17th Century Paintings

Oil on Canvas. Northern-Italian school of the 17th-18th centuries. The widely known biblical scene of the quarrel between the two brothers, sons of Adam and Eve, which later results ...

Battle of Marignano, 17th Century attributed to Il Borgognone (1628-1679) Large 17th Century Italian Wars battle scene identified as the Battle Of Marignano, oil on canvas. Excell...

Stilllife with dead Birds, Fruits and Vegetables Oil on Canvas, 101 x 84 cm signed (upper left) „G Libald “ (G and L ligated) Provenance: Private Collection, Brussels; Private Coll...

Mattheus Terwesten (The Hague, 1670 - 1757) Portrait of a young woman with palette and brushes, as Allegory of the art of Painting Oil on canvas 160 x 91 cm. - In frame 178 x 107 cm...

Isaac de Moucheron (Amsterdam 1667 - 1744) circle Renaissance garden with knightly festival Oil on canvas 70 x 98 cm. In frame 106 x 133 cm. We present this delightful compos...

Roman school of the early 18th century Luigi Garzi (Pistoia 1638– Rome1721) attributed Still life of fruit supported by three angels Oil on oval canvas 116 x 91 cm., Framed 140 x 119 cm. Authentication on a photograph by Prof Giancarlo Sestieri, who attributes the work to the sphere of Luigi Garzi This magnificent canvas, depicting a sumptuous composition of fruit supported by three prosperous winged cherubs, from which comes a parchment bearing the Latin expression "Amor est vitae essentia", is to be placed in the production of a Roman author active between the second half of XVII century and the first of the following century. The iconography that sees represented cherubs with fruit or flowers is frequent in the Baroque period, especially in the Roman area, starting from the 1600s, with that particular depictional tendency aimed at illusionistic and frivolous images, to a type of paintings or frescoes of strong value decorative, intended for the private context and depicting jubilation of cherubs, angels or cherubs, and of which our canvas represents a perfect example. We can recall, among the most illustrious iconographic precedents, the elegant mirrors painted by Mario Nuzzi and Carlo Maratta that adorn the hall of Palazzo Colonna in Rome, and again the canvas preserved in the Rouen museum and the similar ones in Palazzo Chigi in Ariccia, with the collaboration for the figurative parts of Filippo Lauri. The commercial and furnishing success of similar works is also testified by authors such as Guglielmo Cortese known as Borgognone (1628 - 1679), Franz Werner Von Tamm (1658 - 1724), Giovan Battista Gaulli (1639 - 1709), Giovanni Paolo Castelli known as Spadino (Rome 1650 - 1740) and the aforementioned Carlo Maratta (1625 - 1713) The work, studied by Giancarlo Sestieri, was brought closer to the sphere of the eclectic Pistoian painter Luigi Garzi, one of the protagonists of Roman painting in the decades of transition between the seventeenth and eighteenth centuries. In our painting we can find the typical elements of his painting: the soft and delicately chiaroscuro light, the sculptural classicism of the figures as well as the stupendous luministic and chromatic effects. Luigi Garzi's training and artistic activity took place in the Eternal City and he was in effect a Roman artist. He moved to Rome from Pistoia, his hometown at a very young age, and joined the atelier of Andrea Sacchi, who directed his studies towards classicism, comparing himself with the works of Raphael, Domenichino and Nicolas Poussin, but also with the Emilian one. , with particular attention to the school of Guido Reni. But the Emilian examples were undoubtedly preceded, particularly by Giovani Lanfranco, who modeled his taste and style, together with a modulated cortonism, while those pre-eighteenth-century sensibilities are due to the lesson of Carlo Maratta. However, there is no doubt that the painter oriented his personality without ever bowing to imitation, reaching a refined elegance and autonomy of language, as the canvas in question clearly demonstrates in which the different influences find a refined amalgamation in perfect harmony with the baroque evolution between the seventeenth and eighteenth centuries, indicating a dating to its earliest maturity. These attitudes led the painter to obtain awards and prestigious commissions as soon as possible, such as the frescoes of Palazzo Borghese...

Oil Painting circle of Nicolaes Berchem "Off to Market" 1620 - 1683 Highly esteemed Dutch pastoral landscape painter of the Golden age with a large studio and many pupils. Found in m...

Italian religious painting of the Lombard School Madonna and Child with St. John ca. 1650 with a good balanced and harmonious composition in the center of which is the Child with hi...

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...

Painting oil on canvas measuring 67 x 45 cm without frame and 82 x 60 depicting a vase of flowers by the painter Niccolò Stanchi ( Rome 1626 - 1690 ). The Stanchi brothers (Giovanni...

Frans van Everbroeck (Antwerp, ca. 1628 - London or Antwerp 1676/1693) attributed A stone cartouche surrounded by garlands of flowers with tulips, roses, daffodils, peonies and daisi...

Oil on copper after Raphael " the virgin of Lorette " Chantilly Museum . Ecole Hollandaise from around 1600 . No signature at this time La Vierge de Lorette (Madonna del Loreto) ap...

Michael Conrad Hirt (German, 1613-1671), Portrait of a Boy, Oil on Canvas, possibly dated 1647, signed and dated lower left, marked "Kal 103" to the verso, unframed. 26.25" H x 22.5"...

Portrait of a lady by Dutch Golden Age painter Nicolaes Maes (1634-1693). Half-length, within a feigned oval, the lady wears a pearl necklace and earrings, an ivory silk gown adorned...

Antonio Tibaldi (Rome, c. 1635 - post 1675) Workshop of Still Life with Armour, Curtains and Sculpture Oil on canvas 53 x 77 cm. - in frame 65 x 89 cm. Beautifully scenic painting ...

Pair of 1600s Nature Morte di Fiori by 17th-century Italian school, unframed. Oil paintings on canvas with a dark background and finely defined flowers these Baroque still lifes of t...

Carnival scene in 17th-century Rome (in Piazza Navona) Michelangelo Cerquozzi (Rome 1602 – Rome 1660) workshop Roman school of bamboccianti (mid-17th century) Oil on canvas 74 x 96...

A Still Life of Turtles, An Eel, Pike, Lobsters and other Fish on the Shore, A Ship in the Stormy Seas Beyond Signed and dated lower left 1640 Inscribed with inventory number lower right: no. 44 Oil on canvas Framed 29.5 x 37.9 inches Provenance Anonymous sale, London, Sotheby's, 15 April 1999, lot 87, (as 'Circle of Giuseppe...

Quality work attributed to the painter Peter Van Der Velde (Antwerp 1634 - c.1714)  Coastal view with fortified city and boats (city of Antwerp?) Oil pa...

Still life of Summer Flowers in a Basket with Fruit. Circa 1730 Oil On Canvas 32 ¾ x 48 ¼ inches83.1 x 122.5 cm Presented in a 17th century Italian carved gilt frame. Acquired from The collection of the Late Edgar Wigan, Bradstone Brook, Shalford. ABOUT THE ARTIST:  The son of the Flemish painter Pieter Casteels II (referred to as Casteels the Younger) whom he studied under.  While Casteels II was best known for his capriccio harbour scenes and landscapes of his native Antwerp, Casteels III worked primarily in England, where he immigrated in 1708 at the age of 24 and began his career copying Old Master.  Casteels III painted still lives of flowers, and bird and game scenes, and in 1726 produced a volume of twelve plates of bird etchings. Following the success of the publication, he created similar volumes for both flowers and fruit. Pieter Casteels III...

Dutch School An Allegory for Smell 17th Century Oil on canvas Image size: 19 x 14.5 cm Dutch ebonised frame This painting depicts a rather smelly scene - a young boy bent over his f...

The Penitent Magdalene, 17th Century circle of CARLO DOLCI (1616-1686) Large 17th century Italian old Master depiction of the Penitent Magdalene, oil on ...

Adoration of the shepherds, Cercle of Ambrosius Francken, Early 17th century Antwerp school Oil on oak panel: h. 55 cm, w. 43 cm (21.65 in x 16.93 in) 17th c. ebonized and moulded f...

Hendrick Bloemaert (Utrecht 1601/02 – Utrecht 1672) Venus and Cupid Oil on panel H. 75 cm; W. 61 cm Signed and dated 1636 Hendrick Bloemaert is a notable figure of the Golden Age of...

17th Century Italian School St Peter Oil on Canvas 55 1/2 x 41 inches This large and tender rendering of Saint Peter was painted by the hand of great Italian painter of the 17th Cen...

Pieter Symonsz Potter Dutch 1600 - 1652 Soldier in an Interior Oil on oak panel, red seal to reverse Image size: 15 x 10 3/4 inches Dutch Ebonised frame Bathed in a well lit roo...

Giuseppe Nuvolone (Milan, 1619 – 1703) Title: Adoration of the Magi Medium: Oil on paper applied to canvas Dimensions: without frame 16.5 x 24 cm – with frame 22 x 29 cm Antique sha...

Bartolomeo Guidobono (Savona, Italy, 1654 - Turin, Italy, 1709) Title: Bacchanal with Maenads, Satyrs and Nymphs Medium: Oil on canvas Dimensions: without frame 120 x 110 cm - with f...

Bernhard Keil, also known as “Monsù Bernardo” (Helsingør, Denmark, 1624– Rome, Italy, 1687) Title: Two blind figures helping each other Medium: Oil on canvas Dimensions: without fra...

Francesco Graziani, known as Ciccio Napoletano (active in Naples and Rome in the second half of the 17th century) Battle with clash of horsemen Oil on canvas 95 x 130 cm In period ...

French School circa 1645 Portrait of Cardinal Mazarin - Sketch Oil on canvas H. 41.5 cm; W. 27 cm Provenance: Collection of the Reverend Georges Downing Bowles (1789-1863) Would ...

Agostino Beltrano (Naples, Italy, 1607 - 1665) Title: The Procession to Calvary Medium: Oil on canvas Dimensions: without frame 98 x 122.5 cm - with frame 118 x 142.5 cm Beautiful or...

Hyacinthe Rigaud (Perpignan 1659 - Paris 1743) Circle Portrait of Philip V, King of Spain (Versailles 1683 - Madrid 1746) Oil on canvas 72 x 59 cm - framed 87 x 74 cm. The painting examined here, depicting King Philip V of Spain (Perpignan 1659 - Paris 1743), is to be placed in the circle of the painter Hyacinthe Rigaud (Perpignan 1659 - Paris 1743), one of the most significant portrait painters of his time and a great interpreter of the French school. This is a work of excellent pictorial quality: note the rendering of the facial features and the sharpness of the contours emphasised by the light. The face is characterised by chiaroscuro passages that verisimilarly reproduce light and its effects, rendered with great skill. Philip V wears a black satin costume with a sword at his side, he wears the stiff white Spanish collar and at the same time wears the blue sash of the Order of the Holy Spirit and the collar of the Habsburg Order of the Golden Fleece: this bringing together of the two main orders of France and Spain announced the possibility of a union between the two crowns. In Spanish costume, this effigy is nevertheless fully in line with the French tradition of ceremonial portraiture, also testifying to the renewal that Rigaud had brought about, particularly through the relationship between the character and the splendour of the decoration. The work is inspired, reworked in a reduced format to make it suitable for a private clientele, by the large painting that Rigaud made for the sovereign around 1700, today conserved in the Louvre, reproduced by the same workshop in numerous other versions. The account books...

The sermon of the Baptist is set in a large open space, with rich vegetation and wooded glimpses, and on the back, in the distance, you can see the buildings of a city. The scene see...

17th Century Dutch Maestro Title: Still life with bird, carp & lobster Medium: Oil on canvas Dimensions: without frame 116 x 97 cm - with frame 153 x 133,5 cm Antique frame "a casset...

This Flemish Baroque art by David Teniers the Younger’s is a captivating masterpiece, “Tavern Gathering,” painted in 1646. Renowned as the preeminent Flemish genre painter of his tim...

Frans Wouters was a Flemish Baroque painter who mainly created smaller cabinet pieces. He was initially apprenticed to Pieter van Avont in Antwerp, but then moved to Rubens‘ worksho...

Still Life Of Pears, Apples and Grapes in an upturned basket, 17th Century circle of BARTHOLOMEUS ASSTEYN (1607-1667) Huge 17th Century Dutch Still Life of apples, pears and grape...

Portrait of Maria Therese of Spain, Queen of France, 17th Century Circle of Henri and Charles Beaubrun Not signed This distinguished seventeenth-century portrait of Maria Theresa o...

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...

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...

Oil painting on canvas. Lombard school of the seventeenth century. The large scene presents in the center the seated Madonna proposing her breast to the Baby Jesus, who instead stretches out to try to pick a fruit from the basket that St. John gives him, standing under them; around, five figures of saints, recognizable by their iconographic attributes. From the left you have: St. Paul, holding the sword, St. Anna, lovingly watching over his daughter and grandson, St. Peter holding the keys to the Kingdom, St. Joseph with his stick and a carpenter's tool at his waist , and finally, last on the right, San Carlo Borromeo...

Antique Flemish Baroque painting, 17th century, portrait, Medici. Oil on canvas. The painting is probably attributed to the Flemish painter Justus Sustermns. Pictured is most likel...

The Triumph of the Infant Bacchus, Workshop of Hendrick Van Balen (1575-1632) Antwerp, c.1630 Oil on copper, h. 28 cm (11.02 in), w. 35 cm (13.78 in) A large Roman 17th century golden painted frame Framed: h. 52 cm (20.47 in.), w. 58 cm (22.83 in) Our finely painted work depicts The Triumph of the Bacchus as a young boy and is one of the most popular mythological subjects in Antwerp at the beginning of the 17th century. Feasting, wine and fun are the themes that constantly appeal to the public. Thus unfolds before our eyes on our painting the procession composed of nymphs, baccantes, fauns, satyrs and children, their bodies naked, partially covered with brightly coloured draperies that help to brighten up the parade. Playing various instruments, dancing and drinking, while carrying vases and poles adorned with grapevines, participants to the rhythm of a noisy brass band make their way to an ancient temple standing on the right. The exaggerated gestures convey to us the frenzy of the excited crowd. The Child Bacchus follows the joyous procession, carried by satyrs and nymphs, crowned with ivy and joyfully raising a cup of wine. In the foreground, the drunken participants leave the procession, the children on the left and the group of bacchantes and satyrs on the right are resting among various objects scattered at their feet: cups, vases, ewers bear witness to the festivities in progress. In the background, a hilly landscape stretches out on the horizon, a semblance of calm that contrasts with the bustle of the foreground. The artist strives to multiply the many details, whether it be figures, costumes, flowers or vegetation, in order to demonstrate his know-how and the perfection of his execution. The acidulous palette with fresh and varied colours is characteristic of Hendrick Van Balen's works. There are several versions identical to ours with similar dimensions painted by Hendrick Van Balen and his workshop. Related works: • Koller Auction, Zurich, 21/09/2007, oil on copper, 28,5 x 37,4 cm. • Staatliche Kunsthalle, Karlsruhe, Inv. N° 809 (oil on copper, 40 x 53,5 cm) • Auktionshaus für Altertümer Glückselig, Vienne, 10/05/1932, ( oil on copper, 34 x 42 cm) • Gemäldegalerie of Pommersfelden, Schloss Weissenstein, oil on panel, 47 x 64 cm Hendrick Van Balen, Flemish painter, born and died in Antwerp (1575-1632). A pupil of Adam Van Noort, he entered the Guild of St. Luke in 1593, later trained in Italy and was Van Dyck's first teacher. He often painted small figures taken from scenes from the Bible or classical mythology, on paintings whose backgrounds and landscapes were painted by Josse de Momper...

Rest during the Flight into Egypt - The Virgin and Child with St. John the Baptist and the angels in a Landscape. Attributed to Pieter Van Avont (1600-1652) 17th century Antwerp School, circa 1630 Oil on oak panel, Dimensions: h. 38 cm, w. 50 cm (14.96 in x 19.68 in) Flemish style frame in ebonized and moulded wood Framed: h. 56 cm, w. 68.5 cm (22.04 in. x 26.97 in.) In the heart of a lush wooded landscape, the Virgin with Jesus rests in a green clearing accompanied by Saint John the Baptist and the cherubs. Seated to the left of the composition, the Virgin Mary holds the Child on her lap; the little Saint John the Baptist wearing the camel-skin tunic (his attribute) stands before Jesus to exchange a few caresses. On the right, the couple of cherubs are playing with the lamb of Saint John the Baptist, bringing a jovial character to the scene. A pair of gardening putti on the left pick flowers to bring bouquets to the Virgin and Jesus. Spring flowers such as tulips, daffodils and anemones that grow abundantly around them and enrich the composition with their shimmering colors. A lush rose bush blooms to the left of the figures offering delicate roses. (The rose is the flower associated with the Virgin Mary, who is the "mystical rose," the one that does not bear the "thorn of sin") At the feet of the Virgin are bunches of grapes (symbol of the future passion of Christ) as well as apples (symbol of the original fall of Man but also of the Redemption in Christ) In the foreground we find a wicker basket filled in profusion with beautiful flowers and guinea pigs nibbling on the blades of grass. In a cleverly arranged disorder, these elements of the still life with their strong symbolic power accentuate the religious theme, but are also an opportunity for the artist to demonstrate his know-how in the still life genre that is gaining momentum in Antwerp. The landscape behind the figures consists of a large tree with a twisted trunk and a luminous opening to the horizon placed on the right. We see Saint Joseph arriving with a donkey, a small reminder from the artist that the composition is associated with the episode of Rest during the flight into Egypt. The calm expanse of this bucolic forest opening onto the luminous distance, with its profusion of symbolic flowers and fruits, is particularly suited to this sacred scene. The theme of Jesus' sacrifice and his tragic fate is mitigated by cherubs who play with innocence and carelessness in the face of the fragility of life symbolized by cut flowers. The great mastery of the painter is manifested by the finesse of the drawing enhanced by the delicacy in the application of the brushstrokes bringing a multitude of details. The richness of the whole is exacerbated thanks to the choice of colours, this varied palette is an undeniable asset of our work. The virtuosity of our artist lies in his versatility, as much concerned with the success of the landscape and flowers as with the modelling of his figures. The cherubs with their naked bodies are gracefully illuminated by warm colours with subtle shadows, while the still life is rendered with astonishing realism, both in the precision of the drawing and in the countless shades of the flowers. There are several compositions similar to ours, of which below are the closest versions: • Sale, Jean-Claude Anaf et Associés, Lyon, 08/02/1998, attributed to Pieter Van Avont, oil on panel, h. 48 cm, l. 71 cm (recorded on RKD n° 31451). Comment: identical composition, only St Joseph with the donkey is different) • Christie's New York sale, 29/01/1998, Pieter Van Avont, oil on copper, h. 23.8 cm, w. 24.8 cm • Dorotheum sale, Vienna, 25/04/2017, Pieter Van Avont and Jan Breughel II, oil on copper, h .26 cm, w. 39 cm • Hermitage Museum, Saint Petersburg, Russia, Pieter Van Avont, oil on panel, h. 50.5 cm, w. 71.7 cm Peter van Avont, Flemish painter (Mechelen, 1600 - Antwerp. 1652) Born in Mechelen, he is mentioned in 1620 as a member of the painters' guild of his hometown. He left in 1 622 for Antwerp, where he was also a member of the guild. He collaborated with many painters, including Jan Brueguel the Younger, David Vinckboons, Lucas van Uden...

Giulio Benso (Genoa, Italy, 1592 - 1668) Title: The Expulsion of the Merchants From the Temple Medium: Oil on canvas Dimensions: without frame 121 x 170 cm - with frame 144 x 193 cm ...

Circle Wouwerman, Horseman by a Tent, Riders Playing Cards (?), Old Master Dutch Art, Travellers or Riders resting by a tent and gambling

Portrait of a lady, half-length in a feigned oval wearing a ruby coloured silk gown holding entwined strings of pearls across her bodice. Signed 'PNason' and dated 1667 (lower right)...

Circle of John Riley British, (1646-1691) Portrait of a Gentleman Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inch...

The Musical Contest between Apollo and Marsyas, by Peter Sion (Antwerp, 1624-1695) Signed in the lower right corner P. Sion 17th century Antwerp School Oil on copper, dim. h. 53 cm, ...

Born in Antwerp, Artus Wolffordt received his training in Dordrecht where he became a master in 1603 at the age of twenty-two. He returned to his native city in 1615 and initially worked as an assistant to Otto van Veen...

Cesare Pronti (Cattolica, Italy, 1626 - Ravenna, Italy, 1708) Title: Martyrdom of Saint Agatha Medium: Oil on canvas Dimensions: Without frame 57.7 x 37 cm – with frame 64 x 42.7 x 3...

LANDSCAPE WITH FLIGHT TO EGYPT, JASPER VAN DER LANEN (ANTWERP, 1585 - 1634) 17TH CENTURY FLEMISH SCHOOL ANTWERP CIRCA 1630 Oil on copper, dimensions: h. 10.23 in, w. 14.96 in Flemish style frame in ebonized wood adorned with wavy moldings and wood veneer. Framed dimensions: h. 17.32 in, w. 21.65 in Provenance: Philips auction...

Felice Torelli (Verona, Italy, 1667 - Bologna, Italy, 1748) Title: Rachel Hiding the Idols Medium: Oil on canvas Dimensions: without frame 41 x 116 cm -...

Provenance: Cornelius Vanderbilt, New York; by whom gifted in 1880 to: The Metropolitan Museum of Art, New York (80.3.673); deaccessioned and sold: Christie’s, New York, 12 June 19...

French School of the 17th Century – Circle of Pierre Mignard (1612-1695) Title: Female portrait with flowers Medium: Oil on canvas Dimensions: without frame 81 × 68 cm – with frame ...

Madonna with Holy Child and St. John is a masterful depiction of a tender religious scene, capturing the sacred relationship between the Virgin Mary, the infant Jesus, and St. John t...

Studio of Sir Peter Lely Dutch, (1618-1680) Portrait of a Lady Oil on canvas Image size: 29.25 inches x 24.25 inches Size including frame: 37...

Lombard painter of the seventeenth century Ecce Homo Oil painting on canvas 56 x 43 cm. , framed 75 x 63 cm. Provenance: Florence, Pandolfini, 5.10.2021, lot 209 The proposed canv...

The Cavalry Charge, Anglo-Dutch Wars, 17th Century attributed to Palamedes PALAMEDESZ (1607-1638) Large 17th Century Battle scene of a cavalry charge during the Anglo-Dutch Wars, ...