1670s Paintings

Gerard Soest (Soest c. 1600 - London 1681) Portrait of a girl, possibly Dorothy Bigg (née Wither) (1661-1717), c. 1674 Half-length, wearing natural pearl and gemstone jewellery ​ O...

Marquise de Montespan, Françoise Athénaïs de Rochechouart de Mortemart (1640-1707) by François de Troy (1645 – 1730) 17th century French school, circa 1675 Not signed Oil on canvas ...

This superb French Old Master portrait oil painting is attributed to Pierre Mignard. Painted circa 1670 it is a seated full length portrait of a young lady in a landscape, as Diana w...

A large 17th century Italian Baroque oil on canvas painting of ships, circle of Salvator Rosa (1615-1673), "Marina delle torri" translated as Marina of the Towers, circa 1670. The p...

Antique Italian painting from the second half of the 17th century. Oil on canvas artwork of great pictorial quality depicting a mythological subject, infant Zeus and the goat Amalthe...

This splendid late 17th-century three-quarter length portrait by Dutch artist Johannes Vollevens I (1649-1728) depicts a lady wearing a plush blue satin gown with a low, lace-trimmed...

This elaborate mid-17th-century Neapolitan school still life depicts a pyramidal arrangement of fruit on a circular silver platter. It’s somewhat reminiscent of works by Luca Forte (...

This fine, late-17th-century oil painting by Dutch artist Jan de Baen (1633-1702) depicts a gentleman wearing a sumptuous brown cloak atop a burgundy silk coak. De Baen was a renowne...

This enchanting late 17th-century French oil painting depicts an elegant gentleman in a silk robe with his right index finger on an open book. Stylistically, it’s comparable to the oeuvre of Jacques d'Agar (1640-1715). Dressed in a rather ostentatious embroidered silk robe...

Ron Stonier (1933-2001) was a dedicated Vancouver artist celebrated for his exploration of abstract painting, influenced by his mentors Gordon Smith and Jack Shadbolt, as well as by ...

This mid-17th-century oil painting attributed to Dutch artist Willem Van Bemmel (1630-1708) depicts an Italianate view with prominent ruins, travellers, distant town and mountains. Born in Utrecht, Van Bemmel trained under the distinguished Herman Saftleven (1609-1685) before undertaking a grand tour culminating with an extended stay in Venice and Rome. Travelling to Italy during the mid-17th century was a complex endeavour involving a perilous journey of over 800 miles by carriage. Often funded by the artists’ parents, it was extraordinarily expensive and fraught with danger. Not only were the plucky adventurers the target of various nomadic miscreants, they also had to tackle the ferocity of the Alps. Some never made it, others never returned. Van Bemmel began his tour at just 17 years old, keen to join his Dutch compatriots on their cultural sojourn. Today, one might compare these lengthy study trips to enrolling at University - whereby the learning was paramount but the activities not entirely salubrious. For those leaving home for the first time, it was the Baroque equivalent of a booze cruise. Such was the level of debauchery that the Dutch and Flemish artistic contingent in Rome became notorious for their antics. Dubbed collectively as the Bentvueghels (‘Birds of a Feather’), their meetings often descended into frantic drinking bouts and bizarre initiation rituals - often concluding with a march to the church of Santa Costanza (the ‘Temple of Bacchus’). However, despite this, there was still much to be gained from studying the rich tapestry of Renaissance masters and indeed the environment itself. Collectors across Europe favoured those with Italian experience and in The Netherlands, Italianate views were highly sought after. In the words of the influential writer, Arnold Houbraken, the 17th-century “had no esteem for artists unless they had seen Rome”. Van Bemmel settled in Rome between 1649 and 1653 where he became enchanted by the works of Franco-Italian landscape painter, Gaspard Dughet (1615-1675). From here, he crossed the Alps to settle in Nuremberg, Germany, marrying Agnes Pisanus, the daughter of a ‘smoke merchant’. In this work from circa 1670, he’s captured a ruined mediaeval tower, serving as a gatehouse. In the foreground, a weary packhorse carries barriels with a dog alongside, while two sentries guard the route. Further on, an ancient town stands atop cliffs with distant mountains described in a blueish haze. He was a master at capturing light effects on architecture and it’s reminiscent of his work from 1667 depicting the Roman arch Arch of Drusus. Also Jan Both’s ‘The Titus Arch in Rome’. Van Bemmel’s sons Peter von Bemmel and Johan Georg von Bemmel both became artists of repute and continued the ‘Von Bemmel’ painting legacy. He’s represented in numerous public collections including at the British Museum, Smithsonian American Art Museum, V&A Museum, Rijksmuseum and Centraal Museum in Utrecht. Held within a later gilt frame. Sold via Sotheby’s in 1987 and recently appraised at £3,000-£4,000. Learn more about Willem Van Bemmel in our directory. Labels & Inscriptions: Inscribed with the artist’s name on the reverse. Sotheby’s auction chalk. Provenance: Old Master Paintings and British Paintings 1500...

Portrait of Louis de France (1661 -1711), known as the Grand Dauphin, son of Louis XIV and Maria Theresa of Austria. 17th century French School, circa 1670 Workshop of Beaubrun Henri (1603-1677) and Charles (1604-1692) Oil on canvas, h. 79 cm (31.10 in), l. 70 cm (27.56 in) Louis XIV style giltwood and stucco frame Framed: h. 107 cm (42.13 in), l. 99 cm (38.98 in). Rare ceremonial portrait of Louis de France, aged around 10, wearing rich miniature clothes following the men's fashion of his time. He is standing, turned in three quarters, his gaze with a solemn expression contrasts with his baby face with full cheeks which appears in the middle of thick blond curls falling on his shoulders. He wears a tobacco-colored cloth jacket which hides a shirt of which we only see the silver-embroidered sleeves. He wears the blue cord of the order of the Holy Spirit slung over his shoulder, and over it a ribbon embroidered with gold and silver. The white lace tie at her neck is enhanced by a coral ribbon bow. The same ribbon trimmings decorate his sleeves, his cane, and his sword holder...