wierix after Marten de Vos's Saint Michael the Archangel (Iglesia de San Miguel, Córdoba) may have been a source f...

Oil on canvase realized by Giovanni Francesco Romanelli, so called "Il Viterbese" (1610-1662). It depicts the famous abduction of Persephone, daughter of Zeus and Demeter, by Hades....

A portrait of courtier and politician John Poyntz, after Hans Holbein, circa 1644 - 1674. This painting is based on a drawing by Hans Holbein, part of the drawings collection of the ...

The Cavalry Skirmish Flemish School, mid 17th century circle of Lambert de Hondt (Flemish, 1620-1665) oil on panel, framed Framed: 21 x 27 inches Board: 16 x 22 inches Provenance: private collection, France Condition: very good condition, with old repairs and thinning in places. This painting, attributed to the circle of Lambert de Hondt (Flemish, 17th century), depicts an intense battle scene, typical of Flemish military compositions of the time. Lambert de Hondt was known for his battle scenes, landscapes, and hunting scenes, often filled with dynamic action and fine detail, and this work clearly reflects his influence. The artwork portrays a cavalry skirmish with soldiers in traditional 17th-century military dress, including red tunics...

Oil on Canvas. Lombard school of the seventeenth century. According to classical iconography, the penitent Magdalene is depicted with tears in her eyes, her hair down, unkempt, hold...

Jean-Baptiste SANTERRE (Magny en Véxins 1651 - Paris 1717) Portrait of a couple Oil on original oval canvas H. 115 cm; L. 90 cm (140 x 115 cm with frame) Around 1695 Jean-Baptiste S...

Signed and dated lower left. Includes a beautiful later wooden frame cm. 137x8x182. Very Good conditions. Prov. Christie's London, February 15th 1974, n. 19. This artwork is shippe...

David Finsonius (Veere 1597- Bergen op Zoom 1646/1648) Portrait of a girl with a rose and a red coral necklace With traces of the artist’s signature and annotated AETATIS S.V. 2 1⁄2 Ao 1631 Oil on panel, H. 104.5 x 79.5 cm Provenance: Purchased by Jonkheer Helenus Marius Speelman (1857-1909), Kasteel de Wittenburg; thence by descent The work shows a strong resemblance to a portrait by Finsonius in the North Brabant Museum. This signed and dated "Girl with Basket and Cherries" (Inv. 15529), was painted just a year later, in 1632. Not only are the paintings remarkably similar in overall size and format, in painting style, and in the positioning of the girls in full length in their white lace dresses. They are also connected by the iconographic scheme of the respective coral necklaces, each with a gold memorial medal hanging from it. Although they are of course individuals, the faces are very similar in their depictions of features such as eyes, nose, and lips. This points to the same technique applied by the same painter. Finally, the handwriting is almost the same on the works by Finsonius known so far. About the painter, David Finson named 'Finsonius' (related to the better-known Louis Finson...

The Trial of Christ Dutch Old Master, 17th century oil on panel, unframed panel: 11 x 7.5 inches provenance: private collection, England, Christies auction stencil marks verso condi...

Circle or Follower of David Teniers, Peasant in a Tavern Inn, drinking and smoking. Oil on canvas, Framed: 39 x 47 cm. Typical Flemish Baroque Interior...

This precious pair of paintings represents two allegories with symbolic charm and compositional finesse, executed by 17th-century Bergamasque artist. The allegory of Astronomy is acc...

"Saint Lawrence Looking at the Treasures" is a captivating painting attributed to the Bolognese School, a prominent art movement from Bologna, Italy, flourishing primarily in the 16t...

Portrait of a Noble Lady with her dog attributed to Abraham Lambertsz. van den Tempel, Dutch 1622 - 1672 *see notes below oil on canvas, unframed canvas: 40 x 33.5 inches provenance...

Madonna with Holy Child and St. John is a masterful depiction of a tender religious scene, capturing the sacred relationship between the Virgin Mary, the infant Jesus, and St. John t...

This painting is dated 1969 and signed by the artist Saint-Lou. The painting depicts three musicians with flowing hair, playing the clarinet, trumpet, and accordion. The stylistic a...

Oil on canvas realized in Italy ih the late 17th Century. The painting depicts the episode from Genesis (21, 9-21) in which the servant Hagar, together woth her little son Ishmael b...

Guido Reni (Bologna, Italy, 1575 – 1642) Title: Masculine Head Medium: Oil on canvas Dimensions: without frame 44.7 × 51.2 cm – with frame 62.8 x 68.3 x 5.5 cm Expertise by Claudio...

Le misure senza la cornice in legno intagliata e dorata sono 97 x 72 cm. Il compianto su Cristo morto è uno dei temi più diffusi dell'arte cristiano cattolica, dove il corpo stesso ...

Oil on Canvas. The large scene depicts Mary, already assumed into heaven and supported on the clouds by little angels, receiving the Crown by the most holy Trinity. Such a coronatio...

Oil on canvas. Mittel-European School. There is a No.S monogram on the back and numbers probably from an inventory. The painting reminds of pieces from the Austrian area. It represen...

European Master (17th-18th century) - Portrait of a nobleman. 81 x 65 cm without frame, 100.5 x 83.5 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden fr...

Hendrick Bloemaert (Utrecht 1601/02 – Utrecht 1672) Venus and Cupid Oil on panel H. 75 cm; W. 61 cm Signed and dated 1636 Hendrick Bloemaert is a notable figure of the Golden Age of...

Caravaggesque painter (17th century) - Saint Jerome. 47 x 73 cm. Antique oil painting on canvas, without frame (not signed). Condition report: Lined canvas. Good state of conserva...

The painting, done in oil on canvas, depicts the meeting between King David and Abigail, as narrated in the biblical text from the First Book of Samuel (I Samuel 25:1-34). David, left without food in the wilderness with his army, seeks relief from the wealthy Nabal, who contemptuously denies him any help, ungrateful of the benevolence he previously received from the king. Upon hearing the rejection, the ruler intends to take revenge by killing his entire lineage. Abigail, Nabal's beautiful and wise wife, decides to right the wrong and bring David plenty of food and gifts. In the king's presence the woman humbles herself, winning his forgiveness and benevolence. Soon afterwards widowed, she will in fact become his bride. The broad scene depicts the climax of the Old Testament episode, the moment when the woman prostrates herself before David and his servants prepare to deliver the gifts. The biblical event is here a pretext, as is customary in modern-age painting, for staging the colorful description of a sumptuous procession, which can be divided into two parts, almost two wings of a crowd divided specularly: on the left David with his dignitaries and the army; on the other, Abigail's retinue, handmaids, servants leading dromedaries and donkeys laden with food. The crowded group of figures is set in a natural proscenium: above a low horizon, barely hinted at by distant blue mountains, rises on the left side a craggy rocky cliff, the shelter of the army led by the ruler. The 'somatic intonation of the characters, as well as the choice of metallic chromatics and the play of light on the shiny fabrics refer to a clear Flemish matrix, particularly the influence of the frothy and sumptuous painting of Rubens and Van Dyck. As well set forth in the expert report prepared by Professor Giuseppe Sava, the work is to be attributed to Vincent Malò...

17th Century Neapolitan Maestro Title: San Vincenzo Ferreri Medium: Oil on canvas Dimensions: without frame 63 x 48.5 cm - with frame 77 x 63.5 cm Original shaped, carved, sculpted a...

Giuseppe Assereto (Genova - 1626 ca – Genova 1656/57) Title: Portrait of an elderly woman, possible portrait of Maddalena Massone, wife of Gioacchino Assereto Medium: Oil on canvas D...

Diana The Huntress and her Cherubs Northern European artist, circa 1680's period oil on canvas, unframed canvas: 20 x 60.5 inches provenance: private collection, UK condition: some p...

Examining with interest this "Sacred Scene" from the end of the 1500s/beginning of the 17th century (oil painting on canvas, 32 x 26 cm without frame and 40 x 33 cm with frame) representing the Madonna supporting the Infant Jesus on her knees, S. Giovannino with the lamb of god, I can say that it is a Cremona school close...

Set of Eight Apostles each oil on panel each framed (different as some are golden, some are not, please view the photos) So far there is no certain attribution. The style of the ser...

Isaac and Rebecca had two sons: the twins Esau and Jacob. Esau was the first-born, giving him the birthright. Among Jews the birthright gave the eldest son authority over the family,...

Tavern Interior Dutch School, 17th century oil on metal, framed framed: 8 x 6.75 inches painting: 6 x 4.25 inches provenance: private collection condition: very good and sound condit...

The painting depicts Jephthah and his daughter, two Old Testament biblical characters. The girl is depicted in profile,dressed in the clothing of a seventeenth-century Venetian lady: the low-cut dress, tightened at the waist by a golden belt...

Circle Wouwerman, Horseman by a Tent, Riders Playing Cards (?), Old Master Dutch Art, Travellers or Riders resting by a tent and gambling

Splendid Italian painting from the second half of the 17th century. Oil on canvas artwork depicting a Holy Family with Infant Saint John, of remarkable pictorial quality. In the comp...

Follower of Jacopo Da Ponte, known as Jacopo Bassano (Bassano del Grappa ca. 1510 - Bassano del Grappa 1592) - Christ Mocked. 38.5 x 47 cm without frame, 48 x 58 cm with frame. Ant...

An early 17th-century oil on copper showing the mythological contest between Apollo and Pan in which the mountain god, Tmolus, gives judgement for Apollo. Displayed in an antique, ...