17th Century Paintings

This superb Dutch Old Master Golden Age oil painting is attributed to Pieter Bodding van Laer. Painted circa 1635 the composition is a group of travellers who have stopped to rest. I...

Roman ruins is an original old master artwork realized realized by a follower of the artist Giovanni Paolo Panini and attributed to Francis Harding (1730-1766). Mixed colored oil on canvas. Includes frame. The work is a replica of Panini's canvas made around 1740, made known by Ferdinando Arisi in his 1986 monograph (Cat.456) as belonging to the Galleria Taccani in Milan and recently reappeared on the London market...

Artist 17th Century French School Circa 1660 'Diana, Goddess of the Chase' Signature: not signed Medium: tempera on paper applied to oak panel Dimensions: image size 23.5 x 18.5 cm...

This lovely 17th century Old Master religious oil painting is from the Italian School. The subject is Joseph in prison interpreting the dreams of Pharoah's Baker and Butler. The bars...

Circle of Cornelius Johnson Circa 1620’s Portrait of a Officer Oil on canvas Image size: 28 x 24 inches Period style hand made frame Provenance Private European Estate This striking portrait dates to around 1620, as you can see from the images of the sash the detail is very high. The sash is decorated with gold thread and would have cost a small fortune at the time. Sashes were originally developed for a military function (making officers more visible for their men during combat), but soon became a primarily male fashion...

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 ...

Still life with peonies, orange blossom and tulips in a vase on a ledge, 19th Century ANTOINE MONNOYER (1670-1747) sales to $95,000 Large 17th Century French Still Life of peonies,...

Godfrey Kneller (Lübeck 1646 - London 1723) circle of Portrait of a Gentleman in a Garden Oil on canvas 67 x 47 cm. Framed 84 x 64 cm. The painting depicts a nobleman portrayed f...

Cristoforo Serra (Cesena, Italy, 1600 - 1689) Title: Portrait of a Shepherd Medium: Oil on canvas Dimensions: without frame 92 x 75 cm - with frame 106.5 x 94.5 cm Antique gilt-wood...

Rest during the Flight into Egypt - The Virgin and Child with St. John the Baptist and the angels in a Landscape. Attributed to Pieter Van Avont (1600-1652) 17th century Antwerp School, circa 1630 Oil on oak panel, Dimensions: h. 38 cm, w. 50 cm (14.96 in x 19.68 in) Flemish style frame in ebonized and moulded wood Framed: h. 56 cm, w. 68.5 cm (22.04 in. x 26.97 in.) In the heart of a lush wooded landscape, the Virgin with Jesus rests in a green clearing accompanied by Saint John the Baptist and the cherubs. Seated to the left of the composition, the Virgin Mary holds the Child on her lap; the little Saint John the Baptist wearing the camel-skin tunic (his attribute) stands before Jesus to exchange a few caresses. On the right, the couple of cherubs are playing with the lamb of Saint John the Baptist, bringing a jovial character to the scene. A pair of gardening putti on the left pick flowers to bring bouquets to the Virgin and Jesus. Spring flowers such as tulips, daffodils and anemones that grow abundantly around them and enrich the composition with their shimmering colors. A lush rose bush blooms to the left of the figures offering delicate roses. (The rose is the flower associated with the Virgin Mary, who is the "mystical rose," the one that does not bear the "thorn of sin") At the feet of the Virgin are bunches of grapes (symbol of the future passion of Christ) as well as apples (symbol of the original fall of Man but also of the Redemption in Christ) In the foreground we find a wicker basket filled in profusion with beautiful flowers and guinea pigs nibbling on the blades of grass. In a cleverly arranged disorder, these elements of the still life with their strong symbolic power accentuate the religious theme, but are also an opportunity for the artist to demonstrate his know-how in the still life genre that is gaining momentum in Antwerp. The landscape behind the figures consists of a large tree with a twisted trunk and a luminous opening to the horizon placed on the right. We see Saint Joseph arriving with a donkey, a small reminder from the artist that the composition is associated with the episode of Rest during the flight into Egypt. The calm expanse of this bucolic forest opening onto the luminous distance, with its profusion of symbolic flowers and fruits, is particularly suited to this sacred scene. The theme of Jesus' sacrifice and his tragic fate is mitigated by cherubs who play with innocence and carelessness in the face of the fragility of life symbolized by cut flowers. The great mastery of the painter is manifested by the finesse of the drawing enhanced by the delicacy in the application of the brushstrokes bringing a multitude of details. The richness of the whole is exacerbated thanks to the choice of colours, this varied palette is an undeniable asset of our work. The virtuosity of our artist lies in his versatility, as much concerned with the success of the landscape and flowers as with the modelling of his figures. The cherubs with their naked bodies are gracefully illuminated by warm colours with subtle shadows, while the still life is rendered with astonishing realism, both in the precision of the drawing and in the countless shades of the flowers. There are several compositions similar to ours, of which below are the closest versions: • Sale, Jean-Claude Anaf et Associés, Lyon, 08/02/1998, attributed to Pieter Van Avont, oil on panel, h. 48 cm, l. 71 cm (recorded on RKD n° 31451). Comment: identical composition, only St Joseph with the donkey is different) • Christie's New York sale, 29/01/1998, Pieter Van Avont, oil on copper, h. 23.8 cm, w. 24.8 cm • Dorotheum sale, Vienna, 25/04/2017, Pieter Van Avont and Jan Breughel II, oil on copper, h .26 cm, w. 39 cm • Hermitage Museum, Saint Petersburg, Russia, Pieter Van Avont, oil on panel, h. 50.5 cm, w. 71.7 cm Peter van Avont, Flemish painter (Mechelen, 1600 - Antwerp. 1652) Born in Mechelen, he is mentioned in 1620 as a member of the painters' guild of his hometown. He left in 1 622 for Antwerp, where he was also a member of the guild. He collaborated with many painters, including Jan Brueguel the Younger, David Vinckboons, Lucas van Uden...

Frans van Everbroeck (Antwerp, ca. 1628 - London or Antwerp 1676/1693) attributed A stone cartouche surrounded by garlands of flowers with tulips, roses, daffodils, peonies and daisi...

Charles d’Agar (1669-1723) (attrib.) Portrait of a lady in widow’s weeds, three-quarter-length, seated in an architectural setting Oil on canvas In an original carved and gilded Le...

Portrait of a 17th century lady, three-quarter length, in an ivory silk gown standing on a garden terrace. The lady, painted circa 1670, gestures with her hand towards the gardens and land beyond off her country estate, wearing a sumptuous ivory silk gown adorned with pearls and precious stones and pearl earrings and necklace, signaling her wealth and status. She wears a ring on her left hand, which combined with her pale gown possibly alludes to her recent marriage. There are traces of a signature in ligature 'JG' in a lower fold of the sitter's right hand sleeve. John Greenhill...

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...

Jan Miel (Antwerp, 1599 - Turin, 1663) attributable Return from the Hunt Oil on canvas (51 x 66 cm Framed 74 x 89 cm) Tous les détails sont disponibles sur le LIEN suivant The wor...

Archery is a beautiful oil on canvas realized by an anonymous French artist of the end of XVIII century and the beginning of XIX century. This marvelous genre scene is very detailed...

Circle of Jean-Antoine Watteau (French, 1684-1721) Freeing a dove Oil on canvas 27.3/4 x 38.1/8 in. (70 x 96.8 cm.) Possible repair to upper right. In overall good order for the age...

The Poor Widow's Offer is an old master artwork realized by a follower of Marten de Vos (Antwerp 1532-1603) in the half of 17th Century. Mixed colored oil on canvas. Inscribed bottom right “Jesus Laudat Pauperculam […]”. The painting, whose subject is taken from the Gospel episode of the Offering of the poor widow (Mk., 12, 38-44; Lk., 21, 1-4), depicts Jesus in the Temple...

Frans Wouters was a Flemish Baroque painter who mainly created smaller cabinet pieces. He was initially apprenticed to Pieter van Avont in Antwerp, but then moved to Rubens‘ worksho...

Hendrick de Somer, known as Enrico Fiammingo (Lokeren 1602 - Naples 1655) Saint Jerome penitent in the cave oil on canvas 103 x 130 cm. - In original period frame 123 x 152 cm. Th...

This lovely Dutch Old Master oil painting is attributed to noted Dutch artist Nicholaes Berchem. Painted circa 1665 it is a charming pastoral scene of a shepherd and his animals including sheep, goats, donkey and cows and of course his trusty dog. They are all resting beneath trees while he looks on attentively. The light in the sky and the light and shadows on the animals is beautiful. A really superb example of Dutch Old Master art with great detail. Provenance. Surrey estate. Christies stamp verso. Condition. Oil on canvas, 38 inches by 32 inches and in good condition. Frame. Housed in a complementary gilt frame, 46 inches by 30 inches and in good condition. Nicolaes Pieterszoon Berchem (1620-1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn are sought after. Berchem also painted inspired and attractive human and animal figures (staffage) in works of other artists, like Allaert van Everdingen, Jan Hackaert, Gerrit Dou, Meindert Hobbema and Willem Schellinks. Born in Haarlem, he received instruction from his father Pieter Claesz, and from the painters Jan van Goyen, Pieter de Grebber, Jan Baptist Weenix, Jan Wils and Claes Cornelisz. Moeyaert. According to Houbraken, Carel de Moor told him that Berchem got his name from two words "Berg hem" for "Save him!", an expression used by his fellows in Van Goyen's workshop whenever his father chased him there with the intent to beat him. No trip or Grand Tour by Berchem was documented by Houbraken though he mentioned another story about the "Berg hem!" nickname which came from Berchem's conscription as a sailor; the man in charge of impressment knew him and sent him ashore with the words "Save him!". Today his name is assumed to come from his father's hometown of Berchem, Antwerp. According to the RKD he traveled to Italy with Jan Baptist Weenix, whom he called his cousin, in 1642–5. Works by him are signed both as "CBerghem" and "Berchem". In 1645 he became a member of the Dutch reformed church and married the year after. According to Houbraken he married the daughter of the painter Jan Wils, who kept him on a short allowance, but to finance his collection of prints he would borrow money from his pupils and colleagues and pay them back from the proceeds of paintings that he didn't tell her about. Around 1650 he travelled to Westphalia with Jacob van Ruisdael, where a dated piece showing Burg Bentheim is recorded. Maybe Berchem went to Italy after this trip and before he moved to Amsterdam - he is not clearly documented in the Netherlands between 1650 and 1656. Around 1660 he worked for the engraver Jan de Visscher designing an atlas. In 1661-1670 he is registered in Amsterdam and in 1670 he moved back to Haarlem, but was living back in Amsterdam by 1677, where he died in 1683. He was a popular teacher and his pupils were Abraham Begeyn, Johannes van der Bent, his son Nicolaes, Isaack Croonenbergh, Simon Dubois, Karel Dujardin, Johannes Glauber, Pieter de Hooch, Jacob van Huchtenburg, Justus van Huysum...

Antonio Alberti (1603 - 1649) Portrait of Cardinal Antonio Marcello Barberini (Florence 1569 – Rome 1646) Inscription on the bottom: F.M D.D ANTONIUS BARBERINUS ROM. O. CAP. S.R.E. ...

Circle of Willem Wissing Dutch, (1656-1687) Portrait of a Gentleman Oil on canvas Image size: 29 inches x 24.5 inches Size including frame: 35 inches x...

Pedro Nuñez de Villavicendio (Seville, Spain, 1644 - 1700) Title: Portrait of a child Medium: Oil on canvas Dimensions: without frame 41.5 x 33.5 cm - with frame 52 x 43.5 cm 19th century shaped and gilded wooden frame Expertise by Didier Bodart, art historian A Seville painter of noble origins, Pedro Nuñez de Villavicendio (1644-1700), the author of this pretty child portrait, was a Knight of the Order of St John of Jerusalem. He was a pupil of Murillo and, as a Knight of the Order of Malta, worked with Mattia Preti...

Ecce Homo is a superb, striking and emotive Old Master in oil on copper after the renowned Italian Baroque artist Carlo Dolci. The "Ecce Homo" shows the figure of Christ before His c...

This lovely Dutch Old Master oil painting is attributed to artist Pieter Wouwerman. Painted circa 1660 it is figurative landscape with horseback travellers and their dogs in the foreground approaching ruins on their left. Beyond is a river snakes through the landscape, beneath the fading light of approaching dusk. There are some superb details making this an excellent Dutch Golden Age oil painting...

Panfilo Nuvolone (Cremona, Italy, 1581 - Milan, Italy, 1651) Title: Still life Medium: Oil on slate Dimensions: without frame cm. 17 x 19.5 - with frame cm. 31.5 x 37.5 Expertise by...

Architectural Capriccio Of Ancient Rome, 17th Century school of Viviano CODAZZI (1604-1670) Huge 17th Century Italian Old Master view of an Architectural Capriccio with figures out...

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

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 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...

Jacob Ochtervelt (1634–1682) A joyous celebration with a couple drinking and making merry This painting is an absolute jewel. The intimate scene by Dutch Golden Age master Jacob O...

Still life in a landscape with fruit and game Work of the late Roman Baroque of the late seventeenth / eaarly eighteenth century attributable to Giovanni Paolo Castelli, known as Spadino (Rome, 1659 - 1730) oil on canvas 62 x 76 cm., Framed 90 x 109 cm. An open-air setting, with a hilly landscape gash that opens into the distance in the central part, surrounds our beautiful canvas, which showcases a rich selection of game and fruit, arranged in the foreground near the point of view of the observer, occupying a large part of the visual field with their bright and festive colors. The style and quality of the work, like the pictorial technique of this still life, characterized by subtle luminous vibrations and a lively chroma, make it attributable to the Roman Giovanni Paolo Castelli, known as Lo Spadino (Rome, 1659 - 1730), one of the most important specialists of this pictorial genre of late Baroque Rome, which had a very successful career between the 17th and 18th centuries. Analyzing the rich and heterogeneous catalog of the Roman master, in fact, our canvas can be included among his rare works which, alongside a selection of fruit - among which stand out large melons, ripe figs, dark grapes and plums - we see a game advert, presumably as requested by a patron who loves hunting. Next to various birds, spoils of a profitable hunting trip, there is also a small green woodpecker, with the characteristic red spot on the head, and a nice rodent that terminates from behind the trunk. The painter abandons himself to a skilful and brilliant chromatic texture of the surfaces, through a pictorial material rendered with exceptional vibration in its luminous and 'tactile' body, fully respecting the taste of the full Roman Baroque. The quality appears excellent, distinguished by a skilful and brilliant chromatic texture of the surfaces, which appear almost vibrant thanks to a skilful drafting of the pictorial material. Inevitable and evident are the Flemish suggestions, which had influenced the Roman Baroque still life, in particular the work of Abraham Brueghel...

Jacques Waben (Alkmaar ca. 1575-1641/1642 Hoorn) Signed in the bottom centre and dated ‘J. Waben f./1620’. The Announcement to the Shepherds Oil on oak panel 103 x 63 cm in frame 107 x 67 Provenance: Vienna Palais Dorotheum Old master painting 10.12.2015 (lot 143) This is a spectacular depiction of the theme of the annunciation to the shepherds, set in a nocturnal atmosphere dense with photos but refined, the episode of the birth of Jesus reported in the Gospel according to Luke (Lu 2:8-15), in which an angel announces the birth of Christ to a group of shepherds. We see the scene just as described in the Gospel passage that sets the event at night where the shepherds, intent on watching over their flock, were startled by the sudden appearance of an angel of astonishing beauty who we see here radiating a powerful golden light, while at his side a multitude of other angels from the heavenly army sing praises to God. After exhorting them not to be afraid, he informed them that a saviour, the Messiah, had been born in Bethlehem, whom they would find wrapped in swaddling clothes in a manger, cared for by the Virgin and St Joseph. The annunciation to the shepherds was the most depicted night scene in Flemish painting from the 15th century...

Bartolomeo Schedoni (Modena 1578 - Parma 1615) workshop of Portrait of a child (Alessandro Farnese?) First half 17th century Oil on canvas (95 x 66 cm. - In frame 109 x 80) This i...

A delicate oil on canvas landscape capriccio of an Arcadian landscape with figures and sheep and goats in the foreground. A stormy sky and blasted tree populate the landscape and the...

Francesca Volò Smiller, called Vincenzina (Milan, 1657 - 1700) - circle of Floral composition Oil on canvas (97 x 72 cm. - in octagonal frame 100 x 84 cm.) A rich floral compositio...

This lavish portrait, painted circa 1695, is an exquisite example of the type of portrait in vogue during the last quarter of the seventeenth century. It is evident that the artist ...

The Triumph Of Galatea, 19th Century follower of Scarsellino (1550-1620) Large 16th 17th Century Italian Old Master of the Triumph of Galatea, oil on canvas. Excellent quality and ...

A luxury Still life with lobster, ham and fruits Studio of Jan Davidsz de Heem (Utrecht, 1606 - Anvers, 1683-84) 17th century Antwerp school Bears a signature J D D Heem lower left on the table Oil on canvas, dim. h. 78 cm, l. 109 cm (h. 30.70 in, w. 42.91 inch) An 18th century giltwood frame, framed: h. 97 cm, l. 130 cm (38.19 in. x 51.18 in) This is a studio version after the slightly larger original by Jan Davidsz. de Heem (1606-1683) c. 1645 in the Royal Collection at the Royal Palace, Stockholm. Provenance: Galerie Charpentier auction, May 1st 1965 Sumptuous still life in which precious silver, glass and delicious food are displayed on a truly grand scale. The painter invites a viewer to the feast of red cooked lobster, mouth-watering ham, ripe peaches and plums, and sumptuous bunches of grapes. All of this extravagant food is richly displayed on a wooden table elegantly covered with a dark green velvet tablecloth. Our eye is directly attracted to the big red boiled lobster in the middle on a larger silver dish, with a silver plate of crabs in front. Behind the lobster is a large wicker basket with a white napkin, draped over its front edge and supporting a large silver dish...

Lombard School of the 17th century St. Joseph with Flower Stick Oil on oval canvas 92 x 70 cm. In antique frame 106 x 85 cm. The work shows us an intense image of St. Joseph, portrayed according to the classical iconography that sees him as a mature man holding in his hands a staff from which lilies bloom, symbol of the Virgin's purity. This iconographic attribute also alludes to his figure as God's chosen one as Mary's future husband. According to the apocryphal gospels, the Virgin had grown up in the Temple of Jerusalem, following a monastic lifestyle, and when she reached marriageable age, each of the suitors was given a dry branch...

Flemish school of the 17th century Oil on canvas 52 x 60 cm (66 x 76 cm with the frame) Very beautiful old frame in gilded wood Good condition (a few repaints and craquelures) The style of our painting reminds the first period of Flemish still life of the 17th century, very descriptive and meticulous. We think of painters such as Osias Beert, Jacob van Es and Clara Peeters...

Portrait Of Haman From the Book Of Esther, 19th Century School of REMBRANDT VAN RIJN (1606-1669) Large 17th Century Dutch School biblical depiction of Persian court official Haman,...

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...

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...

Felice Torelli (Verona, Italy, 1667 - Bologna, Italy, 1748) Title: Hagar and the Angel Medium: Oil on canvas Dimensions: without frame 41 x 116 cm - wit...

Bon Boullogne (Paris, 1649 - Paris, 1717) workshop of Episodes from the myth of Diana oil painting on canvas Dimensions: 84 x 114 cm. with antique frame 100 x 132 cm. The beautiful painting proposed shows a series of episodes taken from the myth of the divinity Diana, the Roman divinity of hunting, forests and wild animals, masterfully captured in this valuable painting, which shows a luxuriant wood, a favorite place of the divinity, as a theater of his adventures. The composition opens, on the left, with a sort of presentation of the divinity, portrayed as an attractive young girl, surrounded by her faithful Nymphs, one of whom holds her quiver with arrows, and by one of her beloved dogs. hunting her. The 'story' continues in the central part where we can see the divinity during a wild boar hunt...

Orpheus Enchanting The Animals, 17th Century Circle of Cornelis Saftleven (1607-1681) Large 17th Century Dutch Old Master depiction of Orpheus enchanting the animals, oil on panel...

Oil on Canvas. The large scene, set in a hilly countryside, with a village and ruins in the background on the left, is completely occupied by the compact group of the many living fi...

Lucas de la Haye, called Luca Fiammingo (Nivelles, 1612-Rome, 1682) Saint Cecilia and two cherubs Oil on canvas 118 x 91 cm. -Framed 129 x 102 cm. Expertise of Prof. Emilio Negro (Bologna) This evocative painting, which we are delighted to exhibit to you, has Saint Cecilia, the Roman noblewoman who later converted to Christianity and a very popular figure in the Baroque period as the patron saint of music, instrumentalists and singers, at the centre of the composition. She is depicted here as a splendid maiden dressed in regal robes...

Saint James The Greater, 17th Century after ALBRECHT DÜRER (1471-1528) Large 16th 17th Century Old Master portrait of Saint JamesT...

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...

Portrait Of A Lady, Stilte Family, 17th Century by Jan Cornelisz VERSPRONCK (1597-1662) Large 17th Century Dutch Golden Age portrait of a lady identified as a member of the Stilte family, oil on cradled panel. Excellent quality and condition portrait of the lady wearing a ruff and cap with elaborate lace work and a gilded embroided dress...

Italian landscape with a bridge, tower, shepherd and animals. Scope of Jan Both ( Utrecht, 1618-1652), arrival in Rome and Venice in addition to his native Holland. The 17th-century...

Along the road, we see several travelers: some are walking at a leisurely pace, others are engaged in animated conversations. At the top of one mountain, a small castle stands proudl...

Painting oil on canvas measuring 67 x 45 cm without frame and 82 x 60 depicting a vase of flowers by the painter Niccolò Stanchi ( Rome 1626 - 1690 ). The Stanchi brothers (Giovanni...

The Flight into Egypt, an episode of childhood of Christ in the New Testament, representing Joseph, Mary and Jesus on a donkey, fleeing from Palestine to Egypt, at the behest of the ...

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...

Portrait of the Hon. James Thynne (c. 1680-1704), full-length, in the gardens of Longleat House, seated beside a fountain, holding a shell beneath water spouting from a horn blown by a cherub on a dolphin. A glimpse of part of Longleat House can be seen upper left. Oil on canvas in a period giltwood frame, decorated with leaves and acorns. C. 1682. Dimensions: 145 x 123cm (57 x 48in) in frame Provenance: Ex Longleat House, Wiltshire Private collection, Bath James Thynne was the youngest son of Thomas Thynne, 1st Viscount Weymouth and Frances Finch of Longleat House, Wiltshire. He died in his youth and his Aunt, Anne Kingsmill Finch, Countess of Winchilsea (1661-1720), wrote a moving poem on his death. He was buried in the family vault at Longbridge Deverill, Wiltshire. A mezzotint of this painting by William Faithorne the Younger is held in the Royal Collection. Johann Kerseboom (d.1708) was the nephew of Frederick Kerseboom and first worked in Germany before coming to England in the 1680's where his sitters included the 'Electress Sophia Dorothea' (known from a mezzotint by William Faithorne). His early works were influenced by William Wissing...

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...