17th Century Portrait Paintings

Half-length portrait of Emperor Leopold I (born 1640, reigned 1658-1705) of Habsburg and later Emperor of the Holy Roman Empire in armor with imperial cloak. Around his neck he wears...

Portrait of Charles I, King of England (1600-49) Anthoon van Dyck (Antwerp 1599 - London 1641) Follower of Oil on canvas 93 x 86 cm - Framed 131 x 124 We are sharing a valuable wor...

Hans (or Johann) von Achen (Cologne 1552 - Prague 1615) workshop Adoration of the Shepherds Oil on canvas 112 x 90 cm./ Framed 125 x 102 cm. The painting that we are happy to prese...

Johann Boeckhorst (Münster 1604 - Antwerp 1668) Saint Ursula Oil on canvas, 112 x 86 cm Provenance: New York, Christe's, 20.3.1981, lot 88 (as Van Diepenbeeck's circle) The presen...

Signed and dated "N MAE / 1691" (lower right) Oil on canvas A masterful example of 17th-century Dutch portraiture, this magnificent oil on canvas comes alive with luminous color, dramatic contrast and extraordinary detail. The work was composed by Nicolaes Maes, an artist widely regarded as the most prominent portrait painter of his era in Amsterdam. Fashionably styled, Portrait of a Noble Lady exemplifies the mature style of Maes, executed with the same artistry and attention to detail he imparted on his most important private commissions. This work by Maes comes from the second half of his career and follows in the rich tradition of the great Flemish Baroque painters Peter Paul Rubens and Anthony van Dyck. Like these artists, Maes excels at not only capturing his subjects with a technical perfection but also their inherent elegance and grace. The sitter is draped in luxurious white and red silks and pearls, underscoring the importance and prosperity of his wealthy clientele. She is placed against a dark backdrop, enabling a striking chiaroscuro effect characteristic of the artist’s portraits. Maes’s immense talent for detail and composition is clearly evident. In both palette and proportion, it embodies the somewhat austere style preferred by the artist, which emphasized a painstaking study of the costumes, hairstyles and accessories of his subjects. Such elaborate and highly detailed costuming in portraiture was a fashionable way to show one's wealth in the 17th century, particularly among the emerging class of wealthy merchants. Similar works by the painter can be found in the Rijksmuseum (Amsterdam), National Gallery (London), National Gallery of Art (Washington, D.C.), Metropolitan Museum of Art (New York) and Philadelphia Museum of Art, among others. Nicolaes Maes was born in Dordrecht in 1634 to a prosperous cloth merchant. Around 1848, he moved to Amsterdam to study under Rembrandt for several years before returning to his native Dordrecht, where he established himself as a painter of genre scenes and portraits. In the 1650s, Maes traveled to Antwerp where he studied the work of Flemish artists such as Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens...

Portrait of Frances, Lady Whitmore nee Brooke (c.1638-1690) Circle of Sir Peter Lely (1618-1680) Titan Fine Art presents this exquisite portrait that depicts Frances Brooke, Lady Wh...

Guido Reni (1575 - 1642) workshop of Saint Michael Archangel Oil on canvas Dimensions (cm): 137 x 99 In antique frame 157 x 119 Provenance: Roman Collection We are sharing a work...

Portrait of a Noble Lady with her dog attributed to Abraham Lambertsz. van den Tempel, Dutch 1622 - 1672 *see notes below oil on canvas, in very fine quality Regency gilt frame canv...

François de TROY (Toulouse, 1645 – Paris, 1730) Portrait of Paul Etienne Brunet d'Evry (1653-1717) Oil on canvas H. 133 cm; L. 98 cm (Frame: H. 155 cm; L. 120 cm) Provenance: Remain...

Portrait of Francisco de Reynoso y Baeza.   Secretary of Pope Pius V, abbot of Husillos and bishop of Córdoba. Francisci de Reynoso. Early 17th century. Small-format portrait from ...

This lovely Dutch Old Master portrait oil painting is attributed to circle of Willem Wissing. Wissing settled in England and emerged as Peter Lely's most important pupil after his de...

PROVENANCE (Possibly) The Hon. Frederick Henry North, Frank T. Sabin Galleries by 1914, Likely acquired from the above by Sir Gilbert Eliott, 10th Bt. of Stobs, Thence by descent ...

The Penitent Saint Peter, 17th Century attributed to Donato Creti (1671-1749) Large circa 1700 Italian Rococo portrait of the Penitent Saint Peter, oil on canvas attributed to Dona...

Very fine 17th century Flemish old master "Allegory of the four elements" attributed to Frans Francken the Younger The figures are the Nereid Amphitrite, holding a coral and represe...

Portrait of Louis de France (1661 -1711), known as the Grand Dauphin, son of Louis XIV and Maria Theresa of Austria. 17th century French School, circa 1670 Workshop of Beaubrun Henri...

Saint Jerome supported by two angels Early 17th century Venetian painter Oil on canvas 86 x 67 cm. - In frame 103 x 84 cm. The proposed painting offers us an intense portrayal of S...

Francisco de Zurbaran (Fuente de Cantos 1598 - Madrid 1664) circle Full-length portrait of a king Second half of the 17th century Oil on canvas 78 x 52 cm. - in frame 89 x 67 cm. ...

Annibale Carracci (Bologna, 1560 - Rome, 1609) Workshop of Polyphemus and Galatea (or Polyphemus in love) First half of the 17th century Oil on canvas 75 x 62 cm. - In antique fram...

This stunning Italian 17th century Old Master religious oil painting is by Baroque artist Giuseppe Bartolomeo Chari. Painted circa 1684 it is a large and vibrant oil painting of the Madonna and child. To their left is Saint Catherine and to their right four putti or cherubs look upon a sleeping Jesus. The detail in all the figures faces and hair and the colouring is just superb, especially the Madonna's sumptuous blue robe. A really fabulous 17th century religious work with previous full attribution and excellent provenance which was once attributed to Carlo Maratta (1625-1713). Provenance. With Vangelisti, Lucca, Italy, 1966, from whom acquired by the family of the previous owner, and thence by descent. Red seal stamp verso Christies April 15th 1912 Christies March 23 1956 Condition. Oil on Canvas. Image size 44 x 54 inches unframed and in good condition. Frame. Housed in an original Carlo Maratta frame, 62 inches by 52 inches framed and in good condition. Giuseppe Bartolomeo Chiari (1654-1727), also known simply as Giuseppe Chiari, was an Italian painter of the late-Baroque period, active mostly in Rome. Born in Rome, he was one of the main assistants, along with Giuseppe Passeri and Andrea Procaccini, in the studio of an elder Carlo Maratta. His father had opposed the career, but his mother, on the recommendation of a painter named Carlo Antonio Gagliani. By the age of 22, he had frescoed the lateral lunettes (Birth of Virgin and Adoration of Magi...

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...

William III of England, Prince of Orange, workshop C. Netscher (The Hague, 1668-1723) Late 17th c. Dutch school Oil on canvas, dimensions: h. 31.49 in, w. 24.80 in Giltwood and carve...

Jean-Baptiste SANTERRE (Magny en Véxins 1651 - Paris 1717) Portrait of a couple Oil on original oval canvas H. 115 cm; L. 90 cm (140 x 115 cm with frame) Around 1695 Jean-Baptiste S...

Portrait Of A Lady, Stilte Family, 17th Century by Jan Cornelisz VERSPRONCK (1597-1662) Large 17th Century Dutch Golden Age portrait of a lady identified as a member of the Stilte family, oil on cradled panel. Excellent quality and condition portrait of the lady wearing a ruff and cap with elaborate lace work and a gilded embroided dress...

Portrait of Raimondo di Montecuccoli in armor with a marshal's staff. Dutch School. Oil on canvas Dutch School. Circle of Peter Nason (Amsterdam, 1612 - 1690 The Hague). Portrait ...

This magnificent oil on panel portrait, presented by Titan Fine Art, is a splendid example of the sumptuous female portraits that were painted for members of the upper echelons of society during the early part of the 1600’s. The artist has rendered this portrait with meticulous attention to detail and the surface effects of the fine materials. The elaborate lace coif and cuffs are painstakingly delineated, as is the bold black damask, and sumptuous gold decoration of her skirt and stomacher, which is wonderfully preserved and quite remarkable considering the age of the work and the fact that darker pigments are particularly vulnerable to fading and wear. This work with its spectacular depiction of costume is of absolute quality, it can be rated as one of the best works in the artist’s oeuvre and as such it is an important and splendid example of Dutch portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middleclass patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Dress was a key component in portraits, and the exuberant attire reiterates the incredible wealth of this woman. The sitter will have visited the artist’s workshop and inspected examples on display. They would have chosen the size and the sort of composition and on that basis negotiated the price – which would have also been determined by the complexity of the clothing and the jewels that were to be depicted, and by the materials to be used. When all was considered, this portrait would have cost the sitter (or her husband) a substantial sum. The colour black was regarded as humble and devout yet at the same time refined and sophisticated and the most expensive colour of fabric to dye and to maintain. Citizens spent fortunes on beautiful black robes. Such uniformity must also have had a psychological side-effect and contributed to a sense of middle-class cohesion; the collective black of the well-to-do burgess class will have given its members a sense of solidarity. The colour was always an exciting one for artists and when this portrait was painted there were at least fifty shades of it, and as many different fabrics and accoutrements. Artists went to great lengths to depict the subtle nuances of the colour and the fabrics and textures and how they reflected light and it was an ideal background against which gold and crisp white lace could be juxtaposed to dramatic effect. The sitter is either a married women or a widower as is evident by the clothing that she wears and the position, toward her right, it is highly likely that this portrait was once a pendant that hung on the right-hand side of her husband’s portrait as was convention at the time. She wears a vlieger which was a type of sleeveless over-gown or cape worn by well-to-do married women in the late 16th and early 17th centuries. Variations with short sleeves or high shoulder rolls are known. Sometimes sleeves were attached with aiglets, and often slits were made to allow belts or the hands to pass through. Three-piece vlieger costumes of this kind were standard items of clothing in portraits of the women of the civic elite in the period 1600-40 and was a variant of the Spanish ‘ropa’ and served as a trademark of well-to-do married burgher women. Girls and unmarried woman, including beguines, wore a bouwen (a dress with a fitted bodice and a skirt that was closed all round) instead. This clear distinction between apparel for married and unmarried women is clear not only from inventories and trousseau lists, but also from contemporary sources such as the Dutch Spanish dictionary published by Juan Rodrigues in 1634. In it, a bouwen is described as a ‘ropa de donzella’ (over-gown worn by a virgin) and a vlieger as a ‘ropa de casada’ (overgown worn by a married woman). It is striking how few women are depicted wearing a bouwen, unless they are part of a group, family or children’s portrait and it can therefore be assumed that independent portraits of unmarried women were seldom commissioned. It is also believed that the clothing worn in these portraits existed and were faithfully reproduced when cross-referenced with the few exact documents. These sources also demonstrate that clients wanted their clothing to be depicted accurately and with this in mind precious garments and jewels were often left in the painter’s studio. The prominent white lawn molensteenkraag (or millstone ruff) is held up by a wire supportasse and was reserved only for the citizens that could afford this luxurious item that often required 15 meters of linen batiste. The fabulous wealth of this sitter is also evident by the elaborate lace coif and cuffs which have been exquisitely depicted; lace was often literally copied by artists in thin white lines over the completed clothing. The gold bracelet with jewels is a type that was evidently fashionable as it is seen in a number of portraits during the 1610s and 1620. Clothing and jewellery were prized possessions and were often listed in inventories of estates and passed down from generation to generation. There were a great number of jewellers of Flemish origin working at all the courts and cities of Europe, competing with the Italians, and then the French, adapting themselves to the tastes and positions of their patrons and the raw materials available in the country where they worked. The fashion for jewels “in the Flemish style” succeeded that of the Italian style. Cornelis van der Voort, who was probably born in Antwerp around 1576, came to Amsterdam with his parents as a child. His father, a cloth weaver by trade, received his citizenship in 1592. It is not known who taught the young Van der Voort to paint, but it has been suggested that it was either Aert Pietersz or Cornelis Ketel. On 24 October 1598 Van der Voort became betrothed to Truytgen Willemsdr. After his first wife’s death he became betrothed to Cornelia Brouwer of Dordrecht in 1613. In addition to being an artist, Van der Voort was an art collector or dealer, or both. In 1607 he bought paintings from the estate of Gillis van Coninxloo, and after an earlier sale in 1610 a large number of works he owned were auctioned on 7 April 1614. Van der Voort is documented as appraising paintings in 1612, 1620 and 1624. In 1615 and 1619 he was warden of the Guild of St Luke. He was buried in Amsterdam’s Zuiderkerk on 2 November 1624, and on 13 May 1625 paintings in his estate were sold at auction. Van der Voort was one of Amsterdam’s leading portrait painters in the first quarter of the 17th century. Several of his group portraits are known. It is believed that he trained Thomas de Keyser (1596/97-1667) and Nicolaes Eliasz Pickenoy (1588-1650/56). His documented pupils were David Bailly (c. 1584/86-1657), Louis du Pré...

17th century Flemish Old master painting "Adoration of the Shepherds" by Victor Wolfvoet the Younger Surrounded by an elegant and broad black frame, i...

Jan Kupetsky (1667 - 1740) Czech School An artist grinding colours, possibly a self-portrait Oil on canvas Signed, verso : "Joseph Prinzig" Provenance: Private Collection, Hungary ...

Catherine of Braganza, Queen Consort of England, Scotland, and Ireland, circa 1660. Italian School. Oil Painting." This stunning oil painting, d...

Sassoferrato (Giovanni Battista Salvi) 1609-1685 Italian Madonna Addolorata Oil on canvas Celebrated Italian artist Sassoferrato and his moving religious imagery are the epitome ...

The Penitent Saint Italian artist, 17th century oil on copper panel, framed framed: 10 x 8 inches copper panel : 7.5 x 5 inches provenance: private collection, France condition: very...

Peter Paul Rubens (circle of) An Apostle circular 15.15 inches (38.5 cm) oil on canvas Provenance: Bukowskis Auctions, lot 725149, as "Peter Paul Rubens, circle of".

“A portrait of three children, one of them holding a basket of grapes, while another plays the flute” Oil on canvas Housed in a blackened 17th-century frame. We'd like to thank dr...

“Timete Deum et date Illi honorem quia venit hora iudicii Eius” (Fear the Lord and honour Him, for the hour of His judgement has come): the passage from John's Apocalypse (chapter 14...

Oil on panel Signed and dated lower left. Quiringh van Brekelenkam was a Dutch genre painter, who studied under Gerard Dou. As a result, his paintings from the 1640s and 50s are si...

In 1607, the Delft city council decided to commission a portrait of Stadholder Maurits of Nassau for the town hall, with Michiel van Mierevelt as the chosen artist due to the passing...

Jacques STELLA (Lyon, 1596 - Paris, 1657) The Annunciation Oil on alabaster (single old break perfectly restored) H. 25 cm; W. 30 cm Son of François Stellaert, a painter of Flemish ...

Justus Sustermans was first recorded working for the Medici in Florence in October 1621. He then worked continuously for the Grand Dukes until his death 60 years later in 1681. Suste...

Figure with Cherubim in Wilderness Italian School, 17th century oil painting on wood panel framed 13 x 11 inches condition: overall for its age very good, though the work is most likely a preparatory...

Circle of Bernhard Keilhau, known as Monsù Bernardo (Helsingør 1624 - Rome 1687) - Maddalena. 64 x 79.5 cm without frame, 82 x 98 cm with frame. Antique oil painting on canvas, in ...

Painting oil on panel depicting a strong and distinctive old man's head with dimensions of 36 x 28 cm without frame and 68 x 60 with frame coeval Flemish school of the second half of...

Presented by Titan Fine Art, this painting formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall. This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula. This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...

Dutch School, Elegant Couple, Tavern Interior Scene, Cabinet Piece, A PAIR

Hendrick ter Brugghen (The Hague 1588-1629 Utrecht) Workshop Violin Player Oil on canvas 72 x 60 cm. Framed 87 x 78 cm. An analysis of the composition and style of this interestin...

Oil on Canvas. The painting has the artist's name (Giovani Piana) and the date of completion 1616 at the top. It depicts Saint Simon, holding a book and a saw, his iconographic attr...

A beautiful late 17th century Italian Old Master oil on canvas depicting The Virgin in Adoration, circle of Carlo Maratta. Excellent quality early Italian work, presented in an ant...

Painting, oil on canvas, measuring 92 x 77 without frame and 107 x 82 cm with frame , depicting a Saint Jerome in ancient philosopher and ascetic version, typical of the greatest tra...

The Resting Place Dutch School, mid 17th century oil painting on board, unframed canvas: 7 x 9 inches provenance: private collection condition: very good and sound condition

Titan Fine Art present this picture which formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-...

Artist/ School: 17th Century Italian School Title: The Presentation of the Virgin in the Temple Medium: oil painting on canvas, framed Size: canvas: 21” x 16” (53.3 x 40.8cm) Pro...

Anton Maria Piola (Genoa, 1654 - 1715) circle Madonna and Child Genoese school of the second half of the 17th century Oil on canvas 93 x 74 cm.- In antique frame 110 x 92 cm. (Work with expertise by Dr. Arabella Cifani) In the pleasing work proposed, depicting a classical Nativity scene, the Madonna is immortalised in adoration as she gently holds the sheet on which the Child is lying, with a gesture of protection and pride that facilitates an atmosphere of intimate recollection, in addition to the presence of three cherubs at the top. The stylistic analysis of the canvas can easily be traced back to a painter of the Genoese school and active during the 17th century, specifically with the devotional works from the workshop of Domenico Piola (Genoa, 1627-1703), an absolute protagonist of Genoese Baroque culture. Piola was the owner of the most important city painting workshop of the time, known as 'Casa Piola', where his sons Paolo Gerolamo and Anton Maria also collaborated. His production, which specialised in a type of highly decorative, profane and allegorical paintings, destined for the decoration of Genoese patrician palaces, also included a refined series of works of a religious nature. In particular, the style of our beautiful breast painting...

Titan Fine Art present this picture which formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-...

Jacopo Confortini (Florence 1602-1672) Madonna and Child with Two Angels Oil on canvas 80 x 60 cm./Framed 101 x 81 cm. The proposed painting, datable to around the middle of the 17th century, depicts the Virgin enveloped in a golden glow and reclining on a throne of fluffy clouds, while lovingly supporting the Child on her lap, with two adoring angels...

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 fig...

Titan Fine Art present this striking portrait, which was painted by one of the most talented artists working in England during the last half of the 17th century, John Greenhill. Gre...

The Trial of Christ Dutch Old Master, 17th century oil on panel, unframed panel: 11 x 7.5 inches provenance: private collection, England, Christies auction stencil marks verso condi...

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

The Angel Gabriel Jesus & Satan 18th Century afterf Domenichino (1581-1641) Large 18th Century Italian Bolognese School Old Master depiction of the Guardian Angel Gabriel, Jesus an...

Portrait Of Sir Oliver Cromwell (1599-1658) SIR PETER LELY after (1599-1658) SIR PETER LELY Large 17th Century portrait of Sir Oliver Cromwell in armour, oil on canvas. Depicted in...