Items Similar to 17th Century Dutch Old Master Oil Painting Oval Shape Figures in Tavern Interior
Want more images or videos?
Request additional images or videos from the seller
1 of 3
Dutch Old Master17th Century Dutch Old Master Oil Painting Oval Shape Figures in Tavern Interior
About the Item
Tavern Interior
Dutch School, 17th century
oil on metal, framed
framed: 8 x 6.75 inches
painting: 6 x 4.25 inches
provenance: private collection
condition: very good and sound condition
- Creator:Dutch Old Master (Dutch)
- Dimensions:Height: 8 in (20.32 cm)Width: 6.75 in (17.15 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Cirencester, GB
- Reference Number:1stDibs: LU509313724602
About the Seller
5.0
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1989
1stDibs seller since 2016
3,517 sales on 1stDibs
Typical response time: 2 hours
- ShippingRetrieving quote...Ships From: Cirencester, United Kingdom
- Return PolicyA return for this item may be initiated within 3 days of delivery.
More From This SellerView All
- Huge 1700's English Portrait Aristocratic Wigged Gentleman in Stately LandscapeBy Jacobo AmigoniLocated in Cirencester, GloucestershirePortrait of an Aristocratic Gentleman in his landscape, circa 1730's Standing, three quarter length, wearing a dark russet coat and holding a book and a cane, circle of Jacopo Amigoni (Italian 1682-1752) oil on canvas, unframed 50 x 40 inches Condition: old lining; retouching, principally towards the edges and in the background; the canvas with slight unevenness where the lining is not secured at upper right. Provenance: private collection, England Jacopo Amigoni (ca. 1685 – September 1752), also named Giacomo Amiconi, was an Italian painter of the late-Baroque or Rococo period, who began his career in Venice, but traveled and was prolific throughout Europe, where his sumptuous portraits were much in demand. He was born in Naples. Amigoni initially painted both mythological and religious scenes; but as the panoply of his patrons expanded northward, he began producing many parlour works depicting gods in sensuous languor or games. His style influenced Giuseppe Nogari. Among his pupils were Charles Joseph Flipart, Michelangelo Morlaiter, Pietro Antonio Novelli, Joseph Wagner, and Antonio Zucchi...Category
Early 18th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
- Large 1700's Italian Oil Painting on Canvas Portrait of a Clerical GentlemanLocated in Cirencester, GloucestershirePortrait of a Clerical Gentleman Italian artist, mid 18th century Circle of Giovanni Battista Carboni (1725-1790) oil on canvas, unframed canvas: 26 x 22 inches provenance: private c...Category
Mid-18th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- Huge 18th Century English Oil Aristocratic Portrait of a Gentleman StandingLocated in Cirencester, GloucestershirePortrait of an Aristocratic Gentleman British artist, first half 18th century oil on canvas, unframed canvas: 50 x 40 inches provenance: private collection, Dorset, England condition...Category
18th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- Fine 17th Century Dutch Old Master Oil on Wood Panel Ester before AhasuerusLocated in Cirencester, GloucestershireEster before Ahasuerus Dutch School, 17th century circle of Rembrandt oil painting on wooden panel, unframed panel: 28 x 20 inches provenance: private collection, London condition: very good and sound condition for its age though there are old panel splits evident and minor, but stable, paint loss in those areas, as shown in the photos. The subject of ‘Ester before Ahasuerus’ was narrated by the Bible’s Book of Ester (V: 2-34). Here, the Persian King...Category
17th Century Old Masters Figurative Paintings
MaterialsOil
- Elegant Georgian Young Ladies Woodland Park Antique English Oil PaintingLocated in Cirencester, Gloucestershire'Morning Amusement' English School, circa 1800's after the painting by Sir Joshua Reynolds, British 1723-1792 oil painting on canvas, unframed please...Category
Early 19th Century Old Masters Figurative Paintings
MaterialsOil
- Huge 18th Century English Aristocracy Portrait Mother & Child Stately Home oilLocated in Cirencester, GloucestershireEnglish School, 18th century oil painting on canvas, framed framed: 53 x 45 inches canvas: 48 x 40 inches provenance: private collection, England condition: overall very presentable...Category
Mid-18th Century Old Masters Portrait Paintings
MaterialsOil
You May Also Like
- 18th C. Portrait of the 4th Earl of Sandwich a View of Constantinople BeyondLocated in London, GBJohn Montagu, 4th Earl of Sandwich (13 November 1718 – 30 April 1792) Attributed to George Knapton (1698-1778) Dressed in the Turkish manner, stand...Category
18th Century Old Masters Figurative Paintings
MaterialsOil
- 18th Century Oil Painting Portrait of Provost John Pitcairn of DundeeBy Sir Henry RaeburnLocated in London, GBThe pendant to the present portrait showing John Pitcairn's wife Jean, née Robertson, is in the Huntington Art Gallery, San Marino. Both works are datable to the 1790s. Pitcairn, who served as Provost of Dundee from 1782-84, a position his father-in-law also held from 1731-32, later sat to Raeburn for another portrait, dated to circa 1820, which is now in the Royal Scottish Academy, Edinburgh Sale of Christie's London: Wednesday, July 9, 2014 [Lot 00212] Old Master & British Paintings Day Sale Sold For 22,500 GBP Premium Provenance By descent from the sitter to his great-grandson, Ronald Andrew Pitcairn of Pitcullo; Christie's, London, 25 June 1904, lot 58 (200 gns. to Wallis). Alexander Reid, Glasgow. With Agnew's, London, where acquired by A.R. Wilson Wood, 7 April 1909; Christie's, London, 26 June 1914, lot 78 (850 gns. to Agnew). Anonymous sale; Christie's, London, 24 November 1972, lot 27 (320 gns.) Private collection, Dublin, Ireland Exhibition Edinburgh, Royal Scottish Academy, 1876, no. 256 Literature W. Armstrong, Sir Henry Raeburn, London, 1901, p. 110. J. Greig, Sir Henry Raeburn, R.A., His life and work with a catalogue of his pictures, London, 1911, p. 55. R. Asleson and S.M. Bennett, British Paintings at The Huntington, New Haven and London, 2001, p. 312, fig. 12 Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton...Category
18th Century Old Masters Figurative Paintings
MaterialsOil
- Head of an AngelLocated in New York, NYProcaccini was born in Bologna, but his family moved to Milan when the artist was eleven years old. His artistic education was evidently familial— from his father Ercole and his elder brothers Camillo and Carlo Antonio, all painters—but his career began as a sculptor, and at an early age: his first known commission, a sculpted saint for the Duomo of Milan, came when he was only seventeen years old. Procaccini’s earliest documented painting, the Pietà for the Church of Santa Maria presso San Celso in Milan, was completed by 1604. By this time the artist had made the trip to Parma recorded by his biographers, where he studied Correggio, Mazzola Bedoli, and especially Parmigianino; reflections of their work are apparent throughout Procaccini's career. As Dr. Hugh Brigstocke has recently indicated, the present oil sketch is preparatory for the figure of the angel seen between the heads of the Virgin and St. Charles Borrommeo in Procaccini's altarpiece in the Church of Santa Afra in Brescia (ill. in Il Seicento Lombardo; Catalogo dei dipinti e delle sculture, exh. cat. Milan 1973, no. 98, pl. 113). As such it is the only known oil sketch of Procaccini's that can be directly connected with an extant altarpiece. The finished canvas, The Virgin and Child with Saints Charles Borrommeo and Latino with Angels, remains in the church for which it was painted; it is one of the most significant works of Procaccini's maturity and is generally dated after the artist's trip to Genoa in 1618. The Head of an Angel is an immediate study, no doubt taken from life, but one stylistically suffused with strong echoes of Correggio and Leonardo. Luigi Lanzi, writing of the completed altarpiece in 1796, specifically commented on Procaccini's indebtedness to Correggio (as well as the expressions of the angels) here: “Di Giulio Cesare...Category
17th Century Old Masters Figurative Paintings
MaterialsPaper, Canvas, Oil
- 17th Century by Giuseppe Assereto Portrait of an Elderly Woman Oil on CanvasBy Giuseppe AsseretoLocated in Milano, LombardiaGiuseppe Assereto (Genova - 1626 ca – Genova 1656/57) Portrait of an elderly woman, possible portrait of Maddalena Massone, wife of Gioacchino Assereto Oil on canvas, cm. 65,5 x 51,5...Category
Early 17th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
- Portrait of Lady Caroline PriceBy George RomneyLocated in Miami, FLDESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would be ...Category
1970s Old Masters Portrait Paintings
MaterialsCanvas, Oil
- Portrait of Jean-Baptiste Greuze, painted on linen by his daughter Anna GreuzeLocated in PARIS, FRThis replica of the last self-portrait of Jean-Baptiste Greuze painted in 1804, executed by his daughter Anna at her father's side and recently rediscovered, provides us with a poignant image of the great artist, represented with panache despite the disillusions of life. 1. Jean-Baptiste Greuze Jean-Baptiste Greuze was the sixth child of a roofer from Tournus and retained a certain rusticity in his behaviour from his provincial childhood, beyond his taste for describing picturesque scenes of the countryside. He initially started training with a little-known painter from Lyon, Charles Grandon, before his genius was recognised in Paris where he became a full-time student of the Académie (of Painting) in 1755. He exhibited his work for the first time at the Salon during the summer of 1755, before leaving on a trip to Italy in the company of Louis Gougenot, abbot of Chezal-Benoît. Upon his return to Paris, Greuze became a prolific painter, participating widely in the Salons held between 1759 and 1765, to which he sent no less than 63 paintings: numerous genre scenes (The Marriage Contract, The Beloved Mother), but also portraits of his family circle, of courtiers and art lovers, or of his colleagues. The Academy closed the doors of the Salons to him in 1767 for not having produced his reception piece within six months of his reception, as was the tradition. He worked actively on this painting (Emperor Severus rebukes Caracalla, his son, for trying to assassinate him ) until the summer of 1769, tackling historical and mythological subjects for the first time. Once this was completed, he was then fully admitted to the Academy, but as a genre painter, and not as an historical painter, which had been one of the greatest humiliations of his life. Greuze then refused any participation in events organised by the Academy or its successor, the Academy of Fine Arts until 1800. Abandoning history painting, he gave a new twist to genre scenes, bringing them closer to history painting, as in this pair of canvases which constitutes some of his masterpieces: The Paternal Curse: The Ungrateful Son and The Paternal Curse: The Punished Son . Married in 1759 to Anne-Gabrielle Babuti, the daughter of a Parisian bookseller, his marriage was unhappy and his wife probably frequently unfaithful. The institution of divorce enabled him to record their separation in 1793, keeping his two daughters Anna-Geneviève, born in April 1762, and Louise-Gabrielle, born in May 1764, with him. Little is known about his daughter Anna except that she was herself a painter and lived with her father until his death. It is likely that most of the paintings she produced up to that date were attributed to her father, whose technique she shared to a great extent, making it extremely difficult to establish an autonomous corpus of her paintings. Greuze died in his studio at the Louvre on March 21st 1805. The attention paid to the expressivity of his characters and the emotional charge they convey enabled Jean-Baptiste Greuze to enjoy immense popularity with the eighteenth-century public, and they still constitute Greuze's true modernity. As the artist said, "I dipped my brush in my heart". Greuze was also an exceptional draughtsman and a portraitist of immense talent and exceptional longevity who painted both the Dauphin (the son of Louis XV and father to Louis XVI) and the young Napoleon Bonaparte. 2. Greuze's self-portraits Greuze was very much influenced by Dutch paintings during all his life. While the source of his inspiration for genre scenes can be found in Gerard Dou...Category
Early 1800s Old Masters Portrait Paintings
MaterialsLinen, Oil
Recently Viewed
View AllMore Ways To Browse
Very Old
Very Old Antique Antiques
Very Old Antique
Old Antique Collection
Metal Masters
Dutch Metal
Old Dutch Antique
Antique Oval Art
Dutch 17th
Holland 17th Century
17th Century Dutch
Old Metal Frames
Antique Metal Frames
Antique Oil Painting Figures Paintings
Old Dutch Paintings
Antique 17th Century Dutch
Dutch Old Masters
Oval Framed Art