17th Century Paintings

Antique Italian painting from the late 17th/early 18th century. Oil on canvas artwork depicting Christ with angels and symbols of the Passion, crafted with excellent craftsmanship. T...

Antique Italian painting from the first half of the 17th century. Oil artwork on canvas depicting an allegorical subject, Game of cherubs, of excellent pictorial quality. Painting of...

17th Century Large Old Master Battle Scene Painting. Flemish School, circa 1610 - 1680. Oil on canvas painting depicts a dynamic battle scene fi...

Italian School Panel Painting, 17th Century "The Adoration of Mary" Oil on panel. 78 x 25.5 cm Original carved wooden frame Good condition

Flemish painting from the first half of the 17th century. Oil on canvas artwork depicting a religious subject of great charm, Saint Jerome in his study. He lived between the fourth a...

Kaiho Yusetsu (1598-1677) Tiger and Dragon Early Edo Period, Circa 1650 A Pair of Six-fold Japanese Screens. Ink and slight color on paper. Dimensions: Each screen: H. 171 cm x W. 380 cm (67.5’’ x 149.5’’) In this pair of early Edo period Japanese screens a group of tigers prowl in a bamboo grove whipped with fierce wind, while a dragon claws through clouds and mist. The dragon embodies elemental qualities - looming out of the mist, the coils of its body disappearing in the clouds. The dragon is calling for rain, symbolizing spring which is considered the fountain of life. On the other side, the tigers calls for the wind, symbolizing autumn which is considered the end of life. Tigers were familiar motifs within Japanese art from ancient times though the animals were imaginary to the people in the 17th century. While dragons and tigers are usually associated as sacred and ferocious, in this painting, both animals have rather amusing expressions. The tigers appear to glare at the dragon with cat-like eyes, and the look on the swirling dragon’s face appears almost affectionate - lending a playful flair to an otherwise magnificent theme. The tiger and dragon are cosmological symbols of the balancing forces in the world. Screens such as this were originally meant to express the fluctuating nature of the world. For Japanese in the early Edo period, they likely suggested the powers of the cosmos. In Japan the tiger and dragon motif was originally absorbed into the circles of Zen monasteries before spreading into the secular world. The theme especially appealed to the military classes with the Kano school, the official painters to the Shogun and the samurai, being the leading contributors. The painter of this pair of screens, Kaiho Yusetsu (1598-1677), was closely patronized by the third Shogun Tokugawa Iemitsu. In his later years he worked with Kano school artists...

This large, old master still life painting is a perfectly balanced composition of fruit and game birds. In the foreground a rabbit is stretched out. A copper kettle and a basket are ...

Splendid 17th-century Italian painting by unknown artist, but certainly a follower of Caravaggio, relying on style and drawing. The painting has a very beautiful gilded wooden frame, with a subtle greek with spheres and an overlying rectangular frame with sinuous flowers on each corner, very elegant and beautiful. The painting depicts one of the most depicted religious scenes ever, the scourging of Christ, and is entirely done in oil on copper. The scourging of Jesus is an episode narrated in the Gospels (Mk15:15-16; Mt27:26-27; Lk23:16-26; Jn19:1-17[1]). Scourging is a flogging, particularly bloody, by means of sticks, rods or cat-o-nine-tails, the latter instrument consisting, in the Roman typology, of a short stick to which were secured several strings ending in metal claws, leads and bone splinters that caused tremendous lacerations and fractures to the tortured person. Chains are used in this scene, both to immobilize Jesus Christ and to flog him, as we can see in the upper right hand of the scourger. According to some personal research, it turned out that the actual scourging of Christ was mostly depicted at the column, while this Christ is on the ground, so presumably Christ here is scourged during the Way of the Cross at one of those stages where he fell. The painting has a very dark coloring, which is why this painting is believed to faithfully follow Caravaggio's style of dry, authoritarian brushstrokes. The painting shows a figure agonizing on the ground that continues to receive beatings and floggings of all kinds, representing Christ; his face is crucified in a loquacious expression of pain, he turns his eyes to heaven as if to invoke God, but at the same time those same eyes admonish the wickedness and arrogance inherent in humanity. Christ has one hand resting on the ground in the act of holding himself, while the other takes a completely unnatural stance against the barren ground. His body appears hardened to wanting to parry the blows, his legs are curled up on his knees as he takes kicks from the soldier above him. Christ is depicted pinned down from the neck with a very large and strong black iron bolt held by the other soldier. The soldier on the right in the foreground wears a one-shoulder tunic with an orange tunic and blue pants. On his feet he wears gray shoes, at his waist he has a belt with an iron helmet...

The oil painting composition “The Visitation” depicts the Virgin Mary dressed in a blue robe visiting her cousin Elizabeth just after the Annunciation (the announcement by the angel ...

This Flemish panel painting, dated circa 1620, masterfully depicts the Holy Family and young Saint John the Baptist. A Flemish School altarpiece work of art, a masterfully achieved ...

Large size masterfully painted 17th century oil panting depicting the adoration of the magi, possibly after follower or in the circle of Gerard Seghers. Works of this caliber rarely ...

Original oil on canvas painting of The Flight into Egypt with Mary and Christ child. Spanish School, Seville, 17th Century. Relined canvas. Age related craquelure throughout. Painti...

Original oil on canvas painting of the adoration of the magi, with Mother Mary and infant Christ. Framed over 5' wide x 4' tall, no signature/unknown artist. Canvas has craquelure, o...

An incredible and rare 17th century (Ming Dynasty) Tibetan Thangka depicting the Medicine Buddha seated on a lotus throne with an alms bowl in one hand, and his other hand with outstretched fingers touching the ground, feeling the pulse of the Earth. The Buddha is surrounded by dozens of monks seated...

A six-fold Japanese screen by Tosa Mitsusuke (1675-1710), Japan 17th-18th century, Edo period. The signature reads Shoroku-i ge Tosa sa Konoe Shogen Mit...

Dimensions: 105 x 84,5 cm Medium & Support: Oil on canvas Description: The composition of the painting offered here is derived from five almost identical portraits of De Ruyter, whi...

Portrait of Maria Theresa of Austria, Queen Consort of France, 17th Century Oil on canvas, European School, ca. 1660–1680, late 17th century Oil on canvas depicting Maria Theresa of...

Large framed seascape in the style of Vernet: a stormy landscape with men pulling a boat towards the beach, waves crashing on the rocks, and in the background a lighthouse and a smal...

An exquisite 17th century oil painting of the Assumption Of The Virgin Mary. Magnificently executed in oil on a hand woven canvas. Stunning.

Grand scale 17th Century (almost life size) French oil on canvas equestrian portrait. Believed to be Philippe of Lorraine (1643 – 8 December 1702), known as the Chevalier de Lorrain...

Oil on canvas painting "Madonna and Child". Blacklight scan show there has been a touch up covering the baby Jesus's genitals done over the centuries. In the original ornate gold fra...

17th century old master oil painting of Saint Bernard of Clairvaux. Spanish school. Dramatic expression and perfect use of chiaroscuro, the art of light and shadow effects, makes th...

A rare and evocative example of Spanish Colonial art from the Cusco School, this 17th-century oil on wood panel captures the iconic biblical scene of Sain...

Excellent 17th-century Italian School. After Michelangelo Merisi, known as Caravaggio. "Deposition of Christ" Canvas 42 x 31 cm - 16 9/16 x 12 3/16 in. Good condition The Deposition...

C. Maratta went to Rome in 1636 and became an apprentice in the Studio of Andrea Sacchi. Pope Alexander VII commissioned many paintings from him. Maratta’s paintings of the later 165...

Four paintings depicting the seasons, circle of Noel Coypel, second half of the 17th century Oil on canvas, unsigned Measures: cm W 37 x H 46 x D 2 cm (canvas) The four paintings, pr...

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 canvas. Her elaborate headdress, ornate costume, and poised bearing align with Western ideals of exoticism and nobility, shaped through Venetian eyes. The rose delicately held at her chest may serve as a symbolic identifier—an allusion to Rossa or Rosselana, the Western name for Hürrem Sultan (c.1502–1558), the influential consort and later wife of Sultan Suleiman the Magnificent...

Colonial school. Oil on copper mounted on a stretcher. Each copper panel features a different allegory. One depicts the allegory of Asia, represented by a woman seated on a camel — o...

Kano Naonobu (1607-1650) Plum Tree and Birds Six-fold Japanese Screen. Ink and slight color on paper. In this evocative ink work spread over a six-panel folding screen, we see the consummation of the elegance and refinement of the Edo Kano school. This 17th century screen is a rare surviving example of a large-scale bird and flower painting by Kano Naonobu, the younger brother of Kano Tanyu...

This large Italian Baroque oil on canvas, dating from the late 17th century represents an exceptionally vivid battle scene with the unusual subject of a brigand ambush on a stagecoac...

Portrait of a Noble Lady, Spanish or Flemish School, oil on canvas, 17th century Oil on canvas depicting a high-ranking lady, dressed in rich jewels and lace typical of 17th-century...

Alberto Carlieri (Rome 1672-1720) "Architectural capriccio with the preaching of Saint Paul in the Areopagus of Athens" Oil on canvas, measures with...

Alberto Carlieri (Italy-Roma 1672-1720), "Christ and the adulteress", Oil on canvas, with frame cm H 115 x L 151 x 6.5, only canvas H 98.5 x L 135 cm...

Venetian school of the 17th century. Great oil on canvas artwork depicting a biblical episode, the sacrifice of Isaac. To test the faith of Abraham, a just and devout man, God orders...

Pier Francesco Cittadini (Milan, 1616-Bologna, 1681) "Jacob and his family go to Egypt" Oil on canvas, cm 109 x 190 (canvas only) The valuable painting, made in oil on canvas, depicts Jacob and his family go to Egypt and we believe it can be, given the high quality painting, autograph work of Italian Pier Francesco Cittadini (Italy Milan, 1616 - Bologna, 1681) made after 1647. The work, in excellent condition is accompanied by a coeval frame in wood finely carved and golden. The scene depicted, which was confused with the Flight to Egypt in the past years, is instead identified with the biblical episode of Jacob’s journey. In the foreground, reading the painting from left to right, we see a caravan composed of animals, including donkeys, dromedaries, goats, dogs and horses and people, women, men and slaves, who carry on their journey along the banks of a river, following a path that to the right, would seem to lead to the through of a bridge. In addition to the watercourse is described an environment characterized by large rocks and impervious come far to cover the entire verticality of the canvas. On the left, in the distance, we see the tail of the caravan that runs along the steep path. Large trees enliven and harmonize the environment, as well as white and grey clouds characterize the predominantly clear sky and illuminated on the right by sunlight. The story is told in the Bible, Book of Genesis, 30, 25, passage in which is described the flight of Jacob from Haran after the contrasts with Laban, father of his wife Rachel. Jacob is the third great patriarch of the Bible. From his descendants originate the twelve generations of the people of Israel. He is the son of Isaac and Rebekah, who led him to flee from the wrath of Esau to Haran to seek refuge from his brother, Laban. At his uncle’s house Jacob met his daughter Rachel. As soon as he saw his cousin, Jacob was taken. Jacob will stay seven years in the service of Laban to marry his beloved Rachel. But Laban, with a deception, will give him in marriage first Lia, the least beautiful eldest daughter, and only after another seven years the splendid Rachel. From his first wife he will have several children, while Rachel will give birth to the beloved son, Joseph, who will become viceroy of Egypt. After years of service, Jacob asked to be paid with every dark-coloured garment among the sheep and every spotted and dotted garment among the goats. Laban accepted and sent away from his sons all the leaders of that kind. So Jacob took fresh branches of poplar, almond and plane tree, and flayed them, and put them in the troughs. The optical suggestion induced the goats and the sheep to conceive and give birth to dark, striped and dotted garments. He also ensured that all the strongest and healthiest leaders of the flock of Laban would drink near the barked branches, thus assuring a genetic superiority to his part of the flock. His flocks grew numerous and strong and he became richer than his relative, arousing envy. It was clear that Laban would not respect him much longer. At the suggestion of the Lord, Jacob decided to return to Canaan. Trying to avoid any possible dispute, he left with his family while Laban was absent for shearing sheep. But when, three days later, his uncle returned home, he became angry, feeling offended because Jacob had gone secretly and had not allowed him to greet his daughters and grandchildren. In addition, his teraphim, statuettes, or idols, which depicted the family deities, had disappeared. After 7 days of pursuit, Laban and his men reached Jacob’s group on Mount Gilead, in the mountainous region west of the Euphrates River, where his uncle and grandson had a stormy conversation. The younger man was outraged at being accused of stealing idols and told Labano to rummage through his family’s tents at will. Neither of them could know or even imagine that it was Rachel who took the idols and hid them in the saddle of the camel. During the search, she sat down firmly on the saddle, apologizing for not being able to get up, «because I usually have what happens to women» (Gen 31:35). So the loot wasn’t discovered. The author of this work was inspired by the composition of an engraving by Stefano Della Bella (1610-1664) of circa 1647. The engraving by Stefano della Bella bears the title "Iacob sur ses vieux jours quitte sans fascherie pour voir son filz Ioseph, sa terre et sa patrie" and is signed on the bottom left "Stef. of the Beautiful In. et fe." while on the right it is declared "Cum privil. Regis", that is with license of the king. Stefano Della Bella (Italy - Florence, May 18, 1610-Florence, July 12, 1664) was born in a family of painters, sculptors and goldsmiths and was left early orphan of his father sculptor, he dedicated himself first to the art of goldsmith at the school of Giovanni Benedetto Castiglione and Gasparo Mola, then turning his attention to drawing and engraving. He soon began drawing figures and copying the etchings of Jacques Callot, which inspired his early works. Under the protection of the Medici, in particular of Don Lorenzo, cadet son of Grand Duke Ferdinand I, Della Bella has the opportunity to make study trips to Rome, where he stayed from 1633-1636; In Rome he met French engravers and publishers of prints such as Israël Henriet and François Langlois, who influenced his decision to move to Paris in 1639, four years after the death of Callot. In Paris he soon reached, thanks to the engravings commissioned by Cardinal Richelieu, the success also worldly; he frequented courtiers, theatre artists and writers, while refusing too oppressive honors. In 1646-1647 he continued his travels in the Netherlands to Amsterdam, Antwerp and Dordrecht. He returned to Florence in 1650 and resumed working under the protection of the Medici court, working for his patrons. In 1656 he became a member of the Academy of Apatists. The painting object of this study is reasonably attributable to Pier Francesco Cittadini, or Pierfrancesco Cittadini, called the Milanese or the Franceschino (Italy - Milan, 1616-Bologna, 1681) as some exemplary stylistic comparisons proposed to follow can prove. Pier Francesco Cittadini was an Italian baroque painter, mainly active in Bologna. His artistic training first took place with the painter Daniele Crespi...

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

This 17th Century Italian Baroque painting, executed in oil on copper, depicts the Crucifixion of Christ with remarkable depth and dramatic composition. Christ is shown on the cros...

Incredibly rare Icon on Oak board dating to the 17th century and depicting Saint Matrona (Agia Matrona), this Icon was originally from Chios in Greece and was discovered in Vatopedi...

Magnificent Italian 17th century Portrait of Virgin Mary measures 52 x 68 cm without the frame. The colors are stunning and the paintin...

Antique landscape with figures from the 17th century. Oil on canvas painting depicting a splendid Flemish landscape that frames a famous episode of the New Testament, the appearance ...

Antique Lombard painting of the 17th century. Oil painting on canvas of considerable size depicting a shepherd with his dogs immersed in a countryside landscape. Painting of great pi...

Antique tempera Icon depicting St. John the Baptist holding his own head, a reference to his execution by beheading. This came as a result of John publicl...

English School 17th Century "Portrait of George Villiers Duke of Buckingham" Oil on canvas 66X53 cm size without frame George Villiers, 1st Duke of Buckingham (Brooksby, 28 August 1...

17th Century, Italian Oil on Panel Painting Depicting Madonna della Purità The painting, executed in oil on a circular wooden panel and presented in an imposing carved and gilded wo...

Jan Frans van Bloemen, called Orizzonte (Antwerp, 1662 – Rome, 1749) A Late 17th–Early 18th Century Italian Landscape with Figures of the Roman Campagna...

Illustration to an unidentified chapter of the Tale of Genji (Genji Monogatari) Tosa School (second half of the 17th Century) Ink, pigment, gofun and...

Italian School 17th century "Christ in the Temple" Oil/canvas/double, 106 x 118 cm. good condition

A painting, prior to 1678, from a famous fresco of the Triumph of the Name of Jesus from the Gesù Church in Rome, completed in 1684, attributed to the Old Master Painter Giovanni Bat...

Impressive pair of 17th century Japanese Edo period Rinpa school screens made in the manner and style of Autumn Grasses by Tawaraya Sōtatsu (1570-1640). Beautifully decorated with wi...

Antique 17th-century Italian painting. Oil on canvas artwork depicting Saint Francis of Assisi in meditation, of remarkable pictorial quality. The saint is depicted in a cave, next t...

17th century painting J.Castano 17th century Spain

Nature morte di fiori in vaso di scuola italiana del XVII secolo, coppia di due dipinti senza cornice. Olio su tela con sfondo scuro e fiori finemente definiti. Questi dipinti, natur...

17th Century Flemish Old Master Painting Circle of Frans Francken Rare 17th century Flemish School painting, circle of Frans Francken the Younger (1581-1642). This Cabinet picture, ...

A splendid 17th-century religious painting. Oil on canvas artwork depicting the Virgin of Sorrows in a moment of compassion on Calvary. Her expression, and especially her hands cross...

This is an absolutely incredible early 17th century oil on canvas painting representing Holy Family-Virgin Mary, St.Joseph, St. Elisabeth, John the Baptist and Baby Jesus. Sir Peter ...

An exceptional Continental late 17th century oil on canvas still life painting, in a 19th century giltwood frame. The beautiful painting displays a wonderful array of vivid colors an...

Antique Italian painting from the mid-17th century. Oil on canvas artwork, first canvas, depicting a biblical episode of great charm, Herod's banquet, of excellent pictorial quality....

An outstanding 17th century Oil Painting of Catherine of Alexandria, a Christian saint and virgin, martyred in the early fourth century by t...

Italian school painting from the second half of the 17th century. Oil on canvas artwork depicting David, the biblical hero, captured in the moment of triumph with the head of Goliath...

17th century, Italian painting with virgin and childr by Follower of Sir Anthony van Dyck cm W 90 x H 113; cornice cm W 111 x H 135 x D 7 The canvas depicts the Madonna with the Chi...