17th Century Art

Travellers in a Country Landscape circle of Jacques d'Arthois (Flemish 1613-1686) oil on canvas, framed frame: 13.5 x 18.5 inches canvas: 11 x 16 inches provenance: private collectio...

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...

George Andreas Böckler, 'SunBurst Garden Fountain', antique copperplate engraving, 1664, from the book 'Architectura Curiosa Nova'. A fine, richly inked...

This exquisite oil on canvas depicts a mythological scene rendered with great finesse, likely painted during the late 17th century. A reclining nude female figure, partially draped i...

This stunning French 17th century Old Master oil painting is by Baroque artist Laurent de la Hyre. It was painted circa 1645 and has excellent prove...

Le misure senza la cornice in legno intagliata e dorata sono 97 x 72 cm. Il compianto su Cristo morto è uno dei temi più diffusi dell'arte cristiano cattolica, dove il corpo stesso ...

Figures in Classical Landscape Dutch School, 17th century unsigned, as is typical of the period oil on canvas, framed inscribed verso to label framed: 23 x 27 inches canvas : 20 x 24...

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...

We would like to thank Dr. Ursula Härting who, after examining the work, confirmed the autograph nature of this painting by Frans Francken the Younger in a certificate issued on December 9, 2024. In this previously unpublished painting coming from a French private collection, Frans Francken the Younger tackles one of his favorite themes: the adoration of the Magi, the wise men who come from the East to adore the infant Jesus in Bethlehem, Judea. This theme was often taken up by the artist, but this version, which can be dated around 1610, is one of the earliest interpretations. 1. Frans Francken the Younger, "a surprisingly inventive painter". Frans Francken the Younger is the best-known member of an extended artistic family that worked in Antwerp from the late sixteenth to the late seventeenth century. Born in 1581, he almost certainly studied with his father, Frans Francken the Elder (c. 1542-1616), before becoming a master in the Antwerp Saint Luke's Guild in 1605. In 1627 he became a member of the Antwerp archers' guild De Oude Handboog. Francken was an extremely productive and imaginative artist who specialized in expressively rendered small-scale religious and mythological scenes. He also painted larger altarpieces for Catholic churches. His depictions of collectors' cabinets introduced a genre of painting that influenced several artists, including Jan Brueghel the Elder...

The Hunting Party German/ Italian School circle of Philipp Peter Roos (German 1655-1706) oil on canvas, unframed 19 x 31 inches provenance: private collection, France condition: good...

A fine Italian watercolor and sepia drawing, an allegory of summer. People harvesting, eating and drinking in a hilly landscape, probably by Antonio Grano (c.1669-1718). In the fron...

Verse 1 through Verse 60 From: Leyli o Majnun by Nizami Ganjavi (1141-1209CE) This folio comprises the first 60 verses of the epic Persian poem “The masnavi of Leyli va Majnun (4,60...

Portrait of the Princess of Conti - Attributed to Louis Ferdinand Elle the Younger (1648-1717) Late 17th century French school Oil on canvas, h. 100 cm, l. 80 cm Important Louis XIV ...

Flemish 1600s School The Card Players oil on oak panel panel dimensions 22.5 x 20 cm frame included Provenance: From a Swedish private collection. Condition: Flat and stabl...

Italian 17th Century oil on canvas Baroque painting, attributed to Salvator Rosa (1615-1673), a coastal landscape scene with fishermen, circa 1650. The painting depicts a rocky coast...

Equestrian portrait of Louis XIV, Workshop of René-Antoine Houasse, (Paris, c. 1645 - Paris, 1710) Late 17th century French school, c. 1690 Oil on canvas, h. 100 cm, w. 80 cm Importa...

Flemish school, 17th century Orpheus and the animals Oil on canvas, 146,5 x 217 cm Provenance: South German private collection. On an impressive, room-filling format, this painting depicts "Orpheus and the Animals." The harp-playing Orpheus sits centrally in front of a tree whose trunk bifurcates above his head. This central tree frames with its crown the scenery towards the horizon and at the same time offers through branches the possibility for many birds to find space. The left half of the picture is characterized by a seascape, at the edge of which the ruins of a castle can be seen deep in the background. This seascape, framed by mountains on the horizon, is the only area where sky can be seen. On this side, waterfowl such as storks, swans and ducks can be seen. In the right half, the viewer looks into a deep European forest. On this right side, more land animals can be found, such as deer, rabbits and lions, among others. Orpheus wears opulent red and gold trimmed clothing, under his blue breastplate we see a white shirt. His feet are adorned by elaborate sandals. His head is surrounded by a radiant laurel wreath ("poeta laureatus"). The young man is clearly identifiable as the singer and poet of Greek mythology, Orpheus, by his harp, the laurel wreath and the animals surrounding him. Orpheus was one of the Argonauts who, under Jason, was searching for the Golden Fleece. He sang so beautifully that he even conquered the angry sea and enemies by the magic of his lyre. During the journey, Orpheus is said to have drowned out even the sirens with his singing. It is said that he was the greatest of all poets and charmed people, animals, stones and trees with his singing. In total, 51 birds and 37 different species are depicted in the painting. The animals are mostly depicted in great detail and, except for a few, can be identified. Mainly European species of animals are shown. Exceptions are the ostrich-like nandu peeking out from behind the deer, as well as the large parrot on the upper left, and the two lions. Similar is the case for the large animal directly behind Orpheus on the right. The shape of the head suggests an arctic fox from the polar regions, even though the body is much too large. The arctic fox was first described in 1555 by Olaus Magnus. However, it could also be a depiction of a brown or black bear. An unusual detail is the animal, which is relatively isolated in the right background and looks to the left. It is not clearly identifiable, but it shows certain similarities with the Australian kangaroo. This was first described by Vespucci in 1500 and further by Francisco Pelsaert in 1629. If it is indeed a kangaroo, this would be one of the earliest surviving pictorial representations. In this painting, Orpheus is accompanied by a small monkey playing a viola da gamba. This is an iconographic peculiarity. In general, this painting has some peculiarities compared to other paintings with "Orpheus and the animals". The central positioning of Orpheus is quite common, but he usually holds a lyre and is dressed in an antique style, but not as opulently. The choice of animals is also remarkable: European animals in particular are seen, hardly any exotic features, such as camels or elephants. The two lions in the right foreground are a quotation from Peter Paul Rubens and his depiction of "Daniel in the Lion's Den", which was realized in an engraving. The present painting can be classified as belonging to the Flemish School of the 17th century on the basis of its painterly and compositional conception. From the circle of Jan Brueghel the Younger are numerous representations of this Orpheus - theme, which take it as an opportunity to show as many exotic animals. There are also echoes of Spanish painters such as Juan de Arellano...

Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract. The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period. According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance. Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted. This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately. Frans Pourbus the Younger...

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...

Master of the Grotesque Vase (active in Rome and Naples in the first quarter of the 17th century) Still life of flowers in a classic vase oil on canvas 66 x 51 cm, In frame cm. 82 x...

'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...

Circle or Follower of David Teniers, Peasant in a Tavern Inn, drinking and smoking. Oil on canvas, Framed: 39 x 47 cm. Typical Flemish Baroque Interior...

Gaspard Dughet, called Gaspard Poussin (Rome 1615 - 1675) - attributable to Wooded landscape of the Roman countryside with the Archangel Raphael and Tobiolo oil painting on canvas second half of the 17th century (cm.) 75 x 98, with frame 91 x 115 On the back old label inscribed "Monte dei Paschi di Siena" The painting has characters clearly linked to the Roman culture of the seventeenth century and, in particular, to the works of Gaspard Dughet, an author who was able to achieve surprising results in describing the Lazio countryside with a unique grace and sensitivity. Brother-in-law of Nicolas Poussin, of whom he was a pupil, Dughet is to be considered among the most important landscape painters of the Roman Baroque, highly sought after and celebrated by the aristocracy, a reference model for the artists of the following generation, such as Crescenzo Onofri, Jan Frans van Bloemen and Andrea Locatelli...

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...

Guglielmo Caccia (Monabone, 1568 - Moncalvo, 1625) and workshop Assumption of the Virgin with the Trinity and concert of angels Oil on canvas (125 x 100 cm - In frame 137 x 112 c...

A rare pair of three-quarter length 'marriage' portraits by one of the foremost dutch portrait painters of the 17th century, Nicolaes Maes (Dordrecht 1634-1693 Amsterdam). The gentleman signed middle left 'Maes 1679'. Oil on canvas in dutch style ebonised frames. Dimensions 58 x 47.5cms each. The gentleman is shown in a landscape at dusk, leaning against a stone capital, wearing a white chemise decorated with lace, a black coat and a brown silk cloak draped across his body. The lady is elegantly dressed in an ivory silk gown decorated with jewels on the neckline and shoulders, the contrasting sleeves in gold fabric, with a rose pink silk cloak draped over her shoulder and bodice. She wears a pearl necklace and earrings with her fair hair worn up with ringlets falling down onto her chest in the fashionable style of the day. She stands with one hand touching a lock of her hair as she rests her arm on the bowl of a stone water drinking fountain...

Jacob van Ruisdael (Haarlem 1628-Amsterdam 1682) attributable Wooded Landscape with Waterfall Oil on canvas 74 x 94 cm. - framed 91 x 111 cm. A wooded view crossed by a tumultuous...

Two images of Queen Catharina of Braganza; one before her marriage to King Charles II, the other after, as Queen of Great Britian. Engraved by Matthiäus Merian, father of Maria Sybli...

Nicolaes Maes (Dordrecht 1634 - Amsterdam 1693) circle of - Portrait of a Gentleman. 81 x 65 cm unframed, 100.5 x 83.5 cm with frame. Antique oil painting on canvas, in a carved an...

Hercules and Omphale Oil on panel, 52 x 41 cm According to legend, Hercules had to make atonement and became a slave to the Lydian queen Omphale. When she found out who her slave was, she married him. Falling for his mistress and made effeminate by the luxury of court life, the former hero allowed himself to become the laughing stock of the court. He dressed in women's clothes, spun wool and did other women's work, whereas Omphale wore his lion's skin and carried a wooden club. When the time of punishment was over, the hero realised his delusion and left Omphale. So far, the painting could not be clearly assigned to an artist. Nevertheless, it impresses with its fluid and convincing painting, whose colourfulness and conception are reminiscent of the Prague School around Bartholomäus Spranger. This work follows an engraving and an etching made by Michel Dorigny in 1643 after a design by Simon Vouet. It shows the same scene but the print differs in minor details from the present painting (see e.g. the head of the lion) and the treatment of the faces seems to be painted more detailed and refined. So far there is no painting...

Oil on Canvas. Venetian school of the late 17th-early 18th century. Within a large classical landscape with rich vegetation and rosy atmospheres is a small handful of soldiers: some,...

We would like to thank Carolina Trupiano Kowalczyk for suggesting this attribution to Karel du Jardin after direct examination of the artwork. Her study of the drawing (in Italian), ...

JOHANNES JANSSON (1588 - 1664) PERU, engraving with early coloring. Platemark 15 1/8 x 19 3/8 inches, sheet 17 x 20 1/2 A nice example of one of the earliest maps of Peru. From the ...

This original hand-colored copperplate engraved map of Africa entitled "Africa Vetus, Nicolai Sanson Christianiss Galliar Regis Geographi" was originally created by Nicholas Sanson d...

A luxury Still life with lobster, ham and fruits Studio of Jan Davidsz de Heem (Utrecht, 1606 - Anvers, 1683-84) 17th century Antwerp school Bears a signature J D D Heem lower left on the table Oil on canvas, dim. h. 78 cm, l. 109 cm (h. 30.70 in, w. 42.91 inch) An 18th century giltwood frame, framed: h. 97 cm, l. 130 cm (38.19 in. x 51.18 in) This is a studio version after the slightly larger original by Jan Davidsz. de Heem (1606-1683) c. 1645 in the Royal Collection at the Royal Palace, Stockholm. Provenance: Galerie Charpentier auction, May 1st 1965 Sumptuous still life in which precious silver, glass and delicious food are displayed on a truly grand scale. The painter invites a viewer to the feast of red cooked lobster, mouth-watering ham, ripe peaches and plums, and sumptuous bunches of grapes. All of this extravagant food is richly displayed on a wooden table elegantly covered with a dark green velvet tablecloth. Our eye is directly attracted to the big red boiled lobster in the middle on a larger silver dish, with a silver plate of crabs in front. Behind the lobster is a large wicker basket with a white napkin, draped over its front edge and supporting a large silver dish...

Etching on cream laid paper laid down to a wove paper support, 4 x 2 5/8 inches (101 x 67 mm) (sheet). In good condition with scattered light areas of discoloration. Printed early 19...

The execution of Charles I (1600-1649) at Whitehall, January 30th 1649, in front of the Banqueting House. The executioner holding the head of Charles up to the crowd below. Engravin...

The Holy Family with the Infant Saint John the Baptist - Bolognese School, 17th century Attribution: Attributable to Francesco Brizio (Bologna, 1574-1623) Medium: Oil on canvas Dimen...

Rembrandt van Rijn 1606-1669 Dutch Abraham Casting Out Hagar and Ishmael Signed and dated "Rembrandt f. 1637" (upper right) State one of one Etching with touches of drypoint This...

Artist/ School: 17th Century Dutch School Title: An Extensive River Landscape with Figures in the foreground Medium: oil painting on canvas, framed Pai...

Figure with Cherubim in Wilderness Italian School, 17th century oil painting on wood panel framed 13 x 11 inches condition: overall for its age very good, though the work is most likely a preparatory...

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 ...

In the foreground, we see two conquistadors and three natives accompanying them landing on the shore, presumably on a reconnaissance mission in an unfamiliar bay. Perhaps they are in...

Pastoral Scene with Figures Dutch Old Master, 17th century oil on canvas, framed Framed: 16.5 x 24 inches Canvas : 13 x 21 inches Provenance: private collection, UK Condition: very g...

The Garden of Love (after Peter Paul Rubens [1577-1640]) Woodcut diptych, c. 1633-1636 Each of the two sheets is signed in the plate lower right A posthumous impression with tiny wor...

A three-quarter length portrait of Anne, Lady Russell, later Countess of Bedford (1615-1684), in a blue dress. Attributed to Sir Anthony Van Dyck.  Anne C...

Giovanni Battista Paggi (Genoa 1554 – Genoa 1627) Venus, Bacchus and Ceres (Parallel title: ‘Sine Cerere et Baccho, friget Venus’) Oil on canvas 103 x 78 cm. - Framed 125 x 100 cm. ...

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...

The Tribute Money, 17th Century follower of TITIAN (1488-1576) 17th Century Italian Old Master of Christ & The Tribute Money, oil on canvas. Early Italian School depiction of the T...

The Announcing Angel Carlo Maratta (Camerano, 1625 – Rome, 1713)Workshop Oil on canvas 63 x 75 cm. - Gilded wood frame 89 x 75 cm. Excellent condition, restored, 19th century ...

A Tibetan Yamantaka Thangka 17th/18th Century The thangka is coloured and gilt with the fierce deity depicted striding in alidhasana surrounded by a fiery aureole. Numerous other de...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

Saint George A follower of Giovanni Battista Cima, known as Cima da CONEGLIANO (Conegliano c. 1449 - Conegliano c. 1517) Oil on canvas 126 x 49 cm. Framed 143 x 65 cm. The painting...

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...

This stunning 17th century Dutch Old Master Golden Age floral oil painting is by noted Dutch artist Simon Pietersz Verelst. The full attribution...

This charming 17th century Old Master portrait oil painting is attributed to the circle of Swedish born Michael Dahl who lived and work in England for most of his life. Painted circa...

Giulio Carpioni (Venice 1613 - Vicenza 1678) - Madonna and Child with Saints Joseph, Francis, Dominic and Anthony of Padua. 61 x 37.5 cm. Oil painting on canvas, unframed (not sign...

A fine European portrait of a priest, oil on canvas, probably dating to the 17th or 18th century, unsigned, with original stretcher, minor surface losses and damage, craquelure, edge...

Beautiful pair of still lives ascribed to N. Stanchi, realized in the second half of 17th century. Both in very good conditions, they include a contemporary wooden gilded frame. Dime...

Rembrandt van Rijn 1606-1669 Dutch Beggar Seated on a Bank Etching on paper New Hollstein's first state of two Signed and dated "RHL 1630" (lower center) This remarkable 1630 etc...