17th Century Art

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. David Loggan (1634-1692) Clare College Cambridge...

David Loggan (1634-1692) Winchester College Engraving 1675 40x46cm Baptised in Danzig in 1634 Loggan's parents were English and Scottish. Studyin...

In a tavern. engraver Jan De Visscher (1933-1692) Paper, engraving, 21x25 cm

David Loggan (1634-1692) St John's College Oxford - Canterbury Quad Engraving 1675 31x50cm Baptised in Danzig in 1634 Loggan's parents were English and Scottish. Studying engraving in Danzig with Willem Hondius (1598-1652 or 1658) he moved to London in the late 1650s producing the engraved title-page for the folio 1662 Book of Common Prayer. Marrying in 1663 he moved to Nuffield, Oxfordshire in 1665 to avoid the Plague and was in 1668/9 appointed Public Sculptor to the nearby University of Oxford having been commissioned to produce bird’s-eye views of all the Oxford Colleges. He lived in Holywell Street as he did this. Oxonia illustrata was published in 1675, with the help of Robert White (1645-1704). Following its completion he commenced work on his equivalent work for Cambridge, Cantabrigia Illustrata which was finally published in 1690 when he was made engraver to Cambridge University. Oxonia illustrata also includes an engraving of Winchester College (sharing its founder – William of Wykeham – with New College) whilst Cantabrigia illustrata includes one of Eton College (which shares its founder – Henry VIII – with King’s College). Bird’s-eye views required a particular talent as an architectural perspectivist of that era as it was not until 1783 that the first living thing (a sheep, named Montauciel ‘climb to the sky’) was sent aloft by the Mongolfier brothers in a balloon. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition (on thicker paper and with a plate number in the bottom right-hand corner), those of Cambridge were printed in smaller numbers and no second edition was produced. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK Les Delices de la Grande Bretagne c. 1708. Edmund Hort New (1871-1931) produced a series of pen-and-ink drawings of views of Oxford that paid homage to Loggan showing the development of the city in the following two hundred years. They were turned into photoengravings by Emery Walker...

MERIAN, Maria Sibylla. Maria Sibylla Merian. Leningrad Watercolors. Two volumes. Edited by Ernst and Helga Ullmann. Text volume with 146 colour illustrations, all with descripti...

Artist: Dirk Stoop (Dutch, c.1615-1686) Title: "Het leeuwendeel (The Lion's Share)" Portfolio: The Fables of Aesop Year: 1665 (an earlier state of unknown states) Medium: Original Et...

David Loggan (1634-1692) Botanic Gardens, Oxford Engraving, later colouring 41x50cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studyi...

John Baptista Verbruggen was an English actor and painter born of Dutch descent. His date of birth is unknown but his death was recorded in 1708. His historical biography is confusin...

A fine impression. With the address of P. Giffart. Mauperche produced over fifty engravings.

A very fine impression

ROY LICHTENSTEIN (1923-1997) Roy Lichtenstein's 'Still Life with Lobster' is a 1974 color lithograph and silkscreen. This work is signed, dated 'Lichtenstein '74' and numbered 43/10...

The Annunciation Florentine painter, 17th/18th century Follower of Alessandro Allori (Florence, 1535 – Florence, 1607) Oil on canvas 45 x 58 cm  - Framed 55 x 68 cm A sp...

Apollo and Daphne Artist active in the 17th century Oil on canvas in gilded frame ?Dimension: 37x86 cm (48x95.5 cm including the frame)

Oil on Canvas. Northern Italian school of the 17th century. The scene depicts the biblical episode from the First Book of Samuel, which thus relates : "Now when the evil spirit permi...

Circle of Ruisdael, Riders in a Landscape passing by a well

Italian 17th Century Antique Gilt Frame Frame Size: Width: 28.50″ X Height: 39.25″ Thickness: 4″ Picture Size: Width: 22.25″ X Height: 33.25″ B...

Oil on cupper and wooden panel . Our tender representation is from the second half of the 17th century , follower of Cornelis de Baellieur . The adoration of the Magi flemish school .

Oil on copper after Raphael " the virgin of Lorette " Chantilly Museum . Ecole Hollandaise from around 1600 . La Vierge de Lorette (Madonna del Loreto) appelée aussi Vierge au voil...

Siena yellow marble grotesque mask depicting a lion's head, Italy, 17th century. The fine workmanship and fine marble make it a valuable collector's item. Measurements H cm 13 W...

"Mother & Child" is an original etching by Cornelis-Pietersz Bega. It depicts a mother and her child. Publisher: Pearce #51. 3" x 3" art 13 3/4" x 11 3/4" frame Cornelis Pietersz B...

Jan Gillisz van Vliet (1605–1668) was a Dutch Golden Age artist and student of Rembrandt. He worked with Rembrandt between 1628 and 1637, inspired by his master's work. Like Rembrandt, van Vliet made a series of beggar figures, though often with a greater degree of satire and expressiveness. For example, this image of a rat catcher...

Elegant painting from the second half of the 17th century. Oil on canvas artwork depicting a splendid landscape with grazing animals, of great pictorial quality. In the foreground we...

"The Singer" is an original etching by Cornelis-Pietersz Bega. It depicts a performer and onlookers. Publisher: Pearce #50. 4" x 3" art 16 1/2" x 13 1/2" frame Cornelis Pietersz Be...

Oil painting on canvas. The large canvas recounts an episode taken from the Gerusalemme Liberata by Torquato Tasso, in which the young Erminia, princess of Antioch secretly in love w...

Painting oil on canvas measuring 80 x 62 cm without frame and 105 x 82 cm with a contemporary frame by the painter Ernest daret, depicting the myth of Diana and Actaeon. According t...

"Mythological Scene--Satyr & Goat Herder" is an original etching signed by Italian artist Giovanni Benedetto Castiglione. It depicts a satyr lounging on the left and an approaching g...

Italian School, 18th Century, Circle of Grassi, This old master drawing is drawn in the late-Baroque or Rococo style. It depicts a woman worshipping Venus/ preparing a sacrifice for ...

Antoni tàpies, 1.976 “Cercle rouge” Engraving Hand signed and numbered HC Edition Tàpies Catalogue vol.II

Wenzel Hollar (1606-1677), Air, 1647, after Petrus van Avont, from the Four Elements. [signed and dated W. Hollar 1647 lower right and inscribed P. van Avont inu lower left in the plate] Reference: Pennington 522, third state (of 3). In good condition (a thin spot upper left verso), on laid paper, trimmed outside of the borderline all around, 5 1/2 x 8 1/8 inches. Provenance: the London firm of Craddock and Barnard, still in their mat, with the Barnard annotations. A fine strong impression of this whimsical representation of the element Air. Hollar (1607-1677) had learned etching as a gentlemanly pursuit before, as a Protestant, having to leave Catholic Prague when he was 20. For nine years he worked in various German towns, mostly producing topographical prints...

Cyrus Ferri (Rome, 1634 - 1689) The Expulsion of Hagar Oil on canvas, 69 x 58.5 cm Framed, 81 x 70 cm The subject of the work belongs to the Old Testament stories: Hagar was the ...

ADRIAEN VAN OSTADE, Haarlem 1610 - 1684 Le Gourmet en compagnie, 1664 c.a Original etching and drypoint, signed in plate at lower left. Bibliography: Godefroy 50 VII/XII. (mm. 219x2...

Portrait Of Identified as Topal Osman Pasha (1663–1733), 18th Century Italian School Large 19th Century Italian School Ottoman portrait identified as Total Osman Pasha, oil on canvas. Circa 1730 profile portrait of the Ottoman military...

"Tempio Della Pace" is an original engraving by Israel Silvestre. The title is printed below the miniature image. It shows a frontal view of the remains of the Temple of Peace in Rom...

Exo.17 - Old Testament Story is an Etching print realized by Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout included 31 x 35 cm The artwork is in good cond...

Rare pair of Italian paintings from the second half of the 17th century. Oil on canvas artworks from the Lombard school depicting splendid vases of flowers with birds and insects, of...

"Harbour Scene" is an engraving by Claude Gellee (Le Lorrain). The artist signed the piece in plate lower left. 7 3/4" x 9 5/8" art 18 1/8" x 20 1/4" frame Biography Claude Lorra...

Adriaen Van Ostade (1610-1685) etching The Anglers, circa 1647, Godefry 26, Bartsch 26. Very good condition, with small (1/2 inch) margins, on cream laid paper, archival mounting. 4 ...

Wenzel Hollar (1607-1677), Adam Elsheimer, etching after a painting of Elsheimer by Jan Meyssens, 1649, with text and signatures as described below. Ref...

Louis I of France as a Roman Emperor, in profile to the right Chiaroscuro woodcut, 1631-1633 Unsigned (as usual) After a drawing by Hubert Goltzius (1526-1583)...

"Le Temps, Apollon, et les Saisons (Time, Apollo, and the Seasons)" is an etching by Claude Gellée (Le Lorrain). This etching is the Fifth state (A). This state is also in collections in Paris (BN, L, PP) and Washington; Mannocci cat. no. 43. The inscription reads: "Apollo in atto di obedire al tempo. La Primavera a cominciare il ballo. Lestate no manca del suo calore. L'aurunno colsuo licore / Seguita. Linvernno tiene la sua staggione, Claudio Gillee inven.Fec.Roma 1662 con licenza de super." A powerful example of Claude's staging of landscape in the classical manner is the etching "Time, Apollo, and the Seasons," done in 1662 after Poussin's painting of 1624-1636, "Dance to the Music of Time...

'The Smoker (Le Fumeur)' is an original etching by the celebrated Dutch painter and printmaker Cornelis-Pietersz Bega. It presents a genre scene of the type Bega was best known for: Bega's principal subjects were genre representations of taverns, domestic interiors and villages. He depicted nursing mothers, prostitutes, drunks, gamblers and fools such as quack doctors and alchemists. In this case, he shows a man seated on a chair with his foot on a flat stool and holding a smoking pipe. For Bega, this representation was more of a caricature than it was an image of a specific person, and such genre scenes would have held allegorical and symbolic meaning for the seventeenth-century viewer. During the seventeenth century, the Dutch of all levels of society consumed tobacco and alcohol, and these were an important part of the Dutch economy and a major source of wealth. At the same time, however, moralists and ministers sought to curb intoxication: they openly described drinking and smoking as sinful, immoral, and a general threat to one’s reputation. This paradox is reflected in prints such as this, which inherently carry the national pride of the Dutch economy alongside a moral warning in a print that could be just as easily consumed and collected. 2.5 x 2.25 inches, print 12.38 x 10.38 inches, frame Framed to conservation standards using archival materials including 100 percent rag matting and mounting materials. Housed in a gold finish Spanish-style wood moulding. Overall good and stable condition; margins cut to plate; some wrinkling in the corners from previous mounting; housed in a new custom frame. Cornelis Bega was born into prosperous circumstances. His mother, Maria Cornelis, inherited half the estate (gold, silver, paintings, drawings and prints) and all of the red chalk drawings of her father, Cornelis Cornelisz van Haarlem, a renowned Mannerist artist. Bega's father was Pieter Jansz Begijn (d 1648), a gold and silversmith. Like other family members, Bega was probably Catholic. Houbraken's claim that Bega studied with Adriaen van Ostade is likely to be correct; this was probably before 24 April 1653, when Bega joined Vincent Laurentsz. van der Vinne in Frankfurt for a journey through Germany, Switzerland and France. Bega had returned to Haarlem by 1 September 1654, at which time he joined the Guild of St Luke; he was already a competent draughtsman, as indicated by his first extant dated work, Interior with a Nursing Mother (1652; Frankfurt am Main, Städel. Kstinst.), and by a remarkable double portrait (Amsterdam, Rijksmuseum) drawn by him and Leendert van der Cooghen in 1654. Bega painted, drew, etched and made counterproofs in a wide variety of materials on different types of small-scale supports. He may have been the first Dutch artist to make monotypes, but this remains controversial. Approximately 160 paintings, 80 drawings and six monotypes by Bega have been catalogued, as well as around 34 etchings. Bega's principal subjects were genre representations of taverns, domestic interiors and villages. He depicted nursing mothers, prostitutes, drunks, smokers, gamblers and fools such as quack doctors and alchemists. Less common subjects include the ridiculed or pestered woman, as in Two Figures and Mother with a Spirits Bottle (c. 1662; Gouda, Stedel, Museum Catharina Gasthuis) and The Inn (etching), as well as witty satires on traditional scenes of middle-class music-makers, such as the Music Lesson (1663; Paris, Petit Palace). Bega's early paintings, such as the Weaver's Family (c. 1652; St Petersburg, Hermitage), are freely executed, dark and coarse, recalling the many-figured peasant subjects of van Ostade. Between c. 1660 and 1664 he began to paint genre scenes with fewer figures, which are finely articulated, colourful and psychologically expressive, for example Two Men Singing (1662; Dublin, N.G.). His exquisite, late fijnschilderen ('fine painting') manner, evident in The Alchemist (1663; Malibu, Getty Museum), compares well with that of Gerrit Dou. As a draughtsman Bega is noted for his single-figure studies, executed mainly in black and white chalk on blue paper or red chalk on white paper. None of the studies, which were drawn naer het leven (from life), seem to relate to a painting or etching. Bega traded drawings or shared models with other artists of the Haarlem school, including van der Cooghen, Gerrit Berckheyde, Dirck Helmbreker and Cornelis Visscher. These artists drew chalk figure studies in a very similar style, characterised by regular and precise parallel shading and well-defined forms; their drawings, especially those of Bega and Berckheyde, have been frequently confused. Unlike the realistic figure studies, Bega's etchings depict interiors with figures or single figures in the manner of van Ostade; the compositions, often with masterful chiaroscuro effects, reflect most closely the paintings of the 1650s. Bega is likely to have remained in Haarlem, where he paid dues to the Guild in 1661. He probably died from the plague; fees for his expensive funeral at St. Bavo's were paid on 30 August 1664. Among the artists he influenced were Thomas Wijck, Jan Steen, Richard Brakenburg (1650-1702) and Cornelis Dusart. Painters such as R. Oostrzaen ( fl ?1656) and Jacob Toorenvliet...

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

"L'Apparition (The Vision)" is an original etching by Claude Lorrain (Claude Gellee). This print depicts a religious vision near the edge of a river. The publisher is Mannocci #5 and...

Ink and wash on paper Image size: 7 1/2 x 6 inches (19 x 15.25 cm) Mounted This drawing is of a Gothic style church in the Netherlands that is likely to have been built in the 15th ...

"Veduta del Palazzo Maggiore" is an original engraving by Israel Silvestre, titled along the lower edge of the image. The miniature image depicts an idyllic landscape framed with sil...

Figures & Cattle In A River Landscape, 17th Century School of Johann Melchior Roos (1663-1731) Fine large 17th Century German classical landscap...

The Drunk" is an oil on panel painting created by Dutch school student. This artwork provides viewers with a captivating glimpse into the past, offering a detailed and vivid portraya...

Antique Italian painting from the 17th century. Oil painting on canvas depicting a lively popular genre scene of great charm, typical of the Bamboccianti school. Many Flemish and Ita...

ROY LICHTENSTEIN (1923-1997) Roy Lichtenstein's 'Entablature II' is a Screenprint, lithograph and collage in colors with embossing on Rives BFK paper. Signed, dated and numbered in ...

"Four Women in National Costumes" is a set of four original etchings by Wenceslaus Von Prachna Hollar. 3 5/8" x 2 3/8" each print 19 1/8" x 18 1/2" frame Wenceslaus Von Prachna Ho...

Circle of Domenico Piola (Genoa, 1627 - Genoa, April 8, 1703) Madonna and Child with St. Dominic Oil on canvas, 76.5 x 63.5 cm With frame 95 x 83 cm This beautiful 17th-century ...

"Scene de Brigands" is an etching by Claude Gellee (Le Lorrain). This etching is in the collections of the Louvre and the Art Institute of Chicago. Publisher: Mannocci #11. 5" x 7...

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

Antique Map - Mar Di Athiopia is an antique map realized in 1650 by Johannes Janssonius (1588-1664). The Map is Hand-colored etching, with coeval watercolorang. Good conditions wit...

Thessalia Map is an ancient map realized in 1650 by Johannes Janssonius (1588-1664). The Map is Hand-colored etching, with coeval watercoloring. Good conditions. From Atlantis maj...

Maris Mediterranei is an ancient map realized in 1650 by Johannes Janssonius (1588-1664). The Map is Hand-colored etching, with coeval watercoloring. Good conditions with slight fo...

Antique Italian painting from the second half of the 17th century. Artwork oil on canvas depicting a particular subject Grazing animals of good pictorial quality in the style of Rosa...

Archipelagus Septentrionalis is an ancient map realized in 1650 by Johannes Janssonius (1588-1664). Good conditions. From Atlantis majoris quinta pars, Orbem maritimum [Novus Atlas...