17th Century Art

This a beautiful framed hand colored 17th century map of the southern portions of Holland by Nicolaus (Nicolas) Visscher II entitled "Hollandiae pars Meridionalis, vulgo Zuyd-Holland", published in Amsterdam in 1678. The map shows the region between Breda, Heusden, Gornichem, Gouda, Dordrecht, and Willemstad. It includes a decorative cartouche in the lower left corner. The map is presented in an attractive maple colored wood frame with gold trim and a fabric mat. There is a central vertical fold, as issued. There are small areas of discoloration consistent with age. The map is otherwise in very good condition. The Visscher family were one of the great cartographic families of the 17th century. Begun by Claes Jansz Visscher...

Painting oil on canvas depicting the myth of Diana and Actaeon measuring 110 x 130 without frame and 120 x 140 with frame by the painter Francesco Solimena. According to the myth, d...

Village Archery Tournament, 17th Century School Of David Teniers (1610-1690) Large 17th Century Dutch village peasants archery tournament, oi...

Antique French painting from the late 17th century. Oil on canvas, first canvas, artwork depicting a sacred art subject, Adoration of the Shepherds, of good pictorial quality. Painti...

Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576) follower of Portrait of the emperor Julius Caesar (Rome 100 BC - 44 BC), inscribed above C. IVLIVS. CAESAR Portrait of the Emperor Octavian Augustus (Rome 63 BC - 14 BC), inscribed on top OCTAVIANUS II ROM IMP 17th century oil painting on canvas Measurements (cm.): 65 x 50, with frame 81 x 68 cm. The Latin writer Suetonius with his work 'De vita Caesarum' (and in particular with his tradition in the vernacular of 1543, edited by the Florentine scholar Paolo del Rosso) inspired Tiziano Vecellio who, in 1537, painted for Duke Frederick II of Gonzaga portraits of the eleven emperors, adorning the walls for a small room in the Palazzo Ducale in Mantua, later known as the Cabinet of the Caesars. These effigies were intended to establish the link between the new era and classicism with its splendor, as well as to celebrate the value and wisdom of the rulers, who perceived themselves, in their lordships, as valiant new emperors. Titian's paintings soon became enormously popular and many patrons and lords of the time, including Ferdinando d'Avalos, Marquis of Pescara and Governor of Milan or Vespasiano Gonzaga, turned to the workshop of the Cremonese Bernardino Campi...

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...

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

The Human Body is an original etching from the famous "De Humani Corporis Fabrica" by Andrea Vesalio. The "De Humani Corporis Fabrica" is commonly consi...

Oil on Canvas. Roman school of the 17th century. In classical mythology, the goddess Venus, wife of Vulcan, had him forge weapons for her son Aeneas. In the scene, set in the cave wh...

La obra es de autor anónimo. El retablo va muy bien enmarcado con un marco neogótico del siglo xix en madera estofada y policromada. Medidas del retablo: 88 cm. altura x 56 cm. anc...

Antonio de Felipe Abanderado Offset Lithograph Year: 1993 Size: 39.0 x 39.0 inches Signed in the stone COA provided --------------------------------------- Antonio de Felipe was born in Valencia in 1965. Ever since a very young age he has felt an artistic drive that led him to earn a fine arts degree at the University of Valencia. In 1996 he moved to Madrid where he has his studio. The work of Antonio de Felipe is a constant source of fascination and surprises. It is a great pleasure to witness how the artist’s ingenious world of ideas and his sense of humour are constantly evolving. His subject worlds form a surprising genre blend of striking contrasts, a linking of series characters, classical art and commercialism side by side with contemporary icon worship. Antonio de Felipe has developed his extensive work in different series like, Las Vacas Logotipos and Popsport among others. In the serie Cinemaspop Antonio de Felipe has painted portraits of brilliant actors whose icon status is secure. Two of them are Audrey Hepburn and Greta Garbo, seen against a wide range of backgrounds where the artist pays tribute to the great masters – either Picasso’s brutal Guernica or space figures reminiscent of Miró. As a third, Marilyn Monroe, parts her ruby lips...

Here Gaspard Dughet offers us an idyllic vision of the Roman countryside. The stages follow one another in a perfectly structured composition, revealing here a lake, there travellers walking along, gradually leading our eye to the blue horizon. But behind its classical composition, this landscape is particularly interesting because of three anthropomorphic details that the artist has hidden, opening the way to a radically different interpretation... 1. Gaspard Dughet, a landscape artist in the light of Poussin Gaspard Dughet was born on June 4th, 1615 in Rome where his father, of French origin, was a pastry cook. He was probably named Gaspard in honour of his godfather Baron Gaspard de Morant, who was, or may have been, his father's employer. His older sister Jeanne married the painter Nicolas Poussin (1594 - 1655) on September 1st, 1630. The young Gaspard was apprenticed with his brother-in-law at the beginning of 1631, which led his entourage to name him Gaspard Poussin. The first preserved works of the painter date from the years 1633-1634 and were painted in Poussin’s studio. Around 1635, Gaspard Dughet became emancipated and began to frequent the Bamboccianti circle. In 1636, he became friends with the painter Jean Miel (1599 - 1656), but also with Pier Francesco Mola (1612 - 1666) and Pietro da Cortona (1596 - 1669). This was also the time of his first trips throughout Italy. The painter, although of French origin, appears never to have visited France. In 1646 he settled permanently in Rome. A recognized painter with a solid book of orders, he remained faithful to landscape painting throughout his life, alternating between cabinet paintings and large decorative commissions, using both oil and fresco. Nailed to his bed by rheumatic fever at the age of 58, he died on May 25, 1675. 2. Discovering an idealized landscape Beyond a relatively dark foreground that takes us into the landscape, we discover a vast bluish horizon: a plateau surrounded by deep ravines advances to the right, overhanging an expanse of water that sparkles below. A road winds through a mountainous mass as if leading us to the fortress that crowns it; another town appears in the distance at the foot of three conical mountains. The composition is rigorous, mineral, and structured by geometric volumes. The various stages in the landscape lead one to the next attracting the eye towards the horizon located in the middle of the canvas. The general impression is that of a welcoming and serene nature. In many places the paint layer has shrunk, or become transparent, revealing the dark red preparation with which the canvas was covered and accentuating the contrasts. Human presence is limited to three jack players, leaning against a mound in the foreground. Their long garments, which may evoke Roman togas, contribute to the timelessness of the scene. Close examination of the canvas reveals two other travellers on the path winding between the rocks. Made tiny by the distance, their introduction in the middle register, typical of Dughet's art, lengthens the perspective. While it is difficult to date the work of a painter who devoted his entire life to the representation of landscapes, it is certain that this painting is a work from his later years. The trees that occupied the foreground of his youthful compositions have been relegated to the sides, a stretch of water separates us from the arid mountains counterbalanced by two trees represented on the opposite bank. The introduction of this stretch of water in the middle of the landscape betrays the influence of the Bolognese and in particular of the Dominiquin (1581 - 1641) A number of similarities with a drawing in the British Museum might suggest a date around 1656-1657, since, according to Marie-Nicole Boisclair , it has been compared with the Prado's Landscape with the Repentant Magdalene, painted at that period. 3. Three amazing anthropomorphic details While some late Renaissance landscapes offer a radical double reading, allowing one to see both a face or a human body behind the representation of a landscape, it seems interesting to us to hypothesize that Gaspard Dughet had fun here by slipping in a few details that, taken in isolation, evoke human or animal figures. We will give three examples, looking closely at a cloud, the trunk of a broken tree and the top of a cliff. The main cloud could thus evoke a Christ-like face or that of an antique god...

Frans Francken the Younger 1581 - Antwerp - 1642 Flemish Painter 'The Departure of the Israelites from Egypt – The Exodus', c. 1610 - 1620 Medium: pen in sepia on paper Dimensions: mage size 26 x 34,5 cm, frame size 55 x 65,5 cm Biography: Frans Francken the Younger, born in Antwerp in 1581 and passing away on May 6, 1642, also in Antwerp, was a distinguished Flemish painter. He is recognized as the most prominent and productive member of the renowned Francken family of artists. Francken explored a wide range of subjects, creating large altarpieces for churches and producing smaller works depicting historical, mythological, and allegorical scenes. Notably, his depictions of collectors’ cabinets established a popular new genre of art during his era. He was known for collaborating with other artists, enriching their works with his skilled renderings of figures and narrative elements, complementing specialists in landscape, architectural scenes, and floral still-life painting. Francken was born to Frans Francken the Elder and Elisabeth Mertens. His father was a pupil of Antwerp’s leading history painter, Frans Floris, and a significant creator of altarpieces in Flanders during his time. Francken received his artistic training under the guidance of his father. Additionally, it is possible that Frans and his brother, Hieronymus Francken II, received further instruction in the workshop of their uncle, Hieronymus Francken I, in Paris. A versatile artist, Francken made significant contributions to various genres within Flemish art, introducing new themes and subjects. Many of his works comprised small-scale historical, allegorical, and biblical cabinet paintings, often emphasizing figures. He is credited with either inventing or popularizing several novel themes that gained popularity in Flemish painting, including genre scenes featuring monkeys (also known as singeries) and Kunstkammer or gallery paintings, presenting a plethora of natural and artistic treasures against a neutral wall. Francken introduced various other unconventional themes that later gained traction, such as the ‘Triumphal Procession of Amphitrite’ and ‘Croesus and Solon.’ He also produced a series of paintings depicting witches and witchcraft, including portrayals of witches’ sabbats. His remarkable paintings are held in the collections of numerous major museums throughout Europe. Francken specialized in rendering the human figure, as evidenced by etched and engraved portraits of the artist by Anthony van Dyck (after Peter Paul Rubens), identifying him with the Latin inscription: ‘ANTVERIÆ PICTOR HVMANARVM FIGVRARVM’ (Figure painter of Antwerp). He was frequently invited to contribute figures to compositions by other esteemed artists, including landscape artists such as Tobias Verhaecht, Abraham Govaerts, and Joos de Momper...

Altra veduta della Chiesa di S. Ignatio de Papa della Compa di Giesu nel Rione della Pigna is an etching realized in the Late 17th Century by Giovan Battista Falda. Good condition e...

Workshop of Jan Brueghel the Younger (1601-1678) & Hendrick van Balen (Antwerp, 1575 – 1632) 17th century Antwerp School The Virgin and Child ...

Salvatore Rosa (Naples 1615 - 1673 Rome) Saint Francis of Assisi in Ecstasy Pen and brown ink, brown wash over black chalk, on paper 7 x 5 cm Bears the stamps of collections on the...

Workshop of Johann Anton Eismann (1604-1698) Landscape with ruins and figures Oil on canvas, 110.5 x 93 cm Framed, 123 x 104 cm The background depicts a rocky shoreline facing th...

Il dipinto rientra nel corpus delle opere dell'importante paesaggista fiammingo Jan Frans Van Bloemen. I Van Bloemen erano una famiglia di artisti, fra essi Jan Frans nato ad Anvers...

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

Map of Persiae, Armeniae, Natoliae et Arabiae Descriptio per F de Wit 1688 engraving from: Atlas Contractus Orbis Terrarum Praecipuas ac Novissimas Complectens Tabulas. Amsterdam, N. Visscher, 1656-77. (Koeman III, Vis5-8) This highly decorative map of the Middle East is by the Dutch engraver, publisher, and map seller...

Great Flemish painting from the second half of the 17th century. Oil on canvas artwork depicting an interior scene with a fish seller and a splendid still life in the foreground. In ...

The Horse is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. Image Dimensions: 5 x 7 / 8 x 10 c...

Provenance: Mercedes von Dietrichtein, Buenos Aires. Alexander von Dietrichstein. By descendants Morritz von Diestrichstein. Nicolaes Pieterszoon Berchem (1 October 1620 – 18 February 1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn...

Giovanni Bernardo Carbone (Genoa, 1616 - 1683), workshop Portrait of a gentleman in armor with battle scene in the background Oil on oval canvas (117 x 105 cm. - In gilded frame 124...

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"Cherubs" (B) Pen and Ink drawing of Putto Italian School Late 17th early 18th century. Pen and ink on paper 6 ½ x 17 ½ (22 ½ x 11 ½) inches Antique scenes of putto and a faun cele...

17th Century Italian School, wood panel, depicting the return of the prodigal son. Very good condition.

Scipione Compagno (active in Naples in XVII century) Title: Crucifixion Medium: Oil on canvas Dimensions: without frame 64 x 52.5 cm - with frame 80 x 67 cm Antique wooden cassetta frame carved, sculpted and gilded by Mecca technique Expertise by Nicola Spinosa, art historian Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti...

Oil on oak panel Image size: 18 x 17 inches (45.5 x 43.5 cm) Period style frame This painting is a half-length portrait of a lady in the guise of a shepherdess. She is holding a ho...

A fine small Italian 17th/18th century sepia ink study of 6 putti in different positions. Paper mounted on paper. A tergo written "Scuola Lombarda". A putto/putti are figure in a wo...

Jan van Haensbergen was a painter of the Dutch Golden Age and a pupil of Cornelius van Poelenburgh (Utrecht 1594 - 1667). The painting we are presenting is inspired by Poelenburgh’s landscapes from his Italian sojourn. The dreamlike atmosphere of this Gathering in antique ruins appealed to us. Against a backdrop of antique ruins, three draped characters (perhaps bathers) are sitting in a circle, greeting a fourth character walking towards them. Their tranquility contrasts with the bustle of the other characters in the background. They constitute a vivid illustration of otium, this leisure time that allows us to realize our full potential. With this Arcadian landscape, Jan van Haensbergen invites us in turn to leave the hustle and bustle of everyday life behind, to take a break, to enjoy the present moment chatting with close friends… 1. Jan van Haensbergen, a landscape and portrait painter of the Dutch Golden Age Jan van Haensbergen was born in 1642 in Gorinchem, a town in southern Holland to the east of Rotterdam. He was a pupil of Cornelius van Poelenburgh, and began by painting landscapes inspired by those of his master, in an Italianate style. Between 1668 and 1669, he was registered at the Guild of Saint Luke in Utrecht. In 1669, he moved to The Hague, where he joined the Confrérie Pictura, an artist society founded in 1656. His portraits, which became his main activity as a painter after settling in The Hague, were strongly influenced by Caspar Netscher (Prague or Heidelberg 1639 - The Hague 1684), whom he met in The Hague and whose son Constantijn became his son-in-law by marrying his daughter Magdalena. In addition to his work as an artist, Van Haensbergen was also an art dealer, probably helped by his appointment as Dean of the Confrérie Pictura, where he also teached. 2. Description of the artwork and related paintings This painting seems to us to be a kind of allegory of otium, that quiet bliss promised by Epicurus. It might even evoke an Epicurean proverb: "It is better to lie on the naked ground and be at ease, than to have a golden carriage and a rich table and be worried" . Three draped young people - two men and a woman in the background - are seated in a circle, greeting a fourth figure walking towards them, hair disheveled and body draped in a towel as if drying off after a bath, indicating the need for prior purification to fully enjoy this rest. Their nonchalance contrasts with the bustle of the various characters in the background. The composition is punctuated by successive diagonals, and opens onto a landscape on the right, with a succession of mountainous planes. This painting is typical of the Italianate works produced by Van Haensbergen in the 1660s under the influence of Cornelis van Poelenburgh...

Antique Italian painting from the late 17th century. Framework oil on canvas depicting a religious subject Virgin with child of good pictorial quality. Framework of excellent proport...

Already been in Koelliker collection (no. inv. LK0431) Publications: - C. Alpini, Ritratto di Gian Giacomo Barbelli nel IV centenario della nascita, in “Insula Fulcheria”, XXXIV, ...

Ron Stonier (1933-2001) was a dedicated Vancouver artist celebrated for his exploration of abstract painting, influenced by his mentors Gordon Smith and Jack Shadbolt, as well as by ...

The Dutch Navy Off A Turkish Ottoman Trade Post, 17th Century attributed to Bonaventura I PEETERS (1614-1652) Large 17th Century Dutch Old Master of the D...

Questa statua in terracotta in eccellente stato conservativo considerata l'età e la fragilità del materiale, raffigura un putto nell'atto di soffiare, colto in una posa di intenso p...

Dog is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions. Including a crea...

Nicolas de Largillière (Paris, 1656-1746) Portrait of a lady, circa 1695 Oil on canvas (relined): 76 x 61 cm Framed: h. 97 cm, l. 82 cm To be included in the forthcoming catalogue raisonné of the artist by Dominique Brême, director of museum of Sceaux and artist specialist. Our work presents a majestic French aristocrat against the backdrop of a twilight landscape. The face seen from the front, the body turned three-quarters, the young woman is portrayed half-length, revealing her slim belted waist. The elongated face with rosy cheeks, almond-shaped eyes, straight nose and strong chin, solemn expression, the young woman sketches...

Antichità Castelbarco SRLS is proud to present: Flemish sculptor of the 17th century Pair of bas-relief panels depicting the Allegory of Spring and the Allegory of Autumn Oak wood ...

PIETRO MONTANINI (Perugia, Italy, 1619 - 1689) Title: Landscape Medium: Oil on canvas Dimensions: without frame 50 x 65 cm - with frame 64 x 79 cm An...

Peloponnesvs is an antique map realized in 1650 by Johannes Janssonius (1588-1664). The Map is Hand-colored etching, with coeval watercoloring. Good conditions with slight foxing. ...

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

Hieronymus FRANCKEN III (Antwerp 1611 - 1671) 17th century Antwerp School The Denial of Saint Peter Oil on panel, dim. h. 53 cm, l. 76 cm Framed, h. 82 cm, l. 106 cm Sold with the ...

A capriccio with the Colosseum in Roma 17th century Italian school Circle of Viviano Codazzi (1604-1670) Oil on canvas Dimensions: h. 35.43 in, w. 51.18 in Modern 17th century style ...

Antiveduto Gramatica (1569 – 1626) Title: Cryptoportrait of a lady as The Veronica Medium: Oil on canvas Dimensions: without frame 100 x 74.5 cm - 123.5 x 103.5 cm Ancient "cassetta...

Dutch school, follower of Herman van SWANEVELT (1603-1655), Shepherds and their flock on a path, oil on canvas, circa 1700 – good condition Wooden frame Canvas without frame : Height...

Oil on panel, monogrammed mid left Image size: 15 x 12 1/4 inches (38 x 31 cm) Dutch ripple style frame Loeding was born in Leiden in around 1637 and was admitted into the Leiden Guild of St Luke in 1664. Like other Dutch cities, Leiden required membership in the guilds in order to sell wares falling under the various specifications. There is no record of his artistic training or influences, but he likely belonged to the circle of artists including Pieter de Ring and Gerrit Dou, who founded and maintained the Guild.  Loeding is last registered as a member in 1673. One of the most versatile genres that emerged from Dutch 17th Century artistic specialisms is that of 'pronkstilleven'; a laden table with a variety of rich textures, like ornate glassware, gilded goblets, exquisite nautilus cups...

Josep Maria Riera i Aragó (Barcelona, 1954), is a Spanish plastic artist. He studied at the Faculty of Fine Arts in Barcelona. Throughout his career he has dedicated himself to scul...

This splendid panel, made in the last decades of the sixteenth century, depicts San Girolamo, a monk who lived between the 4th and 5th centuries, presente...

Sunil Das - Old Horse 11 x 9 inches (unframed size) 18 x 16 ( Expected framed size) Pastel on Sand Paper Circa, 1958 ( Delivered framed ) A very old unique and rare work by the M...

The sermon of the Baptist is set in a large open space, with rich vegetation and wooded glimpses, and on the back, in the distance, you can see the buildings of a city. The scene see...

The Triumph of the Infant Bacchus, Workshop of Hendrick Van Balen (1575-1632) Antwerp, c.1630 Oil on copper, h. 28 cm (11.02 in), w. 35 cm (13.78 in) A large Roman 17th century golden painted frame Framed: h. 52 cm (20.47 in.), w. 58 cm (22.83 in) Our finely painted work depicts The Triumph of the Bacchus as a young boy and is one of the most popular mythological subjects in Antwerp at the beginning of the 17th century. Feasting, wine and fun are the themes that constantly appeal to the public. Thus unfolds before our eyes on our painting the procession composed of nymphs, baccantes, fauns, satyrs and children, their bodies naked, partially covered with brightly coloured draperies that help to brighten up the parade. Playing various instruments, dancing and drinking, while carrying vases and poles adorned with grapevines, participants to the rhythm of a noisy brass band make their way to an ancient temple standing on the right. The exaggerated gestures convey to us the frenzy of the excited crowd. The Child Bacchus follows the joyous procession, carried by satyrs and nymphs, crowned with ivy and joyfully raising a cup of wine. In the foreground, the drunken participants leave the procession, the children on the left and the group of bacchantes and satyrs on the right are resting among various objects scattered at their feet: cups, vases, ewers bear witness to the festivities in progress. In the background, a hilly landscape stretches out on the horizon, a semblance of calm that contrasts with the bustle of the foreground. The artist strives to multiply the many details, whether it be figures, costumes, flowers or vegetation, in order to demonstrate his know-how and the perfection of his execution. The acidulous palette with fresh and varied colours is characteristic of Hendrick Van Balen's works. There are several versions identical to ours with similar dimensions painted by Hendrick Van Balen and his workshop. Related works: • Koller Auction, Zurich, 21/09/2007, oil on copper, 28,5 x 37,4 cm. • Staatliche Kunsthalle, Karlsruhe, Inv. N° 809 (oil on copper, 40 x 53,5 cm) • Auktionshaus für Altertümer Glückselig, Vienne, 10/05/1932, ( oil on copper, 34 x 42 cm) • Gemäldegalerie of Pommersfelden, Schloss Weissenstein, oil on panel, 47 x 64 cm Hendrick Van Balen, Flemish painter, born and died in Antwerp (1575-1632). A pupil of Adam Van Noort, he entered the Guild of St. Luke in 1593, later trained in Italy and was Van Dyck's first teacher. He often painted small figures taken from scenes from the Bible or classical mythology, on paintings whose backgrounds and landscapes were painted by Josse de Momper...

Rare and fascinating carved wooden female bust, probably used as a wig holder. The work, made in Holland in the first half of the 17th century, features an elegant stylization of fac...

A Still Life of Turtles, An Eel, Pike, Lobsters and other Fish on the Shore, A Ship in the Stormy Seas Beyond Signed and dated lower left 1640 Inscribed with inventory number lower right: no. 44 Oil on canvas Framed 29.5 x 37.9 inches Provenance Anonymous sale, London, Sotheby's, 15 April 1999, lot 87, (as 'Circle of Giuseppe...

Man and Woman in the Garden of Pleasure is an original lithograph from Salvador Dali’s five volume Biblia Sacra Suite published in Rome by Riz...

Urbino con la neve is an original artwork realized by an artist of the 17th century. Beautiful etching on ivory paper. Image Dimensions: 20...

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

The Horse is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Image Dimensions: 5 x 7 / 8 x 10 cm. Not signed....