17th Century Portrait Paintings

Portrait Of Franz von Sickingen Knight Of The Holy Roman Empire (1481-1523) Italian School Large 16th/17th Century Italian Old Master portrait of Franz von Sickingen, Knight Of The...

Lombard painter active in the 17th century Infant Jesus Oil painting on canvas 70 x 82 cm. - In antique frame 78 x 91 cm. This painting depicts an unusual and pleasant iconographic...

Saint Michael the Archangel expels the rebellious angels from paradise (probably a preparatory sketch) Roman school, 17th/18th century Oil on canvas 99 x 73 cm Framed 119 x 94 ...

Circle of Sir Peter Lely Dutch, (1618-1680) Portrait of a Lady, traditionally identified as Princess Henrietta Anne Stuart Oil on canvas Image...

Circle of Adam de Coster (Mechelen 1586 – Antwerp 1643) Portrait of a Young Man with a Turban, Dressed in Oriental Style Oil on canvas H. 43 cm ; W. 33 cm Unsigned This portrait of ...

Circle of Jacob Ferdinand Voet Portrait of a Little Girl Oil on canvas H. 44 cm; W. 38 cm Unsigned This delicate portrait of a child, from the circle of Jacob Ferdinand Voet, demons...

Pierre Mignard, known as Le Romain (Troyes 1612 - Paris 1695), attributed Portrait of 'Louise Renée de Penancoët de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734) as MADDALENA Oil on canvas 97 x 88 cm In an important gilded frame 132 x 122 cm. Provenance: Private collection, Naples The young and attractive noblewoman portrayed in this painting is Louis Renée de Penancoet de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734), known to have been King Charles II's favourite mistress for over fifteen years, from whose relationship Charles Lennox, 1st Duke of Richmond, was born, but above all to have gone down in history as one of Louis XIV's French informants at the English court. The duchess was a very influential figure at court, promoting French interests and often acting as an intermediary between the king, his ministers and French ambassadors. After the death of Charles II this influence quickly came to an end, forcing her to hastily leave London and renounce all her possessions to return to her homeland, between Aubigny-sur-Nère and Paris, where she died in 1734, always remaining in the sovereign's good graces. The peculiarity of the portrait, probably executed after her return to her homeland, is that the noblewoman takes the form of a charming Mary Magdalene, depicted here following her renunciation of earthly possessions, her rich robes and jewellery, in order to aspire to heavenly riches; We see her immortalised with her long hair loose on one breast, her intriguing but serene gaze directed at the observer, as she rests her crossed hands, as if in prayer, on the ampulla of perfumed ointments and the open book, both iconographic symbols. The custom of being portrayed in the guise of Magdalene was in vogue for powerful women of the great European courts as early as the 16th century, as it represented the most appropriate image to justify the union of female power and virtue. It must be said that court culture exalted only the positive characteristics of her personality, glossing over or downplaying all references to her sinful past and dissolute life. The work, whose style fits perfectly into 17th century French portraiture, suggests the pertinent attribution to the Baroque painter Pierre Mignard (Troyes, 1612 - Paris, 1695), whose works were highly praised and earned him a great reputation as a portrait painter for the demanding Parisian aristocracy at the time of Louis XIV, and who portrayed the Duchess de Kérouaille on numerous occasions. His first important artistic training took place in Simon Vouet's studio, and he then moved to Italy for over twenty years before returning to Paris, blending his own with the influence of Roman classicism. The elegant looseness of touch and sensual refinement typical of Mignard, combined with a very accurate chiaroscuro rendering, inherited from his artistic training in Rome (which he looked up to the examples of Ferdinad Voet), and the exceptional sweetness of the drawing, the floridity of the complexion and the almost enamelled surfaces, and finally, the peculiar pose of the figure portrayed (the beauty of the two intertwined hands...

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...

Hendrick van Balen (Antwerp 1575 - 1632) workshop Possible Jan van Balen (Antwerp 1611 - 1654) Madonna and Child with Three Angels Oil on panel 65 x 50 cm....

Portrait of Hortense Mancini, Duchess of Mazarin (1746-1699), 17th Century by Jacob Ferdinand Voet (1639-1689) Large 17th Century Italian portrait o...

Oil on gattice wood in octagon. Il gruppo di otto dipinti in oggetto (figg. 1-8) rappresenta, nel classico formato fiorentino dell’ottagono, una serie di effigi femminili a mezza figura. Più precisamente, si tratta di giovani fanciulle elegantemente vestite, disposte in varie attitudini ma accomunate, ad eccezione di due esemplari sui quali ci soffermeremo in seguito, dall’accento sulla ricchezza, evidenziata sia da particolari di fastose console e drappeggi, sia da collane di perle o tessuti preziosi che le donne talvolta maneggiano, ponendovi così l’accento. Una delle figure porta in testa una corona reale, altre dei turbanti o inconsueti copricapi. Questi dettagli conferiscono ai personaggi un aspetto principesco, talvolta abbinato a richiami orientaleggianti. Una formula che riporta alla mente il caso di un dipinto da poco riscoperto nella sua vera identità, il “Ritratto fino a mezzo busto di Regina Armena” di Mario Balassi, seducente connubio di recuperi alloriani ed elementi di fantasia conservato alle Gallerie degli Uffizi (vedi F. Berti, Da ritratto mediceo di Jacopo Ligozzi...

Attributed to Juan Bautista Martínez del Mazo (Castile 1611 - Madrid 1667) pupil and collaborator of Diego Velázquez Portrait of Charles II, King of Spain, as a child (1661 -1700) Spain, c. 1670 Oil on canvas 68 x 49 cm. - In antique frame 96 x 75 cm. The analysis of this portrait, and in particular the style with which its features have been outlined, brings us back to the great tradition of the 17th century Spanish school. The portrait depicts the young King Charles II of Spain, dressed in typical Spanish fashion, the youngest and only son of Philip IV of Spain and his second wife Maria Anna of Austria, as well as the last of the Habsburg dynasty to rule Spain. which portrayed the young ruler in full length at the age of four (dated 1665), dressed in a black suit and cape, and a large feathered...

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...

The painting is about the Florentine school and a seventeenth-century Italian school. Oil on canvas After Lorenzo Lippi (1606–1665) who was a prominent Florentine Baroque painter a...

Attributed to Sir Godfrey Kneller (1646 - 1723) A Portrait of Ochius, also called The Passia Ahmed Oil on canvas In a gilded frame Painted circa 1689 following the siege of Belgrad...

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

PPortrait Of Barbara Villiers (1640–1709), Countess of Castlemaine and Duchess of Cleveland Circle of Sir Peter Lely (1618-1680) Huge 17th Cent...

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"...

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...

Catherine of Braganza (1638–1705), Circle of Sir Peter Lely (1618–1680) Queen consort of England, Scotland, and Ireland, married to King Charles...

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 ...

Bartolomeo Schedoni (Modena 1578 - Parma 1615) workshop of Portrait of a child (Alessandro Farnese?) First half 17th century Oil on canvas (95 x 66 cm. - In frame 109 x 80) This i...

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

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...

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...

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)...

Portrait of a 17th century lady, three-quarter length, in an ivory silk gown standing on a garden terrace. The lady, painted circa 1670, gestures with her hand towards the gardens and land beyond off her country estate, wearing a sumptuous ivory silk gown adorned with pearls and precious stones and pearl earrings and necklace, signaling her wealth and status. She wears a ring on her left hand, which combined with her pale gown possibly alludes to her recent marriage. There are traces of a signature in ligature 'JG' in a lower fold of the sitter's right hand sleeve. John Greenhill...

Confirmation Day, dated 1892 by Albert Chevallier Tayler (1862-1925) - Exhibited 1892 Large 19th Century Newlyn School interior scene titled "Confirmation Day", oil on canvas by A...

Pieter de Witte, also known as Peter Candid (Bruges, 1548 - Munich, 1628) - Workshop/School The Annunciation oil on canvas (cm): 79 x 110 - framed 92 x 127 We are delighted to present a fascinating work, dating back to the beginning of the 17th century, inspired by the prototype of the Annunciation created around 1586-1595 by Pieter de Witte, also known as Peter Candid (Bruges, 1540/1548 - Munich, 1628), which has been lost but made famous thanks to an engraving made and published by Jan Sadeler I (1550-1600). A painter of Flemish origin with strong affinities to 16th century Italianising culture, De Witte tackles the theme of the Annunciation numerous times, revealing knowledge of both Roman and Florentine Mannerism, inherited from his Italian sojourn. Some of these works are now housed in various international museums, in addition to autograph or workshop works that can be found in numerous public or private collections; in this regard, we may mention the following: - National Museum in Prague [1] - Carrara Academy of Bergamo, Angelo Annunziante and Vergine Annunziata [2]. - Finnish National Museum, Helsinki  - Private property, religious institution Bergamo (Bergamo area) Observing the composition, we can admire the rather well-established iconographic scheme, with the two figures immersed in an almost dreamlike atmosphere: the Archangel Gabriel on the left, of an ethereal beauty, appears imperious as he delivers the supreme annunciation to the Virgin Mary, who greets him with lowered eyes, composed in her amazement; surprised in the act of reading a book, she receives the white lilies...

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...

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...

Portrait of the Hon. James Thynne (c. 1680-1704), full-length, in the gardens of Longleat House, seated beside a fountain, holding a shell beneath water spouting from a horn blown by a cherub on a dolphin. A glimpse of part of Longleat House can be seen upper left. Oil on canvas in a period giltwood frame, decorated with leaves and acorns. C. 1682. Dimensions: 145 x 123cm (57 x 48in) in frame Provenance: Ex Longleat House, Wiltshire Private collection, Bath James Thynne was the youngest son of Thomas Thynne, 1st Viscount Weymouth and Frances Finch of Longleat House, Wiltshire. He died in his youth and his Aunt, Anne Kingsmill Finch, Countess of Winchilsea (1661-1720), wrote a moving poem on his death. He was buried in the family vault at Longbridge Deverill, Wiltshire. A mezzotint of this painting by William Faithorne the Younger is held in the Royal Collection. Johann Kerseboom (d.1708) was the nephew of Frederick Kerseboom and first worked in Germany before coming to England in the 1680's where his sitters included the 'Electress Sophia Dorothea' (known from a mezzotint by William Faithorne). His early works were influenced by William Wissing...

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...

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...

Oil Painting After Sir Peter Lely (1610-1680) Portrait of a Lady Housed in a Lely gold Leaf Frame. Peter Lely: In 1647 he became a member of the Pain...

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...

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...

Title: Portrait of Charles II of Spain Artist: Unknown Date: Late 17th century Medium: Oil on copper Framing: Set against red velvet in a deeply carved and distressed giltwood frame,...

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...

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...

After Lorenzo Lippi (Florence, May 6, 1606 - Florence, April 15, 1665) is a Baroque painter of the Florentine school and a seventeenth-century Italian poet.

17th century Flemish school The Mismatched Couple Oil on canvas 75 x 96 cm. Framed 96 x 118 cm. The curious subject we see depicted in the canvas proposed here belongs to the trad...

Painter active in Rome in the early 17th century Susanna and the Old Men Oil on canvas 76 x 62 cm. with frame 92 x 78 cm. This valuable painting illustrates the piquant episode, ta...

Oil on oak panel Image size: 17 1/4 x 22 1/4 inches (44 x 56.5 cm) Period oak frame This is a portrait of a Tudor gentleman in an open next shirt with one hand raised to his chest. ...

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...

Amazing painting of Cleopatra oil on canvas with a gilt wood frame. Attributed to Giuseppe Diamantini (Fossombrone 1621-Venice 1705) not signed. The dramatic subject of the paintin...

The Christ Child as Redeemer of the World Oil on Canvas, 69.3 x 49.7 cm Provenance Private Collection, Belgium The present painting is known in different versions. One of them is ...

Bernardo Strozzi, also known as “Il Cappuccino” and “il Prete Genovese”, (Genoa, Italy, 1581 – Venice, Italy, 1644) Title: Portrait of a man with white collar Medium: Oil on canvas D...

The painting is oil on canvas. Unsigned Philippe de Marlier or Philips de Marlier, also called "Fat Lup" (fat Philip) (also: Philips de Marli; Philips de Merlyn; first name also: F...

Saint James The Greater, 17th Century after ALBRECHT DÜRER (1471-1528) Large 16th 17th Century Old Master portrait of Saint JamesT...

Workshop of Giovanni Francesco Barbieri, known as Il Guercino (Cento, 1591 - Bologna, 1666) Saint Mark the Evangelist Oil on canvas - 85 x 71 cm., Framed 100 x 86 cm. Of great cha...

CHRISTOFFEL LUBIENIECKI (1659-1729) Pair of portraits of a gentleman and a lady, both in silk kimono, before a country house (circa 1680) Indistinctly signed “C.......” on a box under the man’s left hand Oil on canvas, 79.5 x 67 cm each Both sitters are portrayed wearing a silk “Japanese” coat. During the second half of the seventeenth the Japanese silk coat, an adapted Japanese kimono, became a real vogue in the Dutch elite. The exclusive Dutch trade contacts with Japan can explain the popularity of the kimono-style silk coats in the Netherlands. Everybody who could afford one, dressed in such a fashionable and comfortable coat and, like the present sitters, some proud owners had themselves portrayed in a “Japanese” coat often together with an oriental carpet to underline their standing and international connections. These portraits are the work of the Polish-born portraitist Christoffel Lubieniecki (also known as Lubienitski, Lubinitski or Lubiniecki) Lubieniecki was first trained in Hamburg under Julian Stuhr and after 1675 in Amsterdam under Adriaen Backer and Gerard de Lairesse. He specialized in landscapes, generally of an Italianate character, and in portraits. The loving execution of these contented burghers, enjoying the garden vistas of their country house, places him alongside Amsterdam portraitists such as Constantijn Netscher and Michiel van Musscher...

St. Peter And The Rooster 1600 oil painting on canvas reinteled with new frame. The painting was probably part of a larger composition depicting St. Peter repenting, weeping. Italian...

Circle of Mary Beale 1633 - 1699 Portrait of a Gentleman Oil on canvas Image size: 30 x 25 inches Contemporary gilt frame Mary Beale was the daughter of a Suffolk clergyman.She married Charles Beale...

Early 17th-century Lombard painter Daniele Crespi (Busto Arsizio, 1597-1600 – Milan 1630), Circle of Saint Sebastian oil on canvas Dimensions: 82 x 60 cm. In frame 100 x 7...

Dipinto di scuola toscana della seconda metà del XVII secolo raffigurante un ritratto maschile di tre quarti, immerso nell'eleganza e nella maestosità proprie dell'epoca. La figura è...

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 ...

German School 17th Century Portrait of Philip Melanchthon Oil on panel, unsigned Image size: 9 x 12 inches (22.6 x 30.3 cm) This charming portrait depicts Philip Melanchthon, the ac...

Saint Anthony Of Padua, 17th Century Circle of CARLO DOLCI (1616-1686) 17th century Italian Old Master depiction of Saint Anthony of Padua, oi...

"Saint Lawrence Looking at the Treasures" is a captivating painting attributed to the Bolognese School, a prominent art movement from Bologna, Italy, flourishing primarily in the 16t...