17th Century Art

This artwork titled "Woman with Arrow" 1661 is an etching on paper After Rembrandt Van Rijn, 1606-1669, plate engraved By French renown engraver Charles Armand Durand, 1831-1905. The...

This detailed Dutch map entitled "Het Beloofe de Landt Canaan door wandelt van onsen Salichmaecker Iesu Christo, nessens syne Apostelen" by Nicolaes Visscher (1610-1679), published i...

Olio su tela. La grande tela è quasi interamente occupata dalla figura del santo che, seduto sulla roccia in uno spoglio ambiente esterno appena accennato, è intento alla meditazione...

This is a 17th century hand-colored map entitled "Insula Gaditana Isla de Cadiz" from Johannes (Joan) Blaeu's Atlas Maior, published in Amsterdam in 1662. The map provides an excellent plan of Cadiz Island on the southwest coast of Spain, with its harbor, fortifications, agricultural fields and several surrounding salt processing areas. Numerous sailing ships of various sizes are included in and around the harbor and bay, including five large sailing ships, as well as twenty-four smaller ships. There is a small compass rose overlying the bay. The bridge to the mainland from the island is shown on the right. There is an extremely ornate and colorful title cartouche in the lower left, with its mythological figures reminiscent of Raphael’s Galatea fresco at the Villa Farnesina in Rome. The vibrant colors are vividly preserved. The master colorist tried to emulate a painting by using various tones to create a three-dimensional effect.
 Blaeu's name is present in the plate in the lower right. Blaeu stated in his description of Cadiz: “The main wealth of the islanders consists of salt, which they harvest, and
 the tuna fisheries.” 
 This 17th century hand-colored map is framed in an ornate, partially textured bronze-colored wood frame and glazed with UV protected conservation glass. There is a vertical center fold, as issued. There is a faint crease in the lower right and faint color offset on the left from the right side of the map, resulting from having been in an atlas for hundreds of years. Small foci of paint are present in the upper portion of the left margin and in the left corner margin. The map is otherwise in very good condition. Due in large part to their powerful trade empire, the Dutch became known for cartography in the seventeenth century. This period is considered the Golden Age of Dutch cartography. Their publishing houses produced the highest quality work in Europe, particularly those maps and charts of foreign lands, and Dutch map-making set the bar for cartographic accuracy and artistry into the early-eighteenth century. Some of the most well-known cartographers worked in Amsterdam during this period. Perhaps the most famous of these was the Blaeu family. Willem Janszoon Blaeu, set up shop in Amsterdam. His son, Johannes (Joan), succeeded him upon his death in 1638, continuing in his father’s position as Hydrographer to the Dutch East India Company and selling maps to the public. The Blaeu map presses, located near Amsterdam’s Dam Square...

« The Roof of Folly: An Allegory of the Fall » This enigmatic 17th-century painting, laden with symbolic content, echoes the allegorical tradition of Hieronymus Bosch, fusing grotes...

This evocative three-quarter length portrait, executed in the Venetian School during the 17th century, depicts an imagined figure of an elite Ottoman woman, rendered in rich oils on ...

Rome: Giovanni Giacomo De Rossi, 1625. Etching and engraving on cream laid paper, 8 3/8 x 11 1/4 inches (222 x 286 mm), full margins. In good condition with some light yellow discoloration in the margins and on the verso, the image area remains clean and bright. The inscription in the lower margin reads Paulus Quintus Pont. Maxim ... anno DNI MDCXII Pontif.s sui Septimo' and in the margin 'Fontana e castello dell'acqua Paola a S.Pietro Montorio sul Gianicolo, condotta da Paolo V, vicino a Bracciano, Architett.a di Giovanni Fontana', and signed at left 'G.B.Falda del. et inc.' and at right 'G.Iac.Rossi le stampa in Roma alla pace co priv. del SP', and the number '11' in the lower right corner. Printed in 1691. [Bartsch/Le Pientre graveur XXI.241.13] Book I, plate 11: Fountain of San Pietro in Montorio, from "Le fontane delle ville di Frascati nel Tusculano con li loro prospetti" ("The fountains of the Villas of Frascati in Tusculano and their prospects"); a set of four books on fountains published by Giovanni Giacomo De Rossi (Italian, Rome 1627–1691), after Giovanni Francesco Venturini (active ca. 1650–1700) and Giovanni Battista Falda...

Engraving on hand made laid paper, 8 1/2 x 5 7/8 inches (210 x 148 mm), thread margins. An approximately 1-inch vertical repaired tear extends into the image area at the top center ...

Graphite, ink wash and watercolor on handmade laid paper with a large, indistinguishable ovoid watermark with a bunch of grapes, 8 7/16 x 12 5/8 inches (225 x 320 mm), signed in brown ink in the lower left. With the Henry Scipio Reitlinger oval stamp in brown ink on the verso (Lugt 2274a). The condition of the image and paper is consistent with age, there is minor toning on the recto and some attenuation of the green pigment. The drawing is laid down to an 18th century laid paper support and has a small pencil notation in the lower right corner (modern), and scattered notations in pencil on the verso of the support (also modern, perhaps auction/accession notes). On the paper support is an ink drawing in red and black of what appears to be the floor plan for the wing of a large building. The drawing is top-up, adhered facing the verso of the drawing. The architectural drawing on the support is visible through to the recto of the composition when the sheets are viewed through raking light. There is a small area of stipple point spotting in brown ink on the verso of the support. Examination under black light shows no indication of repairs or additions, expert or otherwise. Provenance: Henry Scipio Reitlinger was born in either 1882 or 1885, attended Kings College...

2nd State of three States

Carpi, mid-17th century, scagliola panel. The panel, in black and white two-tone, features insertions of polychrome marbled elements and a central scene depicting St. Michael defeat...

This painting—attributed to the circle of Philipp Peter Roos (1655–1706)—depicts a shepherdess tending her animals in a rustic, mountainous landscape. The young woman sits on a rock ...

Pier Dandini (Florence 1646 - Florence 1712) attributed - The Continence of Scipio (preparatory sketch). 50 x 37 cm. Ancient oil painting on canvas, without frame (not signed). - ...

River Landscape with Boat and two Figures, realized by an artist active in italy in the mid-17th Century. In very good condition, it includes a gilded coeval wooden frame.

London: Robert Wilkinson, c1620 Engraving on thin Japon paper,16 1/8 x 11 3/4 iches (408 x 297 mm), narrow margins. In good condition with some age-related toning and edge wear, including two small horizontal tears which appear at the right and left center sheet edges. There is a vertical edge tear on the the lower sheet edge which is expertly repaired with a tab of paper tape mounted to the verso, and a soft horizontal fold, as issued. Plate created circa 1620, however printed later, likely early 19th century. Dr. John King preaching at St. Paul's Cross for James I, his Queen, Charles Prince of Wales...

Watermark: Schellenkappe (Foolscap) Similar to Churchill no. 340

A portrait of Maximilien de Bethune, Duc de Sully, the Ambassador from Henry IV of France to James I of England; by Gerard Edelinck, after Franz Pourbus the Younger Etching on fine ...

Etching on handmade, cream laid paper. 5 13/16 x 7 5/8 inches (146 x 192 mm), thread margins. Scattered handling creases, light age tone, and minor paper inconsistoncies throughout....

Unidentified Dutch Artist (17th Century) "Figures and Horses by a Country Tavern" (1618) Oil on canvas Framed: 69 x 82 cm Canvas: 52 x 64 cm No signatured This exquisite 17th-century Dutch painting masterfully depicts a bustling village scene with figures and horses gathered outside a country tavern. The composition is rich in detail, featuring travelers, merchants, and townspeople engaging in lively interactions, while a Dutch flag waves above the rustic inn, reinforcing the national identity of the scene. Executed in oil on canvas, the painting showcases warm earthy tones and delicate use of light and shadow, capturing the golden glow of a late afternoon or early evening setting. The finely rendered architecture, expressive figures, and atmospheric depth are reminiscent of the works of Isaac van Ostade, Jan Steen, or Adriaen van de Velde...

Dujardin, Karel. Frontispiece with stepped fountain; a stone wall with water spout pouring water into a rectilinear basin, from which a second spout pour...

Etching on light, fibrous, laid Japon paper, 5 3/16 x 6 1/4 inches (132 x 158 mm), full margins. Scattered moderate foxing throughout, very minor printing creases (innate), and one s...

The circulatory system is an original etching realized as table 31 of the 1642 edition of "De Humani Corporis Fabrica" by Andrea Vesalio. The "De Humani Corporis Fabrica is commonly...

Beautiful pair of still lives ascribed to N. Stanchi, realized in the second half of 17th century. Both in very good conditions, they include a contemporary wooden gilded frame. Dime...

Ron Stonier (1933-2001) was a dedicated Vancouver artist celebrated for his exploration of abstract painting, influenced by his mentors Gordon Smith and Jack Shadbolt, as well as by ...

"Rosa ex rubro nigricans" (Red Roses); a hand-colored copper engraving from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. This engraving is presented in a glossy silver and matte gold-colored wood frame with a green edge and an elaborate double cream-colored French mats with light mauve bands; each accented by a broad decorative marbleized green band. It is glazed with plexiglass. There is text offset and a very small crease in the left margin, but the print is otherwise in excellent condition. Provenance: W. Graham Arader Gallery...

This reproduction of Eugène Bléry's etching Le Charlemagne depicts the Forêt de Fontainebleau, a renowned forest located south of Paris. The print is produced by La Calcographie du L...

CAREL ALLARD (1648 – 1709) PLANISPHAERIUM TERRESTRE SIVE TERRARUM ORBIS… 1696 (Shirley 578) Engraving, 20 ½ x 23 ½”, sheet 21 x 24 1/8". A stunning double hemisphere World Map...

Shepherd With Cattle On A Wooden Bridge is an etching on ivory-colored paper realized by Antonie Waterloo in the late 17th century. Good conditions with slight foxing. The artwork ...

Etching on on laid paper, adhered along left sheet edge to archival wove paper. A rich inking impression in very good condition. From the Picart Edition of 1710. - Ex-collection Fer...

Isaac van Ostade (1621-1649) – "Winter Landscape" An exquisite 17th-century Dutch Golden Age winter scene by Isaac van Ostade (1621-1649), a master of genre painting renowned for his...

Artist: Michael Burghers (Dutch, c.1647/1648-1727) Title: "The New Testament" Portfolio: Holy Bible *Signed by Burghers in the plate (printed signature) lower left Year: 1680 Medium...

Etching on cream laid paper, 4 7/8 x 6 1/4 inches (123 x 160 mm), full margins. In good condition with some age tone around the sheet edges and an inscription in pencil on the verso.

Pair of early 17th-century medallion profiles in antique yellow marble and onyx Pair of medallions depicting Agrippina and Faustina, Rome, 17th century. Ra...

Antique carving of a saint or martyr. 17th century Flemish hardwood carving. Wonderful wear and rich color.

An attractive hand-colored copperplate engraved 17th century map of Prussia entitled "Prussia Accurate Descripta a Gasparo Henneberg Erlichensi", published in Amsterdam by Joannes Janssonius in 1664. This very detailed map from the golden age of Dutch cartography includes present-day Poland, Latvia, Lithuania, Estonia and portions of Germany. This highly detailed map is embellished by three ornate pink, red, mint green and gold...

Josep Maria Riera i Aragó (Barcelona, 1954), is a Spanish plastic artist. He studied at the Faculty of Fine Arts in Barcelona. Throughout his career he has dedicated himself to scul...

Four magnificent copper engraved plates with hand-colour from "Hortus Eystettensis", one of the earliest and most famous works in the field. [Nuremberg and Eichstatt, 1640]. The Hortus Eystettensis is a pictorial record of the flowers grown in the greatest German garden of its time, that of Prince Bishop of Eichstatt, Johann Conrad von Gemmingen. The garden was begun by Joachim Camerarius in 1596 and, after his death in 1598, completed by Basil Besler...

Over 350 year old antique copper engraving of the female Roman goddess Bellona, the goddess of war, circa 1650. Original artwork on paper displayed on a white mat with a gold border...

Map of Scotland is an geographic map realized by Johannes Blaeu. Etching, printed in 1660 ca. Copper engraving, colored (coeval coloring), on paper, with center fold; Latin text. ...

(after Anthonie Van Dyck) Engraving on cream laid paper, 9 1/4 x 6 3/8 inches (234 x 161 mm), full margins. Water stain throughout bottom, diagonal creases in the area of the bottom right corner, paper tape along top edge on recto. A very well inked impression. __________Flemish painter and engraver Paulus Pontius was born in Antwerp in 1603, and it was in this city that his full life would unfold. At the young age of 13, he was apprenticed to the still life painter Osias Beert, and subsequently to Lucas Vosterman, who was heavily associated with the workshop of Peter Paul Rubens. Vosterman trained Pontius in the skill of engraving, which he took to immediately, finding he had great skill at recreating paintings. Pontius was able to capture the minutiae of light and shadow found on the canvas, and mastered the ability to accurately render the subtleties of brushwork in this alternate media. His success as an engraver cemented his role in the workshop of Rubens, and in 1624, when Vosterman found himself at odds with Rubens, and left Antwerp for England, Pontius assumed his role as foremost engraver in the workshop. It was in this year that Pontius took up lodgings in Rubens's home, and continued to live there until 1631, when courtship and marriage (the first of three) brought him away. After the death of Rubens in 1640, Pontius embarked on a very successful career engraving reproductions of master works by artists including Rubens, Anthony van Dyck, Jacob Jordaens, Pieter van Avont, Abraham van Diepenbeeck...

The Archangel Raphael Leaving Tobias' Family is an etching by Rembrandt Camel head is an etching by Stefano Della Bella executed in 17th century. Monogrammed “SDB fec.” Plate 8,1x8,5...

Watermark: Wappen von Amsterdam mit Nebenmarke

Etching on handmade laid paper with a large, indiscernible heraldic watermark, , trimmed inside platemark. Several light spots of foxing along right edge, verso, one area of light th...

PERELLE Family (17th Century) Building a Ship Original Engraving Signed in the plate On laid paper, 15.5 x 28 cm INFORMATION: This family of artists, led by Gabriel, the father, an...

'Luire de Cheminees a la Moderne nouvellement Invente et Grave par Jean Dolivar.' Collection of 4 engravings with designs for chimney-pieces. Published in Paris, circa 1670. 210mm ...

Complete title: La Perspective Pratique, necessaire a tous peintres, graveurs, sculpteurs, architectes, orfeures, brodeurs, tapissiers & autres fe fervans du Deffein, par un Parisien...

Flemish portrait engraving, dated 1651, of Amalie Elisabeth of Hanau-Münzenberg (1602–1651), who was Landgravine consort and Regent of Hesse-Kassel. From a series of portraits of the Dignitaries at the Peace of Münster (Pacis Antesignani sive Icones legatorum). Lettered in open letters around portraits: 'PVR ET LOYAL'. Lettered in cartouche below portrait: 'Amelia Elisabetha / ... / ... Nomine P.T. Regens.' and "Anselmus van Hulle...

Josep Maria Riera i Aragó (Barcelona, 1954), is a Spanish plastic artist. He studied at the Faculty of Fine Arts in Barcelona. Throughout his career he has dedicated himself to scul...

Image dimensions: 7 x 9 cm. Les Bouffon et les deux couples Amoureuses is an original artwork realized after Hans Sebald Beham in 1514. Original burin on paper; late 17th century edition. Good conditions. The artwork is a very small yet well-balanced composition representing a genre scene. The original artwork was realized after Hans Sebald Belham (Neuremberg, 1500 – 1550). Belham was a German painter and etcher, mainly known for his very small engravings, like this artwork itself. He spent the latest part of his career in Frankfurt. He was one of the most important so-called "Little Masters...

This large hand-colored map entitled "Le Duché et Gouvernement de Normandie divisée en Haute et Basse Normandie en divers Pays; et par evêchez, avec le Gouvernement General du Havre ...

This is a hand-colored copper plate engraving entitled "Cataputia Vulgaris, Parietaria Sylvestris, Nummularia", depicting flowering Spanish Nut, Yellow Turk's-cap Lily, Yellow Turk's...

PERELLE Family (17th Century) Landscape with Fishermen Original Engraving Signed in the plate On laid paper, 15.5 x 28 cm INFORMATION: This family of artists, led by Gabriel, the f...

Giovanni Battista Beinaschi (Fossano c. 1634 - Naples 1688) Portrait of the philosopher Heraclitus (absorbed in reading) Oil on canvas (82 x 64 cm - Framed 95 x 75 cm.) The p...

This is a 17th century engraving of a vine spinach plant entitled "Katu-Belluren" by Hendrik van Rheede tot Drakenstein, plate 46 from his 'Hortus Indicus M...

St. Simon from "Les Grands Apôtres Debout, Représentant Le Sauveur, La Bienheureuse Marie et Les Saints Apôtres" Original 17th Century Etching by Jacques Callot. This portrait of St. Simon depicts him standing in a street, holding a book and leaning on a saw. The saw is typical of St. Simon's depictions as he was said to have been martyred by being sawed in half. Very good impression of this print, with bold lines and high contrast. This leaflet contains the words "Callot fec." in the bottom right, shorthand for the Latin fecit, meaning Callot made this. This edition contains no publishers mark or numbering on the piece, indicating that it is from the first printing state. Jacques Callot was born in the Duchy of Lorraine around 1592 to an important family in the court. He started an apprenticeship as a goldsmith at the age of 15, but later began learning etching. He is known for his technical skill in etching and for developing the echoppe style etching needle. Callot's etchings featured religious figures as well as soldiers, common people, beggars, and court individuals. His series "The Miseries and Misfortunes of War," published while Lorraine was invaded during the Thirty Years War, later influenced Goya's "Los Desastres de la Guerra...

"Three Herons" - Hand Watercolor Engraving "Three Herons" from a collection of the Most Rare Birds Drawn and Engraved From Life, A Natural and Rational History of the Different Bird...

Wonderful etching, originally page 365 in a book De L'amerique by Alain Manesson Mallet, circa 1683, depicts the artist's concept of the appearance and activities of the native occupants of America in graphic detail. Unsigned. Displayed in a black and giltwood frame. Image, 6.5"H x 4.5"L. 1683 Manesson Mallet "Bresiliens" Amerindians, Indigenous Native Brazilians, Brazil, South America, Antique Print...

Les deux tures coifffes d’un turban avec une aigrette (The two headdresses of a turban with a crest) Etching, 1618 From: Varie Figure (16 plates) Condition: Trimmed withing the plate...

Judith Holding Holofernes' Head is an old master artwork realized by an unknown Artist of 17th century. Oil on canvas. The painting depicts Judith Holding the head of Holofernes.

A fine impression. With the address of P. Giffart. Mauperche produced over fifty engravings.