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17th Century Portrait Paintings

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Period: 17th Century
Portrait of a gentleman, traditionally identified as Thomas Carey
By Paul II van Somer
Located in Stoke, Hampshire
Circle of Paul van Somer (Antwerp c. 1577-1621 London) Portrait of a gentleman, traditionally identified as Thomas Carey (1597-1634), youngest son of Thomas, 1st Earl of Monmouth Oil...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

17th-Century English School, Portrait Miniature Of King Charles I, Oil On Copper
Located in Cheltenham, GB
This exquisite mid-17th-century portrait miniature depicts a gentleman, believed to be King Charles I, wearing a lace collar. Following his execution in 1649, numerous portraits wer...
Category

English School 17th Century Portrait Paintings

Materials

Copper

Saint Michael Archangel Guido Reni Paint 17th Century Oil on copper Old master
By Guido Reni (Bologna 1575 - 1642)
Located in Riva del Garda, IT
Roman School of the late 17th century From Guido Reni (Bologna 1575 - 1642) Saint Michael Archangel oil on copper cm. 32 x 20 in an antique frame 43 x 32 cm Executed in oil on cop...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

Saint George Dragon Roman Painter 17th Century Paint Oil on copper Old master
Located in Riva del Garda, IT
Saint George and the Dragon Roman painter, 17th century Oil on copper 56 x 38 cm. - framed 57 x 50 cm. The interesting painting we present here, executed in oil on copper, evocati...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

'Portrait of a Lady, circa 1650' by Cornelis Janssens van Ceulen (1593 – 1661)
Located in Bruges, BE
Van Ceulen Cornelis Janssens London 1593 – 1661 Utrecht British born - Dutch Painter 'Portrait of a Lady, according to tradition the Countess De Rossemont ...
Category

Baroque 17th Century Portrait Paintings

Materials

Oil, Panel

17th century Dutch old master portrait of a noble lady with a parrot 1697
Located in Antwerp, BE
Very fine Dutch late 17th century old master portrait of a young lady by Constantin Netscher, dated 1697 This three-quarter length portrait depicts a mysterious beauty, seated in an...
Category

Old Masters 17th Century Portrait Paintings

Materials

Canvas, Oil

Cleopatra Queen of Egypt 17' century Painting Oil on Canvas
Located in Rome, IT
Amazing painting of Cleopatra oil on canvas with a gilt wood frame. Attributed to Giuseppe Diamantini (Fossombrone 1621-Venice 1705) The dramat...
Category

Academic 17th Century Portrait Paintings

Materials

Oil

Late 17th-Century Flemish School Portrait Of A Prelate With Black Cassock
Located in Cheltenham, GB
This late 17th-century Flemish oil painting depicts an ordained member of the Catholic Church, probably a prelate, wearing a black cassock (or mozzetta) and black zucchetto. Acquire...
Category

Flemish School 17th Century Portrait Paintings

Materials

Canvas, Oil

Portrait of Princess Elizabeth, later Queen of Bohemia, dated 1606, Oil on panel
By Robert Peake the Elder
Located in London, GB
This ravishing portrait, presented by Titan Fine Art, is said to represent Elizabeth Stuart, a British princess, who from 1619 was the titular queen o...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil, Wood Panel

L’enlèvement d’Europe par Zeus
Located in ROUEN, FR
École Française du XVIIè. « L’enlèvement d’Europe par Zeus ». Huile sur toile dans un joli cadre d’époque en bois doré et sculpté. H.68 L.96.
Category

French School 17th Century Portrait Paintings

Materials

Oil

Mater Dolorosa Madonna Maria Dolci 17/18th Century Paint Oil on table Old master
Located in Riva del Garda, IT
Carlo Dolci (Florence 1616 - 1686) shop Mater Dolorosa, known as Our Lady of the Finger Oil on oval canvas, 29 x 23 cm. In frame 48 x 43 cm. The painting we present to you depicts ...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

La Sainte Famille avec Sainte Anne et Saint Jean
Located in ROUEN, FR
ÉCOLE ITALIENNE du XVIIè. D’après Scipion Pulzone. « La Sainte Famille avec Sainte Anne et Saint Jean ». Grande huile sur toile. H.130 L.106.
Category

French School 17th Century Portrait Paintings

Materials

Oil

Countess of Peterborough, Portrait of a Lady in Blue Dress
Located in Stockholm, SE
A fine baroque portrait of ”Countess of Peterborough” - Portrait of a lady in blue dress. With indistinct inscription Countess of Peter[...] uppe...
Category

Baroque 17th Century Portrait Paintings

Materials

Oil, Wood Panel

Portrait of a Gentleman, Doublet & White Ruff, Gloves Inscribed 1624, on panel
By Frans Pourbus the Younger
Located in London, GB
Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract. The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period. According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance. Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted. This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately. Frans Pourbus the Younger...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil, Wood Panel

17th - 18th century Dutch Old Master Portrait - A man with a lace collar
Located in Antwerp, BE
Dutch late 17th century old master Portrait of a gentleman, with a lace collar This captivating portrait depicts a gentleman with piercing blue eyes and chestnut brown hair, he's we...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

Portrait of a Lady in White Chemise, Russet & Blue Drapery c.1695, Oil Painting
By Harman Verelst
Located in London, GB
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 ...
Category

Old Masters 17th Century Portrait Paintings

Materials

Canvas, Oil

Fine 17th Century Italian Old Master Oil Painting Madonna with Christ Child
Located in Cirencester, Gloucestershire
The Madonna & Christ Child Italian, 17th century oil on wood panel, unframed board: 9.5 x 7.5 inches provenance: private collection, Paris condition: very good and sound condition fo...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

17th Century Antiveduto Gramatica Magdalene Praying with a Skull Oil on Canvas
Located in Milano, Lombardia
Expertise by Gianni Papi, art historian Publications: Timeless, between nothingness and eternity, exhibition catalogue curated by Massimo Pulini, Aria Art Gallery, Florence (Italy);...
Category

Old Masters 17th Century Portrait Paintings

Materials

Canvas, Oil

Venus Eros Anteros Liberi Paint 17th Century Oil on canvas old master Venice
Located in Riva del Garda, IT
PIETRO LIBERI (Padua 1605 - Venice 1687) Venus with the Two Loves (Eros and Anteros) (LINK) Oil on canvas 133 x 165/ 110 x 142 cm Critical apparatus: Expertise by Emilio Negro P...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

Late 17th-Century French School, Portrait Of A Young Nobleman
Located in Cheltenham, GB
This splendid late 17th-century French school oil painting depicts a young nobleman standing somewhat haughtily before a landscape. Dressed in a sumptuous blue velvet cloak, white lace cravat, and embroidered waistcoat...
Category

French School 17th Century Portrait Paintings

Materials

Canvas, Oil

Fine 17th Century Old Master Portrait of Queen Henrietta Maria Exceptional Frame
Located in Cirencester, Gloucestershire
Portrait of Queen Henrietta Maria, British/ Flemish, 17th century Circle of Anthony van Dyck (1599-1641) Flemish. Oil on canvas, 25.25" x 20.5" (64.1 x 52cm) the work is presented ...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil, Canvas

Spanish school. Secretary of Pope Pius V, abbot of Husillos, bishop of Córdoba.
Located in Firenze, IT
Portrait of Francisco de Reynoso y Baeza.   Secretary of Pope Pius V, abbot of Husillos and bishop of Córdoba. Francisci de Reynoso. Early 17th century. Small-format portrait from the late Renaissance period. Spanish school. Size: Cm 19 x Cm 13.5 Oil on wooden panel. On the back the fine tablet is strengthened (already in ancient times) by a sheet of parchment. About 1600-1610. As often in Mannerist / Late Renaissance portraits, the image of the character is accompanied by the writing that runs at the top, adding a celebratory, historicising touch to the effigy. Let's bring back the sentence here: DON FRANCISCO DE REINOSO. CAMARERO SECRETO IESCALCO PIO QUINTO OBISCOPO CORDOBA. 68 (? O 7?) (1534, Autillo de Campos, Spain - 1601, Córdoba) Francisco de Reynoso was a Spanish cleric, chief chamberlain, and secretary to Pope Pius V, abbot of Husillos, and bishop of Córdoba. He was the fourth of eleven children. His father was the seventh Lord of Autillo de Campos, and his mother was Juana de Baeza y de las Casas, daughter of Manuel de Baeza, a lawyer of the Royal Council and at the Court of Valladolid. Francisco de Reynoso was deeply devoted to the Virgin Mary and showed a strong inclination toward religion and piety from an early age. He studied Latin, arts, and theology at the University of Salamanca. In 1562, he traveled to Rome with his brothers Pedro and Luis. In January 1566, following the death of Pope Pius IV, Cardinal Antonio Michele Ghislieri was elected pope, becoming Pius V. From this period until Ghislieri's death in 1572, Francisco de Reynoso served as his chief chamberlain and secretary. After Pope Pius V died, Francisco de Reynoso returned to Spain and lived for several years in the city of Palencia, where his brother Manuel was a canon. He supported the Society of Jesus when it was established in Palencia, providing alms to the school's clergy and funding chairs of Letters and Theology at his own expense, as well as donating a significant number of books. During the brief outbreak of the Black Plague...
Category

Old Masters 17th Century Portrait Paintings

Materials

Parchment Paper, Oil, Wood Panel

Holy Family Ramenghi Paint Oil on canvas Old master 17th Century Religious Art
Located in Riva del Garda, IT
Bolognese school of the seventeenth century Circle Giovanni Battista Ramenghi, known as Bagnacavallo (Bologna, 1521 - 1601) Oil painting on canvas (86 x 72 cm. - With antique frame ...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

Portrait of a girl with a rose and a red coral necklace (c. 1631)
Located in Amsterdam, NL
David Finsonius (Veere 1597- Bergen op Zoom 1646/1648) Portrait of a girl with a rose and a red coral necklace With traces of the artist’s signature and annotated AETATIS S.V. 2 1⁄2 Ao 1631 Oil on panel, H. 104.5 x 79.5 cm Provenance: Purchased by Jonkheer Helenus Marius Speelman (1857-1909), Kasteel de Wittenburg; thence by descent The work shows a strong resemblance to a portrait by Finsonius in the North Brabant Museum. This signed and dated "Girl with Basket and Cherries" (Inv. 15529), was painted just a year later, in 1632. Not only are the paintings remarkably similar in overall size and format, in painting style, and in the positioning of the girls in full length in their white lace dresses. They are also connected by the iconographic scheme of the respective coral necklaces, each with a gold memorial medal hanging from it. Although they are of course individuals, the faces are very similar in their depictions of features such as eyes, nose, and lips. This points to the same technique applied by the same painter. Finally, the handwriting is almost the same on the works by Finsonius known so far. About the painter, David Finson named 'Finsonius' (related to the better-known Louis Finson...
Category

Dutch School 17th Century Portrait Paintings

Materials

Wood Panel, Oil

Huge 17th Century Dutch Old Master Oil Painting Portrait of Noble Lady & Dog
Located in Cirencester, Gloucestershire
Portrait of a Noble Lady with her dog attributed to Abraham Lambertsz. van den Tempel, Dutch 1622 - 1672 *see notes below oil on canvas, in very fine quality Regency gilt frame canv...
Category

Old Masters 17th Century Portrait Paintings

Materials

Canvas, Oil

Portrait of Paul Etienne Brunet d’Evry
Located in BELEYMAS, FR
François de TROY (Toulouse, 1645 – Paris, 1730) Portrait of Paul Etienne Brunet d'Evry (1653-1717) Oil on canvas H. 133 cm; L. 98 cm (Frame: H. 155 cm; L. 120 cm) Provenance: Remain...
Category

French School 17th Century Portrait Paintings

Materials

Canvas, Oil

Portrait of a Gentleman, Traditionally called the Duke of Monmouth
Located in London, GB
PROVENANCE (Possibly) The Hon. Frederick Henry North, Frank T. Sabin Galleries by 1914, Likely acquired from the above by Sir Gilbert Eliott, 10th Bt. of Stobs, Thence by descent ...
Category

Baroque 17th Century Portrait Paintings

Materials

Canvas, Oil

Portrait of Emperor Leopold I of Habsburg, Unknown Master, 17th Century
Located in Greding, DE
Half-length portrait of Emperor Leopold I (born 1640, reigned 1658-1705) of Habsburg and later Emperor of the Holy Roman Empire in armor with imperial cloak. Around his neck he wears...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil, Canvas

Portrait of Lady in Silver Dress - Dutch Old Master art portrait oil painting
By Willem Wissing
Located in London, GB
This lovely Dutch Old Master portrait oil painting is attributed to circle of Willem Wissing. Wissing settled in England and emerged as Peter Lely's most important pupil after his de...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

The Penitent Saint Peter, 17th Century attributed to Donato Creti (1671-1749)
Located in Blackwater, GB
The Penitent Saint Peter, 17th Century attributed to Donato Creti (1671-1749) Large circa 1700 Italian Rococo portrait of the Penitent Saint Peter, oil on canvas attributed to Dona...
Category

17th Century Portrait Paintings

Materials

Oil, Canvas

Portrait of Louis de France, Grand Dauphin, 17th century French School c. 1670
Located in PARIS, FR
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...
Category

Old Masters 17th Century Portrait Paintings

Materials

Canvas, Oil

Saint Jerome Angels 17th Century Venetian School Paint Oil on canvas Old master
Located in Riva del Garda, IT
Saint Jerome supported by two angels Early 17th century Venetian painter Oil on canvas 86 x 67 cm. - In frame 103 x 84 cm. The proposed painting offers us an intense portrayal of S...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

Polyphemus Galatea Carracci Paint 17th Century Oil on canvas Old master Italy
Located in Riva del Garda, IT
Annibale Carracci (Bologna, 1560 - Rome, 1609) Workshop of Polyphemus and Galatea (or Polyphemus in love) First half of the 17th century Oil on canvas 75 x 62 cm. - In antique fram...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

Madonna and Child with St Catherine and Putti - Italian 17thC art oil painting
By Giuseppe Bartolomeo Chiari
Located in London, GB
This stunning Italian 17th century Old Master religious oil painting is by Baroque artist Giuseppe Bartolomeo Chari. Painted circa 1684 it is a large and vibrant oil painting of the Madonna and child. To their left is Saint Catherine and to their right four putti or cherubs look upon a sleeping Jesus. The detail in all the figures faces and hair and the colouring is just superb, especially the Madonna's sumptuous blue robe. A really fabulous 17th century religious work with previous full attribution and excellent provenance which was once attributed to Carlo Maratta (1625-1713). Provenance. With Vangelisti, Lucca, Italy, 1966, from whom acquired by the family of the previous owner, and thence by descent. Red seal stamp verso Christies April 15th 1912 Christies March 23 1956 Condition. Oil on Canvas. Image size 44 x 54 inches unframed and in good condition. Frame. Housed in an original Carlo Maratta frame, 62 inches by 52 inches framed and in good condition. Giuseppe Bartolomeo Chiari (1654-1727), also known simply as Giuseppe Chiari, was an Italian painter of the late-Baroque period, active mostly in Rome. Born in Rome, he was one of the main assistants, along with Giuseppe Passeri and Andrea Procaccini, in the studio of an elder Carlo Maratta. His father had opposed the career, but his mother, on the recommendation of a painter named Carlo Antonio Gagliani. By the age of 22, he had frescoed the lateral lunettes (Birth of Virgin and Adoration of Magi...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

Ritratto figurativo maschile scuola toscana del XVII secolo olio su tela
Located in Florence, IT
Dipinto di scuola toscana della seconda metà del XVII secolo raffigurante un ritratto maschile di tre quarti, immerso nell'eleganza e nella maestosità proprie dell'epoca. La figura è...
Category

Baroque 17th Century Portrait Paintings

Materials

Canvas, Oil

Portrait of a couple
Located in BELEYMAS, FR
Jean-Baptiste SANTERRE (Magny en Véxins 1651 - Paris 1717) Portrait of a couple Oil on original oval canvas H. 115 cm; L. 90 cm (140 x 115 cm with...
Category

French School 17th Century Portrait Paintings

Materials

Canvas, Oil

Portrait of Frances Lady Whitmore nee Brooke, Exquisite Carved Frame, Old Master
Located in London, GB
Portrait of Frances, Lady Whitmore nee Brooke (c.1638-1690) Circle of Sir Peter Lely (1618-1680) Titan Fine Art presents this exquisite portrait that depicts Frances Brooke, Lady Wh...
Category

Old Masters 17th Century Portrait Paintings

Materials

Canvas, Oil

Portrait Of A Lady, Stilte Family, 17th Century by Jan Cornelisz VERSPRONCK
Located in Blackwater, GB
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...
Category

17th Century Portrait Paintings

Materials

Panel, Oil

Portrait of Raimondo di Montecuccoli in armor with a marshal's staff. Circa 1660
Located in Firenze, IT
Portrait of Raimondo di Montecuccoli in armor with a marshal's staff. Dutch School. Oil on canvas Dutch School. Circle of Peter Nason (Amsterdam, 1612 - 1690 The Hague). Portrait ...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil, Canvas

Penitent Saint in Wilderness with Angels & Cherubs Italian Old Master on Copper
Located in Cirencester, Gloucestershire
The Penitent Saint Italian artist, 17th century oil on copper panel, framed framed: 10 x 8 inches copper panel : 7.5 x 5 inches provenance: private collection, France condition: very...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

Portrait Charles I King Van Dyck Paint 17/18th Century Oil on canvas Old master
Located in Riva del Garda, IT
Portrait of Charles I, King of England (1600-49) Anthoon van Dyck (Antwerp 1599 - London 1641) Follower of Oil on canvas 93 x 86 cm - Framed 131 x 124 We are sharing a valuable wor...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

Portrait of a Lady in an Elaborate Ruff & Lace Coif c.1610-20, Dutch Old Master
Located in London, GB
This magnificent oil on panel portrait, presented by Titan Fine Art, is a splendid example of the sumptuous female portraits that were painted for members of the upper echelons of society during the early part of the 1600’s. The artist has rendered this portrait with meticulous attention to detail and the surface effects of the fine materials. The elaborate lace coif and cuffs are painstakingly delineated, as is the bold black damask, and sumptuous gold decoration of her skirt and stomacher, which is wonderfully preserved and quite remarkable considering the age of the work and the fact that darker pigments are particularly vulnerable to fading and wear. This work with its spectacular depiction of costume is of absolute quality, it can be rated as one of the best works in the artist’s oeuvre and as such it is an important and splendid example of Dutch portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middleclass patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Dress was a key component in portraits, and the exuberant attire reiterates the incredible wealth of this woman. The sitter will have visited the artist’s workshop and inspected examples on display. They would have chosen the size and the sort of composition and on that basis negotiated the price – which would have also been determined by the complexity of the clothing and the jewels that were to be depicted, and by the materials to be used. When all was considered, this portrait would have cost the sitter (or her husband) a substantial sum. The colour black was regarded as humble and devout yet at the same time refined and sophisticated and the most expensive colour of fabric to dye and to maintain. Citizens spent fortunes on beautiful black robes. Such uniformity must also have had a psychological side-effect and contributed to a sense of middle-class cohesion; the collective black of the well-to-do burgess class will have given its members a sense of solidarity. The colour was always an exciting one for artists and when this portrait was painted there were at least fifty shades of it, and as many different fabrics and accoutrements. Artists went to great lengths to depict the subtle nuances of the colour and the fabrics and textures and how they reflected light and it was an ideal background against which gold and crisp white lace could be juxtaposed to dramatic effect. The sitter is either a married women or a widower as is evident by the clothing that she wears and the position, toward her right, it is highly likely that this portrait was once a pendant that hung on the right-hand side of her husband’s portrait as was convention at the time. She wears a vlieger which was a type of sleeveless over-gown or cape worn by well-to-do married women in the late 16th and early 17th centuries. Variations with short sleeves or high shoulder rolls are known. Sometimes sleeves were attached with aiglets, and often slits were made to allow belts or the hands to pass through. Three-piece vlieger costumes of this kind were standard items of clothing in portraits of the women of the civic elite in the period 1600-40 and was a variant of the Spanish ‘ropa’ and served as a trademark of well-to-do married burgher women. Girls and unmarried woman, including beguines, wore a bouwen (a dress with a fitted bodice and a skirt that was closed all round) instead. This clear distinction between apparel for married and unmarried women is clear not only from inventories and trousseau lists, but also from contemporary sources such as the Dutch Spanish dictionary published by Juan Rodrigues in 1634. In it, a bouwen is described as a ‘ropa de donzella’ (over-gown worn by a virgin) and a vlieger as a ‘ropa de casada’ (overgown worn by a married woman). It is striking how few women are depicted wearing a bouwen, unless they are part of a group, family or children’s portrait and it can therefore be assumed that independent portraits of unmarried women were seldom commissioned. It is also believed that the clothing worn in these portraits existed and were faithfully reproduced when cross-referenced with the few exact documents. These sources also demonstrate that clients wanted their clothing to be depicted accurately and with this in mind precious garments and jewels were often left in the painter’s studio. The prominent white lawn molensteenkraag (or millstone ruff) is held up by a wire supportasse and was reserved only for the citizens that could afford this luxurious item that often required 15 meters of linen batiste. The fabulous wealth of this sitter is also evident by the elaborate lace coif and cuffs which have been exquisitely depicted; lace was often literally copied by artists in thin white lines over the completed clothing. The gold bracelet with jewels is a type that was evidently fashionable as it is seen in a number of portraits during the 1610s and 1620. Clothing and jewellery were prized possessions and were often listed in inventories of estates and passed down from generation to generation. There were a great number of jewellers of Flemish origin working at all the courts and cities of Europe, competing with the Italians, and then the French, adapting themselves to the tastes and positions of their patrons and the raw materials available in the country where they worked. The fashion for jewels “in the Flemish style” succeeded that of the Italian style. Cornelis van der Voort, who was probably born in Antwerp around 1576, came to Amsterdam with his parents as a child. His father, a cloth weaver by trade, received his citizenship in 1592. It is not known who taught the young Van der Voort to paint, but it has been suggested that it was either Aert Pietersz or Cornelis Ketel. On 24 October 1598 Van der Voort became betrothed to Truytgen Willemsdr. After his first wife’s death he became betrothed to Cornelia Brouwer of Dordrecht in 1613. In addition to being an artist, Van der Voort was an art collector or dealer, or both. In 1607 he bought paintings from the estate of Gillis van Coninxloo, and after an earlier sale in 1610 a large number of works he owned were auctioned on 7 April 1614. Van der Voort is documented as appraising paintings in 1612, 1620 and 1624. In 1615 and 1619 he was warden of the Guild of St Luke. He was buried in Amsterdam’s Zuiderkerk on 2 November 1624, and on 13 May 1625 paintings in his estate were sold at auction. Van der Voort was one of Amsterdam’s leading portrait painters in the first quarter of the 17th century. Several of his group portraits are known. It is believed that he trained Thomas de Keyser (1596/97-1667) and Nicolaes Eliasz Pickenoy (1588-1650/56). His documented pupils were David Bailly (c. 1584/86-1657), Louis du Pré...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil, Wood Panel

Dutch School, Elegant Couple, Tavern Interior Scene, Cabinet Piece, A PAIR
Located in Greven, DE
Dutch School, Elegant Couple, Tavern Interior Scene, Cabinet Piece, A PAIR
Category

Baroque 17th Century Portrait Paintings

Materials

Panel

17th Century Oil Painting on Canvas Portrait Catherine of Braganza Queen Consort
Located in Hoddesdon, GB
Catherine of Braganza, Queen Consort of England, Scotland, and Ireland, circa 1660. Italian School. Oil Painting." This stunning oil painting, d...
Category

Italian School 17th Century Portrait Paintings

Materials

Oil

An Artist Grinding Colours, Possibly a Self-Portrait
Located in London, GB
Jan Kupetsky (1667 - 1740) Czech School An artist grinding colours, possibly a self-portrait Oil on canvas Signed, verso : "Joseph Prinzig" Provenance: Private Collection, Hungary ...
Category

17th Century Portrait Paintings

Materials

Canvas, Oil

Dutch Old Master Portrait of Maurits, Prince of Orange-Nassau, Oil on Panel
Located in London, GB
In 1607, the Delft city council decided to commission a portrait of Stadholder Maurits of Nassau for the town hall, with Michiel van Mierevelt as the chosen artist due to the passing...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil, Wood Panel

The Annunciation
Located in BELEYMAS, FR
Jacques STELLA (Lyon, 1596 - Paris, 1657) The Annunciation Oil on alabaster (single old break perfectly restored) H. 25 cm; W. 30 cm Son of François Stellaert, a painter of Flemish ...
Category

French School 17th Century Portrait Paintings

Materials

Alabaster

17th century By Neapolitan maestro San Vincenzo Ferreri Oil on canvas
Located in Milano, Lombardia
“Timete Deum et date Illi honorem quia venit hora iudicii Eius” (Fear the Lord and honour Him, for the hour of His judgement has come): the passage from John's Apocalypse (chapter 14...
Category

Old Masters 17th Century Portrait Paintings

Materials

Canvas, Oil

Baroque Italian painter - 17th century figure painting - Mary Magdalene
Located in Varmo, IT
Circle of Bernhard Keilhau, known as Monsù Bernardo (Helsingør 1624 - Rome 1687) - Maddalena. 64 x 79.5 cm without frame, 82 x 98 cm with frame. Antique oil painting on canvas, in ...
Category

Old Masters 17th Century Portrait Paintings

Materials

Canvas, Oil

Confortini Mary Madonna Angels Paint Oil on canvas Old master 17th Century Italy
Located in Riva del Garda, IT
Jacopo Confortini (Florence 1602-1672) Madonna and Child with Two Angels Oil on canvas 80 x 60 cm./Framed 101 x 81 cm. The proposed painting, datable to around the middle of the 17th century, depicts the Virgin enveloped in a golden glow and reclining on a throne of fluffy clouds, while lovingly supporting the Child on her lap, with two adoring angels...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

Cosimo III de Medici
Located in London, GB
Justus Sustermans was first recorded working for the Medici in Florence in October 1621. He then worked continuously for the Grand Dukes until his death 60 years later in 1681. Sustermans was particularly favoured by Cosimo III’s mother, Vittoria della Rovere whom he painted on multiple occasions, including a large double portrait of Vittoria with her young son Cosimo, from which this portrait was based. Under the employment of the Medici, Sustermans ran a large studio to create official state portraits of the Grand Duke and Duchess and their family. This portrait, a particularly fine studio example, would almost certainly have been commissioned by the Grand Duke and gifted to an ally or relation. It has since been in the same private noble collection until now. Cosimo III de Medici was the eldest son of Grand Duke Ferdinando II...
Category

Old Masters 17th Century Portrait Paintings

Materials

Canvas, Oil

17th Century Old Head Flemish School Eyes Caravagism Oil on Canvas Yellow White
Located in Sanremo, IT
Painting oil on panel depicting a strong and distinctive old man's head with dimensions of 36 x 28 cm without frame and 68 x 60 with frame coeval Flemish school of the second half of...
Category

Flemish School 17th Century Portrait Paintings

Materials

Oil, Board

Violin Player Ter Brugghen Paint Oil on canvas 17th Century flemish Old master
Located in Riva del Garda, IT
Hendrick ter Brugghen (The Hague 1588-1629 Utrecht) Workshop Violin Player Oil on canvas 72 x 60 cm. Framed 87 x 78 cm. An analysis of the composition and style of this interestin...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

17th Century Saint Jerome Francesco Fracanzano Saint Skull Oil on Canvas Red
Located in Sanremo, IT
Painting, oil on canvas, measuring 92 x 77 without frame and 107 x 82 cm with frame , depicting a Saint Jerome in ancient philosopher and ascetic version, typical of the greatest tra...
Category

Italian School 17th Century Portrait Paintings

Materials

Canvas, Oil

Portrait of a Lady in Red Dress on Porch c.1680, English Aristocratic Provenance
Located in London, GB
Presented by Titan Fine Art, this painting formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall. This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula. This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...
Category

Old Masters 17th Century Portrait Paintings

Materials

Canvas, Oil

Fine 17th Century Dutch Oil Painting on Wood Panel Horse & Figures Resting
Located in Cirencester, Gloucestershire
The Resting Place Dutch School, mid 17th century oil painting on board, unframed canvas: 7 x 9 inches provenance: private collection condition: very good and sound condition
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

Madonna Maria Piola Paint Oil on canvas 17/18th Century Old master Religious
Located in Riva del Garda, IT
Anton Maria Piola (Genoa, 1654 - 1715) circle Madonna and Child Genoese school of the second half of the 17th century Oil on canvas 93 x 74 cm.- In antique frame 110 x 92 cm. (Work with expertise by Dr. Arabella Cifani) In the pleasing work proposed, depicting a classical Nativity scene, the Madonna is immortalised in adoration as she gently holds the sheet on which the Child is lying, with a gesture of protection and pride that facilitates an atmosphere of intimate recollection, in addition to the presence of three cherubs at the top. The stylistic analysis of the canvas can easily be traced back to a painter of the Genoese school and active during the 17th century, specifically with the devotional works from the workshop of Domenico Piola (Genoa, 1627-1703), an absolute protagonist of Genoese Baroque culture. Piola was the owner of the most important city painting workshop of the time, known as 'Casa Piola', where his sons Paolo Gerolamo and Anton Maria also collaborated. His production, which specialised in a type of highly decorative, profane and allegorical paintings, destined for the decoration of Genoese patrician palaces, also included a refined series of works of a religious nature. In particular, the style of our beautiful breast painting...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil

Portrait of Gentleman, Thomas Bruce, Earl of Elgin c.1638 Manor House Provenance
Located in London, GB
Titan Fine Art present this picture which formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history and, more specifically, to the roles of Colonel the Hon. John Russell in the Civil War and the reign of King Charles II and of Lord Arthur Hill, later 2nd Baron Sandys, in the Peninsular War. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This painting hung in The Great Hall (see photo). This charming portrait is an example of the type of small-scale panel portraits, often of splendid beauties of the time, that became fashionable from about the first quarter of the seventeenth century. The sitter has been depicted wearing a low-cut silk dress with the wide billowing sleeves typical of the late 1630’s. The simplicity of the ensemble is reinforced by the absence of lace on either the collar or cuffs. At this time gone are the complicated layers of fabrics, and now replaced with understated elegance of plain silk (satin and taffeta were most popular), with only a couple of focal points as accessories. There is an abundance of the accessory par excellence – pearls, and they are worn as a necklace, on her attire, and as earrings; the pear-shaped earrings are called ‘unions excellence’ reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20 millimetres in diameter. There is a splendid display of gold, diamond and pearl jewellery which is an obvious sign of her wealth. The portrait is thought to represent Thomas Bruce (1596-1654), Earl of Elgin. The physiognomy and features in our portrait strongly correlate to a portrait of the Earl, by Cornelius Johnson (1593-1661), painted circa 1638, and is held at Kenwood House, London. Another painting from Ombersley Court, also with Titan Fine Art, is contemporaneous to ours and is thought to represent the Earl’s wife, Diana Cecil, 1st Countess of Elgin (c.1603-1654) - it appears to have derived from Cornelius Johnson’s depiction of the Countess circa 1638, also at Kenwood House. During the 1630’s Johnson painted a number of portraits, obviously influenced by Van Dyke. Here, Theodore Russel, who worked in the studios of both Van Dyle and Johnson, and later specialised in small scale reproductions of his master’s works, modelled the head, with the striking large dark eyes, on Cornelius Johnson, and the attire on Anthony van Dyke. There are also other portraits by Johnson of the sitter with very similar facial features to that of the sitter in ours. Theodore Russel and Cornelius Johnson also had a family connection as it is thought that Russel’s step-mother was a sister of Johnson. Thomas Bruce, 1st Earl of Elgin, was a prominent Scottish nobleman who held titles such as the 3rd Lord Bruce of Kinloss. He resided at Houghton House in Bedfordshire and played a significant role in the political and social landscape of his time. His legacy as an Earl and Lord continues to be remembered in history. Thomas Bruce, born in Edinburgh in 1599, inherited the Scottish peerage title as the 3rd Lord Bruce of Kinloss at the age of 13 following his brother's untimely death in a duel. The family's estates, including Whorlton Castle and manor, were granted by King James I of England to Thomas's father, with the wardship of Thomas and the estates entrusted to his mother until he reached the age of 21. He maintained a strong connection with King Charles I's court during the Personal Rule, receiving titles of honour and prestigious roles throughout the years. Thomas Bruce was married twice in his lifetime. His first marriage was to Anne Chichester in 1622. Ann died in 1627, the day after giving birth to their only child, Robert Bruce, who later became the 1st Earl of Ailesbury. On 12 November 1629, Thomas Bruce married Lady Diana Cecil, the daughter of William Cecil and widow of Henry de Vere. The marriage was childless, but Diana brought significant estates with her. Thomas Bruce died on 21 December 1663 at the age of 64. This oil on panel portrait has been well cared for over its life, which spans almost four centuries. Having recently undergone a treatment to remove an obscuring discoloured varnish, it can be fully appreciated, and attributed to Theodore Russel. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Presented in a fine period frame. Theodore Russell, or Roussel, was born in London in 1614. His father came from Bruges to England and was the Royal Stuart jeweller. His apprenticeship was spent in the studio of his uncle, Cornelius Johnson, with whom he lived for about nine years. Sometime after 1632, he is said to have worked as an assistance to Van Dyck. He executed numerous copies of portraits by his famous master and other notable painters, also painting original works. He is particularly remembered for his portraits of Charles II at Woburn Abbey and James II at the Palace of Holyrood. His son, Antony Russel (c.1663–1743) was also a portrait-painter and is said to have studied under John Riley. Several of his copies were in the Royal Collections, and among the nobility. Provenance Richard Hill...
Category

Old Masters 17th Century Portrait Paintings

Materials

Oil, Wood Panel

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