17th Century Art

View Of Posillipo from the Riviera di Chiaia, circa 1695 by ANGELO MARIA COSTA (1670-1721) Huge 17th Century Italian Neapolitan School view of Posillipo from the Riviera Di Chiaia,...

After Sir Peter Lely 1618 - 1680 Anne Hyde, Duchess of York; King James II Pencil, ink and white chalk on paper, Image size: 10 x 8 inches (25.5 x 20.5 cm) Original frame This work,...

This 17th-century bronze sculpture, likely hailing from southern Germany, depicts a scene of life-and-death struggle in nature — a hapless hare caught in the claws of a mighty panthe...

Inspired by the psychology and intellectual condition of modern man. I like to experiment with color, textures, mixed media and design to create paintings that leave something for t...

Amazing painting of Cleopatra oil on canvas with a gilt wood frame. Attributed to Giuseppe Diamantini (Fossombrone 1621-Venice 1705) The dramatic subje...

A Bearded Man Tortured By A Spiked Sandal, 17th century Italian School - rare unusual depiction possibly of a martyr Fine 17th Century Italian Old Master depiction of a bearded m...

Oil on oak panel Image size: 11 1/2 inches circular diameter (29 cm) Hand carved gilt frame

Bathers On A Mountainous River Landscape, 17th Century attributed to Sisto BADALOCCHIO (1581/85-1647) Fine huge 17th Century Italian Bolognese School Old Master landscape with bathers in a mountainous river landscape, oil on canvas attributed to Sisto Badalocchio. Excellent quality and condition for its age presented in a superb antique gilt frame. Measurements: 120cm x 90cm...

Jan van Haensbergen was a painter of the Dutch Golden Age and a pupil of Cornelius van Poelenburgh (Utrecht 1594 - 1667). The painting we are presenting is inspired by Poelenburgh’s landscapes from his Italian sojourn. The dreamlike atmosphere of this Gathering in antique ruins appealed to us. Against a backdrop of antique ruins, three draped characters (perhaps bathers) are sitting in a circle, greeting a fourth character walking towards them. Their tranquility contrasts with the bustle of the other characters in the background. They constitute a vivid illustration of otium, this leisure time that allows us to realize our full potential. With this Arcadian landscape, Jan van Haensbergen invites us in turn to leave the hustle and bustle of everyday life behind, to take a break, to enjoy the present moment chatting with close friends… 1. Jan van Haensbergen, a landscape and portrait painter of the Dutch Golden Age Jan van Haensbergen was born in 1642 in Gorinchem, a town in southern Holland to the east of Rotterdam. He was a pupil of Cornelius van Poelenburgh, and began by painting landscapes inspired by those of his master, in an Italianate style. Between 1668 and 1669, he was registered at the Guild of Saint Luke in Utrecht. In 1669, he moved to The Hague, where he joined the Confrérie Pictura, an artist society founded in 1656. His portraits, which became his main activity as a painter after settling in The Hague, were strongly influenced by Caspar Netscher (Prague or Heidelberg 1639 - The Hague 1684), whom he met in The Hague and whose son Constantijn became his son-in-law by marrying his daughter Magdalena. In addition to his work as an artist, Van Haensbergen was also an art dealer, probably helped by his appointment as Dean of the Confrérie Pictura, where he also teached. 2. Description of the artwork and related paintings This painting seems to us to be a kind of allegory of otium, that quiet bliss promised by Epicurus. It might even evoke an Epicurean proverb: "It is better to lie on the naked ground and be at ease, than to have a golden carriage and a rich table and be worried" . Three draped young people - two men and a woman in the background - are seated in a circle, greeting a fourth figure walking towards them, hair disheveled and body draped in a towel as if drying off after a bath, indicating the need for prior purification to fully enjoy this rest. Their nonchalance contrasts with the bustle of the various characters in the background. The composition is punctuated by successive diagonals, and opens onto a landscape on the right, with a succession of mountainous planes. This painting is typical of the Italianate works produced by Van Haensbergen in the 1660s under the influence of Cornelis van Poelenburgh...

During the Counter-Reformation, the traditional cult of saints was encouraged, and spiritual exercises were recommended to come closer to God. In the pai...

This head and shoulders portrait is an outstanding example of the breadth, force and beauty of this artist's pictorial manner and abilities. This captivating portrait features a musi...

Amazing painting of Cleopatra oil on canvas with a gilt wood frame. Attributed to Giuseppe Diamantini (Fossombrone 1621-Venice 1705) The dramat...

This small sketch, pencil on paper, can be attributed to Sir Thomas Lawrence, as also reported in the label on the frame (Sir Thomas Lawrence Painter of the Royal Academy). Due to r...

Pedro Nuñez de Villavicendio (Seville, Spain, 1644 - 1700) Title: Portrait of a child Medium: Oil on canvas Dimensions: without frame 41.5 x 33.5 cm - with frame 52 x 43.5 cm 19th century shaped and gilded wooden frame Expertise by Didier Bodart, art historian A Seville painter of noble origins, Pedro Nuñez de Villavicendio (1644-1700), the author of this pretty child portrait, was a Knight of the Order of St John of Jerusalem. He was a pupil of Murillo and, as a Knight of the Order of Malta, worked with Mattia Preti...

As the Dutch painter Philips Wouwerman often did, this artist painted travellers stopping at an inn or a farm. One of the men got off his horse to urinate against the facade of the building. The motif of a peeing man was far from an exception in Dutch genre paintings...

Studio of David Teniers the Younger 1610 - 1690 Peasants Playing Bowls Outside an Inn Oil on oak cradled panel, signed Image size: 16 ½ x 22 ½ inches Gilt s...

After Sir Peter Lely, Late 17th Century (1618–1680) James, Duke of York, (later James II) and Anne Hyde, Duchess of York Chalk on paper Image size: 8...

Giuseppe Caletti (1600 - 1660) Title: The Court Jester from Dosso Dossi Medium: Oil on canvas Dimensions: without frame 172 × 136 cm Beautiful original frame in carved and gilded woo...

This is a masterfully rendered and brilliantly designed scene from the Arabian Nights. page 33 from Random House. We are not sure if this is by Gustaf Tenggren. ( Gustaf Tenggren At...

Provenance: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA One of the leading artists in Genoa during the second half of the seventeenth century, Domenico Piola came from a successful family of artists, renowned for their many illusionistic ceiling programs throughout Genoese churches and palaces. A prolific draughtsman and painter, Domenico oversaw an extremely productive studio. In addition to his collaborations with numerous other artists, Domenico also provided many designs for book illustrations and prints that circulated throughout Europe, earning him international exposure and high acclaim in his own day. As Dr. Anna Orlando has indicated (written communication), the present work is an early work by Piola, datable from the late 1640s. At this time the young artist came strongly under the influence of Castiglione and Valerio Castello, while admiring the works of Giulio Cesare Procaccini. Piola’s works from this period are exuberant and fluid, and the artist’s love of portraying children is evident from the angels and putti that populate both his altarpieces and more intimate paintings. The present work depicts three angels...

This amusing naturalistic sculpture in silver-plated pewter was probably made in the 17th century by Georg Schweigger. Inspired by a model created by another Nuremberg sculptor, Peter Flötner, it bears witness to the persistence during the baroque era of the naturalistic taste that emerged in the Renaissance. Intended as an ornament for some Kunstkammer, or cabinet of curiosities, this sculpture was a great success, as can be seen from the presence of similar works in many European museums. 1. Georg Schweigger Georg Schweigger was a baroque sculptor and medal founder from Nuremberg, known mainly for his small-scale works in stone, carved wood and cast metal. His only large-scale work, the Neptune Fountain, has been in the Petershof Palace, the summer residence of the Tsars near St. Petersburg, since 1797. This monumental sculpture demonstrates his taste for the representation of movement, which we find in this small piece, inspired, as we shall see, by earlier models. 2. The success of a naturalistic theme As is often the case in the history of art, the source of the Dog scratching his ear theme probably comes from an engraving, and more precisely from one made in Strasbourg in 1480 or in Aschaffenburg in 1481 by the Master of the Housebook, an anonymous engraver working in southern Germany at the end of the 15th century. This engraving seems to have been Peter Flötner’s (1490 - 1546) source of inspiration. Peter Flötner was a sculptor and engraver who settled in Nuremberg in 1522. The Louvre Museum also has a gilded lead statuette dated between 1500 and 1515 (on deposit at the Musée de L'Œuvre in Strasbourg), which in turn is thought to have served as a model for other known statuettes. This model was later taken up by the Frenchman Barthélemy Prieur...

Japanese Fukusa Silk embroidery and gold thread

Preparation for Carnival: a three day festival of insatiable eating, drinking and carousing that preceded the forty days of Lent, a period of penitence when the pious drank only wate...

Studio of Sir Peter Lely Diana Oil on canvas Image Size: 38 x 50 inches (96.5 x 127 cm)  Ornate auricular frame Provenance The collection of Mr Campbell Private Estate Mary II (16...

Jean-Baptiste Monnoyer 1636-1699 French Still Life with Flowers on a Carved Stone Ledge Oil on canvas Impeccable detail and luminous color breathe life into this floral still lif...

REMBRANDT HARMENSZ. VAN RIJN 1606 Leiden Amsterdam 1669 Death Appearing to a Wedded Couple from an Open Grave 1639 drypoint and etching; 109 x 78 mm Bartsch 109, White/Boon only s...

Frans Hals 1582-1666 Dutch Portrait of a Gentleman (possibly Theodore Blevet) Oil on panel “Frans Hals is a colourist among the colourists...Frans Hals must have had twenty-seven blacks...

Signed and dated in ink on recto

Wayne Thiebaud Dark Gumball Machine, 1964/ 2017 Hard ground and soft ground etching 18h x 12w in

Study of a dog Oil on paper laid down on panel, 17.5 x 25.5 cm Provenance Private collection, the Netherlands Note: We are grateful to Mr Fred Meijer for his attribution to Ludolf de Jongh Ludolf de Jongh was the son of a shoemaker. When his father moved to Rotterdam, the young Ludolf decided to learn art rather than shoemaking and became a pupil of Cornelis Saftleven. Later he studied under Anthony Palamedes in Delft and still later with Jan van Bijlert in Utrecht. In 1635 he travelled to France with Francis Bacon. Seven years later, in 1642, he returned to the Netherlands when he heard that his mother had fallen ill. He set up a shop in Rotterdam, and his earliest signed paintings date from that year. According to Houbraken, his travels had caused him to speak French so fluently, that his parents had to learn French in order to speak with him. De Jongh’s work shows a strong influence from the Utrecht school of Caravaggio admirers, especially Jacob Duck...

Two masterpieces by the Master of the Fertility of the Egg, nearly impossible to find in homogeneous pairs on the private market, both in terms of style and dimensions. They represen...

Engraving after David Vinckboons (Malines 1576-1629 Amsterdam), executed by Jan van Londerseel (Antwerp c. 1570-1624/25 Rotterdam)

Engraving after David Vinckboons (Malines 1576-1629 Amsterdam), executed by James Van Londerseel (Antwerp c. 1570 - 1624/25 Rotterdam)

Nemesis is an original burin by the old master Galle Philips (Haarlem, 1537-Antwerp, 1612), the plate n. 20 from the series "De deis gentium imagines iconical, aeneis tabulis for Philipp.Galle exaratae; et variis distichis ab Hug. Illustrated fable", Antwerp, 1581. Our specimen is printed on laid paper, glued on secondary support, trimmed within the impression. Inscriptions: in the lower margin "NEMESIS / Trux Nemesis ut iacto cites lightning flamma / Mortalesq docet reddere cuiq fuum." Bibliography: F.W.H. Hollstein, Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700 [volume VII] Fouceel – Gole (Amsterdam 1953), p.79, nos. 352–380 (for the entire series); Belgica typographica 1541–1600 (Nieuwkoop 1994), IV, p.538 no. 1206; Fortune: "all is but fortune", catalog for an exhibition held at the Folger Shakespeare Library, 18 January – 10 June 2000 (Washington, DC & Seattle 2000), p.36 (for Nemesis); Manfred Sellink and Marjolein Leesberg, The new Hollstein Dutch & Flemish etchings, engravings and woodcuts 1450–1700. Philips Galle...

Rembrandt van Rijn (1696-1669), La circoncision dans l’étable, 1654 Etching on watermarked paper. Beautiful artist’s proof, signed and dated in plate higher-left : “Rembrandt 1654”...

Jacques Callot (1592-1635), Les Grandes Miseres de la Guerre, etchings, 1633, the complete set of 18. Lieure 1339-56, the frontispiece third state (of 3), th...