17th Century Paintings

Study Of David, 17th Century School Of Peter Paul Rubens (1577-1640) 17th Century Dutch study of the head of David before the battle against Goliath & The Philistines, oil on canva...

Portrait Of Franz von Sickingen Knight Of The Holy Roman Empire (1481-1523) Italian School Large 16th/17th Century Italian Old Master portrait of Franz von Sickingen, Knight Of The...

Louis de Caullery (1582-1621) Antwerp School early 17th century Oil on oak panel Dimensions: h. 51 cm (20.08 in), w. 43 cm (16.93 in) Ebonized wooden frame Framed: h. 67 cm (26.38 in...

17th century oil on panel of Piazza di Spagna. Italian school. Frame later.

Artist/ School: 17th Century Dutch School Title: An Extensive River Landscape with Figures in the foreground Medium: oil painting on canvas, framed Pai...

Circle of Andries Both, Southern Landscape with Cows. Both moved to Italy ( Rome and Venice) where is work was influenced by the warm Italian light. Decorative Painting

Still Life Of Pears, Apples and Grapes in an upturned basket, 17th Century circle of BARTHOLOMEUS ASSTEYN (1607-1667) Huge 17th Century Dutch Still Life of apples, pears and grape...

Oil on panel. Northern European school of the 17th century. The scene depicts an episode in the life of Scipio narrated by Tito Livio and Valerio Massimo. Publius Cornelius Scipio, l...

Amazing painting of Cleopatra oil on canvas with a gilt wood frame. Attributed to Giuseppe Diamantini (Fossombrone 1621-Venice 1705) The dramatic subje...

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...

Portrait Of A Young Lady, Traditionally Identified As Rachel Russell, Duchess of Devonshire (1674-1725) circle of Sir Godfrey Kneller (1646–1723...

Fascinating mythological story of Diana and Actaeon can be found in Ovid’s Metamorphoses. Very important provenance from a royal collection. Fabulous finely carved gilt wood coeval...

Oil on copper after Raphael " the virgin of Lorette " Chantilly Museum . Ecole Hollandaise from around 1600 . La Vierge de Lorette (Madonna del Loreto) appelée aussi Vierge au voil...

Pair of paintings, still on the first canvas, oil on canvas measuring 70 x 82 cm without frame and 80 x 92 cm with coeval frame by the painter Felice Boselli (Piacenza 1650 - Parma 1732) depicting a still life with popular characters, animals and game. Felice Boselli was an Italian painter of the Baroque period, best known for still lifes of game...

DUTCH SCHOOL 17TH CENTURY A Goshawk perched on a Falconer's Gloved Hand Oil on Canvas Circa. 1660 29 3/4 x 24 7/8 inches (75.5 x 63 cms) Provenance: Private Collection, Paris

Gerrit Maes (1649-1706 or later), attributed Richly adorned riverscape Signed and dated in the mid-frame, presumably 'Maasius F. 1695' Oil on canvas Dimensions excl. frame: 58 x 82 ...

The Prodigal Son Among Courtesans Attributed to Hieronymus Francken II (Antwerp 1578-1623) Early 17th century Antwerp school Oil on oak panel, Dimensions: H. 52.5 cm (20.67 in), W. 74 cm (29.14 in) Flemish-style moulded wood frame Frame: h. 78 cm (h. 30.70 in.), w. 100 cm (39.37 in.) At first glance, this festive and joyful painting depicts a group of elegantly dressed people dancing to the sound of an orchestra in a richly decorated interior with a wide opening onto a rural exterior. However, the real theme is cleverly concealed by the painter and is only discernible through the artifice of a small scene in the background where we see a half-naked man, in the company of the pigs next to a makeshift shelter. In fact, beyond the pleasant and apparently superficial character of the painting, it is a subject taken from the parable of the prodigal son in the Gospel. The illustrated episode is the prodigal son among courtesans. Even if the viewer's attention is drawn to the central couple (prodigal son embracing a pretty courtesan) doing the dance steps, the artist takes care in a narrative approach of all the groups and ancillary scenes in order to create a rich and varied composition. Thus the musicians seated on a raised platform are depicted with great skill, their faces animated, their clothes abundantly varied. The theme of music, which has always been associated with that of sensuality and physical love, helps to exacerbate licentious pleasures. The merry company dances "Spanish pavane", a slow court dance from the sixteenth century, danced close to the ground by couples arranged in a procession, which was probably introduced to the south of the Netherlands around 1600 during the governance of Albrecht VII and the daughter of the King of Spain Isabella Clara Eugenia in Brussels. The interior of the house is also carefully elaborated, the embossed leather dyes on the walls, the middle sideboard (typical in Francken interiors), where the rich gold and silver crockery is placed in front of the painting "Andromeda chained to the rock and Perseus arriving to rescue her". The inclusion of a contemporary and probably extant pictorial work is also one of the characteristics of the Francken family, among them Frans Francken the Younger...

English School, (circa 1600) Portrait of William Herbert, 3rd Earl of Pembroke Oil on panel, oval Image size: 29¼ x 23⅞ inches Painted wooden frame Provenance: 176, Collection of Francis Greville, 1st Earl of Warwick. The Trustees of the Lord Brooks’ Settlement, (removed from Warwick Castle). Sotheby’s, London, 22nd March 1968, lot 81. Painted onto wooden panel, this portrait shows a dark haired gentleman in profile sporting an open white shirt. On top of this garments is a richly detailed black cloak, decorated with gold thread and lined with a sumptuous crimson lining. With the red silk inside it’s all very expensive and would fall under sumptuary laws – so this is a nobleman of high degree. It’s melancholic air conforms to the contemporary popularity of this very human condition, evident in fashionable poetry and music of the period. In comparison to our own modern prejudices, melancholy was associated with creativity in this period. This portrait appeared in the earliest described list of pictures of Warwick castle dating to 1762. Compiled by collector and antiquary Sir William Musgrave ‘taken from the information of Lord & Lady Warwick’ (Add. MSS, 5726 fol. 3) is described; ‘8. Earl of Essex – an original by Zuccharo – seen in profile with black hair. Holding a black robe across his breast with his right hand.’ As tempting as it is to imagine that this is a portrait of Robert Devereux, the 2nd Earl Essex, we might take this with a pinch of salt. Its identification with this romantic and fatal Elizabethan might well have been an attempt to add romance to Warwick Castle’s walls. It doesn’t correspond all that well with Essex’s portraits around 1600 after his return from Cadiz. Notably, this picture was presumably hung not too far away from the castle’s two portraits of Queen Elizabeth I. The first, and undoubtedly the best, being the exquisite coronation portrait that was sold by Lord Brooke in the late 1970s and now hangs in the National Portrait Gallery. The second, described as being ‘a copy from the original at Ld Hydes’, has yet to resurface. The portrait eventually ended up being hung in the State Bedroom of Warwick Castle. Archival documents present one other interesting candidate. The Greville family’s earliest inventory of paintings, made in 1630 at their home Brooke House in Holborn, London, describes five portraits of identified figures. All five belonged to the courtier, politician and poet Sir Fulke Greville (1554-1628), 1st Baron Brooke, and were hung in the ‘Gallerie’ of Brooke House behind yellow curtains. One of them was described as being of ‘Lord of Pembrooke’, which is likely to have been William Herbert (1580-1630), 3rd Earl of Pembroke. William was the eldest son of Greville’s best friend’s sister Mary Sidney, and was brought up in the particularly literary and poetically orientated household which his mother had supported. Notably, the 3rd Earl was one of the figures that Shakespeare’s first folio was dedicated to in 1623. The melancholic air to the portrait corresponds to William’s own pretensions as a learned and poetic figure. The richness of the robe in the painting, sporting golden thread and a spotted black fabric, is indicative of wealth beyond that of a simple poet or actor. The portrait’s dating to around the year 1600 might have coincided with William’s father death and his own rise to the Pembroke Earldom. This period of his life too was imbued with personal sadness, as an illicit affair with a Mary Fitton had resulted in a pregnancy and eventual banishment by Elizabeth I to Wilton after a short spell in Fleet Prison. His illegitimate son died shortly after being born. Despite being a close follower of the Earl of Essex, William had side-stepped supporting Devereux in the fatal uprising against the Queen and eventually regained favour at the court of the next monarch James I. His linen shirt is edged with a delicate border of lace and his black cloak is lined on the inside with sumptuous scarlet and richly decorated on the outside with gold braid and a pattern of embroidered black spots. Despite the richness of his clothes, William Herbert has been presented in a dishevelled state of semi-undress, his shirt unlaced far down his chest with the ties lying limply over his hand, indicating that he is in a state of distracted detachment. It has been suggested that the fashion for melancholy was rooted in an increase in self-consciousness and introspective reflection during the late 16th and early 17th centuries. In contemporary literature melancholy was said to be caused by a plenitude of the melancholy humor, one of the four vital humors, which were thought to regulate the functions of the body. An abundance of the melancholia humor was associated with a heightened creativity and intellectual ability and hence melancholy was linked to the notion of genius, as reflected in the work of the Oxford scholar Robert Burton, who in his work ‘The Anatomy of Melancholy’, described the Malcontent as ‘of all others [the]… most witty, [who] causeth many times divine ravishment, and a kind of enthusiamus… which stirreth them up to be excellent Philosophers, Poets and Prophets.’ (R. Burton, The Anatomy of Melancholy, London, 1621 in R. Strong, ‘Elizabethan Malady: Melancholy in Elizabethan and Jacobean Portraits’, Apollo, LXXIX, 1964). Melancholy was viewed as a highly fashionable affliction under Elizabeth I, and her successor James I, and a dejected demeanour was adopted by wealthy young men, often presenting themselves as scholars or despondent lovers, as reflected in the portraiture and literature from this period. Although the sitter in this portrait is, as yet, unidentified, it seems probable that he was a nobleman with literary or artistic ambitions, following in the same vain as such famous figures as the aristocratic poet and dramatist, Edward de Vere...

Signed and dated "N MAE / 1691" (lower right) Oil on canvas A masterful example of 17th-century Dutch portraiture, this magnificent oil on canvas comes alive with luminous color, dramatic contrast and extraordinary detail. The work was composed by Nicolaes Maes, an artist widely regarded as the most prominent portrait painter of his era in Amsterdam. Fashionably styled, Portrait of a Noble Lady exemplifies the mature style of Maes, executed with the same artistry and attention to detail he imparted on his most important private commissions. This work by Maes comes from the second half of his career and follows in the rich tradition of the great Flemish Baroque painters Peter Paul Rubens and Anthony van Dyck. Like these artists, Maes excels at not only capturing his subjects with a technical perfection but also their inherent elegance and grace. The sitter is draped in luxurious white and red silks and pearls, underscoring the importance and prosperity of his wealthy clientele. She is placed against a dark backdrop, enabling a striking chiaroscuro effect characteristic of the artist’s portraits. Maes’s immense talent for detail and composition is clearly evident. In both palette and proportion, it embodies the somewhat austere style preferred by the artist, which emphasized a painstaking study of the costumes, hairstyles and accessories of his subjects. Such elaborate and highly detailed costuming in portraiture was a fashionable way to show one's wealth in the 17th century, particularly among the emerging class of wealthy merchants. Similar works by the painter can be found in the Rijksmuseum (Amsterdam), National Gallery (London), National Gallery of Art (Washington, D.C.), Metropolitan Museum of Art (New York) and Philadelphia Museum of Art, among others. Nicolaes Maes was born in Dordrecht in 1634 to a prosperous cloth merchant. Around 1848, he moved to Amsterdam to study under Rembrandt for several years before returning to his native Dordrecht, where he established himself as a painter of genre scenes and portraits. In the 1650s, Maes traveled to Antwerp where he studied the work of Flemish artists such as Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens...

Portrait of Lady Frances Norcliffe (1654-1731) , 17th Century by John Michael WRIGHT (1617-1694) to $600,000 Large 17th century portrait of Lady Frances Norcliffe, oil on canvas by...

Carvaly Skirmish At Night, 17th Century school of Jacques Courtois (1621-1676) Large 17th Century Italian Old Master night battle with cavalry offic...

Portrait Of William II Prince Of Orange, circa 1650 Dutch School Large 17th Century Dutch Schoo Old Master portrait of William II Prince Of Orange, oil on panel. Early important original court portrait on an oak panel of the young prince and father of William III, his only child and later King...

François Liberti (17th-18th Century) – "Putti Games in a Park" An enchanting Baroque-era oil painting attributed to François Liberti (17th-18th century), depicting a joyous scene of ...

Parrot, Snake, Lizard and Ducks, 17th Century Genoese School Fine Large 17th Century Italian Old Master from the Genoese School of a parrot, ducks a lizard and snake, oil on canva...

Portrait Of Essex Finch, Countess Of Nottingham, 17th Century circle of Sir Peter LELY (1618-1680) Large 17th Century English Old Master po...

Amazing painting of Cleopatra oil on canvas with a gilt wood frame. Attributed to Giuseppe Diamantini (Fossombrone 1621-Venice 1705) The dramat...

Antique painting from the second half of the 17th century. Oil on canvas artwork depicting an allegorical subject from the Rudolphine school, a game of cherubs with wild game, of exc...

Still Life Of Grapes In The Vineyard, 17th Century Pierre Antoine Lemoyne (French 1605-1665) similar to $250,000 Huge 17th Century French Old Master study of grapes in the vineyard, oil on canvas by Pierre Antoine Lemoyne. Excellent quality and condition study of the vines and grapes growing before a rustic building. Exceptional detail and rare early work of art on the subject of wine making...

Portrait Of Maurice Of Nassau, Prince of Orange, 17th Century studio of Michiel Jansz Van Mierevelt (1566-1641) 17th Century Portrait of Maurice ...

Lorenzo Pasinelli (Bologna, 1629 - 1700) Sermon of Saint John the Baptist Circa 1650. Oil on canvas 115 x 154 cm With frame 136 x 174 cm Provenance Milan, Porro 6 June 2006 ...

Portrait of General Henry Ireton (1611-1651) Son In Law to Oliver Cromwell, 17th Century attributed Robert WALKER (1607-1658) Large 17th Century portrait of General Henry Ireton, oil on canvas. Excellent quality and condition Civil War portrait...

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...

Portrait Of William Yorke (1609-1666), 17th Century circle of Edward Bower (fl. 1635 – 1667) Fine large 17th Century English Master portrait of William...

Portrait Of Lady Francklin of Bedfordshire, 17th Century Studio of Sir Peter Lely (1618-1680) Fine 17th Century English portrait of Lady Fr...

Oil on canvas attributed to Philipp Peter Roos Rosa da Tivoli, realized in the late 17th Century in Italy. Large work with very fine workmanship, in particular in the creation of an...

Studio of David Teniers the Younger 1610 - 1690 Peasants Playing Bowls Outside an Inn Oil on oak cradled panel, signed Image size: 16 ½ x 22 ½ inches Gilt s...

Fascinating mythological story of Diana and Actaeon can be found in Ovid’s Metamorphoses. Very important provenance from a royal collection. Fabulous finely carved gilt wood coeval frame . Giovanni Battista Viola...

The Coronation Of The Virgin, 17th Century After Guido RENI (1575-1642) Fine Huge 17th Century Italian School Old Master depiction of the co...

Benedetto Luti (Florence, 1666 - Rome, 1724) Christ and Mary Magdalene at the banquet of the rich Pharisee Simon Oil on canvas (73 x 46 cm. - Framed 93 x 67 cm.) During a ba...

Philipp Peter Roos, known as Rosa da Tivoli (Sankt Goar, August 30, 1657 - Rome, January 17, 1706) Pair of landscapes of the Roman countryside with catkins (2) Oil on canvas, 22 x ...

The Penitent Magdalene, 17th Century circle of CARLO DOLCI (1616-1686) Large 17th century Italian old Master depiction of the Penitent Magdalene, oil on ...

Ascension Day in Venice 17th century Antwerp School Louis de Caullery (1582-1621) Oil on oak panel Dimensions: h. 12.8 in, w. 23.03 in (h. 32,5 cm, w. 58,5 c...

Painting on stone (slate), 17th century: Salome and the Beheading of Saint John the Baptist Italian school Technique: Oil on slate Period: 17t...

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 ...

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...

Portrait Of A Gentleman Holding Flowers, circa 1600 Flemish School Large circa 1600 Flemish School portrait of a man holding flowers wearing a plumed hat, oil on panel. Exceptional...

Oil on Canvas. In the center of the scene, a king kneels in a contrite attitude before an elderly man, who leans toward him in a benevolent welcoming attitude; all around, the soldie...

Oil on oak panel Image size: 9 x 7 1/4 inches (23 x 18.5 cm) Period style hand made frame This is a self-portrait is most likely by a 17th century English...

Attributed to Jan Gerritsz. Stockman (1603–1661) "Paesaggio Classico con Figure" (Classical Landscape with Figures) Medium: Oil on canvas Dimensions (Framed): 162 x 146 cm Dimensions...

A Bearded Man Tortured By A Spiked Sandal, 17th century Italian School - rare unusual depiction possibly of a martyr Fine 17th Century Italian Old Master depiction of a bearded m...

Fascinating mythological story of Diana and Actaeon can be found in Ovid’s Metamorphoses. Very important provenance from a royal collection. Fabulous finely carved gilt wood coeval frame . Giovanni Battista Viola...

Italian School, 17th century oil on canvas (laid on board), framed framed: 15 x 21 inches board: 14 x 20 inches provenance: private collection, France condition: very good and sound ...

Flemish School, Early 17th Century Portrait of a Boy in a Black Tunic Oil on panel Image size: 15¾ x 13⅛ inches This accomplished portrait of an unknown boy in his early teens was p...

Shepherds in Field German School, late 17th century circle of Philipp Peter Roos (1655-1706) oil on canvas 19 x 31 inches, unframed provenance: private collection, France condition: ...

This head and shoulders portrait is an outstanding example of the breadth, force and beauty of this artist's pictorial manner and abilities. This captivating portrait features a musi...

Bathers On A Mountainous River Landscape, 17th Century attributed to Sisto BADALOCCHIO (1581/85-1647) Fine huge 17th Century Italian Bolognese School Old Master landscape with bathers in a mountainous river landscape, oil on canvas attributed to Sisto Badalocchio. Excellent quality and condition for its age presented in a superb antique gilt frame. Measurements: 120cm x 90cm...

This dramatic painting, attributed to Paul de Vos, captures a nocturnal assault on a chicken coop. At the center of the composition, an owl has already seized a hen in its powerful t...

Circle of Carlo Cignani (Bologna, 1628 - Forlì, 1719) Allegory of Charity, by Nicola Vaccaro (Naples, 1640 - 1709) Oil on canvas, 119 x 93 cm Framed, 137 x 110 cm Bologna-born p...