17th Century Paintings

17th Century English School Portrait of Elizabeth Kinnersley Oil on canvas, 114.5x93cm; work without frame good conditions

Our still life depicting a metal brazier on ledge is a rare painting by Baudouin Yvart (French, 1611-1690).  Stretcher measures 15 1/4 by 19 inches.  It has an extraordinary ebonized sgraffito frame, 24 by 28 by 1 3/4 inches, with inlaid mother of pearl and pewter mounts.  Professionally relined and mounted on keyed stretcher. Provenance: Private Collection, Paris, by 1974; Anonymous sale; Boisgirard et Associés, Paris, June 26, 1985, lot 26; Jocelyn Fielding Fine Art Ltd., London; Mr. and Mrs. John H. Gutfreund, CEO Salomon Brothers, New York. Literature: Michel Faré, Le grand siecle de la nature morte...

Pair of grand scale oil on canvas Capriccios by a Follower of Viviano Codazzi. Mid to late 17th century of ruins and figures. Neoclassical landscape. Beautifully imagined arches with...

Saint Stephen. Oil on canvas. 17th century, following Aegidius Sadeler's engraving (inspired by Jacopo Palma). The figure of the Saint appears in the ...

ANNUNCIATION TRIPTYCH Spanish School 17th Century Oil on canvas glued to wood, Spanish school 17th century Dim.: (total) 97 x 153 cm very good conservation condition

Italian old master painting, 17th century, oil on canvas. Good condition Measures: H. 54 W. 43 cm H. 21.2 W. 16.9 in.

17th C representation of a peasants couple ,the man partly dressed up as a nobleman.Flemish school,Oil on panel. Oil on panel, 22.7 x 34 cm. The woman is wearing the commoners outfit...

After Jean Antoine Watteau (Valenciennes, 1684-Nogent-sur-Marne, 1721), Disembarkation for the Island of Cythera, Pastel drawing, Framed, 19th or 20th century.

Beautiful pair of oil paintings on canvas, mounted on panel and framed in ebonized and gilded wood. The pictorial technique used favors chiaroscuro, with the representation of a vase...

Relined canvas depicting birds prepared for dining with table and cat peeking out considering dining himself with live roosters in the background and copper pot filled with vegetables.

17th-Century English Portrait, Attributed to Sir Peter Lely A striking 17th-century English oil on canvas portrait, attributed to the renowned court painter Sir Peter Lely (1618–1680...

Italian Oil painting on canvas of Jesus Christ with a crown of thorns, 1600s Oil painting on canvas with sacred subject. The painting depicts Jesus Christ sitting and dressed only i...

17th Century Italian School "Saint Joseph and the Child" oil painting on canvas 95cm x 67cm measures without frame frame size: 10cm good conditions golden frame Private Italian Colle...

FLEMISH SCHOOL OF THE 17TH Century "Virgin of the Milk" Oil on canvas 45x36.5cm. Gilt wood frame good conditions.

A stunning Italian 17th century oil on canvas still life, from Rome. The painting depicts a beautiful fruit bowl and grapes in the foreground and wonderfully executed bouquet of flow...

The Handsome Pillar (Makibashira), Illustration to Chapter 31 of the Tale of Genji (Genji Monogatari) Tosa School (second half of the 17th Century) I...

Oil on copper depicting a basket of flowers made up of roses, tulips and irises, with small florets fleshing out the larger buds carefully arranged in the basket. Jan Van KESSEL the ...

Italian School of the Sec. XVII "SALOME WITH THE HEAD OF SAINT JOHN THE BAPTIST" Oil on copper. Dim.: 22 x 15 cm good conditions.

This 17th-century Baroque painting, in oil on copper, captures a serene portrayal of the Immaculate Conception, draped in yellow silk robes with accents of green and red. The divine ...

Important Circolo Esteban Murillo "The Virgin and Child" oil on canvas Provenance: Private, Monte Carlo 150cm x 105cm Murillo received several commissions for paintings featuring Vi...

This 17th-century oil on canvas from Spanish Colonial Peru features a striking depiction of Our Lady of Sorrows. The Virgin is shown with a somber expr...

Large oil on canvas representing the Holy Trinity. It is painted here as a Throne of Grace, vertically, with Jesus dead on the Cross, or supported by God the Father, with the Holy Sp...

17th-century Flemish School, after Le Correge, "Ecce Homo," oil on copper in a Louis XVI frame 51 x 41 cm (small parts missing), with collector's inscriptions on the back good condit...

Soldiers looting a village XVII century oil on panel Oil on panel: 75 x 110 cm Signed and dated 1650 lower left Sold at Christie's Amsterdam, 11/18/93 For 130,000 DG = 60,827 € - joint purchase invoice for the year 93 About painter dutch painter Utrecht 1586 - 1666 Utrecht Painter of genre scenes, generally of peasants, views and landscapes of villages and towns (including some winter landscapes) and some religious and allegorical subjects (mainly at the beginning of his career). We do not know under whom our painter studied. Seeing the Flemish character of his work, some scholars believe that he could have studied in Flanders, in Antwerp. Droochsloot was a versatile and productive painter. The central museum in his hometown of Utrecht holds 15 of his paintings, showing the diversity of his work, many other museums exhibit his works Our painting represents a scene that took place during the Eighty Years' War. This Dutch War of Independence from Spain was a long, slow war that lasted from 1568 to 1648. The war began with a Protestant uprising in Flanders and Holland against the Spanish...

Italian School "Apostle" 17th Century Oil on oak wood Carved and gilded wooden frame. Small defects. Dim.: 44 x 58 cm good conditions

A late 17th century Italian oil on canvas of a battle scene on a bridge by Francesco Graziani called Ciccio Napoletano (active in Naples late 17th/18th century). Measurements are ...

Japanese two-panel screen: Gibbons of Folklore, Edo period (17th century) Kano School painting of gibbons in Japanese fables. The left panel represents a Japanese fable of a monkey a...

17th century Flemish Shool Antwerp, wild boar hunt in the style of Frans Snijders, oil on oak panel marked by Guilliam Gabron 1609-1662, Antwerp. The st...

17th Century oil on canvas Josiah Childs attributed to John Riley 138 x 116cms In original frame

Jews in the desert collecting the Manna. Oil on canvas, XVII century. Oil on canvas arranged horizontally in which a figurative theme is shown with a mountainous landscape in the ba...

Venetian School painting of four angels, allegorically depicting the variable winds of change and time. Unsigned, believed to be by a follower of Pietro Li...

17th century Italian School "ECCE AGNUS DEI" oil on canvas Dec. 70 x 90 cm good condition.

Portrait of a Noble Family in the landscape circa 1600 On foreground the nobleman with his family and a table where appear meats and fixtures, showing her ancestry. In background two servants on both sides. Oil on canvas. Antwerp School...

17th century Christ in chains Oil on canvas, 95 x 71 cm Frame 110 x 84 cm The figurative tradition representing Christ with chained hands can be traced back to the early Middle Ages, when an iconography of His pains spread widely. The need to translate the Passion into images aimed to raise awareness of the forgiveness that has occurred for all men, consequent to the Crucifixion. This painting depicts the moment before the audience before Pilate. Christ has not yet been cruelly mocked by the soldiers, despite the fact that he is already wearing the crown of thorns and the purple...

Master of the Neapolitan School of the 17th Century. Vision of Saint Francis Description The saint of the order, identified by his wounds, is depicted in a sleeping posture. Accord...

Oil on canvas portraying a dozing man, seated, leaning against a rock, his dog looking at the viewer in the foreground. In the background a group sitting at a table under an awning....

Flemish School of the 17th century "Portrait of a Child" Oil on canvas label on the back with coat of arms 77.5 x 63 cm without frame 85.5 x 71 cm with frame good condition

In the 17th century landscape and peasants were a popular painting subject. The panel shows a scene next to a riverbank. The colors are very muted and mainly in shades of brown and g...

"Wedding of Tethys and Peleus". Oil on canvas. School of Madrid, 17th century. Corte, Juan de la (Antwerp, circa 1585 - Madrid, 1662) circle. This work describes the weddings of the Nereid Thetis and the prince Peleo, parents of Achilles. It was celebrated on Mount Pelion, and all the deities came, although Eris, the goddess of discord, was not invited. In revenge, she threw a golden apple in which she said "for the most beautiful", that caused the dispute between Athena, Aphrodite and Hera that led to the Trial of Paris, to finally bring about the Trojan War. The banquet is depicted with a composition worked in depth, located in a rich interior of classical architecture illuminated by the light of Apollo, which is situated at the far end of the viewer. At the head of the table, in the foreground, appears Zeus, accompanied by the eagle and Hera, queen of the gods, to his left. In the lower right corner we see a group of satyrs serving the wine, accompanied by rich metal vessels worked with a detailed and descriptive brushstroke. The rest of the gods appear clearly differentiated, with Athena in the foreground to the right and, following an agile rhythm in zigzag, typically baroque, Aphrodite with Eros, Hermes and the grooms, to the left, and to the right Poseidon. Formally it is a work perfectly framed within the 17th century school of Madrid, developed around the court. Thus, we see a sumptuous, allegorical classicist baroque, where the studies of light and color are especially relevant, revealing the exalted and luminous tone typical of this school's maturity. In particular, we can relate this painting to the circle of Juan de la Corte, painter of Flemish origin. We know nothing of his first formation today, for Palomino's assertion of his birth in Spain was documented, quoting in his testament that he was born in Antwerp. Also conserved documents in which the painter declares his apprenticeship in Flanders, where "it exerted his office by many years". For all this he has been associated with Flemish artists of the time who, due to personal knowledge or the study of his works, strongly influenced the configuration of his personal language. We know of his establishment in Spain at least since 1613. His work at the court encouraged him to ask for the place of royal painter who left vacant Bartolomé González...

17th century Flemish oil on panel Monogrammist H. C. "Soldiers gambling for Christ's tunic" The fine painting depicts the biblical scene i...

This 17th century Italian Baroque painting, executed in oil on copper, depicts the Crucifixion of Christ with remarkable depth and dramatic composition. Christ is shown on the cross...

Beautiful oil on canvas with four protagonists, the Virgin breastfeeding baby Jesus with St. Joseph and a young St. John the Baptist. Typical 17th century composition with the secondary characters in the background. Relined canvas and original gold leaf gilded frame...

17th Century Italian Flemish oil on canvas painting depicting the Adoration of the Magi. Early Flemish painting was contemporary to the development of the early Renaissance in Italy. In the middle of the 15th century Italy...

OIL ON CANVAS OF 17th Century LANDSCAPE OF WINTER OF THE NETHERLANDS. Good CONDITION. MEASURES WITH FRAME: 114X90 CM WITHOUT FRAME: 96X74 CM      

English School, 17th Century. A pair of portraits of William Mellish (1605-1667) and his wife, Martha (1610-1684). Inscribed respectively: Ano Domi 1639 Aetatis June 34 and N ...

Neils Rosen Krantz to Stovgaard and Alsted. General commanding army grand cross Dannebrog, Fell At Battle Of Helsingborg 1627-1676. Helsingborg, Sweden seaport since medieval days, a stronghold opposite Elsinore, Denmark. In 1658 it was ceded by Denmark To Sweden. in 1670 it was seized by the Danes plundering the Swedes in a massacre called the Battle Of Helsingborg. Shakespeare used...

Antonio Calza (Italy, Verona, 1653-18th April 1725) "Battle between Christian and Turkish cavalry with castle" The painting depicts a bloody battle between Christian and Turkish cavalry. Characterized by dynamism, intensity of color and light, the main scene occupies the lower horizontal section of the canvas, optically interrupted by the black fumes of the shots from which emerge, on the left, the towers of a fortress. On the right, in the distance you can see the combat in progress in the countryside, beyond which you can see the pale presence of hills that create a fifth, marking the horizon. To frame the scene contributes to the left, against light and in the foreground, a portion of the wall. The painter, however, introduces a horse on the ground, of which we see only the back, a ruse to involve the observer making him become active and participate in the scene. In the foreground, lifeless bodies, wounded horses and, scattered on the ground, weapons and a drum enhance the drama of the clash. The excitement and expressive force, the intense chromatic range attentive to the conditions of light and the fine brushstrokes, decisive and dramatic, suggests the attribution to Antonio Calza, one of the most important painters of battles of the seventeenth century, excellent student and continuator of the greatest interpreter of the genre, Jacques Courtois called il Borgognone (Saint-Hyppolite 1621 - Rome 1676). Il Borgognone, although not having had a real school or direct students, places itself as a primary reference point by the Italian and foreign "battaglisti". The genre of battle painting found great success in the collections of the Italian and European nobility of the seventeenth and eighteenth centuries. The battles of the Italian Renaissance, in which the scene converged towards a precise protagonist, evolve towards a type of combat "without hero". The bloody realism of the details and the dynamic development of the narrative confuse the figure of the protagonist, when present, to give importance to the swirl of horses and armed fighters, among which, moreover, does not emerge a winner. The certain documents relating to the life and movements of Antonio Calza are scarce; it was equally difficult to reconstruct, from the critics, a catalogue of autograph works. Through paintings in private collections, in museums and paintings passed on the antiques market it has been possible to identify a copious corpus of works that can be traced back to his hand. The work of art historians, together with that of antique dealers, in conferring proper attributions in order to best outline the figure of Calza, continues but studies are still in progress. In this sense, the work of Giancarlo Sestieri should certainly be noted, who investigated the artistic production of the battaglisti and Calza, thus allowing the comparison of the numerous photographic works reported, to identify and recognize the stylistic qualities that distinguish the corpus of paintings assigned to him today. Antonio Calza was born in 1653 in Italy, in Verona and in 1664 he entered the school of Carlo Cignani in Bologna, dedicating himself to painting battles and landscapes. He then perfected in Rome, where he knew the works of the then undisputed head of the sector, Jacques Courtois called the Burgundian. In 1675 he returned to Verona and married an 88-year-old widow who, dying, left him a rich inheritance. Much appreciated by the nobility and the bourgeoisie, he received numerous commissions. Bartolomeo Dal Pozzo (Le Vite de' pittori, de gli scultori et architetti veronesi, 1718) praises "three great paintings of battles...

oil on canvas German 17th school follower of Johann Hulsman "Gallant Scene" written "Bonhams" in chalk on the stretcher Condition: Presents well, vibrant colours relined probably in...

Oil on canvas scene of a stag hunt with hounds in a wooded lakeside landscape. The canvas has been archival cleaned and craquelure arrested with relining. The canvas is framed in a 1...

St. Bartholomew's Martyrdom. Painting on vellum. After models from Ribera y Cucó, José (Játiva, Spain, 1591-Naples, Italy, 1652). The composition is organized around the diagonal t...

Landscape with classical ruins. Oil on canvas. Attributed to Giner, Vicente (ca. 1636-1681). Reengineered (reentelado in spanish). Landscape with rocks and buildings in the background that presents, in the foreground, constructions with a marked classicist air, accompanied by two female sculptures on two pedestals. At the foot of this building, there is a group of people, dressed in the classic way (women, children and a soldier with a spear). Vicente Giner, canon and artist from Castellón, is documented working in Rome during the last quarter of the seventeenth century (until he died here in 1681), where he requested, together with others, from Carlos II...

C1680 oil on canvas portrait of a young man C1680 oil on canvas portrait of a young man in a 19the century gilt frame 83×73 cms restoration label reverse

Reputed Portrait of Jane Bromley, as a Young Widow by British, English School, oil on canvas painting circa 1640/1650, in good condition, set in a modern frame. It comes from a priva...

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...

Interesting pair of 17th century Dutch portraits representing the likes of a nobleman and his wife. Both paintings bear the monogram AET along with an illegible second monogram , the...

Flemish School, 17th century Live nature couple with animals Measures: Oil on canvas, cm 25 x 35 - With frame cm 37 x 48 The pair of canvases in question depicts two excited...

Circle of Sir Godfrey Kneller, Mrs Voss, and Catherine Kneller, oil on paper laid to wood panel Overview This exceptional Baroque portrait artwork, the circle of Sir Godfrey Kneller, is an oil on canvas painting from the early 18th century. The painting, laid onto a panel, represents a compelling historical piece linked to Mrs. Voss, who was active circa 1685-1690 and recognized as the mistress of Sir Godfrey Kneller and the mother of Catherine (Agnes) Huckle. Key Details: Sir Godfrey Kneller, Mrs Voss and Catherine Kneller oil canvas Medium: Oil on paper, laid onto panel Period: Early 18th century Condition: Unframed oil panel Dimensions: Height - 28 inches, Width - 34 inches Historical Connection: A larger version of this artwork is held in the Kingston Lacy Estate, Dorset Artist Influence: Connected to the circle of Sir Godfrey Kneller, one of the most influential portrait artists of the Baroque period. This Old Master portrait painting is a fine example of Kneller’s portrait style, making it a sought-after piece for collectors, historians, and art enthusiasts looking to buy antique paintings in Sussex or the UK. About Sir Godfrey Kneller (1646-1723) Sir Godfrey Kneller (born Gottfried Kniller) was a renowned Baroque portrait painter of Anglo-German descent, widely considered one of the greatest portraitists of the late 17th and early 18th centuries. His influence on English portraiture was significant, and his works remain highly collectable today. 1. Early Life and Training Birth: August 8, 1646, Lübeck, Germany Parents: Zacharias Kniller (merchant) and Lucia Kniller Education: Studied painting in Lübeck Trained in Amsterdam under Ferdinand Bol (a student of Rembrandt) Influenced by the Dutch Golden Age art movement During his training, Kneller adopted techniques from Rembrandt and Bol, shaping his mastery of light, shadow, and lifelike portraiture. 2. Italian Influence and Artistic Growth Sir Godfrey Kneller Mrs Voss and Catherine Kneller oil canvas Traveled to Italy in the early 1670s to study Titian, Veronese, and Caravaggio His exposure to Italian Renaissance and Baroque art deepened his understanding of color theory, composition, and grand portraiture After returning to Northern Europe, he briefly worked in Hamburg before moving to England in 1676 3. Kneller’s Rise in England and Royal Patronage His talent quickly gained recognition among the English aristocracy and royalty In 1680, he was appointed Principal Painter to King Charles II Over his career, Kneller painted portraits of five English and British monarchs: King Charles II King James II King William III & Queen Mary II Queen Anne King George I His iconic portrait paintings continue to serve as historical records of British nobility, making his works highly valuable in the art market. 4. Notable Works and Contributions Kit-Cat Club Portraits: A famous series of 48 portraits of prominent literary, political, and cultural figures of the time. Developed the grand yet lifelike Baroque portrait style, balancing realism with nobility. His influence on later English portrait painters, such as Thomas Gainsborough and Joshua Reynolds, was profound. 5. Kneller’s Honors and Legacy Knighted by King William III in 1692 Created a Baronet by King George I in 1715 Naturalized British Citizen in 1711 Passed away on October 19, 1723, and was buried in Twickenham, England. His works remain highly collectible, sought after by art collectors, historians, and museums worldwide. Historical & Artistic Significance of the Painting This early 18th-century oil portrait attributed to Kneller’s circle is an outstanding example of his influence on Baroque portraiture. The depiction of Mrs. Voss and her connection to Catherine (Agnes) Huckle adds historical depth and collector value. 1. Artistic Style and Features Detailed brushwork characteristic of Kneller’s school Rich color palette influenced by Titian and Rembrandt Noble posturing typical of 17th-18th century aristocratic portraiture Use of light and shadow to enhance depth and realism 2. Collector’s Appeal & Investment Potential Highly sought-after Old Master artwork with documented provenance Strong appeal to art collectors, historians, and museums Valuable addition to Baroque art collections Investment-worthy due to high demand for Kneller’s works in auctions and private sales 3. Comparison to the Kingston Lacy Version A much larger version of this painting exists in the Kingston Lacy Estate, Dorset This smaller panel version offers collectors a unique opportunity to own a historically significant work at a more accessible scale and price Final Thoughts The circle of Godfrey Kneller oil on canvas painting featuring Mrs. Voss and Catherine (Agnes) Huckle is an important historical artwork. Whether you are an art collector, investor, or historian, this painting represents a rare opportunity to acquire a piece of Baroque portraiture. Why This Painting is a Must-Have for Collectors: Authentic Old Master Portrait from the School of Kneller Strong Historical and Artistic Value Investment Potential in the Art Market Connected to the Kingston Lacy Collection Ideal for Collectors of English Baroque Portraits...

Massimo Stanzione (Frattamaggiore or Orta di Atella 1585 - Naples 1656) circle of Visitation of the Blessed Virgin Mary to her cousin Saint Elizabeth Oil on canvas 147 x 100 cm Writ...

Portrait of young 17th century Germany Elegant portrait of a young German of the xvii century in oil on wooden table. The frame is later. To highlight the quality of this young man ...

Title: Moses on the Stone Date/period: XVII century Dimension: measure without frame 60cm x 83cm, frame 13cm in noble wood Materials: oil on wood Additional information: Dutch School...