Items Similar to 17th century Dutch Portrait Painting of a Lady seated in a landscape
Want more images or videos?
Request additional images or videos from the seller
1 of 10
Caspar Netscher17th century Dutch Portrait Painting of a Lady seated in a landscapec.1680
c.1680
About the Item
Portrait of a lady, seated on an ornamental garden terrace, wearing a russet coloured dress adorned with pearls and jewels, by Caspar Netscher, c.1680.
Oil on canvas in a burnished giltwood period frame.
Dimensions: 62 x 52cm, (24 1/2 x 20 1/2 in)
Caspar Netscher (Heidelberg 1639-1684 The Hague) was a Dutch painter of German origin. His father was the German sculptor Johann Netscher and his mother the daughter of Vetter, Mayor of Heidelberg. At an early age Caspar went to Arnhem where he was apprenticed to Hendrik Coster, a still-life and portrait painter and in around 1654 he moved to Deventer where he completed his training in the workshop of Gerard ter Borch. In 1659 he married Margaretha Godjin and settled in The Hague, where he joined the Painters' Society Pictura in October 1662. In his early career he painted mostly genre scenes but after 1667 portraits became his main interest. He followed the elegant, aristocratic court style of The Hage followers of Anthony Van Dyck, Adriaen Hanneman, Jan Mijtens and Jan de Baen but rather than work on a life-size scale popular with these painters, he chose to paint his portraits in the same smaller format as his genre paintings. In his backgrounds he often added elements such as parks, fountains and sculptures, not just for decorative purposes but sometimes containing some symbolic reference to the sitter. From the 1670's until his death, Netscher was the most sought-after portrait painter in The Hague. His sons Theodorus and Constantijn were also artists and worked with him in his studio.
- Creator:Caspar Netscher (1639 - 1684)
- Creation Year:c.1680
- Dimensions:Height: 24.41 in (62 cm)Width: 20.48 in (52 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Bath, GB
- Reference Number:1stDibs: LU9526319812
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 2002
1stDibs seller since 2015
35 sales on 1stDibs
Typical response time: 1 hour
Associations
The British Antique Dealers' AssociationLAPADA - The Association of Arts & Antiques DealersInternational Confederation of Art and Antique Dealers' Associations
- ShippingRetrieving quote...Ships From: Bath, United Kingdom
- Return PolicyA return for this item may be initiated within 3 days of delivery.
More From This SellerView All
- 18th century portrait of the German Flautist and composer Johann Joachim QuantzBy Arthur DevisLocated in Bath, SomersetPortrait of Johann Quantz (1697-1773), flautist and composer, wearing a blue velvet coat, waistcoat and breeches, standing in a garden landscape with ...Category
18th Century English School Portrait Paintings
MaterialsOil, Canvas
- 18th century portrait painting of a boy playing with a spinning top on a terraceLocated in Bath, SomersetPortrait of a young boy, full-length in a blue velvet coat and breeches, standing on a stone terrace in a park landscape, playing with a spinning top....Category
1740s English School Portrait Paintings
MaterialsCanvas, Oil
- English 17th century portrait of James Thynne as a young boy by a fountainBy Johann KerseboomLocated in Bath, SomersetPortrait 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...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- 17th century Dutch portrait of a Lady in Red adorned with PearlsBy Pieter NasonLocated in Bath, SomersetPortrait of a lady, half-length in a feigned oval wearing a ruby coloured silk gown holding entwined strings of pearls across her bodice. Signed 'PNason' and dated 1667 (lower right)...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- Attributed to John Riley, 17th century English portrait of a girl on a terraceBy John RileyLocated in Bath, SomersetPortrait of a young girl, full-length, wearing a blue silk gown, standing on a terrace beside a classical urn holding a branch with blossom. Attributed to John Riley...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- A portrait of a lady and her daughter with an exotic birdBy Michael DahlLocated in Bath, SomersetA portrait of a lady three-quarter length, seated in an interior, wearing a red silk gown draped in a pink silk sash with an exotic bird perched on her hand and one arm resting on a stone plinth, her young daughter wearing a green silk gown standing at her side. Oil on canvas, housed in a period 'Lely' giltwood frame. This double portrait was painted at the height of Dahl's career in circa 1715 when Dahl had become firmly established as one of the leading portrait painters in Britain. Although the identities of the sitters are currently unknown, it is a sensitive depiction of a close and affectionate bond between a mother and daughter, with the young girl's hand resting affectionately on her mothers lap. The tamed exotic bird adds a charming decorative element which also serves to convey the high social status of the lady, given only the very wealthy would be able to own such a rare and expensive pet and the lively colouring of the bird's feathers is reflected in the colours of the sitters' silk gowns. Provenance: Private collection, London Michael Dahl (Stockholm 1659-1743 London) was born in Stockholm in Sweden and studied under Martin Hannibal (d 1741) and later with David Klöcker Ehrenstrahl. In 1682 he travelled to London, where he became acquainted with Godfrey Kneller and Henry Tilson, and in 1685 he left for Europe with Tilson, working briefly in Paris before continuing to Venice and Rome, where they stayed for about two years. In Rome Dahl converted to Roman Catholicism and gravitated towards the circle of Christina, former Queen of Sweden, who sat for him (Grimsthorpe Castle, Lincs). He returned to England with Tilson via Frankfurt and arrived in London in 1689, staying in England for the remainder of his career. During Dahl's absence, Kneller had consolidated his supremacy in London as the most fashionable portrait painter, but Dahl rapidly became Kneller’s closest competitor. His patrons probably had roots in the Swedish diplomatic circles, but it expanded as a result of his ability and his agreeable personality. His prices were lower than those of Kneller and he favoured softer, more diffused, colour tones and could respond to his sitters with sincerity and humanity. Politically, Kneller supported the ascendant Whigs while Dahl was a Tory, but they frequently painted the same sitters from both parties, and in spite of fundamental differences in technique and temperament, their work was sometimes similar in appearance. Dahl was prolific but rarely signed his work, and comparatively few of his portraits were engraved in mezzotint, the method used by Kneller to widen his reputation. By 1690 he had painted the aged Duke of Schomberg (engraved by William Faithorne) and Prince George of Denmark (London, Kensington Palace). He was ignored by William III but received commissions from Princess Anne, including one for a portrait of herself (Oakly Park, Ludlow, Salop). He also painted the future Duke and Duchess of Marlborough, and his informal portrait of the Duchess (Althorp House, Northants), formerly attributed to Kneller, is perhaps the most intimate of all images of her. During the 1690s he secured the patronage of Charles Seymour, the ‘Proud’ 6th Duke of Somerset, who ordered a series of seven full-length portraits of notable contemporary beauties from Dahl (1690s; Petworth House, W. Sussex, NT). This was originally a scheme similar to Kneller’s more famous ‘Hampton Court Beauties’, but the portraits were subsequently reduced to three-quarter-length formats. The features of the sitters are not individualized, but they possess a decorative, languorous glamour that recalls Lely rather than Kneller. Somerset gave Dahl further employment over the next 25 years. In 1698, following the death of Klöcker Ehrenstrahl, Dahl was offered the post of court painter at Stockholm, which he apparently refused, preferring to remain in London at his studio in Leicester Fields, near the Swedish legation. In about 1700 he was joined by a young compatriot, Hans Hysing, who worked with him for many years. Dahl seems not to have married until after 1708, He had a son Michael (d. 1741), also a painter, of whose work nothing is known, and two daughters. After the accession of Queen Anne in 1701, she and Prince George sat for a number of official portraits. His royal patronage ceased with Queen Anne’s death, and when Dahl refused to paint the infant Duke of Cumberland in 1722. He was suspected of Jacobite sympathies, and relations had cooled between him and the Swedish legation. However, his practice continued to prosper, and he acquired another important patron in Edward Harley, 2nd Earl of Oxford, who shared his political views and whose circle included the architect James Gibbs and the poets Matthew Prior and Alexander Pope, all of whom Dahl painted. Oxford commissioned several portraits of himself. In the earliest (1719; Welbeck Abbey...Category
Early 18th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
You May Also Like
- Head of an AngelLocated in New York, NYProcaccini was born in Bologna, but his family moved to Milan when the artist was eleven years old. His artistic education was evidently familial— from his father Ercole and his elder brothers Camillo and Carlo Antonio, all painters—but his career began as a sculptor, and at an early age: his first known commission, a sculpted saint for the Duomo of Milan, came when he was only seventeen years old. Procaccini’s earliest documented painting, the Pietà for the Church of Santa Maria presso San Celso in Milan, was completed by 1604. By this time the artist had made the trip to Parma recorded by his biographers, where he studied Correggio, Mazzola Bedoli, and especially Parmigianino; reflections of their work are apparent throughout Procaccini's career. As Dr. Hugh Brigstocke has recently indicated, the present oil sketch is preparatory for the figure of the angel seen between the heads of the Virgin and St. Charles Borrommeo in Procaccini's altarpiece in the Church of Santa Afra in Brescia (ill. in Il Seicento Lombardo; Catalogo dei dipinti e delle sculture, exh. cat. Milan 1973, no. 98, pl. 113). As such it is the only known oil sketch of Procaccini's that can be directly connected with an extant altarpiece. The finished canvas, The Virgin and Child with Saints Charles Borrommeo and Latino with Angels, remains in the church for which it was painted; it is one of the most significant works of Procaccini's maturity and is generally dated after the artist's trip to Genoa in 1618. The Head of an Angel is an immediate study, no doubt taken from life, but one stylistically suffused with strong echoes of Correggio and Leonardo. Luigi Lanzi, writing of the completed altarpiece in 1796, specifically commented on Procaccini's indebtedness to Correggio (as well as the expressions of the angels) here: “Di Giulio Cesare...Category
17th Century Old Masters Figurative Paintings
MaterialsCanvas, Paper, Oil
- 18th Century, Antique Oil Painting, Old Master. Portrait of Mother with child.Located in Berlin, DE18th century, antique painting, oil on canvas, old master. Mother with child. Relined canvas. Stretcher frame also renewed. Artist unknown.Category
18th Century Old Masters Figurative Paintings
MaterialsCanvas, Oil
- 17th Century, Old Master, "King Basileus Alexander of Macedon Magnus, the Great"Located in Berlin, DEVery 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...Category
17th Century Old Masters Figurative Paintings
MaterialsCanvas, Oil
- 18th Century European Portrait of a Child Saint John the BaptistLocated in SANTA FE, NM18th Century European Portrait of a Child Saint John the Baptist Oil on Canvas 19 x 14 1/4 inches This lovely and sensitively painting has been examined by a professional restorer w...Category
18th Century Old Masters Figurative Paintings
MaterialsOil, Canvas
- 18th century oil painting English portrait of a gent in armor, wearing a wigBy studio of Sir Godfrey KnellerLocated in Woodbury, CTOutstanding early 18th century English portrait of James Bellevue. The portrait was always believed to be the work of Sir Godfrey Kneller who was known to have painted James Bellevu...Category
Early 1700s Old Masters Portrait Paintings
MaterialsCanvas, Oil
- Fine English Georgian Period Oil Painting Portrait of a Country Squire GentlemanLocated in Cirencester, GloucestershirePortrait of a Country Gentleman English School, circa 1800 oil on canvas, unframed *see below painting: 30 x 25 inches provenance: private collection condition: very good and sound c...Category
Early 19th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
Recently Viewed
View AllMore Ways To Browse
Portraits 20 Century
Painting Old German
Antique Dutch Painting
Antique Dutch Paintings
17th Century Dutch
Early Dutch Painting
Old Dutch Paintings
Lady Just
17th Century Dutch Masters
17th Dutch Oil
Dutch Oil Paintings 17th Century
Dutch Old Master Oil Painting
Holland Park
Dutch Master Paintings 17th Century
Seated Lady
Dutch Genre
Court Scene Paintings
Dutch Genre Paintings