17th Century Art

Simone De Magistris (Caldarola, c. 1538 – 1613) or workshop San Genesio Oil on canvas (84 x 62 cm. – Framed: 99 x 76 cm.) In the heart of ancient Rome, amid the splendor and...

Gérard de Lairesse (Liège 1641 - Amsterdam 1711) workshop The Myth of Apollo and Issa (from Ovid, Metamorphoses, book VI, 122-124) Oil on canvas 65 x 82 cm. - Framed 84 x 99 cm...

Giovanni Francesco Romanelli (born Viterbo 1612; died Viterbo 1662) St. John the Baptist pointing out (revealing) Christ, in the far distance, to Simon Peter and Andrew. Oil on can...

Portrait Of Philadelphia, 17th Century Probably Philadelphia Carey Of Aske Hall, Richmond, North Yorkshire, English Courier & Lady In Waiting to Princess Elizabeth Studio Of Sir Pe...

The Close of Day Italian School, 17th century circle of Salvator Rosa (1615 - 1873) (ascribed to this artist on a frame plaque) oil on canvas, framed Framed: 20.5 x 25.5 inches Canva...

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

Follower of Dirck van Berghen (Dutch School, 17th Century) Pastoral Landscape with a Shepherdess and Livestock Oil on canvas, framed in a French Empire period gilt frame canvas dimensions: 18 x 22 inches framed dimensions: 22.5 x 26 inches This charming pastoral scene, rendered in oil on canvas, is attributed to a follower of the 17th-century Dutch painter Dirck van Berghen, who was known for his bucolic landscapes featuring cattle and rural life. The composition reflects the influence of van Berghen’s mentor, Adriaen van de Velde...

Baroque Landscape with Figures French School, 17th century oil on canvas, framed Framed: 29.5 x 23.5 inches Canvas : 25.5 x 19 inches Provenance: private collection, France Condition...

This beautiful Italian religious Old Master oil painting is attributed to circle of Massimo Stanzione. Painted circa 1640, the composition is the Madonna holding baby Jesus as he sta...

Portrait of Oliver Cromwell (1599-1658), 17th Century circle of Sir Peter Lely (1618-1680) Large circa 1700 portrait of Oliver Cromwell (1599-1658), oil on canvas. Excellent qual...

Etching on Ingres D'arches off-white laid paper, with burin, signed Tenth and final state Posthumous Impression, 1998 14.25 x 10 in (36.2 x 25.4 cm) Framed 25.13 x 32 in The Raising...

Etching with engraving on cream laid paper with a large unidentified alphabetic watermark, 6 1/2 x 9 7/8 inches (165 x 251 mm), the full sheet. In good condition with handling wear a...

Portrait of a Lady, possibly Elizabeth Percy, Countess of Essex (1636–1718) c.1660-1665 Studio of Sir Peter Lely (1618–1680) This portrait, presented by Titan Fine Art, is a particu...

The Announcing Angel Workshop of Vincenzo Carducci, known in Spain as Vicente Carducho (Florence, 1576 – Madrid, 1638) Attributed to Bartolomé Román (Montoro, c. 1587 – Madrid, 16...

This late 17th-century English oil painting depicts Robert Bedford of Crow Nest, Dewsbury, Yorkshire, a man who appears to embody a fascinating moment in English social history - whe...

A great 17th-century religious painting. This painting oil on canvas depicts a poignant subject, highly popular in the Baroque era: The Lamentation over the Dead Christ. This intense...

Etching with engraving on thin laid paper with an early and large unidentified heraldic watermark with a windmill, and the collector's stamp of Count F. J. von Enzenberg (1802-1879),...

Beautiful proof of I state on III before the white space under the sword is covered. Without Margins. Very good condition. Ref. Bartsch 92; Biörklund 40-B; Hollstein (White and Bo...

Crispin van de Passe The Younger (c. 1594-1670) Untitled (French Noblemen on Horseback), c. 1620-1660 Engraving Sight: 11 3/4 x 15 3/4 in. Framed: 18 3/4 x 22 5/8 in. Inscribed in p...

Oil on Canvas. Set in a classical, richly vegetated landscape, the scene depicts the biblical episode from the book of Genesis that tells how the people of Israel, who are crossing t...

Bartolomeo Pedon (Venice 1665 - Venice 1732), attributed to - River landscape with fishermen. 93.5 x 127.5 cm (unframed) - 102 x 137 cm (framed). Oil on canvas, in a gilded wooden ...

Franciscus Gysbrechts (Antwerp, 1649 – Leiden, c. 1677) Vanitas still life with a gilded helmet-shaped jug, a basin, musical instruments and prints Oil on canvas 81 x 57 cm. - F...

This superb Italian religious Old Master portrait oil painting is attributed to follower of Guido Reni. Painted circa 1620, it is a head and shoulders portrait of Saint Jerome (about...

Unidentified Dutch Artist (17th Century) "Figures and Horses by a Country Tavern" (1618) Oil on canvas Framed: 69 x 82 cm Canvas: 52 x 64 cm No signatured This exquisite 17th-century Dutch painting masterfully depicts a bustling village scene with figures and horses gathered outside a country tavern. The composition is rich in detail, featuring travelers, merchants, and townspeople engaging in lively interactions, while a Dutch flag waves above the rustic inn, reinforcing the national identity of the scene. Executed in oil on canvas, the painting showcases warm earthy tones and delicate use of light and shadow, capturing the golden glow of a late afternoon or early evening setting. The finely rendered architecture, expressive figures, and atmospheric depth are reminiscent of the works of Isaac van Ostade, Jan Steen, or Adriaen van de Velde...

17th Century Antoon van Dyck Follower Religious Painting A very important not signed painting from the Flemish school, attributed to an artist from the circle of the great painter A...

Dimensions: 36 1/4 x 28 1/2 in (92 x 72.5 cm) - Framed: 44 ¼ x 37 3/8 in (112.5 x 95 cm) English frame in carved and gilded wood, Louis XV style Provenance: Christie’s London – July...

Portrait of Anne-Louise-Julie de Crevant, Duchess of Humières French School, late 17th century, circa 1685 (unsigned) Circle of Jacob Ferdinand Voet (Antwerp 1639 – Paris 1689) Oil ...

Toilet of Venus Francesco Albani (Bologna 1578 - 1660) Follower of Oil on canvas 64 x 96 cm In fine gilded frame 83 x 121 cm. The painting on offer, depicting ‘Venus’ Toilet',...

Figures in Rocky Outcrop Circle of Philipp Peter Roos (German, 1657–1706) 17th century, unsigned oil on linen canvas, unframed canvas: 29 x 34.5 inches Provenance: private collectio...

Vanitas Still Life with Skull, Hourglass, Globe and Music, 17th Century Edward Collier (Breda circa 1640-1708 London) Large 19th century Vanitas Still Life of a skull, hourglass, ...

Crispin van de Passe The Younger (c. 1594-1670) Caesar August de Bellegarde Conte de Montbar Marquis de Termes grand Ecuyer de France, c. 1660 Engraving Sight: 11 3/4 x 15 3/4 in. Fr...

Giovanni Battista Salvi was born at Sassoferrato in the Marches, from where he took his name. His work, which was consciously anachronistic in 17th-century Rome, looked back to the 1...

Giovanni Grevenbroeck, called the Solfarolo (Netherlands, c. 1650 - Milan, post 1699) Port View in Moonlight Oil on canvas 70 x 132 cm Framed 86 x 146 cm Critical apparatus: Exper...

Etching realized by Castiglione (Il Grechetto) in 1640 ca. From the Series Small Studies of Heads Good condition. Ref. Bartsch 46.43

Hero And Leander, 17th Century Studio of DAVID II TENIERS (1610-1690) Large 17th century Dutch Old Master classical scene of Hero and Leander, oil on canvas. Excellent quality an...

This superb French Old Master oil painting with excellent provenance is by Jean Francois I Millet. It was painted circa 1675 and is a figurative landscape depicting Diana hunting in ...

Saint Christopher with the Christ Child, Spain, late 16th – early 17th C Polychromed and partially gilded wood. The sculpture represents Saint Christopher carrying the Christ Child ...

Madonna and Child with a Saint and Heavenly Cherubs 17th Century Italian School, unsigned oil on canvas, framed framed: 20 x 18 inches canvas : 13 x 10 inches Provenance: private col...

French School, 17th Century, Circle of Philippe de Champaigne (1602 - 1674) A Turquerie portrait of a Lady dressed in the Oriental Style of Sumptuous Silk Brocade and a Turban, a ten...

Portrait of a Young English Aristocratic Lady English, circa 1670's period, unsigned oil on canvas laid on board, unframed canvas: 30 x 25 inches Provenance: private collection, UK C...

Artist/ School: Italian School, 17th century Title: The Bathing of Bathsheba Medium: oil painting, on canvas Size: frame: 23 x 19 inches, canvas: 18 x 14 inches Provenanc...

Adriana Verelst Portrait of Lady Lempster 1683-1769 Oil on canvas, unsigned Image size: 49 ½ x 40 ⅓ inches Contemporary-style gilt frame The sitter is identified as Lady Sophia Osborne, Baroness Lempster (Leominster) (1661 - 1746), the daughter of Thomas Osborne, First Duke of Leeds, and Lady Bridget Bertie. Her first marriage was to Donogh O’Brien, Lord Ibracken in 1679, who passed away in 1682. She then married William Fermor, First Baron Leominster, in 1691, gaining her the title Baroness Leominster. She and William had five children, including Thomas Fermor, First Earl of Pomfret. The portrait is dated 1685, indicating that this identification was added after the creation of the portrait. During the early 18th century a highly romanticised view of country life reached its peak. Many members of the nobility, particularly women, chose to have their portraits painted in shepherdess costume, a break from the conventional norms of formal portraiture. This style developed from 17th century Roman pastoral landscapes by artists like Claude Lorrain and Dutch three-quarter length portraits of shepherds and shepherdesses. These works aimed to evoke themes of Arcadia, poetic escape and landed virtue, with their subjects depicted wearing fashionable and expensive clothing, inconsistent with actual farm work. A knowledge of Latin and Greek pastoral poetry signified education and refinement, desirable qualities for a woman to possess. Life in the country was perceived as peaceful, contemplative and free of hardships, and to be painted in this pastoral style was to create a tangible expression of power and wealth, creating tension between the aristocratic fantasy and the reality of rural life. Lady Lempster has opted for such a depiction. She is shown seated, wearing a white silk gown, head tilted slightly to one side and with a shepherd’s crook and wicker hat adorned with flowers in her lap. She sits on a bench, in front of a large tree, an expansive view visible on the right behind her. So ingrained was this style that the crook and hat alone would be enough to suggest Arcadia to the viewer. There is an interesting contrast between the female sitter and the woman artist who painted her. The shepherdess costume was used predominantly in portraits of women sitters, with the aim of expressing virtues such as purity and appropriate education rather than a distinct, individual personality. Portraits of men however, depicted sitters in settings, costume and surrounded by objects that signified their profession and accomplishments. Adriana Verelst was a woman with a career of her own, able to support herself and defying expectations of the time, the conformity of Lady Lempster’s portrait emphasising Verelst’s own unconformity. Adriana Verelst Adriana Verelst (c. 1683–1769) was an English portrait artist, and daughter of the portrait painter Herman Verelst. Her exact date and place of birth are unknown, though her parents were from Vienna. Verelst is a prime example of how women artists were often misrepresented or even erased from the cannon of art history. There have been questions surrounding her biography with the view that her sister, Maria Verelst and fellow portrait artist, did not exist and could be Adriana Verelst herself. Contemporary evidence of Adriana’s birth, marriage, career and death exist, however, she has not been included in later art histories. In contrast, there is no contemporary documentary evidence for the existence of Maria Verelst, though she is named in later publications. The name Maria Verelst first appeared in Matthew Bryan’s Dictionary of 1816 and it has been argued that his use of the name was a misinterpretation of ‘M’ being an abbreviation for Maria rather than ‘Mademoiselle’. The date of birth and location in Antwerp was given by J.B. Descamps in 1753, though there is no archival evidence of a birth or baptism for Maria in Antwerp at this time. In 1762, Horace Walpole made the link between Maria and Herman Verelst, an Anglo-Dutch painter, as the father of the artist. As Herman had fled from the siege of Vienna in 1683, biographers resonated that with a birth date of 1680, Maria must have been born in Vienna. Biographers also stated that Maria was trained by her uncle, Simon Verelst, a renown painter of flowers and still lifes. The first reference to 1744 as the date of Maria’s death was in 1859 in Mrs. Ellet’s Women Artists in all Ages and Countries, though no source is given for this date. It has been argued that Maria Verelst is in fact Adriana, claiming that earlier biographies used ‘M. Verelst’ as Mademoiselle in reference to Mademoiselle Adriana Verelst. If these were in fact two separate women, they would have been sisters. Maira’s grandfather, Pieter Hermansz Verelst...

Portrait Of William Cavendish 1st Duke of Devonshire (1640-1707), 17th Century Circle Of Sir Godfrey Kneller (1646-1723) Large 17th Century portrait traditionally identified as Wil...

St. Nicholas of Tolentino (1245-1305) Italian School, 17th century oil painting on canvas, canvas: 10 x 8 inches provenance: private collection, Germany Very fine and rare 17th century Italian Old...

Flemish master active in Italy (17th century) - Sermon of St. John the Baptist in a Landscape. 58 x 73.5 cm. Oil on canvas (not signed) The painting depicts the Sermon of Saint Jo...

The picture is oils on canvas Giovanni Battista Ruoppolo (1629–1693) was an Italian Baroque painter from Naples, known primarily for his still-life works. He is considered a key fig...

Bon Boullogne (Paris, 1649 - Paris, 1717) workshop of Episodes from the myth of Diana oil painting on canvas Dimensions: 84 x 114 cm. with antique frame 100 x 132 cm. The beautiful painting proposed shows a series of episodes taken from the myth of the divinity Diana, the Roman divinity of hunting, forests and wild animals, masterfully captured in this valuable painting, which shows a luxuriant wood, a favorite place of the divinity, as a theater of his adventures. The composition opens, on the left, with a sort of presentation of the divinity, portrayed as an attractive young girl, surrounded by her faithful Nymphs, one of whom holds her quiver with arrows, and by one of her beloved dogs. hunting her. The 'story' continues in the central part where we can see the divinity during a wild boar hunt...

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...

Fascinating scene of battle between cavalries with the typical broad and concise brush stroke by Graziani, who is able to create brilliant points of colour. This composition is very ...

Pier Francesco Mola ‘il Ticinese’ (Coldrerio, 1612 – Rome, 1666) workshop The Temptations of Saint Anthony Oil on canvas 75 x 62 cm. - Framed (with defects) 82 x 71 cm. The the...

Antique Italian painting from the second half of the 17th century. Oil on canvas artwork depicting a splendid bucolic landscape with animals and a shepherd, of great pictorial qualit...

Gregorio Lazzarini (Venice 1655 - Villabona Veronese 1730) - Christ and the Samaritan Woman at the Well. 82.5 x 108 cm (without frame) - 103 x 128 cm (with frame). Oil on canvas, i...

An exalted portrait of fellow Flemish engraver and publisher Karel van Mallery. Lucas Vorsterman the Elder (after Anthony van Dyck). Carolus de Mallery, from Icones Principum Viror...

A Roman sculptor (17th century) - Hercules and Cerberus. 18 x 9.5 x h 37 cm. Full figure carved in alabaster. Separate alabaster base (not signed). The sculpture depicts the clima...

“The Kermesse of Saint George (A Village Festival)” is an oil on canvas painting by David Teniers the Younger (or David Teniers II) as opposed to his father, David Teniers the Elder....

In this captivating mid 18th century portrait, presented by Titan Fine Art, a young English lady is presented in a luminous white satin gown trimmed with intricate lace and blue ribb...

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...

Portrait of noblewoman, known as "the Little Princess of Longueville," attributed to Jean Ducayer (1595-1685). Oak plank, one board, not parqueted. Jean Ducayer, a court painter...

The Cavalry Skirmish Flemish School, mid 17th century circle of Lambert de Hondt (Flemish, 1620-1665) oil on panel, framed Framed: 21 x 27 inches Board: 16 x 22 inches Provenance: private collection, France Condition: very good condition, with old repairs and thinning in places. This painting, attributed to the circle of Lambert de Hondt (Flemish, 17th century), depicts an intense battle scene, typical of Flemish military compositions of the time. Lambert de Hondt was known for his battle scenes, landscapes, and hunting scenes, often filled with dynamic action and fine detail, and this work clearly reflects his influence. The artwork portrays a cavalry skirmish with soldiers in traditional 17th-century military dress, including red tunics...

Still Life with fruits is an original oil on canvas realized in the 16th Century by an Italian School Master. Original oil painting on Canvas. The painting represents a still life...