17th Century Portrait Paintings

Attributed to Sir Godfrey Kneller (1646 - 1723) A Portrait of Ochius, also called The Passia Ahmed Oil on canvas In a gilded frame Painted circa 1689 following the siege of Belgrad...

The painting is about the Florentine school and a seventeenth-century Italian school. Oil on canvas After Lorenzo Lippi (1606–1665) who was a prominent Florentine Baroque painter a...

17th Century Italian School St Peter Oil on Canvas 55 1/2 x 41 inches This large and tender rendering of Saint Peter was painted by the hand of great Italian painter of the 17th Cen...

Circle of Cornelius Johnson (1593-1661), a 17th century portrait of a lady, bust-length oval, wearing an ivory silk gown with blue silk bows and lace c...

Provenance: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA One of the leading artists in Genoa during the second half of the seventeenth century, Domenico Piola came from a successful family of artists, renowned for their many illusionistic ceiling programs throughout Genoese churches and palaces. A prolific draughtsman and painter, Domenico oversaw an extremely productive studio. In addition to his collaborations with numerous other artists, Domenico also provided many designs for book illustrations and prints that circulated throughout Europe, earning him international exposure and high acclaim in his own day. As Dr. Anna Orlando has indicated (written communication), the present work is an early work by Piola, datable from the late 1640s. At this time the young artist came strongly under the influence of Castiglione and Valerio Castello, while admiring the works of Giulio Cesare Procaccini. Piola’s works from this period are exuberant and fluid, and the artist’s love of portraying children is evident from the angels and putti that populate both his altarpieces and more intimate paintings. The present work depicts three angels...

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 ...

Portrait Of Actor Anthony Leigh As Father Dominic from John Dryden's "The Spanish Fryar", 17th Century Sir GODFREY KNELLER (1646-1723) Large 17th C...

CHRISTOFFEL LUBIENIECKI (1659-1729) Pair of portraits of a gentleman and a lady, both in silk kimono, before a country house (circa 1680) Indistinctly signed “C.......” on a box under the man’s left hand Oil on canvas, 79.5 x 67 cm each Both sitters are portrayed wearing a silk “Japanese” coat. During the second half of the seventeenth the Japanese silk coat, an adapted Japanese kimono, became a real vogue in the Dutch elite. The exclusive Dutch trade contacts with Japan can explain the popularity of the kimono-style silk coats in the Netherlands. Everybody who could afford one, dressed in such a fashionable and comfortable coat and, like the present sitters, some proud owners had themselves portrayed in a “Japanese” coat often together with an oriental carpet to underline their standing and international connections. These portraits are the work of the Polish-born portraitist Christoffel Lubieniecki (also known as Lubienitski, Lubinitski or Lubiniecki) Lubieniecki was first trained in Hamburg under Julian Stuhr and after 1675 in Amsterdam under Adriaen Backer and Gerard de Lairesse. He specialized in landscapes, generally of an Italianate character, and in portraits. The loving execution of these contented burghers, enjoying the garden vistas of their country house, places him alongside Amsterdam portraitists such as Constantijn Netscher and Michiel van Musscher...

Very 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...

olio su tela, 62 x 51 cm (senza cornice) Il dipinto è stato per lungo attribuito alla mano di Francesco Gessi, allievo di Guido Reni, come riporta un'iscrizione a matita datata 1945...

Circle of John Riley British, (1646-1691) Portrait of a Gentleman Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inch...

Felice Cignani (Bologna 1658 - Forlì 1724) The Miracle of Saint Francis of Paola Oil on canvas 165 x 111 cm In frame 182 x 129 cm Work accompanied by an appraisal by Prof. Em...

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...

John Clostermann (Osnabrück 1660 - 1711 London) Portrait of a boy, maybe Charles Hinde Oil on canvas, 61 x 74,6 cm John Closterman (also Klosterman) was a portrait painter of the late 17th and early 18th centuries. He primarily portrayed English noblemen and European aristocratic families. His father was already an artist and he trained his son. In 1679 he went to Paris and studied with Francois de Troy. In 1681 he was in London and worked for the artist John Riley, whose studio he took over after his death. In 1696 he was invited to the Spanish court...

Penitent Saint Peter, 17th Century School Of Carlo Saraceni (1579-1620) Large 17th century Italian Old master depiction of the Penitent Saint Peter, oil...

Battle of Marignano, 17th Century attributed to Il Borgognone (1628-1679) Large 17th Century Italian Wars battle scene identified as the Battle Of Marignano, oil on canvas. Excell...

After Robert Walker 1599 - 1658 Portrait of Oliver Cromwell (1599-1658), bust-length, in armour Oil on canvas Image size: 24 x 29 inches (61 x 73 cm) Original carved gilt frame This...

Portrait of Girolamo Frescobaldi (1583-1643) Attributed to Antiveduto Della Grammatica (1571-1626) Oil on Canvas 1605-1609 Framed in a Nineteenth Century gild and composite frame 44....

An Allegory Of Motherhood & Charity, 17th Century Huge Italian Old Master Huge circa 1600 Italian Old Master scene of a mother and infants as an al...

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...

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...

Title: Portrait of Charles II of Spain Artist: Unknown Date: Late 17th century Medium: Oil on copper Framing: Set against red velvet in a deeply carved and distressed giltwood frame,...

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...

John Riley 1646 – 1691 Portrait of William Chiffinch (c.1602-88) Oil on canvas Image size: 30 x 25 inches Original frame Another version of this can be found in the Dulwich Pictur...

Chickens & Other Birds In A Farmyard, 18th Century circle of Marmaduke CRADOCK (c.1660-1717) Fine 18th Century English School farmyard scene of var...

French school, 17th Century Portrait of the Marquise de Grugieres Oil on canvas 26.1/4 x 21.5/8 in. (66.7 x 54.8 cm.) In a gilded composite frame, later production (possible early 1...

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

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

Portrait of a lady . Louis Ferdinand Elle the Younger. ( Paris, 1612-1689), attributed. Circa 1680. Oil on canvas, resting on cardboard. In 19th-century giltwood frame. A female...

This superb British Old Master portrait oil painting is attributed to circle of noted artist Michael Dahl. Although born in Sweden, Dahl lived and worked most of his life in England ...

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

ATTRIBUTED TO ABRAHAM BLOEMAERT - GORINCHEM, 1564 - 1651, UTRECHT Bacchus oil on panel 60 x 45 cm. Abraham Bloemaert is a Dutch Golden Age artist, born in Gorinchem in 1564, initial...

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...

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...

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

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...

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...

Guardian Angel Italian School, 17th century Oil painting on copper, framed Framed size: 12 x 10.5 inches Fine quality early Italian Old Master oil on copper panel, dating to the 17t...

This fantastic Italian Baroque 17th century Old Master portrait oil painting is attributed to circle of Carlo Dolci. Painted circa 1685, the composition is a waist length portrait of...

Painting of a lady, circle of Mary Beale (1633–1699), who was one of the first professional female portrait painters in England and a pioneering figure for women in the arts during t...

A wonderfully detailed and charismatic portrait, this exquisite work illustrates the technical mastery and artistic vision of Van Dyck. Ernest de Mansfeld's stately yet approachable expression reflects Van Dyck's refined ability to comfort and relax his subjects, resulting in a realistic and acute portrait. Ernest de Mansfeld was a German military commander during the early years of the Thirty Years War. Donning his armor and an ornate, lace collar, de Mansfeld appears as a strong commander. Without a hint of a smile, he calmly gazes out, the definition of cool and collected. Van Dyck accurately captures the sense that de Mansfeld is a man who takes his job seriously, a man worthy of commanding an army in battle. This portrait is a Mauquoy-Hendrickx State II (of II), engraved by Robertus van Voerst in collaboration with Anthony van Dyck (Antwerp, 1559 - London, 1641) as part of his Iconographie series of engraved portraits of famous people...

Ercole De Maria (…. – 1640 ca.) Title: Penitent Saint Peter Medium: Oil on canvas Dimensions: without frame 66 × 50 cm – with frame 80.2 x 60.2 x 5.7 cm Not signed Expertise by And...

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...

The Battle Of The Peasants, 17th Century by M D HOUT (1627-1680) Large 17th Century Dutch Old Master scene of peasants fighting, oil on panel by M ...

Artist/ School: 17th Century Dutch School Title: Ladies Collecting Flowers Medium: oil painting on panel, framed Oval : 6.75 x 9.25 inches, frame...

Mattheus Terwesten (The Hague, 1670 - 1757) Portrait of a young woman with palette and brushes, as Allegory of the art of Painting Oil on canvas 160 x 91 cm. - In frame 178 x 107 cm...

Gilbert Soest 1605-1681 Portrait of a Lady Oil on canvas Image size: 30 x 25 inches (76.2 x 63.5 cm) Original carved gilt frame Provenance Private Estate, England This portrait dep...

Oil on canvas, on board Image size: 30 1/4 x 27 inches (76.75 x 68.5 cm) Contemporary style handmade frame This is a attention-holding portrait of a 17th century English judge...

Jan Janssens (Ghent, Belgium, 1590 - after 1650) Title: Saint John the Baptist Medium: Oil on canvas Dimensions: without frame 76 x 62 cm – with frame 97 x 83 x 6 cm Not signed Expe...

Saint Anthony Of Padua, 17th Century Circle of CARLO DOLCI (1616-1686) 17th century Italian Old Master depiction of Saint Anthony of Padua, oi...

The Angel Gabriel Jesus & Satan 18th Century afterf Domenichino (1581-1641) Large 18th Century Italian Bolognese School Old Master depiction of the Guardian Angel Gabriel, Jesus an...

Giovanni Francesco Barbieri, the Guercino (Cento 1591 - Bologna 1666), workshop Attributable to, Benedetto Gennari (Cento, 1633 - Bologna, 1715) Venus disarming Love oil on canvas ...

Free shipping all Continental US, and all other countries, Europe, Asia etc... Enhance your space with this captivating vintage painting by Tengnagel Jan (1584-depicting The meeting...

Dutch School, Elegant Couple, Tavern Interior Scene, Cabinet Piece, A PAIR

The painting is oil on canvas. Unsigned Philippe de Marlier or Philips de Marlier, also called "Fat Lup" (fat Philip) (also: Philips de Marli; Philips de Merlyn; first name also: F...

Antique Italian painting from the second half of the 17th century. Oil on canvas artwork depicting a portrait of an old lady, The widow of the pharmacist from Trento, of good pictori...

Portrait of a Young Mother and Children 17th century Dutch School oil on canvas, framed in fine carved wood period frame framed: 38 x 33 inches canvas: 29 x 25 inches Provenance: pri...

Lot & His Daughters, 17th Century after PETER PAUL RUBENS (1577-1640) Large 17th century Dutch Old Master depiction of Lot And His Daughter, oil on copper. Excellent quality and co...

A very fine oil on canvas of Sir John Pettus ,circle of Mary Beale 17th century Wearing a red cloak and a black tunic with white collar. His coat of arms to the right.Unsigned Housed in a gilt frame, the size overall being 85 x 74 cm whilst the painting is 76 x 63.5cm In overall excellent condition. There is a wealth of history about the sitter online , below is a brief resume John Pettus Sir John Pettus (1613–1690) was an English royalist, politician and natural philosopher. Pettus was an expert on metallurgy and became a deputy governor of the royal mines in England and Wales under Charles I and II. He is known for the first English translation of the work of the German metallurgist Lazarus Ercker. Pettus’s grandfather was a wealthy Norwich merchant ,he purchased the manor of Rackheath in 1590 and represented the city in 1601 and 1604-10. Although a younger son, Pettus inherited the manors of Chediston and Wenhaston, He married well; but even before the Civil War most of his estate was mortgaged, and his wife’s expectations were never realized, owing to her father’s misfortunes as leader of the City Royalists. Pettus became a servant to Charles I, and took part in the farcical royalist attempt on Lowestoft in March 1643, but was exchanged after nearly a year in prison. It is unlikely that he resumed command of his regiment, such as it was, since he ‘continued inoffensive till the taking of Bristol’ by the New Model Army...

Portrait Of The Persian Sybil, 17th Century School of GUERCINO (1591-1666) Large 17th Century Italian Old Master portrait of the Persian Sybil, oil on canvas. Excellent quality an...