17th Century Art

Emperor Trajan addressing the Roman soldiers is an artwork realized by Pietro Santi Bartoli (1635-1700) in 1672. Etching. Good condition. The T...

"Cherubs" (B) Pen and Ink drawing of Putto Italian School Late 17th early 18th century. Pen and ink on paper 6 ½ x 17 ½ (22 ½ x 11 ½) inches Antique scenes of putto and a faun cele...

a very fine impression

Artist: Dirk Stoop (Dutch, c.1615-1686) Title: "Het leeuwendeel (The Lion's Share)" Portfolio: The Fables of Aesop Year: 1665 (an earlier state of unknown states) Medium: Original Et...

This is a hand-colored engraving by Robert White (1645-1703) after a painting by Abraham Blooteling (or Bloteling) (1634–1690) entitled "The Effigies of the Right honorable: Thomas B...

An original hand colored copperplate engraved map entitled in Latin "Archiepiscopatus Maghdeburgensis et Anhaltinus Ducatus cum terris adjacentibus", published in Amsterdam in 1640 i...

Antonio de Felipe Abanderado Offset Lithograph Year: 1993 Size: 39.0 x 39.0 inches Signed in the stone COA provided --------------------------------------- Antonio de Felipe was born in Valencia in 1965. Ever since a very young age he has felt an artistic drive that led him to earn a fine arts degree at the University of Valencia. In 1996 he moved to Madrid where he has his studio. The work of Antonio de Felipe is a constant source of fascination and surprises. It is a great pleasure to witness how the artist’s ingenious world of ideas and his sense of humour are constantly evolving. His subject worlds form a surprising genre blend of striking contrasts, a linking of series characters, classical art and commercialism side by side with contemporary icon worship. Antonio de Felipe has developed his extensive work in different series like, Las Vacas Logotipos and Popsport among others. In the serie Cinemaspop Antonio de Felipe has painted portraits of brilliant actors whose icon status is secure. Two of them are Audrey Hepburn and Greta Garbo, seen against a wide range of backgrounds where the artist pays tribute to the great masters – either Picasso’s brutal Guernica or space figures reminiscent of Miró. As a third, Marilyn Monroe, parts her ruby lips...

An ca. 1809-1829 engraving on paper by Charles Louis Balzac, DESCRIPTION DE L'EGYPTE. Thèbes. Karnak. Vue des propylées prise du sud. (ANTIQUITES, volume III, planche 44). Artwork s...

Extremely decorative and large oil painting from the 17th century. Restored in places.   Signed and dated Simon Peter Tileman 1658 fecit 'lower right Dimensions without frame. From Wikipedia, the free encyclopedia: Simon Peter Tilemann (1601, Lemgo – 1668, Vienna), was a German Baroque painter who was active Bremen, Kassel and Italy. According to Houbraken he first learned to paint flowers and he had a daughter who could paint flowers in watercolors. He was a good landscape painter who spent many years in Italy, but later switched to portrait painting and who painted the portrait of Ferdinand...

Olio su tela. L'opera riprende i modi diffusi in tutta Europa da Jakob Ferdinand Voet, pittore fiammingo affermatosi soprattutto come ritrattista, che ebbe ampio seguito sia negli a...

A 17th century engraving entitled "The Card Game" by old master artist Alexander de Voet after a painting by Cornelis de Vos, created in 1632. The pain...

This is a 17th century portrait engraving of Jean-Baptiste Racine by Gerard Edelinck (1640-1707), published in Charles Perrault's 'Les Hommes Illustres' in Paris in 1696. Jean Racine (1639-1699) was a French dramatist, one of the three great playwrights of 17th-century France, along with Molière and Corneille. Racine's works were primarily tragedies. He wrote Phèdre, Andromaque, and Athalie. He did write one comedy, Les Plaideurs, and a muted tragedy, Esther for young readers. His writing is renowned for its elegance, purity, speed, and fury. The American poet Robert Lowell described his style as a "diamond-edge" and the "glory of its hard, electric rage". Racine's works often displayed his psychological insight, the passion of his characters, and the stark reality of his plots and stage descriptions. In 1672, he was elected to the Académie Française, and two years later he achieved the title of "treasurer of France", and later the honorary title of an "ordinary gentleman of the king" to King Louis XIV, and subsequently a secretary of the king . This beautiful engraved portrait is printed on chain-linked, laid paper with wide margins. The sheet measures 17.13" high by 10.75" wide. There is a small spot in the lower margin and a few tiny faint spots in the margins, but the print is otherwise in very good condition. The original descriptive text pages, 81 & 82, are included. Provenance: This engraving was owned by Arthur Pomeroy, 1st Baron Harberton and the Viscount Harberton (1723-1798). He was an Irish politician, who represented County Kildare in the Irish House...

Martyrdom of Saint Bartholomew is a precious original drawing (black and red chalk, pen and China ink on laid paper, laid down on canvas) realized by...

This large original hand-colored copperplate engraved map of southern Greece and the Pelopponese Peninsula entitled "La Moree Et Les Isles De Zante, Cefalonie, Ste. Marie, Cerigo & C...

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

"Ypres, Grand Ville Riche & Marchande" is an engraving and etching by Daniel Marot (le Vieux) (1661–1752). It depicts a view of the siege of the city of Ypres and its citadel on the left in the Spanish Netherlands by Louis XIV's troops. This battle took place between March 18 and March 25, 1678, as part of the Franco-Dutch War. Marot illustrated in great detail (best appreciated with magnification) the French attack on the strong pentagonal citadel on the extreme left, which had been built recently in anticipation of a French attack. The trenches built by the French approaching the town are seen on the right. King Louis XIV can be seen in the foreground surveying the battle mounted on his white horse, surrounded by his officers and troops. The print is presented in an attractive ornate black wood frame with a cream-colored double mat with a black inner trim. It is glazed with plexiglas. The frame measures 25.38" x 22.63" x .88". The engraving, frame, mat and glazing are in excellent condition. Artist: Daniel Marot (1661–1752) was also called "Le Vieux". He was the son of the famous architect, Jean Marot. Marot had diverse interests and talents. In addition to his art, he designed garden projects, architectural ornaments, furniture, and even upholstery. Marot as a Huguenot protestant was forced to leave France in 1685 following the revocation of the Edict of Nantes. He emigrated to Holland, where he worked for William of Orange (an arch enemy of his former employer Louis XIV). Marot was largely responsible for the interiors of Williams palace at the Loo. In 1694 he went Britain as William had married Queen Mary and he had become King William III of England. He later returned to Holland in about 1698 and died in the Hague in 1752. He left a lasting legacy on the decorative arts in the Netherlands, where his grand version of the Louis XIV style remained popular into the 1730s. Historical Background: In October 1677, Mary Stuart, niece and possible successor of Charles II of England, married Louis XIV's arch enemy William III of Orange...

Artist: Adriaen Van Ostade (Dutch, 1610-1685) Title: The Organ Grinder Year: 1647 Medium: Etching Paper: Laid paper Image (plate mark) size: 4.35 x 3.5 i...

Landscape is an original Modern artwork realized by Israel Henriet (Nancy, 1590 - 1661) in the second half of the XVII Century. Original B/W Etching on ivory cardboard. Inscripte...

A great 17th-century Italian painting. Oil on canvas artwork depicting a marvelous mythological subject, a lively Venetian Bacchanal. The painting is in fact attributable to the circ...

Genesis 37 - Old Testament Story is an Etching print realized by the artist Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout ...

Etching on laid paper realized in 1631 ca. Signed in the plate. Good impression with margins around the plate. Diffused foxin on sheet. Ref. Hollstein 20.  Good condition.

Unidentified French Artist (in the Manner of 17th Century Masters) "Saint with Icons" Medium: Oil on canvas Dimensions (Framed): 130 x 164 cm Dimensions (Canvas): 114 x 149 cm No sig...

Exodus 2 - Old Testament Story is an Etching print realized by the artist Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout in...

Supplicium sceleri Fraenum (Les Supplices) is an original Etching realized by Jacques Callot in 1624/34. Lettered with name of etcher (bottom right), title and four columns of French verses: 'Voy, lecteur, comme la Justice... Des effectz de la forfaicture'. Good condition included a cream colored cardboard passpartout (40x60 cm). Jacques Callot (1592 – 1635) was a baroque printmaker and draftsman from the Duchy of Lorraine (an independent state on the north-eastern border of France, southwestern border of Germany and overlapping the southern Netherlands). He is an important person in the development of the old master print...

This large hand-colored map entitled "La Seigneurie d'Utrecht. Dressé sur les memoires les plus nouveaux par le Sr. Sanson" was originally created by Nicholas Sanson d'Abbeville. Thi...

This is a framed hand-colored 17th century map of Northern Scotland by Gerard Mercator entitled "Scotiae pars Septentrionalis", published in Amsterdam in 1636. It is a highly detailed map of the northern part of Scotland, with the northwest Highlands and the cities Inverness and Aberdeen, as well as the Orkney Islands and the Hebrides. There is a decorative title cartouche in the upper left corner. The map is presented in an antiqued brown wood...

A 17th century copperplate hand-colored map entitled "The Second Table of Ireland, Udrone" by Gerard Mercator and Jodocus Hondius, published in Amsterdam in 1635 in 'Cosmographicall ...

This large hand-colored map entitled "Le Royaume de Portugal et des Algarves Divisee en see Archeveches, Eveches et Territoires Par le Sr Sanson" was originally created by Nicholas S...

A 17th century copperplate hand-colored map entitled "The Sixt Table of England" by Gerard Mercator and Jodocus Hondius, published in Amsterdam in 1635 in 'Cosmographicall Descriptio...

Madonna della Melagrana (Madonna Of The Pomegranate), 17th Century after SANDRO BOTTICELLI (1445-1510) Huge circa 1700 Italian depiction of the Madonna Of The Pomegranate, oil on canvas/tondo. Excellent quality and grand scale version of Botticellis famous work at the Uffizi, Florence. Th work would be significantly enhanced with a professional clean which we can provide a quote for prior to shipping. Presented in an antique gilt oval frame...

Lola Falana boxing in the gym photographed by Frank Dandridge, 1969. A photo shooting of Lola Falana during and between the Movie „The Liberation of L.B. J...

Old Testament Story is an Etching print realized by the artist Giovanni Lanfranco after Agostino Carracci About The Old Testament Story, 1607 ca. ...

Artist: Abraham Hondius (Dutch, c.1625-1691) Title: "Honden Jagen Op Een Beer (Hounds Hunting a Bear)" *Signed and dated by Hondius in the plate (printed signature) lower right Year...

The Poor Widow's Offer is an old master artwork realized by a follower of Marten de Vos (Antwerp 1532-1603) in the half of 17th Century. Mixed colored oil on canvas. Inscribed bottom right “Jesus Laudat Pauperculam […]”. The painting, whose subject is taken from the Gospel episode of the Offering of the poor widow (Mk., 12, 38-44; Lk., 21, 1-4), depicts Jesus in the Temple...

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 ...

Christ and the Samaritan woman at the well is anold master artwork realized in 17th Century. Black and white etching. This artwork was realized after a painting by Annibale Carracci . Printed by Jacob Jordaens...

This is an original hand-colored 17th century map of Belgium by Nicolaus (Nicolas) Visscher II entitled "Belgium Foederatum emendate auctum et novissime editum", published in Amsterdam in 1678. The map shows the seven provinces comprising the Belgium federation or the Republic of the Seven United Netherlands or the Dutch Republic as it was also known. The republic was formed when an alliance of seven Dutch provinces in the Spanish Netherlands revolted against rule by Spain in 1579 (the Union of Utrecht) and declared their independence in 1581 (the Act of Abjuration). The seven provinces were Groningen, Frisia, Overijssel, Guelders, Utrecht, Holland and Zeeland. This was a predecessor state to the Netherlands and the first fully independent Dutch nation state. Amsterdam, Delft, Rouen, Utrecht, Brugge, Ghent, and Antwerp are all included on the map. A small inset map in the lower right depicts the course of the Maas River from Maastricht to Wessem. There is a decorative cartouche in the upper left corner and a distance scale cartouche in the lower right corner. The map is presented in an attractive antiqued medium brown-colored wood frame with gold-colored inner and outer trim and a light tan-colored fabric mat. The frame measures 26.63" high by 30" wide by 0.75" deep. There is some darkening of the red areas in the map, presumably related to oxidation of the original iron containing pigment over time. There are also a few scattered spots. The map is otherwise in very good condition. The Visscher family were one of the great cartographic families of the 17th century. Begun by Claes Jansz Visscher...

Artist: Adriaen Van Ostade (Dutch, 1610-1685) Title: The Smoker and the Drinker Year: 1650 Medium: Etching Paper: Laid paper Image (plate mark) size...

Oil on canvas realized in Italy ih the late 17th Century. The painting depicts the episode from Genesis (21, 9-21) in which the servant Hagar, together woth her little son Ishmael b...

Exo.17 - Old Testament Story is an Etching print realized by Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout included 31 x 35 cm The artwork is in good cond...

We have the full series of 52 prints (including title page) from Vita Passio et Resurrectio Iesu Christi listed. To find the others scroll down to "More from this Seller" and below i...

This hand-colored sea chart is entitled "Edinburgh Firth" from "Great Britain's Coasting Pilot. Being a New and Exact Survey of the Sea-Coast of England" by Captain Greenville Collin...

This large 17th century copper plate hand-colored engraved map entitled "Gouvernement D'Orleans et la Generalite divisee en ses Elections Par...

The Brain is an original etching realized for the 1642 edition of the "De Humani Corporis Fabrica" by the italian anatomist Andrea Vesalio. It shows the human brain from different p...

In this print, Wenceslaus Hollar presents a portrait of an unidentified woman, copying a portrait by Hans Holbein the Younger. The identity of the sitter is a mystery: formerly, the portrait was believed to be of Catherine of Aragon, and the National Portrait Gallery in London identifies her as Queen Mary I...

Study Of Farm Birds, 17th Century attributed to Melchior DE HONDECOETER (1636-1695) Huge 17th century Dutch Old Master still life of various farm bir...

This hand colored 17th century Dutch map entitled "Novissima et Accuratissima totius Italiae Corsicae et Sardiniae Descriptio" by Theodore Danckerts depicts the Italian Peninsula in ...

Artist: Adriaen Van Ostade (Dutch, 1610-1685) Title: The Couple Year : 1638 Medium: Etching Paper: Laid paper Image (plate mark): 3.25 x 2.5 inches ...

Oil on Canvas. The large scene, set in a hilly countryside, with a village and ruins in the background on the left, is completely occupied by the compact group of the many living fi...

Carte Particuliere Des Costes De Bretagne qui Comprend Morlaix, Saint Paul de Leon, les Sept Isles, et L’Isle. Faite par ordre Exprez Du Roy de France is from the collection of ch...

The Chariot of Gods is anold master artwork realized by Antonio Tempesta in 17th Century. Black and white etching. Good condition. Ref. Bertela 801 Plate dimensions: 14 x 19 cm

Principi Etruriae Duci is an original artwork realized by the French artist Charles Simonneau in the second half of the XVII Century. Original Etching on paper. D'aprés Charles Le B...

Saint Francis with the Christ Child is an etching print on paper realized by Pietro Faccini (1562-1602) Beautiful proof. Provenance: Collection G.S.S. Laub (Lugt 1221). Ref. Cat. P...

Anemogra Phica is a rare ancient map realized in 1650 by Johannes Janssonius (1588-1664). First modern map of the Pacific Ocean. Good conditions. From Atlantis majoris quinta pars,...

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Als mestres de Catalunya", 1974. Litografía, ejemplar P/A. Firmada y justificada a lápiz. Medidas: 90 x 65 cm. Tàpies se inicia en el a...

The Circulatory System is a original etching realized as plate no. 124 of Andrea Vesalio's "De Humani Corporis Fabrica". The "De Humani Corporis Fabrica is commonly considered a m...

Pieter van Bloemen (Antwerp, 1657–1720) – "Scene of a Gang of Robbers During a Raid" Medium: Oil on canvas Period: Late 17th – Early 18th Century Dimensions: [Include dimensions if a...

PIETRO MONTANINI (Perugia, Italy, 1619 - 1689) Title: Landscape Medium: Oil on canvas Dimensions: without frame 50 x 65 cm - with frame 64 x 79 cm An...

High quality watercolor drawing on paper representing a landscape. Faded handwritten text on top of sheet, not readable. Quite good conditions.

In a tavern. engraver Jan De Visscher (1933-1692) Paper, engraving, 21x25 cm