17th Century Art

Italian painter (17th-18th century) - Still life with meat, turkey and game. 70 x 88 cm without frame, 89 x 107 cm with frame. Antique oil painting on canvas, in a carved, gilded a...

Carved and painted wooden sculpture - Figure of a saint - Italy, 17th-18th century. 36 x 25 x h 74 cm. Entirely in carved, lacquered and painted wood. Some missing parts and colour...

Jesus at the House of Mary & Martha Italian artist, 1600's oil on canvas, unframed Canvas: 32.5 x 56.5 inches Provenance: Private collection, England Condition: for a work of such mo...

Alessandro Salucci (Florence 1590 - Rome c. 1655/60) - Architectural Capriccio with Characters. 73.5 x 106.5 cm without frame, 84 x 116.5 cm with frame. Antique oil painting on can...

Orpheus is an original artwork realized in the first decades of the XVII century and attributed to the Italian master Tommaso Salini. Oil painting on canvas. A golden wood frame is...

Portrait of Anna Maria de Camudio, Spanish noblewoman and lady-in-waiting to Infanta Isabella Attributed to the Studio of Anthony van Dyck, c. 1630 This finely preserved 17th-cent...

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...

Anne Hyde, Duchess of York (1637-1671), 17th Century Circle of SIR PETER LELY (1618-1680) Large 17th Century English School court portrait of Anne Hyde, Duchess of York, oil on canvas. Large three quarter length portrait of the Duchess wearing a red satin dress...

Saint Michael Archangel Guido Reni (Bologna 1575 - 1642) Workshop/Follower of 17th-18th century Oil on canvas (104 x 68 cm. - In frame 109 x 68 cm.) This high quality painting is b...

To the Calvary with Maddalena is a superb and impressive original oil painting on canvas, realized by the Italian artist Ippolito Borghese (Sigillo, 1568 - after 1627) Original Title: Andata al Calvario con l'incontro con la Maddalena...

"Madonna del Granduca", after Raphael Oil on Canvas: 34 x 22.5 in. Frame: 45 x 33 ½ in. Inscribed verso. Pitti Palace red wax seal verso*. Fine Gilt Carv...

This stunning Flemish Old Master portrait oil painting is attributed to circle of Anthony Van Dyck. Painted circa 1630, the sitter is Frances Stewart née Howard (1578 -1639) Duchess ...

Roman painter, 17th-18th century Ciro Ferri (Rome, 1634 - Rome, 1689) follower of The Guardian Angel (Tobiolo with the archangel Raphael) Oil on tea 100 x 75 cm. in antique frame 1...

Workshop / Circle of Philips Wouwerman (1619-1668) Landscape with Gentleman on Horseback and Peasant Woman Receiving Alms oil on oak panel 12.40 x 14.17 inches (31.5 x 36 cm) wit...

After Carlo Dolci "The Angel Gabriel" Oil on Canvas: Painted oval form :13 x 11 in. Frame: 29 x 23 in. Fine carved giltwood Florentine frame. Late 18t...

The Angelic Visitation Italian School, 17th Century oil on canvas, framed Framed: 30 x 36 inches Canvas: 24 x 29 inches Provenance: private collection, Europe Condition: the antique...

Oil on Canvas. Portrait of a nobleman, proud with his hand resting on the 'hilt of his sword and dressed in an ermine-edged cloak. On the upper right appears the coat of arms of his ...

This remarkable mid-17th-century oil painting, which probably originated in the Naples region of Italy, depicts Saint Jerome in penitence with a skull and sleeping lion. It’s reminis...

Manner of Nicolas Poussin (1594-1665) French The Holy Family with the Infant Saint John the Baptist Oil on canvas: 32 x 27 ½ in. Frame: 37 x 33 in. This fabulous and well execut...

Giovanni Agostino Cassana (c.1658 – 6 May 1720) Venetian Birds with an Upturned Basket of Fruit Oil on canvas: 25 x 35 in. Frame: 33 x 43 in. The canvas is unsigned Abate, or Gio...

Etching on cream laid paper mounted to a cream laid paper support, 9 x 12 7/8 inches (230 x 327 mm), thread margins. Three small areas of light skinning with one extremely small hole...

This stunning Italian Baroque Old Master portrait oil painting is attributed to the circle of Guercino, Giovanni Francesco Barbieri (1591 - 1666) and it is ascribed verso. The paint...

This fantastic Dutch Old Master marine oil painting is by noted Dutch marine artist Abraham Storck. Painted circa 1670 the composition is a number of ships heading out to sea, their sails billowing and banners and flags blowing in the wind. The sea is also choppy and clouds race over head. It is an ambitious, busy nautical scene and Storck has perfectly captured the energy and movement of the ships and smaller vessels. This is an excellent example of a 17th century Dutch Old Master oil painting. Provenance: Part of a private collection of Flemish & European paintings. Koller Auctions in Switzerland in 2011. Bonhams 2020. Condition. Oil on canvas, 25 inches by 24 inches and in good condition. Frame. Housed in an ornate 23 carat gilt carved Lely period frame with name plate, 32 inches by 31 inches and in excellent condition. Abraham Storck (1644-1708) was a Dutch painter, who enjoyed a reputation for his marine paintings, topographical views and Italianate harbour scenes. Storck was also an outstanding draughtsman. Storck was baptized in the Noorderkerk, a Protestant church in the Jordaan. His father was the painter Jan Jansz Sturck (or Johannes Storck) (1603-1673), from Wesel; his mother was Teuntje (Apolonia) Jacobs. The couple married in 1628. Storck had two brothers, who were also painters using the name Sturckenburch until c. 1688 after which they started calling themselves Storck or Sturck. It is likely they were all trained with their father in the family workshop and joined the local Guild of Saint Luke, otherwise it was impossible to sell any painting. Circa 1666 Storck established his workshop producing naval, harbor scenes as well as landscape paintings and city scapes. In 1670 he traveled with his brother Jacob and worked in Germany. In 1694, at age 49, he married the widow Neeltje Pieters van Meyservelt. At the end of his life he lived on Kattenburg near the harbour. Storck's marine and river scenes were influenced by the two Willem van de Veldes (the elder and the younger), Ludolf Bakhuizen...

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (2 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emi...

This extensive late 17th-century oil painting by Dutch artist Jacob van der Does II (1661-1699) depicts a river landscape with a hunting party, riverside buildings, various craft, a ...

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (1 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emi...

Attributed to Evert Collier (1642-1708) A vanitas still life Oil on canvas Canvas Size 30 x 25 in Framed Size 29 x 34 in Evert Collier (a...

Francesca Volò Smiller, called Vincenzina (Milan, 1657 - 1700) attributed Floral composition overflowing from an embossed vase (LINK) Oil on canvas 79 x 61 cm. Framed 89 x 70 cm. T...

Portrait of a noblewoman. Attributed to Carlo Ceresa. (1609 - 1679, Bergamo) Oil on canvas. Size cm 110x86,5cm with frame Around 1640. This portrait depicts a middle-aged woman with great realism, typical of Lombard and Bergamo painters in particular. Carlo Ceresa, probable author of this unsigned painting, had studied with Daniele Crespi...

Lorenzo Pasinelli (Bologna, 1629 - 1700) Sermon of Saint John the Baptist Circa 1650. Oil on canvas 115 x 154 cm With frame 136 x 174 cm Provenance Milan, Porro 6 June 2006 ...

Late 17th Century Italian School. The Return of the Ark on the Covenant, Oil on Canvas, in a Fine 17th Century Italian Frame, canvas: 40.25" x 49.75" (102.3 x 126cm) Fine quality and rare 17th century Italian Old Master...

Artist: Adriaen van Stalbemt (Stalbempt) 1580-1662 Title: Abraham and the Sacrifice of His Son Isaac “Das Opfer des Abraham” According to the Old...

Erasmus Quellinus II (Antwerp 1607 - 1672) Vanitas (as an Allegory of the Vanity of Life or of Youth) Oil painting on canvas - cm. 121 x 84, in the frame cm. 135 x 98 The work is a...

Mythological Figures in Woodland Glade Dutch School, late 17th century oil on wood panel, unframed panel: 11 x 9 inches provenance: private collection, UK condition: minor surface sc...

Artist/ School: Italian School, 17th century. Title: A King and Queen before court figures, amidst a classical landscape with Roman columns. Medium: oil painting on canvas, framed ...

Portrait Of King Edward VI (1537-1553) King Of England after William SCROTS (1510-1553) Large circa 17th Century portrait of Edward VI, King Of England, oil on canvas. Excellent quality and condition half length portrait of the only surviving son of King Henry VIII and Jane Seymour wearing Prince Of Wale Feathers and the crown upon a pendant. Exceptional quality distinctly similar to the works of court painter William Scrots. Presented in a gilt & ebony frame. Measurements: 40" x 34" framed approx Provenance: The estate of Richard Philip...

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 ...

Roman School 17th - 18th century Circle of Giovanni Battista Salvi, known as Sassoferrato (Sassoferrato 1609 - Rome 1685) Virgin at Prayer Oil on canvas 48 x 40 cm. Splendid frame ...

This superb Dutch Golden Age Old Master landscape oil painting is attributed to Jacob van der Croos. Painted circa 1670 it is an Italianate landscape with figures and their animals i...

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

Dutch 17th century old master portrait of a boy, accompanied by his playful dog, blowing bubbles This captivating portrait shows a young boy who is looking at the spectator with ey...

17th century Old Master painting depicting the Infant Christ with Mary and St. Anne attributed to Nicolas de Liemaker The artist of the present work wonderfully captured the loving gaze of Maria, looking in awe at her child. One can sense the tenderness and love in her eyes. The eyes of Christ appears to be filled with wisdom and love and a finely painted aura crowns his and his mother's heads. St. Anne, Mary's mother, gently holds the infant whilst gazing adoringly at him. The painting is not only a beautiful depiction of Christ and his mother and grandmother, but also a sweet image of the tender bond between a mother's and their children. The vibrant and soft colours of the fabric create a soft cocoon around the figures and seem to further emphasis the beauty and importance of the depicted scenery and its protagonists. Nicolaas de Liemaecker (also spelled as Liemaker or Liemackere) was a Flemish painter born in Ghent in 1601. He was also known under the name Nicolaas Roose. His father was Jacobus de Liemaecker, a painter upon glass. Nicolaas is reported to have been trained by his father and Gaspard de Crayer II (1), an apprenticeship with Otto Van Veen has also been suggested. In 1624 he worked at the Court of the Bishop of Paderborn and for Ferdinand of Bavaria. He later returned to his native city, where he focused on religious and historical paintings. He was a very accomplished and celebrated artist who attained a high rank in his profession. He witnessed the baptisms of Pieter and Janne-Marie Van Hulle...

Michiel Jansz van Mierevelt (Delft 1566 - 1641) circle Portrait of a gentleman in dark suit with ruff, aged fifty-nine, 1624 Top right family crest, age of the sitter ‘59’, and the d...

17th-century Genoese School Workshop of Valerio Castello (Genoa, 1624 - Genoa, 1659) Ecce homo Oil on canvas 117 x 99 cm. In frame 138 x 118 cm. The Ecce Homo, the subject of our ...

This superb 17th century French Old Master oil painting is attributed to Jean Francois Millet. Painted circa 1670 it is a classical landscape with figures by a bend in a river in the...

Giovanni Gerolamo Savoldo (Brescia, c. 1480 – after 1548) Follower of Toby and the Angel Oil on canvas 63 x 76 cm - In frame 77 x 90 cm We are pleased to offer this valuable ...

Beautiful Dutch School painting dating from 17th century. Oil on wood panel measuring 10 3/8 x 14 7/16 inches. Unsigned. No inpainting or conservation. Depicted is a scene with a beautiful young woman singing...

Late 17th-century Bolognese painter Circle of Carlo Cignani (Bologna 1628 - Forlì 1719) Noli me tangere ‘’Apparition of Christ to Mary Magdalene‘’ oil on canvas 120 x 92 cm framed ...

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...

Muy interesante puerta de sagrario de madera tallada y policromada del siglo xvii. Es de comienzos del barroco, hay la representación del agnus dei con...

Abraham Janssens (Antwerp, Belgium, 1573 - Amsterdam, the Netherlands, 1632) Title: The Gypsy Medium: Oil on canvas Dimensions: without frame 116 x 94 cm – with frame 148 x 122 cm Co...

Splendid Italian painting from the first half of the 17th century. Oil on panel artwork of remarkable pictorial quality depicting Christ carrying the cross. The subject found particu...

The Pilgrim and Angel Spanish School, 17th Century oil on canvas, gilt framed framed: 48 x 37 inches canvas: 43 x 32 inches provenance: private collection, Barcelona, Spain condition...

This evocative Veronese School painting captures the moment in the Garden of Gethsemane when Christ, overwhelmed with sorrow, prays to God before his arrest and crucifixion. Supporte...

An important Old Master oil on canvas painting by the Flemish artist, Jan Cossiers, a follower of the style of Caravaggio (1600-1671). Born in Antwerp in 1600, Jan Cossiers was a pupil of his father, the painter Antoon Cossiers (died 1646/1647), and also studied under Cornelis de Vos...

Hans (or Johann) von Achen (Cologne 1552 - Prague 1615) workshop Adoration of the Shepherds Oil on canvas 112 x 90 cm./ Framed 125 x 102 cm. The painting that we are happy to prese...

Biblical Figures, Large Gathering around Christ? Dutch Old Master, early 17th century oil painting on wood panel, stuck on velvet backing board velvet board: 27 x 29 inches board: 25.5 x 26 inches provenance: private collection, France condition: good and sound condition, obvious old panel...

This double-page etching with contemporary coloring, entitled Novissima et Accuratissima totius Italiae, Corsicae et Sardiniae, was realized by the cartographer Frederick de Wit for ...