17th Century Figurative Paintings

The painting, oil on canvas 95 x 137 unframed, depicts a bacchanal: on the left we see a figure who, from the detail of the paw seems to be a satyr, intent on raising a bowl forerunn...

Cardinal with missive is an original old master artwork realized in the 17th Century. Mixed colored oil painting on canvas. Provenance: Italy. Avery precoius artwork depicting a ca...

17th century European oil, Christ and is disciples seated around a table. An interesting and very unique painting. Possibly a fragment originally from a piece of furniture. The s...

Painting oil on canvas measuring 80 x 62 cm without frame and 105 x 82 cm with a contemporary frame by the painter Ernest daret, depicting the myth of Diana and Actaeon. According t...

Oil painting on canvas. It is a vintage copy of the engraving of the same name made by Annibale Carracci (1560-1609), which had immediate success and gave rise to a series of printed replicas and painted copies. It presents the moment of the Passion in which Christ is crowned with the crown of thorns, the object of torture, the disparaging symbol of his proclamation as King of Kings. The act is performed by two figures, the Roman soldier and the Jew, representing the two people who they took part in Christ's death sentence. The figures, vigorous and sanguine, those of the two tormentors paler and more inert than the victim, create an intertwined composition of bodies, with that of the central Jesus joining the other two, uniting them in the shared responsibility of what they are doing; placed sideways, Jesus has his head bent forcibly to the left by the soldier who imposes the crown of thorns on him, while the Jew on the right places the bamboo cane in his hand, replacing the scepter. The scene is dominated by gloomy and dark colors, among which only the bright red of Christ's robe stands...

Adriaen van Stalbemt (Antwerp, 1580-1662) Allegory of Peace and War, circa 1620-1630 Oil on oak panel: h. 49.5 cm, l. 73.2cm (19.29 x 28.74 in) Giltwood ...

Workshop of Jan Brueghel the Younger (1601-1678) & Hendrick van Balen (Antwerp, 1575 – 1632) 17th century Antwerp School The Virgin and Child ...

La obra no va firmadar Se presenta tal cual sin enmarcar la obra El estado de la obra se puede ver (las fotografias forman parte del estado) Medidas obra: 71 cm altura x 57 cm anc...

Oil on Canvas. North Italian school of the 17th-18th centuries. The large scene is filled with figures in ancient Eastern garb, set in a northern, richly vegetated landscape with mou...

Oil Painting After Sir Peter Lely (1610-1680) Portrait of a Lady Housed in a Lely gold Leaf Frame. Peter Lely: In 1647 he became a member of the Pain...

Oil on Canvas. Roman school of the 17th century. In classical mythology, the goddess Venus, wife of Vulcan, had him forge weapons for her son Aeneas. In the scene, set in the cave wh...

Pieter Symonsz Potter Dutch 1600 - 1652 Soldier in an Interior Oil on oak panel, red seal to reverse Image size: 15 x 10 3/4 inches Dutch Ebonised frame Bathed in a well lit roo...

This painting seduced us with its rich colors. Depicting Diana and her companions surprised by Actaeon, it was inspired by an engraving by Aegidius Sadeler II after a painting by Jos...

Antiveduto Gramatica (1569 – 1626) Title: Cryptoportrait of a lady as The Veronica Medium: Oil on canvas Dimensions: without frame 100 x 74.5 cm - 123.5 x 103.5 cm Ancient "cassetta...

Oil on copper. Flemish school of the seventeenth century. The painting, attributed by oral tradition to Frans Francken the younger (1581 -1642), depicts a miraculous healing perform...

Louis Cretey (Lyon, France, 1635 - 1702) Title: Saint Sebastian Medium: Oil on canvas Dimensions: with frame 91 x 75 x 5 cm - without frame 77 x 60.5 cm With a "cassetta" frame in ...

Allegory of summer, personified by Ceres Workshop of Hendrick Van Balen Antwerp School, early 17th century. Oil on copper, Dimensions: h. 52 cm, l. 40cm Antic giltwood frame Framed dimensions: h. 74 cm, l. 60cm Very good condition Our delicately painted work is part of the pictorial tradition that is both allegorical and mythological in vogue in Antwerp, whose leaders are Jan Brueghel the Younger and Hendrick Van Balen. Numerous works emerging from their workshops illustrate mythological subjects, the seasons, the elements, the senses or intertwining the lush landscapes, animals and gods of Olympus. At the heart of a green landscape dominated in its center by a generous apple tree, the beautiful Ceres, partially dressed in a large blue drape, is wearing a crown of ears of wheat, her symbol of the goddess of the earth and harvests. She holds the sickle in her right hand and carries sheaves of wheat. To her right a nymph holds the cornucopia while puttis pick and offer flowers. In the foreground are the summer fruits: figs, cherries, apples and lemons. A squirrel munching on cherries symbolizes toil and foresight, themes that are echoed in the work of the harvesters on the wheat fields in the background. The background is composed of vegetation, on the right a wild rose bush with its branches erect against a tree trunk, in the center of the trees with silvery green foliage. Our painter, a student of Hendrick Van Balen, finds his inspiration in the works of the master such as this nymph in yellow drapery seen from behind, one of the figures which accompanies many of the master's paintings. The elegant gestures, the flesh...The indisputable influence of Jan Brueghel the Younger is revealed in the treatment of trees and flowers, wild roses, tulips as well as in the still life with the squirrel in the foreground. The craze for this type of virtuoso painting where the mythological figures are only a pretext to better illustrate the landscape and plant species surrounding them, then generated orders from all over Europe. Hendrick Van Balen, Flemish painter, born and died in Antwerp (1575-1632). A student of Adam Van Noort, he entered the guild of Saint-Luc in 1593, later trained in Italy and was Van Dyck's first master. He often painted small characters taken from scenes from the Bible or classical mythology, on paintings in which Josse de Momper...

This superb trompe l'oeil painting is in the typical manner and quality of the Antwerp Jesuit master Daniel Seghers. Painted circa 1650, the central ca...

A splendid Flemish painting from the second half of the 17th century. Oil on canvas artwork depicting a rare biblical scene, the baptism of the Ethiopian eunuch by Saint Philip. A hi...

Where the Sea Meets Home, A 17th-Century Port Seascape by Andries van Eertvelt Bathed in the warm and vibrant light of a beautiful day, this remarkable 17th-century seascape opens a...

Traveller in a Duch Village Meerhoud Jan Gorinchem 1633 – 1677 Amsterdam Dutch School Golden Age Signature: Signed bottom left Medium: Oil on panel Dimensions: Image size 21 x 25 c...

Circle of Teniers, Peasants in a Landscape passing by a river and an Inn.

Hendrick van Somer o Someren o de Somer (Lokeren, Belgium, 1607 - Naples, Italy, 1656) Title: Saint Jerome Medium: Oil on canvas Dimensions: without frame 91 x 72 cm - with frame 108...

Antique Italian painting from the second half of the 17th century. Artwork oil on canvas depicting the mythological subject Rape of Europa of excellent pictorial quality. Painting of...

The painting is set in a precious gilded wooden frame, 72 x 59 cm. The measurements without the frame are 53 x 42 cm. Gazing up at the sky, eyes bright and wide open, mouth half-clo...

olio su tela, 62 x 51 cm (senza cornice) Il dipinto è stato per lungo attribuito alla mano di Francesco Gessi, allievo di Guido Reni, come riporta un'iscrizione a matita datata 1945...

Neapolitan caravagist artist, 17th century SAINT THOMAS APOSTOLE oil on canvas, cm 127x101 (The painting is part of a triptych together with the two holy apostles Saint James the Mi...

Oil on Canvas. Roman school of the 17th century. The large scene depicts the famous episode somewhere between real history and legend, first recounted by Titus Livius in his "Ab urb...

Painting oil on canvas depicting the myth of Diana and Actaeon measuring 110 x 130 without frame and 120 x 140 with frame by the painter Francesco Solimena. According to the myth, d...

The Angel Dutch Old Master, 17th century wash with pencil drawing on artist paper, framed Glass covering framed: 14 x 12.5 inches board: 12.5 x 9.5 inches condition: age related crea...

This exquisite 19th Century Old Master Oil painting depicts Zeus enshrouded and Ganymede, the most beautiful of mortals and a her...

This unique painting is called 'Ectasi of Saint Cecilia' and was painted by the Italian painter Bartolomeo Guidobono, nickname The Savona Priest (1654-1709) Work of great pictorial ...

Cesare Pronti (Cattolica, Italy, 1626 - Ravenna, Italy, 1708) Title: Martyrdom of Saint Agatha Medium: Oil on canvas Dimensions: Without frame 57.7 x 37 cm – with frame 64 x 42.7 x 3...

Italian religious painting from the second half of the 17th century. Oil on canvas painting depicting a splendid Holy Family with the sleeping baby Jesus...

Oil on original canvas Image size: 78 1/4 x 44 inches (199 x 112 cm) Contemporary style frame Provenance Sir Rowland Cotton, 1608 Family Descent Private Collection Sir Rowland Cot...

Juan Alfonso Abril (active in the 17th century in Valladolid, Spain) Title: Head of Saint Paul Medium: Oil on canvas Dimensions: without frame 48.5 x 62 ...

Domenico Maria Canuti (Bologna 1626 - 1684) Title: Toilet of Venus with Cupids and Satyrs Medium: Oil on canvas Dimensions: without frame 79 x 98 cm - ...

Domenico Maria Canuti (Bologna, Italy, 1626 – 1684) Title: Assumption of the Virgin Medium: Oil on canvas Dimensions: 138 x 104.5 cm without frame Expertise by Professor Micaela Li...

Crossing of the Red Sea Workshop of Frans Francken II (1581-1642) 17th century Antwerp School Oil on oak panel Dimensions: h. 49.5 cm, w. 64.5 cm (19.49 in x 25.39 in) Moulded and blackened wooden frame with wide mouldings, with inverted profile from the later period. Framed dimensions: h. 82 cm, w. 97 cm (32.28 x 38.19 in) Our panel illustrates one of the episodes of the Old Testament, recounted in the book of Exodus. After crossing the Red Sea...

Enea Salmeggia known as Talpino (Bergamo, 1565 - 1626), second decade of the 17th century Ecce homo Oil on canvas, 84 x 61 cm Framed, 103 x 77 cm The work presented here depicts ...

Guglielmo Caccia said the Moncalvo (Montabone, 1568 - Moncalvo, 1625) Saint Francis of Assisi comforted by an angel Oil on canvas, cm 96 x 73 - (wi...

The Triumph of the Infant Bacchus, Workshop of Hendrick Van Balen (1575-1632) Antwerp, c.1630 Oil on copper, h. 28 cm (11.02 in), w. 35 cm (13.78 in) A large Roman 17th century golden painted frame Framed: h. 52 cm (20.47 in.), w. 58 cm (22.83 in) Our finely painted work depicts The Triumph of the Bacchus as a young boy and is one of the most popular mythological subjects in Antwerp at the beginning of the 17th century. Feasting, wine and fun are the themes that constantly appeal to the public. Thus unfolds before our eyes on our painting the procession composed of nymphs, baccantes, fauns, satyrs and children, their bodies naked, partially covered with brightly coloured draperies that help to brighten up the parade. Playing various instruments, dancing and drinking, while carrying vases and poles adorned with grapevines, participants to the rhythm of a noisy brass band make their way to an ancient temple standing on the right. The exaggerated gestures convey to us the frenzy of the excited crowd. The Child Bacchus follows the joyous procession, carried by satyrs and nymphs, crowned with ivy and joyfully raising a cup of wine. In the foreground, the drunken participants leave the procession, the children on the left and the group of bacchantes and satyrs on the right are resting among various objects scattered at their feet: cups, vases, ewers bear witness to the festivities in progress. In the background, a hilly landscape stretches out on the horizon, a semblance of calm that contrasts with the bustle of the foreground. The artist strives to multiply the many details, whether it be figures, costumes, flowers or vegetation, in order to demonstrate his know-how and the perfection of his execution. The acidulous palette with fresh and varied colours is characteristic of Hendrick Van Balen's works. There are several versions identical to ours with similar dimensions painted by Hendrick Van Balen and his workshop. Related works: • Koller Auction, Zurich, 21/09/2007, oil on copper, 28,5 x 37,4 cm. • Staatliche Kunsthalle, Karlsruhe, Inv. N° 809 (oil on copper, 40 x 53,5 cm) • Auktionshaus für Altertümer Glückselig, Vienne, 10/05/1932, ( oil on copper, 34 x 42 cm) • Gemäldegalerie of Pommersfelden, Schloss Weissenstein, oil on panel, 47 x 64 cm Hendrick Van Balen, Flemish painter, born and died in Antwerp (1575-1632). A pupil of Adam Van Noort, he entered the Guild of St. Luke in 1593, later trained in Italy and was Van Dyck's first teacher. He often painted small figures taken from scenes from the Bible or classical mythology, on paintings whose backgrounds and landscapes were painted by Josse de Momper...

Already been in Koelliker collection (no. inv. LK0431) Publications: - C. Alpini, Ritratto di Gian Giacomo Barbelli nel IV centenario della nascita, in “Insula Fulcheria”, XXXIV, ...

The sermon of the Baptist is set in a large open space, with rich vegetation and wooded glimpses, and on the back, in the distance, you can see the buildings of a city. The scene see...

Thomas Willeboirts Bosschaert Pan plays to the dance of the putti Thomas Willeboirts Bosschaert (1614 Bergen op Zoom - 1654 Antwerp) Pan plays to the dance of the putti Oil sketch Oil on canvas, 35 x 51 cm Provenance: Belgian private collection, ca. 1980 to 2020. The oil sketch shows a flute-playing man with dark curls sitting at the left edge of the picture in a recess draped with cloth. In the lower left corner, a fallen bowl with leaking water can be seen. The right half of the picture shows a circle of five dancing putti, whereby the left putti can be recognized as a satyr due to the goat legs. The background is dominated by a dark mountain landscape. In the sky a rising or setting sun can be guessed. It is possible that the flute player represents Bacchus, the god of wine and ecstasy. This fits with the flute as a symbol of celebration, as well as the bowl of water, which could refer to Bacchus' mother, Lethe. Lethe is a river in the underworld, which at the same time symbolizes "oblivion". Thus, the spilling water bowl is not only a reference to this river, but it also symbolizes "oblivion". Moreover, Bacchus is usually depicted with satyrs in his retinue, which would explain the putto with goat legs. However, the interpretation of the flute player as the god Pan would be possible. He is usually shown with his flute and associated with dance. Moreover, he is native to the mountainous landscape of Arcadia. The present work is an oil sketch, i.e. a preparatory study. This is suggested by the partly unfinished parts, as well as the structure of the picture. Some parts are already almost completely laid out, such as the flute player, while others, for example the horizon and also the figures of the putti, are only sketched in outline. The painting can be attributed to the Baroque painter Thomas Willeboirts Bosschaert. This attribution was also confirmed by Prof. Hans Vlieghe. Bosschaert lived and worked in Antwerp with Peter Paul Rubens and Anthonis van Dyck, among others. He studied with Gerard Seghers...

Here Gaspard Dughet offers us an idyllic vision of the Roman countryside. The stages follow one another in a perfectly structured composition, revealing here a lake, there travellers walking along, gradually leading our eye to the blue horizon. But behind its classical composition, this landscape is particularly interesting because of three anthropomorphic details that the artist has hidden, opening the way to a radically different interpretation... 1. Gaspard Dughet, a landscape artist in the light of Poussin Gaspard Dughet was born on June 4th, 1615 in Rome where his father, of French origin, was a pastry cook. He was probably named Gaspard in honour of his godfather Baron Gaspard de Morant, who was, or may have been, his father's employer. His older sister Jeanne married the painter Nicolas Poussin (1594 - 1655) on September 1st, 1630. The young Gaspard was apprenticed with his brother-in-law at the beginning of 1631, which led his entourage to name him Gaspard Poussin. The first preserved works of the painter date from the years 1633-1634 and were painted in Poussin’s studio. Around 1635, Gaspard Dughet became emancipated and began to frequent the Bamboccianti circle. In 1636, he became friends with the painter Jean Miel (1599 - 1656), but also with Pier Francesco Mola (1612 - 1666) and Pietro da Cortona (1596 - 1669). This was also the time of his first trips throughout Italy. The painter, although of French origin, appears never to have visited France. In 1646 he settled permanently in Rome. A recognized painter with a solid book of orders, he remained faithful to landscape painting throughout his life, alternating between cabinet paintings and large decorative commissions, using both oil and fresco. Nailed to his bed by rheumatic fever at the age of 58, he died on May 25, 1675. 2. Discovering an idealized landscape Beyond a relatively dark foreground that takes us into the landscape, we discover a vast bluish horizon: a plateau surrounded by deep ravines advances to the right, overhanging an expanse of water that sparkles below. A road winds through a mountainous mass as if leading us to the fortress that crowns it; another town appears in the distance at the foot of three conical mountains. The composition is rigorous, mineral, and structured by geometric volumes. The various stages in the landscape lead one to the next attracting the eye towards the horizon located in the middle of the canvas. The general impression is that of a welcoming and serene nature. In many places the paint layer has shrunk, or become transparent, revealing the dark red preparation with which the canvas was covered and accentuating the contrasts. Human presence is limited to three jack players, leaning against a mound in the foreground. Their long garments, which may evoke Roman togas, contribute to the timelessness of the scene. Close examination of the canvas reveals two other travellers on the path winding between the rocks. Made tiny by the distance, their introduction in the middle register, typical of Dughet's art, lengthens the perspective. While it is difficult to date the work of a painter who devoted his entire life to the representation of landscapes, it is certain that this painting is a work from his later years. The trees that occupied the foreground of his youthful compositions have been relegated to the sides, a stretch of water separates us from the arid mountains counterbalanced by two trees represented on the opposite bank. The introduction of this stretch of water in the middle of the landscape betrays the influence of the Bolognese and in particular of the Dominiquin (1581 - 1641) A number of similarities with a drawing in the British Museum might suggest a date around 1656-1657, since, according to Marie-Nicole Boisclair , it has been compared with the Prado's Landscape with the Repentant Magdalene, painted at that period. 3. Three amazing anthropomorphic details While some late Renaissance landscapes offer a radical double reading, allowing one to see both a face or a human body behind the representation of a landscape, it seems interesting to us to hypothesize that Gaspard Dughet had fun here by slipping in a few details that, taken in isolation, evoke human or animal figures. We will give three examples, looking closely at a cloud, the trunk of a broken tree and the top of a cliff. The main cloud could thus evoke a Christ-like face or that of an antique god...

Antonio Calza (1653-1725) Scena di Battaglia Olio su tela in cornice dorata Dimensioni: 45x60 cm (68,5 x 84,5 cm inclusa la cornice) Fine del XVII secolo Nacque nel 1653 a Verona d...

Oil painting on canvas. French school of the seventeenth century. The scene, set at night in the garden of a villa, of which you can glimpse the ornate facade on the right and in which the fountain gushing with cherubs stands out, under a dark sky and further obscured by heavy clouds, proposes two figures who entertain each other in conversation : an elderly modestly dressed is sternly admonishing a seated young man, richly dressed, who seems instead to make the gesture of mea culpa with his hand. The physiognomy and the gestures of the two characters, together with the style of the clothes, would refer to the philosopher Aristotle who was called to the court of Macedon to be the tutor...

Hero And Leander, 17th Century Studio of DAVID II TENIERS (1610-1690) Large 17th century Dutch Old Master classical scene of Hero and Leander, oil on canvas. Excellent quality an...

Very decorative, 17th century, old master painting, oil on canvas, King Alexander Magnus, the great. Illustration of two children, putti, with wreaths of flowers on a board (or maus...

The Rape of Europa By Peter Sion (Antwerp, 1624-1695) Signed in the lower right corner P. Sion 17th century Antwerp School Oil on copper, dim. h. 53 cm, w. 45 cm Moulded and ebonized...

Oil painting on canvas. Venetian school of the seventeenth century. Entirely in the foreground, this scene of a group of sacred figures, which presents the faces of Mary and the Chil...

Imas Coat Of Arms, Innes Clan, Sir Robert Innes, 17th Century Scottish School 17th Century Scottish Imas Coat Of Arms to the Innes Clan, oil on canvas laid down. Early Innes clan c...

Nicolas de Largillière (Paris, 1656-1746) Portrait of a lady, circa 1695 Oil on canvas (relined): 76 x 61 cm Framed: h. 97 cm, l. 82 cm To be included in the forthcoming catalogue raisonné of the artist by Dominique Brême, director of museum of Sceaux and artist specialist. Our work presents a majestic French aristocrat against the backdrop of a twilight landscape. The face seen from the front, the body turned three-quarters, the young woman is portrayed half-length, revealing her slim belted waist. The elongated face with rosy cheeks, almond-shaped eyes, straight nose and strong chin, solemn expression, the young woman sketches...

Beautiful original frame in carved and gilded wood. Oral expertise by Prof. Enrico Maria Dal Pozzolo.

Giulio Benso (Genoa, Italy, 1592 - 1668) Title: The Expulsion of the Merchants From the Temple Medium: Oil on canvas Dimensions: without frame 121 x 170 cm - with frame 144 x 193 cm ...

Livio Mehus (Oudenaarde, Belgium, 1630 - Florence, Italy, 1691) Title: Allegory of Augustinian Order Medium: Oil on canvas Dimensions: without frame 94 x 98 cm - with frame 116 x 143...

Madonna and Child late 1600s, oil painting on canvas from northern Italy, in good condition, within walnut frame, from a private collection in Milan. The unsigned Italian school wor...

Oil painting on canvas. Northern Italian school of the 17th-18th century. The work of a devotional nature, sees the Madonna, seated on the clouds and assisted by two angels who suppo...

Oil painting on canvas, sized 149 x 124 cm (149 x 124 cm) unframed and 158 x 133 cm (158 x 133 cm) with antique hook depicting St. John the Baptist. Ignatius of Loyola in adoration o...