17th Century Paintings

Madonna and Child with Angels Attributed to Louis de Caullery (1565 -1622) for figures & Abraham Govaerts (1589 - 1626) for landscape Not signed 17th century Antwerp school, circa 16...

Antonio Tibaldi (Rome, c. 1633 - c. 1684) Still Life with Precious Objects, Brocade Fabrics and a Plate of Sweets c. 1650/1660 Oil on canvas, 96 x 130 cm In frame 115 x 150 c...

Giovanni Segala (Venice 1663 - Murano 1720) Susanna and the Elders oil on canvas (155 x 127 cm - with frame 174 x 146 cm) This delightful, large-scale painting illustrates th...

Portrait of Lord William Russell, three-quarter length seated at a table wearing a Brown Coat and a Yellow Waistcoat and a White Stock, a book by his side Oil on canvas 49 ½ x 39 ½...

The Resurrection of Christ Follower of Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576)   Venetian school of the late 16th/early 17th century Oil on canvas 108 x 78 cm. - Framed 129 x 99 cm. This jewel of the Venetian school, a work executed between the 16th and 17th centuries by a Venetian artist, illustrates the episode of the Resurrection of Christ: as reported in the Gospel of Matthew (Matthew 28:1-7) the event is accompanied by an explosion of light and glow, with the figure of Christ rising into the sky. Christ's face, serene and victorious, looks up towards the Light and the Infinite, in contrast to his majestic figure, here constructed with the appearance of a classical sculpture, contrasted by an intensely luminous background. The Risen One firmly holds in His hand the banner (white with a red cross) of the Resurrection, also known as the flag of St. George, which iconographically represents His victory over death, while raising His right hand in a blessing act. With his feet he crushes a snake and a skull, a sign of Christ's triumph over sin and death. The painting belongs to the Venetian school and presents clear reminiscences with the works of Titian Vecellio...

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...

Antonio Mondino (information from c. 1610 to c. 1626) Title: Mystic Marriage of St Catherine of Alexandria Medium: Oil on canvas Dimensions:...

The Holy Family 17th century Genoise School, unsigned as typical of the period follower of Luca CAMBIASO oil on canvas, unframed canvas: 29.5 x 22 inches inscribed verso Provenance: ...

Julius Porcellis (Rotterdam 1610 – 1645 Leiden) attributable Seascape with ships Oil on wood panel (oak) 52 x 84 cm In gilded wood frame 77 x 108 cm The painting on display d...

This superb 17th century Dutch Golden Age oil painting has been more recently reattributed to Abraham Begeyn by Dr Marijke C. de Kinkelder formerly of the RKD - Netherlands Institute for Art History. Painted circa 1640 it is an Italianate wooded river landscape with drovers and their herd crossing a river with a watchtower beyond. Begeyn was one of the many 17th-century Dutch and Flemish painters to embrace the Italianate style, populating their decidedly non-Dutch, mountainous landscapes with rustic travellers and picturesque ruins bathed in warm, Mediterranean light. It has Begeyn's characteristic brightly lit cattle and grouping of figures, similar to a comparable painting in the Lichtenstein Princely Collections. The brushwork and details are superb. One can see the influence of his teacher Nicholaes Berchem (1620-1683) and the typical golden glow of the Golden Age painters. This is a stunning 17th century Golden Age oil painting and an excellent example of Begeyn's work. Provenance: With Koetser Gallery, Zurich. Private Collection (Rhine region). Anon. sale, Dorotheum, Vienna, 22 June 2010, lot 357, as by Jacob de Heusch (€18,600). Anon. sale, Christie's South Kensington,18 November 2015, lot 432, as 'Follower of Nicolaes Berchem'; where purchased by the present owner. Note: Begeyn was one of the many 17th-century Dutch and Flemish painters to embrace the Italianate style, populating their decidedly non-Dutch, mountainous landscapes with rustic travellers and picturesque ruins bathed in warm, Mediterranean light. He is thought to have studied under Nicolaes Berchem (1620-1683), a pioneer of this genre of landscape painting, and travelled extensively to Italy, London and later to Germany in 1688, where he lived out his days as court painter to Frederick III, Elector of Brandenburg (later Frederick I, King of Prussia). The present work was previously thought to be the work of Jacob de Heusch (1656-1701), but has been more recently reattributed to Abraham Begeyn by Dr Marijke C. de Kinkelder formerly of the RKD - Netherlands Institute for Art History. A comparable scene, which also includes Begeyn's characteristic brightly lit cattle and a similar figure group, was sold at Christie's Amsterdam, 18 November 2015, lot 110. Another can be found in the Liechtenstein Princely Collections (no.GE 290). Condition. Oil on canvas, image size 21 inches by 18 inches and in good condition. Frame. Housed in a beautiful gilt frame, 28 inches by 25 inches and in good condition. Abraham Begeyn (c. 1637 Leiden - 11 June 1697 Berlin), was a Dutch Golden Age painter. Begeyn was born in Leiden. Though perhaps known mostly for his Italianate landscapes and cattle in the manner of Nicolaes Pietersz Berchem, Begyn was a highly skilled painter active in many genres, who travelled widely. According to the RKD, Begeyn's earliest known work is from 1653, though he was first accepted into the Guild of St. Luke in Leiden in 1655. He stopped paying dues in 1667, because he set off for a trip to Italy. He is registered in Rome and Naples from 1659–1660. In the rampjaar or disaster year, of 1672, he is registered in Amsterdam, and after that he lived in London, where he painted at Ham House, Surrey, together with Willem van de Velde the Younger (1633–1707) and Dirck van Bergen...

Unidentified Artist, Neapolitan School, 17th Century "Musicians" Oil on canvas Framed: 107 x 140 cm Flat: 92 x 124 cm No signature This evocative 17th-century painting, attribute...

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

A portrait of courtier and politician John Poyntz, after Hans Holbein, circa 1644 - 1674. This painting is based on a drawing by Hans Holbein, part of the drawings collection of the ...

Eastern European young woman in traditional dress with silver lacings and jewelry holding an open book. This portrait pose is in the Renaissance period Mannerist style, and the young...

Tiziano Vecellio (Pieve di Cadore 1488 - Venice 1576), follower of - Penitent Magdalene. 35.5 x 25 cm without frame, 48.5 x 38.5 cm with frame. Ancient oil painting on panel, in a ...

This painting seduced us with its rich colors. Depicting Diana and her companions surprised by Actaeon, it was inspired by an engraving by Aegidius Sadeler II after a painting by Jos...

Jan Frans Soolmaker (Flanders 1635‑1685) Shepherd with Sheep, Cows and a Goat in a Landscape oil on relined canvas canvas size 56 x 53 cm frame i...

A 17th century English portrait of a lady by Sir Peter Lely (1618-1680), half-length in a painted feigned oval, wearing a green silk gown with chestnut coloured cloak over one shoulder, her fair hair curled in the fashionable ringlet style of the period. Oil on canvas in an English giltwood 'Lely' frame. We are grateful to Diana Dethloff and Catharine MacLeod (who are currently working on a Lely catalogue raisonné) for their confirmation of Lely as the artist from photograph analysis of this previously unidentified early work. Provenance: Private collection Nottingham until 2021 Mellors and Kirk sale December 2000, lot 1173 The sitter is likely to have been from an upper class or aristocratic family in court circles, who were the main source of Lely`s patronage. The simple composition serves to highlight the beauty of the sitter through portraying her pale decolletage and complexion, set against the gentle gaze of her blue eyes, the soft blush of her cheeks and her full red lips. Peter Lely (1618-1680) was originally of dutch origin and became Principle Painter to the King in 1661, following in the footsteps of Van Dyck who had died in 1641. He dominated the portrait painting scene in England for over 20 years, creating a distinctive 'court look' in his work which had a strong influence on many other artists. He had an extremely successful and popular portrait practice which meant that he soon had to develop production methods that could accommodate the high demand for portraits, and also for copies and versions of them which were given as gifts to family and courtiers. The use of studio assistants was a common practice for busy artists and as with Van Dyck, Lely is known to have used specialist assistants to execute particular parts of his paintings. Artists who worked in Lely`s studio included John Baptist Gaspars who specialised in drapery painting, William Wissing, John Greenhill...

Unidentified Artist 17th-Century Tavern Scene Oil on canvas Framed: 113 x 103 cm Canvas: 96 x 91 cm This 17th-century oil painting captures a lively tavern scene, a popular subject in Dutch and Flemish genre painting of the Golden Age. The composition is rich in character and storytelling, depicting a group of men engaged in a card game, with coins, letters, and drinks scattered across the table. A standing woman, possibly a barmaid or concerned onlooker, leans in, while a man enters from the left, holding his hat and appearing amused by the game. In the foreground, a small child tends to a jug and tankard, adding a touch of humor and domestic realism. Executed in oil on canvas, the painting showcases earthy, warm tones and rich chiaroscuro, emphasizing the candlelit glow of the scene. The artist masterfully captures the textures of fabrics, wood, and metal, giving depth and dimension to the environment. The expressive faces and animated gestures highlight the social interactions typical of Dutch and Flemish tavern paintings...

This fantastic Italian Baroque 17th century Old Master portrait oil painting is attributed to circle of Carlo Dolci. Painted circa 1685, the composition is a waist length portrait of...

Nude Figures in Wooded Landscape French School, 17th century oil on wood panel, framed framed: 25.5 x 21.5 inches board: 20 x 15.5 inches provenance: private collection, France condi...

Carlo Dolci (Florence 1616 - 1686) shop Mater Dolorosa, known as Our Lady of the Finger Oil on oval canvas, 29 x 23 cm. In frame 48 x 43 cm. The painting we present to you depicts ...

Bolognese school of the seventeenth century Circle Giovanni Battista Ramenghi, known as Bagnacavallo (Bologna, 1521 - 1601) Oil painting on canvas (86 x 72 cm. - With antique frame ...

Kaspar Waldmann (1657–1720) – "Gypsy Musicians" Medium: Oil on canvas Dimensions: 100 x 149 cm (unframed), 102 x 151 cm (framed) Provenance: Private collection Historical Context &...

This lovely 17th century Old Master religious oil painting is from the Italian School. The subject is Joseph in prison interpreting the dreams of Pharoah's Baker and Butler. The bars...

Jacques Muller (Utrecht 1630 - 1680) Signed: 'J. Muller f(ecit).' Pupil of Abraham van Cuylenborch (Utrecht, 1620 - 1658) Diana and the nymphs bathing in a cave Second half of the ...

Felice Ficherelli Cupid 1603-1660 Oil on canvas, unsigned Image size: 32 x 28 1/4 inches (81.3 x 71.8 cm) Original gilt frame Depicting a relaxed Cupido, the gentle beauty of this p...

Giovanni Bernardo Carbone (Genoa 1614 – Genoa 1683) - Portrait of a gentleman. 200 x 142 cm without frame, 212 x 154 cm with frame. Antique oil painting on canvas, in wooden frame ...

Louis Cretey (Lyon, France, 1635 - 1702) Title: Saint Sebastian Medium: Oil on canvas Dimensions: with frame 91 x 75 x 5 cm - without frame 77 x 60.5 cm With a "cassetta" frame in ...

Oil work on canvas sold with frame. Total size with frame: 58x39x5 cm

Studio of Sir Peter Lely (1618-1680) Portrait of Lady Anne (1665–1714), later Queen Oil on canvas 20⅞ x 16¾ in. c.1678 Provenance Capt. H. A. N. Forte of Polock, West Somerset; Chri...

Rare Engraving "Cabane Des Hold, Terres Artiques, Fig CII," 1st edition "Description de l’Univers, page 281 This rare image depicts the Willem Barentsz expedition of 1597 to Novaya Zemlya, Russia. The engraving, with later hand-coloring, shows the cabin and ship of the Dutch arctic expedition of Barentsz on Novaya Zemlya (Nova Zembla), with the party being attacked (and in some cases apparently eaten) by bears and wolves. Dutch explorer, Willem Barentsz, reached the west coast of Novaya Zemlya in 1594, and in a subsequent expedition of 1596 rounded the northern point and wintered on the northeast coast. Barentsz died during the expedition, and may have been buried on the northern island. This artwork is a page from a book by 17th century cartographer and engineer, Allain Manesson Mallet (French, 1630-1706), "Description de L'Univers, contenant les differents systêmes du monde, les cartes générals et particulières de la géographie ancienne et modern." Paris: Denys Thierry, 1683. Presented in an cream colored mat. Text on verso shown in images. Mat Size: 11.5"H x 9.07"W Paper Size: 8.25"H x 5.44"W Image Size: 5.63"H x 3.75"W Alain Manesson Mallet (French, 1630-1706) was a 17th century cartographer and military engineer. He started his career as a musketeer in the army of Louis XIV, became a Sergeant-Major in the artillery and an Inspector of Fortifications. He later served under Alfonso VI, King of Portugal...

Olio su tela. L'opera è una delle numerose repliche, con alcune varianti, del celebre soggetto realizzato dal pittore bolognese Guido Reni (1574 -1642) e dalla sua bottega. La compo...

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...

Oil painting on canvas. Northern Italian school of the 17th-18th century. The work of a devotional nature, sees the Madonna, seated on the clouds and assisted by two angels who suppo...

Spanish or Italian School of the 18th century. "Penitent Mary Magdalene." Oil on canvas. Dimensions: 97 x 76 cm; 76 x 57 cm (frame). The figure of Mary Magdalene appears in a red tu...

Barend GRAAT (Amsterdam 1628 – Amsterdam 1709) Diana the Huntress Oil on wood H. 33.5 cm ; L. 44 cm Signed lower right on the stone A discreet painter with respect to history, Baren...

Giovanni Battista Beinaschi (Fossano, Italy, 1636 - Naples, Italy, 1688) Title: Saint Bartholomew Medium: Oil on canvas Dimensions: without frame 9...

Attributed to Jan Gerritsz. Stockman (1603–1661) "Paesaggio Classico con Figure" (Classical Landscape with Figures) Medium: Oil on canvas Dimensions (Framed): 162 x 146 cm Dimensions...

Portrait Of Sir William Wallace (1270-1305), 17th century Italian School Large 17th Century Italian School portrait of Scottish Knight Sir William Wallace, oil on panel. Excellent ...

Johann Carl Loth (Munich, Germany, 1632 - Venice, Italy, 1698) Title: Saint Mark Medium: Oil on canvas Dimensions: without frame 65 × 72 cm - with frame 82.5 x 88 cm Not signed Expertise by Professor Dario Succi Publications: Lo studiolo...

Johann Boeckhorst (Münster 1604 - Antwerp 1668) Saint Ursula Oil on canvas, 112 x 86 cm Provenance: New York, Christe's, 20.3.1981, lot 88 (as Van Diepenbeeck's circle) The presen...

Pietro Della Vecchia (Venice, Italy, 1603 - Vicenza, Italy, 1678) Title: The Alchemists Medium: Oil on canvas Dimensions: without frame 73 x 97 cm – with frame 90.4 x 114.3 x 6 cm ...

Guido Reni (Bologna, Italy, 1575 – 1642) Title: Masculine Head Medium: Oil on canvas Dimensions: without frame 44.7 × 51.2 cm – with frame 62.8 x 68.3 x 5.5 cm Expertise by Claudio...

Portrait of a Lady Attributed to Nicolas Fouché (Troyes, 1653-Paris, 1733) Late 17th century French School, Paris, circa 1690-1695 not signed Oil on canvas: h. 99 cm, w. 79 cm Impo...

Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576) follower of Portrait of the emperor Julius Caesar (Rome 100 BC - 44 BC), inscribed above C. IVLIVS. CAESAR Portrait of the Emperor Octavian Augustus (Rome 63 BC - 14 BC), inscribed on top OCTAVIANUS II ROM IMP 17th century oil painting on canvas Measurements (cm.): 65 x 50, with frame 81 x 68 cm. The Latin writer Suetonius with his work 'De vita Caesarum' (and in particular with his tradition in the vernacular of 1543, edited by the Florentine scholar Paolo del Rosso) inspired Tiziano Vecellio who, in 1537, painted for Duke Frederick II of Gonzaga portraits of the eleven emperors, adorning the walls for a small room in the Palazzo Ducale in Mantua, later known as the Cabinet of the Caesars. These effigies were intended to establish the link between the new era and classicism with its splendor, as well as to celebrate the value and wisdom of the rulers, who perceived themselves, in their lordships, as valiant new emperors. Titian's paintings soon became enormously popular and many patrons and lords of the time, including Ferdinando d'Avalos, Marquis of Pescara and Governor of Milan or Vespasiano Gonzaga, turned to the workshop of the Cremonese Bernardino Campi...

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...

Sir Peter Lely (Soest 1618 – 1680 London) Portrait of lady with a crown, possibly Bridget Drury Lady Shaw, formerly Viscountess Kilmorey, later Lady Baber (d.1696) c.1665 Oil on canvas 46 1/2 x 40 3/4 inches, Framed 42 1/4 x 36 1/4 inches, Unframed Inscribed left [……….]Isabella James Mulraine wrote the following for this piece: This portrait dates to the middle of the 1660s, the decade when Lely’s career took off as successor to Sir Anthony van Dyck. At the Restoration Charles II had appointed him Principal Painter to the King and paid a pension £200 per annum ‘as formerly to Sr. Vandyke...’1 Lely had trained in Haarlem and he was in his early twenties when he came to London in 1643. He was an astute businessman and a wise courtier. In 1650 he painted a portrait of Oliver Cromwell (Birmingham Museum and Art Gallery) while maintaining links with the Royalist exiles through the 1650s. He had arrived in England as a painter of small-scale portraits and lush scenes of nymphs in landscapes in a Dutch style. His experience of Van Dyck in English collections transformed his painting. His lavish and alluring vision of Arcadia exactly captured the spirit of the Court and as Principal Painter he dominated English portraiture for the next twenty years. Lely ran a highly efficient studio along Netherlandish lines, employing a team of specialists like the drapery painter John Baptist Gaspars and young artists-in-training like Nicolas de Largilliere. He had numerous rivals during that period, and by 1670 he had introduced numbered standard poses to speed up production, while collaborating with printmakers for further revenue and advertising. He died in 1680 of a stroke while painting, working to the last. The portrait, painted at a date when Lely’s poses and execution were still individual and inventive shows a lady sitting at three-quarter length facing away from the viewer. She has begun to turn towards the viewer, a pose with a long pedigree in art, first used by Leonardo da Vinci in the Mona Lisa (Louvre). She steadies her blue drapery where it might slip from her arm with the movement, a flash of realism beautifully captured. Like Van Dyck, Lely painted his female sitters in a timeless costume rather than contemporary fashion, showing a loose gown and floating silk draperies. It presented the sitter as a classical ideal. The portrait would not date. The saffron dress may be the work of a drapery painter but the brown scarf must be by Lely himself, and appears unfinished, broadly sketched in behind the shoulder. The delicate blue glaze and nervous highlights suggest shimmering translucence. Lely was a master of painting hands – his hand studies are marvels of drawing – and the lady’s hands are superb, exactly drawn, delicately modelled and expressive. The fidgety gestures, clutching the gown, fiddling with the edge of the scarf, give the portrait psychological bite, suggesting the personality behind the calm courtier’s expression, adding to the sense shown in the look of the eyes and mouth that the lady is about to speak. The portrait’s language is Vandykian. The inspiration comes directly from Van Dyck’s English portraits of women. Lely owned Van Dyck’s Portrait of Lady Elizabeth Thimbleby and Dorothy Viscountess Andover (National Gallery, London) and the sitter’s costume quotes Lady Andover’s saffron dress and brown scarf. But Lely paints a generation who sat nearer to the ground and through a dialogue of expression and gesture he shows sitters who are more flesh and blood than Van Dyck’s. The background with a column and curtain is different to those shown in most of Lely’s portraits of women. They tend to include trees or fountains, with a glimpse of landscape. But there are other examples. A portrait of the King’s reigning mistress, Barbara Villiers Duchess of Cleveland...

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

Aftrer Anthony VAN DYCK - maybe Studio (1599, Antwerp – 1641, London) Flemish Double Portrait of George Villiers, 2nd Duke of Buckingham (1628-1687) & Lord Francis Villiers (1629-1648) Oil on Canvas 170 x 147 cm Anthony Van Dyck (1599-1641) No painter has done more to define an era than Anthony van Dyck. He spent only seven and a half years of his short life (1599- 1641) in England. He grew up in Antwerp, where his precocious talent was recognised by Peter Paul Rubens, the greatest painter of his age. He worked in Rubens’s studio and imitated his style as a religious artist, painting biblical scenes redolent of the lush piety of the counter-reformation. But soon he was on the move. In 1620, he visited London for a few months, long enough to paint a history picture, The Continence of Scipio, for the royal favourite, George Villiers, Marquess of Buckingham, and a portrait of his other English patron, the great art collector, Thomas Howard, 2nd Earl of Arundel. After a stint in Italy, making imposing portraits of the wealthy aristocracy and sketching and copying works by Titian, he returned to the Spanish Netherlands in 1627, becoming court artist to Archduchess Isabella before departing for The Hague in 1631 to paint the Dutch ruler Frederick Henry, Prince of Orange. Charles I’s invitation in 1632 led Van Dyck back to London where he was knighted, paid an annual salary of £200 and installed in a house in Blackfriars with a special jetty at which the royal barge might tie up when the King was visiting his studio. By this time Van Dyck was recognised as the leading court painter in Europe, with Velazquez at the court of Philip IV of Spain his only rival. He also excelled as a superbly observant painter of children and dogs. Van Dyck’s notoriety in depicting children led to the introduction of groups of children without their parents as a new genre into English painting (amongst other new genres). For the next 300 years, Van Dyck was the major influence on English portraiture. Nearly all the great 18th Century portraitists, from Pompeo Batoni and Allan Ramsay to Thomas Gainsborough and Joshua Reynolds, copied Van Dyck’s costumes, poses and compositions. George Duke of Buckingham & his brother Francis Villiers Painted in 1635, this double portrait was originally commissioned by Charles I, who raised the two brothers after their father, George Villiers, was assassinated in 1628. Together with their sister, Lady Mary Villiers, they enjoyed the King’s favour absolutely. Francis whose absolute ‘inimitable handsomeness’ was noted by Marvell (who was killed in a skirmish near Kingston upon Thames). The young duke who commanded a regiment of horse at the Battle of Worcester, remained closely associated with Charles II, held a number of high offices after the Restoration and was one of the most cynical and brilliant members of the King’s entourage, immortalised as ‘Zimri’ in Dryden’s Absalom and Achitopbel. As a young man he had sold his father’s great collection of pictures in the Spanish Netherlands, many of them to the Archduke Leopold Willhelm. Painted for Charles I and placed near the portrait of their sister in the Gallery at St James’ Palace. The handling of both costumes is very rich, and the heads are very carefully and sensitively worked. That of the younger boy in particular is more solidly built up than the lower part of the figure. A preparatory drawing for the younger boy is in the British Museum. There are copies at, e.g., Highclere Castle...

Gerard Ter Borch Interior with a Lady in Grey Washing her Hand 1617 - 1681 Oil on Canvas Image Size: 20 1/2 x 26 1/2 inches (52 x 67.5 cm) Contemporary Dutch ripple frame In this genre painting by Ter Borch, the central woman is composed facing the viewer in a grey satin dress...

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

Follower of El Greco The Adoration of the Shepherds / Oil on canvas The present work bares close similarity to a painting of the same name in the collection of the Museo del Prado, ...

The painting Juno and King Aeolus at the Cave of Winds by Randa depicts a dramatic scene from Greco-Roman mythology. It portrays Juno, the queen of the gods, visiting Aeolus, the rul...

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...

Pair of Views of Villa Medici Vascello are an old master artwork realized by Artist of 17th Century. Mixed colored oil painting on canvas. The View of Villa Medici Vascello toward...

Antiveduto Gramatica or Grammatica (Rome, Italy, 1571 – 1626) Title: Magdalene Praying with a Skull Medium:Oil on canvas Dimensions: without frame 58 x 43.2 cm - with frame 85 x 72 x...

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (1 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emi...

Signed and dated lower left. Includes a beautiful later wooden frame cm. 137x8x182. Very Good conditions. Prov. Christie's London, February 15th 1974, n. 19. This artwork is shippe...

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...