17th Century Portrait Paintings

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. ...

Portrait of William Paget (1505–1563), 1st Baron Paget de Beaudesert, Court Of King Henry VIII, 17th Century school of Hans Holbein the Younger (1497-1543) Large 17th Century Tudor...

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...

Arrival To The The New World, 17th Century European School - Early historical depiction of 16th Century Europeans Large 17th Century scene of ...

The Cards Game, 17th Century Dutch School after Theodoor Rombouts (1597-1637) Large 17th century Dutch Old Master Interior scene of a game of cards, oil on canvas. Excellent quali...

Gortzius Geldorp (Leuven, 1553 - Cologne, 1618) Portrait of a man Oil on panel, 52 x 45 cm Framed, 56.5 x 45 cm Dated and monogrammed at upper right: AN° 1605. GG F. Geldorp Go...

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...

Portrait Of Charles I Of England (1600-1649) Wearing The Order Of The Garter, 17th Century circle of Sir Antony VAN DYCK (1599-1641) Large 17th Century English portrait of King Cha...

Unknown artist Prague School Portrait of Emperor Ferdinand I. (1503-1564) 17th century Oil on copper, 21,3 x 16,8 cm Provenance: Private collection, Pennsylvania, until 2016 This work by an unknown artist is a semi-portrait in predominantly brown-green tones. brown-green tones of the emperor Ferdinand I, who was crowned emperor in 1558. Ferdinand I of the Habsburg dynasty, who was crowned emperor in 1558. in a suit of armour lavishly decorated with gold ornaments. The portrait of Ferdinand...

Oil on canvas Image size: 30 x 35 inches (76.25 x 89 cm) Carved gilt frame A half-length portrait of a man turned slightly to the left, gazing at the spectator, standing, wearing st...

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...

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 ...

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. 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 Montagu Bertie, 2nd Earl of Lindsey , 17th Century school of Gerard van Honthorst (1592-1656) Large 17th Century portrait of Montagu Bertie, 2nd Earl Of Lindsay, oil on...

King Solomon Worshipping The Idols, 17th Century FRANS FRANCKEN II (1581-1642) - signed sales to $6,000,000 Large 17th Century biblical account of King Solomon worshipping the Idols, oil on panel Frans Francken. Excellent quality and condition Old Testament biblical scene on a cradled panel depicting the Idolatry of Solomon, son and successor of King David. Exceptional detail and would be enhanced with a light clean. Presented in an antique period frame. Signed. Measurements: 47" x 34" framed approx Artist Biography Frans Francken II or the Younger is the third in order of descent in the Francken family tree. Born in 1581, the son of Frans Francken I or the Elder, he was the brother of Thomas, born in 1574, of Hieronymous II, born in 1578 and died in 1623, and of Ambrosius II, the last in line, who died in 1632. Hieronymous II, who died at the age of 56, is only known for his painting Horatius Cocles at Sublicius Bridge. Frans the Younger was initially a pupil of his father, who was then at the height of his career. In his father's studio he imbibed all the teaching of the tradition of Frans Floris. He also spent long periods in Italy, where he familiarised himself in particular with the masters of the Venetian school. Such study in situ enabled him to break away from the well-worn methods of Flemish Italianism, as practised by his father and uncles. It is conceivable that the young artist met Rubens, who was in Italy at the time. In 1605, at the age of 24, on his return to Antwerp, Frans the Younger became a master in the Antwerp Guild of St Luke. In 1607 he married Elisabeth Placquet in Antwerp. Three sons and eight daughters resulted from this marriage. His children made up the fourth generation in the dynasty. Better known are Frans III (1607-1667) and Hieronymus, born in 1611. The latter had a son, Constantinus (1661-1717), who marks the end of the line. The family of Francken painters runs from 1520 to 1717. As one of the most active masters in Antwerp, Frans II was appointed dean of the guild in 1614. He was also a member of the Violette, a major literary association, for which he painted an award-winning symbolic coat of arms. He was intimate with the most celebrated artists, in particular van Dyck, who executed a very fine portrait of him, judging by the engraving by Willem Hondius and Pieter de Jode. It is also likely that he was on familiar terms with Rubens who was his near contemporary. He died in Antwerp on 6 May 1642 at the age of 61, outlived by both Rubens and van Dyck. The first securely dated work of Frans the Younger is Christ on the Cross from the gallery in Vienna, painted in 1606. Witches' Sabbath (Vienna) and The Works of Mercy (Antwerp) are dated 1607 and 1608 respectively. In these two latter works the painter proves himself adept at painting figures and allegorical scenes. The Works of Mercy represents various groups of figures, symbolising the different activities inspired by Christian charity. Paupers and beggars occupy the foreground, the ensemble being dominated by the figure of the glorious Christ. While Frans the Younger cannot be compared with the masters of this great first generation of Antwerp, which was illuminated and steered by the genius of Rubens, he does nevertheless merit attention. He succeeded in developing and bringing into fashion an anecdotal genre on a more modest scale, elements of which were to inform the last representatives of the Francken family for over a century. Frans the Younger was undoubtedly the most talented draughtsman in the family. While his art may be criticised for its lack of grandeur and solemnity, the execution shows great talent. His brush stroke was vigorous and his imagination, albeit restrained, was brilliant. His interest in tonal values was highlighted by his study and appreciation of his remarkable contemporaries. This enabled him to carry out landscapes and also fleshy figures, which made him altogether worthy of the brilliant period to which he belonged. While detail certainly preoccupied him, he treated it with intelligence and even esprit, as witnessed in The Parable of the Prodigal Son and A Prince's Visit to the Treasury of a Church(both in the Louvre). The scenes painted in grisaille, which surround the principal motif of the Prodigal Son, are characteristic of his style. He excelled in painting jewellery, ornaments, and textiles with shot silk effects. A large number of his figures inhabit the neutral backgrounds of the interiors of apartments and galleries. He carried out such work not only under his own auspices, but also for other artists, such as Peeter Neeffs, van Bassen, Josse de Momper...

Peter Paul Rubens (circle of) An Apostle circular 15.15 inches (38.5 cm) oil on canvas Provenance: Bukowskis Auctions, lot 725149, as "Peter Paul Rubens, circle of".

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...

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...

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

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

Oil on oak panel, inscribed top left ‘AETATIS SUAE 32’ Image size: 27 x 35 inches (68.5 x 89 cm) Contemporary style handmade frame This is a portrait of a medical figure from the ea...

Portrait Of A Lady As Diana, 17th Century Salomon de Bray (1597-1664) Large 17th Century Dutch Old Master portrait of a lady as Diana, oil ...

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...

Studio of Sir Peter Lely Dutch, (1618-1680) Portrait of a Lady Oil on canvas Image size: 29.25 inches x 24.25 inches Size including frame: 37...

Provenance: Possibly Antonio Amici Moretti, Rome, 1690 Roy Clyde Gardner, Union, Mississippi, 1970s until 2004; by whom given to: Mississippi Band of Choctaw Indians, 2004-2010 Lit...

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...

Portrait Of Maximilian I Holy Roman Emperor & Archduke of Austria, 17th Century follower of Giulio Romano (1492-1546) Fine large 16th Century Italian S...

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

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...

Gerard SOEST (1600 - 1681) Portrait of a Young Boy oil on canvas 35.5 x 30.5 inches inc. frame Gerard Soest (circa 1600 – 11 February 1681), also known as Gerald Soest, was a portra...

Christian Ottoman Wars Cavalry Battle, 17th Century circle of Il Borgognone (1628-1679) Large 17th Century Italian School scene of a Christian and Ottoman cavalry during battle, o...

Portrait of Hortense Mancini, Duchess of Mazarin (1746-1699), 17th Century by Jacob Ferdinand Voet (1639-1689) Large 17th Century Italian portrait o...

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...

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 ...

Giovanni Stefano Danedi, called Montalto (Treviglio, Italy, 1612 - Milan, Italy, 1690) Title: Madonna and Child crowned by angels Medium: Oil on panel Dimensions: without frame 58 x ...

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...

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

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...

This is a superb Italian Old Master portrait oil painting attributed to circle of Guido Reni. It is a half length portrait of the penitent Mary Magdalene...

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....

Portrait Of Sir Ralph Warton (1656-1709) Of Beverley, Yorkshire, 17th Century English School Large 17th Century portrait of Sir Ralph Warton, oil on canvas laid to board. Circa 1685 portrait of the young knight and member of Parliament to James II to which this portrait would have been commissioned in commemoration of. Portrayed within a feigned oval in armour and a white undershirt with black bow necktie...

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

'Topers in a Tavern' Circle of Jacob Toorenvliet (Dutch 1635 - 1719) oil on panel, framed framed: 9 x 7 inches panel: 7.5 x 6 inches provenance: priv...

Eastern European young woman in traditional dress with silver lacings and jewelry holding an open book. This portrait pose is in the Renaissance period Mannerist style, and the young...

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

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...

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...

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...

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...

Oil on canvas Image size: 25 x 29 1/4 inches (63.5 x 72.25 cm) This is a striking 17th century half-portrait of a man. He sits with his body turned to the left and his head to the right. His left hand is held in front of him with thumb and finger together. He wears a loose white shirt that is opened low down onto chest while being closed at his neck with a black ribbon. An orange cloak has also been draped across his arms in a rather dramatic manner. This choice of costume is immediately notable and must be compared to other portraits of this time of Elizabethan courtiers wearing slashed silk outfits with ostentatious finery and silver swords. Indeed, if one examines 17th century English...

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

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

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...

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

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...

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...

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