17th Century Paintings

Madonna and Child late 1600s, oil painting on canvas from northern Italy, in good condition, within walnut frame, from a private collection in Milan. The work depicts the Virgin hol...

Rembrandt Van Rijn (1606-1669) Reproduction GHI.M.A Authorized Measures: Height 57 cm Width 68 cm Technique oil on canvas The company GHI.M.A. certifies that the relief, the app...

Pines and Cranes Anonymous. Kyoto Kano School. Late 17th/early 18th centuries, circa 1700. Pair of six-panel Japanese folding screens. Ink, gofun, pigment and gold leaf on paper. This bold composition presents two pine trees extending to the left and right across a gold leaf background. One tree is silhouetted against a green ground, golden clouds obscuring its true size, the other stretches across a stylized waterway. The pines are paired with Manchurian cranes with red crests and snow white plumage. Both have been highly auspicious motifs in East Asia since Chinese antiquity. Here the artist utilized fluid and instinctive ink brushstrokes to define the trunk, branches and tail feathers, in strong contrast to the precision and sharp angularity of the crane’s legs and beaks. The adoption of this vast metallic painting support required an unerring sense of design and composition, so that the negative space surrounding motifs could imply context for the otherwise floating pictorial elements. The brushwork detailing the trunks of the pines, the exaggerated dimensions of the pine trees and the strength and dynamism of the composition are all reminiscent of Kano Eitoku...

Pieter Van Lint (Antwerp, 1609-1690) Allegory of industriousness leading to peace and abundance Oil on copper; frame measures cm H 132 x W 159 x D 8, copper measures cm H 104 x W 130 Artwork signed (bottom center) "P.V. Lint F./ en A.B" The important and valuable painting, made of oil on copper, depicts the Allegory of industriousness that leads to peace and abundance. The work is signed in the bottom and center "P V Lint", or Pieter Van Lint (Antwerp, 28 June 1609 - Antwerp, 25 September 1690), famous Flemish painter and designer active in Antwerp in the second half of the seventeenth century. Van Lint elaborates a complex and articulated composition in which he inserts several figures also drawn from mythology to propose the allegorical message of industriousness that leads to peace and abundance. The artistic style of the author is characterized by meticulous realism and by the careful attention to detail and the rendering of the materials that make up the objects described. As we will see later, every detail represented within the work contains a symbolic and allegorical meaning that reinforces the message that already the same figures express. The remarkable dimensions of the copper support, not so infrequent in the artistic production of the artist, contribute to make the work of great value: Unfortunately, many of these artifacts have been lost because copper was often recovered in times of war and famine, and reused to obtain weapons and common tools. The copper foil proved to be ideal for oil painting because it constituted a non-absorbent support, rigid, smooth and characterized by the same reddish coloring that was used for the preparation of funds. The major production centers were Antwerp, Hamburg and Amsterdam, although the technique was widely used in Italy. The considerable cost of the material indicates a wealthy client, interested in possessing a valuable and durable work over time, this characteristic that the metal foil has more than the canvas. The painting is known to scholars. It is recorded in the catalog of the artist of the RKD Netherlands Institute for Art History (with measures 104 x 129 cm). He also appeared on the French antiques market...

Amazing Tiziano Vecellio's Circle of the 17th century "Ecce Homo" Oil on canvas, 17th century, based on the original housed in the Kunsthistorisches Museum, Vienna. Dimensions: 1...

17th century painting J.Castano 17th century Spain

Attribution of Mattia Preti " Salvator Mundi " 17th Century Italian painting from the 17th century depicting the figure of the infant Jesus as Salvator Mundi (Savior of the World),...

17th C representation of the Roof of Folly: An Allegory of the Fall, German School This enigmatic 17th-century painting, laden with symbolic content, echoes the allegorical traditio...

Splendid 17th century Italian painting. Oil painting on canvas depicting the alliance of Jacob and Laban. The subject is inspired by a canvas by Pietro da Cortona (1596-1669), preser...

17th Century Large Old Master Battle Scene Painting. Flemish School, circa 1610 - 1680. Oil on canvas painting depicts a dynamic battle scene fi...

Amazing Flemish Master 17th Century "Saint Jerome" Oil/canvas/double, 82 x 64 cm. good condition

17th Century Italian School Oil on Canvas - Soldiers and Travellers Resting by a Rocky Cove The painting carries a plaque with the name of the attributed artist Salvator Rosa (1615-...

Roman School, 17th century Madonna and Child Oil on copper, 15 x 11 cm Framed, 26 x 22 cm The small copper on display here depicts the Madonna and Child against a dark background...

The 39-year-old gentleman had himself portrayed as an aristocrat in an idyllic landscape. At the time, parks and forests were associated with the nobility's lands and pastimes. The s...

Pier Francesco Cittadini (Milan, 1616-Bologna, 1681) "Jacob and his family go to Egypt" Oil on canvas, cm 109 x 190 (canvas only) The valuable painting, made in oil on canvas, depicts Jacob and his family go to Egypt and we believe it can be, given the high quality painting, autograph work of Italian Pier Francesco Cittadini (Italy Milan, 1616 - Bologna, 1681) made after 1647. The work, in excellent condition is accompanied by a coeval frame in wood finely carved and golden. The scene depicted, which was confused with the Flight to Egypt in the past years, is instead identified with the biblical episode of Jacob’s journey. In the foreground, reading the painting from left to right, we see a caravan composed of animals, including donkeys, dromedaries, goats, dogs and horses and people, women, men and slaves, who carry on their journey along the banks of a river, following a path that to the right, would seem to lead to the through of a bridge. In addition to the watercourse is described an environment characterized by large rocks and impervious come far to cover the entire verticality of the canvas. On the left, in the distance, we see the tail of the caravan that runs along the steep path. Large trees enliven and harmonize the environment, as well as white and grey clouds characterize the predominantly clear sky and illuminated on the right by sunlight. The story is told in the Bible, Book of Genesis, 30, 25, passage in which is described the flight of Jacob from Haran after the contrasts with Laban, father of his wife Rachel. Jacob is the third great patriarch of the Bible. From his descendants originate the twelve generations of the people of Israel. He is the son of Isaac and Rebekah, who led him to flee from the wrath of Esau to Haran to seek refuge from his brother, Laban. At his uncle’s house Jacob met his daughter Rachel. As soon as he saw his cousin, Jacob was taken. Jacob will stay seven years in the service of Laban to marry his beloved Rachel. But Laban, with a deception, will give him in marriage first Lia, the least beautiful eldest daughter, and only after another seven years the splendid Rachel. From his first wife he will have several children, while Rachel will give birth to the beloved son, Joseph, who will become viceroy of Egypt. After years of service, Jacob asked to be paid with every dark-coloured garment among the sheep and every spotted and dotted garment among the goats. Laban accepted and sent away from his sons all the leaders of that kind. So Jacob took fresh branches of poplar, almond and plane tree, and flayed them, and put them in the troughs. The optical suggestion induced the goats and the sheep to conceive and give birth to dark, striped and dotted garments. He also ensured that all the strongest and healthiest leaders of the flock of Laban would drink near the barked branches, thus assuring a genetic superiority to his part of the flock. His flocks grew numerous and strong and he became richer than his relative, arousing envy. It was clear that Laban would not respect him much longer. At the suggestion of the Lord, Jacob decided to return to Canaan. Trying to avoid any possible dispute, he left with his family while Laban was absent for shearing sheep. But when, three days later, his uncle returned home, he became angry, feeling offended because Jacob had gone secretly and had not allowed him to greet his daughters and grandchildren. In addition, his teraphim, statuettes, or idols, which depicted the family deities, had disappeared. After 7 days of pursuit, Laban and his men reached Jacob’s group on Mount Gilead, in the mountainous region west of the Euphrates River, where his uncle and grandson had a stormy conversation. The younger man was outraged at being accused of stealing idols and told Labano to rummage through his family’s tents at will. Neither of them could know or even imagine that it was Rachel who took the idols and hid them in the saddle of the camel. During the search, she sat down firmly on the saddle, apologizing for not being able to get up, «because I usually have what happens to women» (Gen 31:35). So the loot wasn’t discovered. The author of this work was inspired by the composition of an engraving by Stefano Della Bella (1610-1664) of circa 1647. The engraving by Stefano della Bella bears the title "Iacob sur ses vieux jours quitte sans fascherie pour voir son filz Ioseph, sa terre et sa patrie" and is signed on the bottom left "Stef. of the Beautiful In. et fe." while on the right it is declared "Cum privil. Regis", that is with license of the king. Stefano Della Bella (Italy - Florence, May 18, 1610-Florence, July 12, 1664) was born in a family of painters, sculptors and goldsmiths and was left early orphan of his father sculptor, he dedicated himself first to the art of goldsmith at the school of Giovanni Benedetto Castiglione and Gasparo Mola, then turning his attention to drawing and engraving. He soon began drawing figures and copying the etchings of Jacques Callot, which inspired his early works. Under the protection of the Medici, in particular of Don Lorenzo, cadet son of Grand Duke Ferdinand I, Della Bella has the opportunity to make study trips to Rome, where he stayed from 1633-1636; In Rome he met French engravers and publishers of prints such as Israël Henriet and François Langlois, who influenced his decision to move to Paris in 1639, four years after the death of Callot. In Paris he soon reached, thanks to the engravings commissioned by Cardinal Richelieu, the success also worldly; he frequented courtiers, theatre artists and writers, while refusing too oppressive honors. In 1646-1647 he continued his travels in the Netherlands to Amsterdam, Antwerp and Dordrecht. He returned to Florence in 1650 and resumed working under the protection of the Medici court, working for his patrons. In 1656 he became a member of the Academy of Apatists. The painting object of this study is reasonably attributable to Pier Francesco Cittadini, or Pierfrancesco Cittadini, called the Milanese or the Franceschino (Italy - Milan, 1616-Bologna, 1681) as some exemplary stylistic comparisons proposed to follow can prove. Pier Francesco Cittadini was an Italian baroque painter, mainly active in Bologna. His artistic training first took place with the painter Daniele Crespi...

C. Maratta went to Rome in 1636 and became an apprentice in the Studio of Andrea Sacchi. Pope Alexander VII commissioned many paintings from him. Maratta’s paintings of the later 165...

This is an absolutely incredible early 17th century oil on canvas painting representing Holy Family-Virgin Mary, St.Joseph, St. Elisabeth, John the Baptist and Baby Jesus. Sir Peter ...

17th/18th century Flemish old master painting of Saint Jerome in a landscape with objects. Oil on copper. Framed. Light inscription on reverse. Sight: 9 x 7in. Overall: 14 x 12in. Co...

Dipinto Fiammingo del 1600 a olio su rame raffigurante uno scorcio di paesaggio con figure, una scena di genere con una moltitudine di personaggi affollati in una strada con delle ar...

Follower of Jacopo Da Ponte, called Jacopo Bassano (Bassano del Grappa, circa 1510 - Bassano del Grappa, 13 February 1592), 17th century Allegory of the Spring Measures: With frame: ...

A rare and evocative example of Spanish Colonial art from the Cusco School, this 17th-century oil on wood panel captures the iconic biblical scene of Sain...

A 17th Century baroque painting of a sideview of Jesus Christ Salvator Mundi or Saviour of the World in sfumato Saint Savior of the World, a title given to Christ on the Catholic f...

A very important painting by the great artist of the Florentine school, Onorio Marinari. Dr. Silvia Benassai has confirmed Marinari’s authorship of the Saint Margaret of Antioch; available on demand, a historical-artistic fact sheet prepared by Dr. Silvia Benassai Onorio Marinari (1627 – 5 January 1715) was a very important Italian painter and printmaker of the Baroque period, active mainly in Florence. His father, Sigismondo di Pietro Marinari, was also a painter, and he trained with his cousin, Carlo Dolci, later being also influenced by Simone Pignoni and Francesco Furini. His fresco in the Palazzo Capponi, Florence, is dated 1707. He worked mainly in Florence for Florentine and Tuscan clients, but he did not devote himself only to painting. In fact, in 1674, he published an essay on astronomy entitled Fabbrica ed uso dell' Annulo Astronomico. Bartolomeo Bimbi was one of his pupils. St. Margaret of Antioch July 20, Martyr Margaret, known as Margaret of Antioch in the West, and as Saint Marina...

Original oil on canvas painting of the adoration of the magi, with Mother Mary and infant Christ. Framed over 5' wide x 4' tall, no signature/unknown artist. Canvas has craquelure, o...

17th C Landscape Painting with Staffage, Noblewoman with Squire, Oil on Copper.

Venetian school of the 17th century. Great oil on canvas artwork depicting a biblical episode, the sacrifice of Isaac. To test the faith of Abraham, a just and devout man, God orders...

We present you this wonderful late 17th-century circular portrait in the regency style of Louis XIV, rendered in oil on canvas. It represents a Fren...

17th Century Flemish Old Master Painting Circle of Frans Francken Rare 17th century Flemish School painting, circle of Frans Francken the Younger (1581-1642). This Cabinet picture, ...

This large, old master still life painting is a perfectly balanced composition of fruit and game birds. In the foreground a rabbit is stretched out. A copper kettle and a basket are ...

French School of 1659 17th century "Portrait with Coat of arms of Margueritte Pierre de Boutteville" around 1659 Oil on canvas with coat of arms and dated top right Provenance: Bel...

Decorate a living room with style with this elegant pair of antique panels. Created in France circa 1830, and measuring 7 feet, the panels are set in a carved gilt frame and are hand...

An outstanding 17th century Oil Painting of Catherine of Alexandria, a Christian saint and virgin, martyred in the early fourth century by t...

Hawks on plum and pine Soga Nichokuan (active circa 1625-1660) Pair of six-fold screens. Ink, mineral pigments, gofun, gold and speckled gold l...

An incredible and rare 17th century (Ming Dynasty) Tibetan Thangka depicting the Medicine Buddha seated on a lotus throne with an alms bowl in one hand, and his other hand with outstretched fingers touching the ground, feeling the pulse of the Earth. The Buddha is surrounded by dozens of monks seated...

17th C Neapolitan School Painting Oil Canvas Old Master Mola Giovanni Battista . Circa 1600’s important Painting Oil on Canvas painting of a boy with a bird, in original Hand carved...

Peter Paul Rubens (Siegen 1577 - Antwerp 1640) circle of Saint Catherine of Alexandria Never Restored First Canvas Oil on canvas 129.5 x 94 cm The work is based on the painting by Peter Paul Rubens and engraved by Schelte von Bolswert. Rubens, known as "the Prince of the Baroque", was the great master who revolutionized both Flemish and European painting. His first training took place thanks to the masters Otto van Veen and Jan Brueghel the Elder. His trip to Italy, where he stayed, studied and painted for eight years, was fundamental to his artistic growth. His first stop was Venice, where Titian, Veronese and Tintoretto studied. He later came into contact with Vincenzo I Gonzaga, Duke of Mantua, becoming the court painter of the family, a position he held until the end of his stay in Italy. In Mantua, Rubens had the opportunity to study the rich ducal collection closely and assiduously. By making copies of several famous paintings he was able to practice technically on the examples of the greatest masters. In 1601 he was sent by the duke to Rome, where he was able to further broaden his figurative horizons thanks to the copying of the models of Michelangelo and Raphael and the study of the ancient, also looking at the contemporary artistic production of Carracci, Caravaggio and Federico Barocci. After leaving Italy, he settled in Antwerp, where he organized his atelier, applying the methods of organized production, that is, employing his collaborators with rational criteria and on the basis of individual specializations. Among the many painters who came out of Rubens' workshop or were strongly influenced by the master, we remember: Cornelis and Paul de Vos, Jacob Jordaens, Pieter Van Mol, Victor Wolvoet, Joanna Vergouwen, Jan Boeckhorst known as Lange Jan, Lucas Van Uden, Theodor Van Thulden, Peter Van Lint, Willem Van Harp, Vincent Adrianssen, Pieter Van Avont, Jan and Hendrick van Balen, Theodor Boeyemans or Boeijermans, Vincent Malò...

Important oil on panel by the great Dutch artist Philips Wouwerman (also Wouwermans) (1619 – 1668) a painter of hunting, landscape and battle scenes....

An oil on canvas portrait of a young French courtier, circa 1690. This evocative antique French-school picture has been attributed to the portrait painter Jean-François de Troy (1679-1752). De Troy was famous as a portrait painter of fashionable society women. This is a very attractive late-17th century painting surviving in its original frame and stretcher. The canvas appears to be untouched. References: 'Jean François de Troy, The Alarm, or the Gouvernante Fidèle', at the Victoria and Albert Museum, London. 'Jean François de Troy, Paris 1679 - Rome 1752', at the Thyssen-Bornemisza Museum. Laurie G. Winters, Troy, de, Grove Art Online, Oxford Art Online, Oxford University Press, 6 May 2016. Everett Fahy & Jayne Wrightsman...

17th century, Italian oil on canvas painting with battle between Christian and Turkish cavalry The oil on canvas painting depicts a battle between Christian and Turkish cavalry. C...

Kano Naonobu (1607-1650) Plum Tree and Birds Six-fold Japanese Screen. Ink and slight color on paper. In this evocative ink work spread over a six-panel folding screen, we see the consummation of the elegance and refinement of the Edo Kano school. This 17th century screen is a rare surviving example of a large-scale bird and flower painting by Kano Naonobu, the younger brother of Kano Tanyu...

A striking and wonderfully detailed pair of Italian 17th century Oil on Canvas paintings, by Claude Lorrain. These wonderful paintings are set within rectangular Giltwood frames with an inner berried foliate band and mottled outer edges. Each painting depicts a classical landscape of ruins with the Athenian Acropolis in the background. The left painting displays an impressive altar to 'Athena of Velletri' with classical figures paying tribute aside a smoldering urn. Athena's companion Hermes can be seen flying above the crowds of people and overseeing the occasion. The painting to the right displays a classical ruin with the Acropolis in the distance. The Bill of Sale...

Alberto Carlieri (Rome 1672-1720) "Architectural capriccio with the preaching of Saint Paul in the Areopagus of Athens" Oil on canvas, measures with...

Abraham Brueghel (1631 - 1690) Attribution - "Triumph of Flowers and Fruits in Plein Air" oil on canvas 95 x 130 cm without frame 100cm x 135cm with frame good conditions Abraham Br...

Horses Kano Tanshin Morimasa (1653-1718) Two-panel tea-ceremony Japanese screen or furosaki Ink on gold leaf, late 17th-early 18th century Measures: H 55 cm x W 182 cm The Kano school was closely aligned with the warrior class in Japan. The samurai, who lived in a closed and rigid hierarchical society established by the Shogunate, were drawn to the energy and freedom horses symbolize; Kano school artists commonly depicted the equine creatures as they are here, in unfettered and carefree family groups. China originally introduced horse paintings to Japan; the works typically focused on capturing the essence of horses in their various environments and often involved integrating human figures into the images. Kano Tanshin Morimasa (1653-1718) was the son of Kano Tanyu...

A stunning pair of Italian 17th century oil on canvas paintings by Antonio Travi. Each painting displays an impressive array of rich colors, typical of T...

Antique tempera Icon depicting St. John the Baptist holding his own head, a reference to his execution by beheading. This came as a result of John publicl...

Italian School 17th century "Christ in the Temple" Oil/canvas/double, 106 x 118 cm. good condition

17th century, Italian painting with virgin and childr by Follower of Sir Anthony van Dyck cm W 90 x H 113; cornice cm W 111 x H 135 x D 7 The canvas depicts the Madonna with the Chi...

Flemish 17th Century Genre Painting Circle of David Teniers the Younger (1610-1690). This cabinet painting depicting a woman shelling peas is from the Flemish School of the 17th ...

A splendid 17th century Flemish painting. Oil on canvas artwork depicting a mythological subject of great charm, Meleager offers the boar's head to Atalanta. The Fates had predicted ...

This painting shows a portrait of a gentleman wearing a red jacket. His face and his hands are very well detailed. It wears age and use. The painting is in France and will be shippe...

Beautiful 17th century Italian school " Virgin of Sorrows " Oil on canvas Measures : 50.5 x 42.5 cm very good condition

Antique religious painting from the second half of the 17th century. Oil on canvas artwork, first canvas, depicting the Tribute Money. In fact, there was a tax for the maintenance of...

Kaiho Yusetsu (1598-1677) Tiger and Dragon Early Edo Period, Circa 1650 A Pair of Six-fold Japanese Screens. Ink and slight color on paper. Dimensions: Each screen: H. 171 cm x W. 380 cm (67.5’’ x 149.5’’) In this pair of early Edo period Japanese screens a group of tigers prowl in a bamboo grove whipped with fierce wind, while a dragon claws through clouds and mist. The dragon embodies elemental qualities - looming out of the mist, the coils of its body disappearing in the clouds. The dragon is calling for rain, symbolizing spring which is considered the fountain of life. On the other side, the tigers calls for the wind, symbolizing autumn which is considered the end of life. Tigers were familiar motifs within Japanese art from ancient times though the animals were imaginary to the people in the 17th century. While dragons and tigers are usually associated as sacred and ferocious, in this painting, both animals have rather amusing expressions. The tigers appear to glare at the dragon with cat-like eyes, and the look on the swirling dragon’s face appears almost affectionate - lending a playful flair to an otherwise magnificent theme. The tiger and dragon are cosmological symbols of the balancing forces in the world. Screens such as this were originally meant to express the fluctuating nature of the world. For Japanese in the early Edo period, they likely suggested the powers of the cosmos. In Japan the tiger and dragon motif was originally absorbed into the circles of Zen monasteries before spreading into the secular world. The theme especially appealed to the military classes with the Kano school, the official painters to the Shogun and the samurai, being the leading contributors. The painter of this pair of screens, Kaiho Yusetsu (1598-1677), was closely patronized by the third Shogun Tokugawa Iemitsu. In his later years he worked with Kano school artists...

Reinier de la Haye (1640-1695) - PORTRAIT OF A LADY IN FRONT OF A PARK LANDSCAPE Signed R. de la Haye on the right on the architectural base. Seated figure of a noble lady, dressed i...

German school, unsigned but attributed to Lorenz Strauch, dated 1612. Oil on copper, ca. 10.5 x 13.0 cm. Including frame: 17.0 x 19.5 cm Portrait three-quarter facing, dressed in...

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

Very early Italian School Madonna and Child, Italian Baroque oil on board painting. Professionally restored. The careful removal of accumulated dirt and age-related damage, followed ...