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Period: 18th Century and Earlier
Spiegazione de' bassirilievi dell'urna detta d'Alessandro Severo - 1756
Located in Roma, IT
Cover on cardboard and decorated in quite good conditions. Lightly damaged on spine. Inside quite good conditions except foxing on right side of some pages. quite fresh prints. Inclu...
Category

Modern 18th Century and Earlier More Art

Materials

Paper

Portrait of Lady Anne Tipping née Cheke c.1705, English Aristocratic Collection
By Kneller Godfrey
Located in London, GB
Titan Fine Art present this exquisite portrait, that formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Reg...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

Portrait of a Gentleman in Scarlet Robe Holding Flowers c.1675, Oil on canvas
Located in London, GB
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...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

Very rare Collector's Cabinet, Antwerp, 17th century. Embroidered panels
Located in Firenze, IT
Collector's Cabinet. Antwerp. XVIIth century. Ebony, wood (oak?) embroidered silk. Restored, with some imperfections. Two doors and top lid with locks. Small upper drawers and one l...
Category

Baroque 18th Century and Earlier More Art

Materials

Silver

Portrait of an Elegant Lady in a Red Silk Dress, Beautiful Antique Frame c.1720
By Jonathan Richardson the Elder
Located in London, GB
This beautiful portrait was painted circa 1725 and is a fine example of the English eighteenth century portrait style. The artist has chosen to depict the lady against a plain background wearing a simple red silk dress and transparent headdress hanging down the back. The sitter is not shown with jewellery or any other elements to distract the viewer’s attached, thus highlighting the beauty of the young sitter. This restrained manner achieves a sense of understated elegance. The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. With the rich colouring and lyrical characterisation, these works are representative of the archetypal English portrait and is are very appealing examples of British portraiture...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

Christ Driving The Money Changers From The Temple By Rembrandt Van Rijn
Located in New Orleans, LA
Rembrandt van Rijn 1606-1669 Dutch Christ Driving the Money Changers from the Temple Etching on paper New Hollstein's 139, state I of IV Among the very best of the Old Masters st...
Category

Old Masters 18th Century and Earlier More Art

Materials

Paper, Etching

Portrait of Gentleman, Thomas Bruce, Earl of Elgin c.1638 Manor House Provenance
Located in London, GB
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-...
Category

Old Masters 18th Century and Earlier More Art

Materials

Oil, Wood Panel

Portrait of a Lady Diana Cecil, Countess of Elgin c.1638, Manor House Provenance
Located in London, GB
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-...
Category

Old Masters 18th Century and Earlier More Art

Materials

Oil, Wood Panel

Gilded wooden stool. Signed Bolgieri
By Francesco Bolgié
Located in Torino, IT
The stool is a historical document of Torinese cabinetmaking. Large in size, it is elegantly carved according to the canons of fine cabinet making in Turin. The conical legs are shel...
Category

Old Masters 18th Century and Earlier More Art

Materials

Gold Leaf

Portrait of a Gentleman in Armour and Holding a Baton, Manor House Provenence
Located in London, GB
Titan Fine Art present this accomplished work, from Kilcooley Abbey, Co Tipperary, Ireland. It portrays a gentleman traditionally known as the English military commander and politic...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

Mid 18th century Rococo Chinoiserie Corner capboard with Exotic Flowers and bir
Located in Firenze, IT
This wall corner capboard is painted with chinoiserie ornaments. With exotic flowers, plants, birds and insects. Most likely inspired by drawings on Chinese porcelain. Some touch-ups...
Category

Rococo 18th Century and Earlier More Art

Materials

Wood, Lacquer, Oil

ITALIAN MEDIEVAL CAPITAL, 12th/13th Century
Located in Milan, IT
ITALIAN MEDIEVAL CAPITAL Italy, 12th/13th Century marble 19 x 23 x 23 cm 7 1/2 x 9 x 9 in total height 31 cm (12 1/4 in)
Category

18th Century and Earlier More Art

Materials

Marble

European Portrait of a Priest
Located in Milford, NH
A fine European portrait of a priest, oil on canvas, probably dating to the 17th or 18th century, unsigned, with original stretcher, minor surface losses and damage, craquelure, edge...
Category

18th Century and Earlier More Art

Materials

Oil, Canvas

Portrait of Lady, Mary Sackville, Countess of Dorset, Studio of Godfrey Kneller
Located in London, GB
This striking portrait, presented by Titan Fine Art, depicts the celebrated seventeenth century court beauty, Mary Sackville (née Compton), Countess of Dorset (1669-1691) wearing a gold decollete dress and ermine-trimmed cloak. Painted circa 1690, its extravagant grand manner is distinctive of Kneller’s work from this period, where the use of full-length swaggering poses and a heightened sense of movement and physical presence were employed. Several versions exist particularly as she was a renowned court beauty. Images of well-known society individuals were in demand and the portrait studios thereby created several duplicates, and on occasion, many variations of them. One such example is a painting, signed by Kneller, at Knole Park in Kent, home of the sitter and her husband (see photo), and is an almost full duplicate of our painting. The Countess was Lady of the Bedchamber to Queen Mary II and one of the Hampton Court Beauties, painted by Sir Godfrey Kneller for Queen Mary. Her father was James Compton, 3rd Earl of Northampton, and her mother was Mary Noel, daughter of Baptist Noel, 3rd Viscount Campden. In 1685 she married Charles Sackville, 6th Earl of Dorset and 1st Earl of Middlesex (died 1706) and the couple lived at their main residence Copt Hall, Waltham Abbey, Essex. In 1687 the couple’s only son, Lionel Cranfield Sackville, was born. He became, on his father’s death, seventh Earl of Dorset and later first Duke. As a child he was a favourite with the brusque and taciturn King (William). Charles and Mary also had one daughter, Lady Mary Sackville (1688 – 1705), who married Henry Somerset, 2nd Duke of Beaufort. Charles was born during the Civil War, and was the son of Richard Sackville, 5th Earl of Dorset (1622–1677) and Lady Frances Cranfield, sister and heiress of the 3rd Earl of Middlesex, to whose estates he succeeded in 1674, being created Baron Cranfield, of Cranfield in the County of Middlesex, and Earl of Middlesex in 1675. Three years later, on the death of his father in 1677, he became 6th Earl of Dorset and inherited Knole. Thus began the assembly at Copt Hall (and later, at Knole) of the outstanding collection of 17th-century furniture, textiles and portraits that compensated for the losses of the Civil War and that are now on public display. His first wife, Dowager Countess of Falmouth, died during childbirth, and two years later he went to France for his health embarked on a string of casual affairs and resisted pressure from his mother, Frances, to get married again - 'I doe pasionatly Long to see you fixte,' she wrote to him. Charles Sackville had benefited from his friendship with Charles II. In 1668 he had been made a Groom of the Bedchamber, and in 1669/70 he had been sent to France as ambassador to the Court of Louis XIV, but his real moment came in January 1689, when he supported the accession to the throne of King William II and his wife Queen Mary. As a reward, Charles was appointed Lord Chamberlain of the King's Household, in which capacity he supervised the domestic affairs of the monarch, ordering new keys for Queen Mary's apartments in Whitehall, ensuring that the Speaker...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

Portrait of an Elegant Lady in a Blue Silk Dress, Beautiful Antique Frame c.1720
By Jonathan Richardson the Elder
Located in London, GB
This beautiful portrait was painted circa 1725 and is a fine example of the English eighteenth century portrait style. The artist has chosen to depict the lady in a simple blue silk dress and without jewelry or a background, thus allowing the viewer to concentrate solely on the beauty of the sitter. The effect of this restrained manner creates a sense of understated elegance. The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. With the rich colouring and lyrical characterisation, these works are representative of the archetypal English portrait and is are very appealing examples of British portraiture...
Category

Old Masters 18th Century and Earlier More Art

Materials

Oil, Canvas

English Portraits of Lady, Dorothy & Jane Wood c.1750, Remarkable Carved Frames
By John Theodore Heins
Located in London, GB
Portraits of a Lady, Dorothy and Jane Wood c.1750, Fine Carved Frames By John Theodore Heins (1697-1756) Titan Fine Art present these works, which formed part of a collection of family heirlooms of the Wood family who were from Bracon Ash, Norfolk, since the medieval period. Jane’s daughter Ann, was famously married on board the Foudroyant, off Naples, in a lavish ceremony in 1799, with Lord Nelson himself giving away the bride. The paintings descended within the family for around 275 years until recent and are exquisite examples of Georgian portraiture in England and are some of the best works by the artist. The original hand carved and gilded pierced frames are magnificent works of art in their own right. The sitters were two children, out of several, of Thomas Wood (1682-176) and Dorothy Huby (1700-1759). The family is from Norwich, which in 1720 was a city second in importance only to London. Their aunt, Jane Wood (1677-1756), was a Franciscan nun in Bruges. Dorothy Wood (in the blue dress) was baptised 2nd June 1726 and she died unmarried around 1759. Jane (in the pink dress) gave birth to at least six children during her thirty two-year marriage. She was baptised 14 Oct 1727 at Bracon Ash. Jane married Knipe Gobbet (1730/5-1791) who was Sheriff in 1768 (and Mayor in 1771) of the City of Norwich, and later Lieutenant-Colonel of the West Norfolk Regiment, in which corps he had served in for many years. According to Payne’s Universal Chronicle or Weekly Gazette the marriage took place on 7th July 1758. Knipe was born at his family seat, Tacolneston Hall, to parents George Gobbet, who was Sheriff in 1710, and Ann. The couple bought and lived in a house in Norwich (later known as Gurney’s Bank House) until 1778 before moving to another one at 10 St Stephen’s Street, Norwich. Later, they inherited the family seat of Tacolnestan Hall and lived there for the remainder of their lives. Knipe Gobbet was a prominent individual and in 1779 he gave the corporation of Norwich 100 pounds, to be disposed of as they might think proper, and soon after that he was presented with a handsome field tent, marquee, and camp equipage, in testimony of their esteem for his dedication to the defence and service of this country at a time when threatened by an invasion. Although Jane was baptised a Roman Catholic Knipe was a prominent local wine merchant, JP, Alderman, sheriff, mayor and Lieutenant. Roman Catholics may have paid lip service to religious conformity as they were excluded from certain areas of public life before the Catholic Emancipation Act of 1829. Such discrimination probably lies behind the why their children are included in the registers of both the Anglican church in Tacolneston and the Norwich Catholic church in the 1760s. Jane and Knipe had one son, Thomas, who died at the age of four of a small-pox inoculation in 1762 (memorial stones in the Church of All Saints, Tacolneston) and many daughters who were schooled at the Order of the Immaculate Conception of Our Lady, in Paris. Their oldest daughter, Anne (1760-1817) was born at Tacolneston Hall. She came to the convent 30 Sept 1774 and ten days later she went to Dames St Sacrament, Rue St Louis in Paris. Their second daughter, Dorothy (died suddenly of apoplexy 21st Nov 1813), came to the convent 19th July 1777 when she was 16 years old and returned to England 23 March 1779. Frances (baptised 22 Feb 1763) came to the convent 16th April 1772 when she was 9 years old and returned 29th May 1777 – however she returned again to the convent 16th May 1778 and left 15th Oct 1778 to return home again. She later married and her surname became Negri. Another daughter, Jane, is thought to have married Juan Manuel Martinez in 1784. There was also another daughter, Mary. The eldest daughter, Ann, first married Peter Bottalini of London 27 Oct 1783 at Tacolneston Hall. They had one son together. She then married on 9th July 1799, Dr William Compton (1733- Clifton 1824), the Chancellor of Ely and the next collateral male relation to the Earl of Northampton (he had earlier marriages to Caroline and Catherine). William Compton later retired from the Commons and spent many years on the continent acting as Chancellor of Ely by proxy from 1777 for the remainder of his life. The couple were British residents of Posilipo Naples and the marriage was hosted on board the Foudroyant, off Naples, where the bride was given away by the Right Hon. Lord Nelson himself. The marriage document, signed by Lord Nelson, Lady Emma Hamilton, Captain Thomas Hardy, and others descended within the family, until sold in a sale that raised worldwide interest in 2023, for £20,160. The document is accompanied by a contemporary manuscript account of the wedding, headed 'Paragraph for the papers, sent to Messrs Coutts & Co with request to have it inserted'. Lord Nelson was a household name in Britain due to his many victories, including the Battle of the Nile against the French Navy in August 1798 – which came before the Battle of Trafalgar in 1805. The document states: 'This is to certify that, on board the Foudroyant lying in Naples Bay, on the ninth of July 1799 the marriage between William Compton & Mrs Anne Bottalin, widow, was solemnized by me S. G. Comyn HM. Chaplain to the Right Honble Lord Nelson, H.M.S. Foudroyant, in the presence of'. With the following autograph signatures: Sir William Hamilton (1731-1803), Lady Emma Hamilton (1765-1815), Horatio Nelson, Viscount Nelson (1758-1805); Sir John Thomas Duckworth (1747-1817), Sir Thomas Masterman Hardy (1769-1839), John Rushout, 2nd Baron Northwick (1769-1859), Josiah Nisbet (1780-1830), John Tyson, William Compton and Anne Bottalin, and 2 others” The document sheds light on Nelson's lesser-known side of his character. William Compton ... received "a great many favours and kindnesses" from Nelson, and most especially "the kind interest" taken in sealing his union with a wife who made him "the happiest of mortals". Anne, the aforesaid spouse, said that the admiral's "good heart" had made her "as happy as I can possibly be on this earth" ... Midshipman Parsons remembered those days nostalgically, noting Emma's "graceful form" bending over her harp to bestow "heavenly music" upon the diners on the quarterdeck and the large-decked galley, flush with opera singers, that glided alongside to serenade the sunset of each day'. Tacolneston has an ancient history of which according to the Domesday Book, Edward I granted a weekly market to be held on a Wednesday at the manor of Tacolneston and two annual fairs. The church was rebuilt in 1503 and is dedicated to All Saints. The earliest view of Tacolneston is a print of 1781 when it belonged to Knipe Gobbet Esq. John Theodore Heins (1697-1756) was a painter whose work, at his best, shows detail of an exceptionally high quality. His portraits of Anna Maria Kett nee Phillips and her husband Henry Kett, painted in 1741, are exceptional and evidence that he had the ability to portray a likeness on par with some of the best portraitists in England at the time. Heins appears to have originated in Germany but moved to the UK and settled in Norwich around 1720. From 1720 to his death in 1756, Heins built up a fine reputation as a portrait painter and painted many members of prominent Norfolk families right up to his last year. He was commissioned in 1732 to paint a portrait of the Mayor of Norwich, Francis Arnam and also the previous year's Mayor Robert Marsh...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

Antique oil on canvas painting depicting St. John the Baptist. Tuscany XVIIIsec
Located in Torre Del Greco, IT
Antique oil on canvas painting depicting St. John the Baptist. The painting depicts St. John the Baptist, seated next to a snow-white lamb, his unfailing iconographic attribute, nea...
Category

18th Century and Earlier More Art

Materials

Canvas

Ireland
Located in London, GB
Ireland SENEX, John. Ireland Corrected from the Latest Observations Divided into its Provinces, Counties and Baronies. Shewing the Principal Roads, and the Distances of Places, in Common reputed Miles. by Inspection Where Barracks are Erected &c. By John Senex F.R.S. John Senex F.R.S., the Globe against St Dunstans Church, Fleetstreet, London 1712 [-1728]. John Senex (1678-1740) was one of the foremost mapmakers in England in the early eighteenth century. He was also a surveyor, globemaker, and geographer. As a young man, he was apprenticed to Robert Clavell, a bookseller. He worked with several mapmakers over the course of his career, including Jeremiah Seller and Charles Price. In 1728, Senex was elected as a Fellow of the Royal Society, a rarity for mapmakers. The Fellowship reflects his career-long association as engraver to the Society and publisher of maps by Edmund Halley...
Category

18th Century and Earlier More Art

Materials

Engraving

ANCIENT EGYPTIAN ALABASTER LIDDED JAR
Located in Milan, IT
ALABASTER LIDDED JAR Egypt, Late Period to Ptolemaic Period, 664-30 B.C. Alabaster height 17 cm height 6 3/4 in Provenance: Michel E. Abemayor (...
Category

18th Century and Earlier More Art

Materials

Alabaster

Portrait of a Lady in a Blue Gown Holding a Sheer Scarf c.1675-85, Oil on canvas
By Kneller Godfrey
Located in London, GB
Portrait of a Lady in a Blue Gown Holding a Sheer Scarf c.1675-85 Studio of Sir Godfrey Kneller (1646-1723) Titan Fine Art present this captivating portrait by the leading late seve...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

ITALIAN RENAISSANCE CAPITAL WITH MYTHOLOGICAL FIGURES, 15th Century
Located in Milan, IT
ITALIAN RENAISSANCE CAPITAL WITH MYTHOLOGICAL FIGURES, 15th Century marble H 18 x Diam 33.5 cm H 7 x Diam 13 1/4 in
Category

18th Century and Earlier More Art

Materials

Marble

LARGE ITALIAN RENAISSANCE MARBLE CAPITAL, 15th/16th Century
Located in Milan, IT
LARGE ITALIAN RENAISSANCE MARBLE CAPITAL Florence, 15th/16th Century marble 38 x 47 x 47 cm 15 x 18 1/2 x 18 1/2 in
Category

18th Century and Earlier More Art

Materials

Marble

Limestone Relief With Saint Georges, France 15th Century
Located in Milan, IT
Relief with saint Georges France, 15th Century limestone 26 x 20 cm (10 1/4 x 7 3/4 in) without base
Category

18th Century and Earlier More Art

Materials

Limestone

"Chancay" (Pre-Columbian) Mummy Mask wood face peruvian folk red human folk art
Located in Milwaukee, WI
The Peruvian Chancay (pre-Columbian) Mummy Bundle mask, from around 1600 is made of painted wood, textiles, and human hair. According to the Walters Art Museum: Andean cultures are ...
Category

Folk Art 18th Century and Earlier More Art

Materials

Textile, Wood

ANTIQUE ITALIAN PIETRA DURA TABLETOP, Rome, 18th Century
Located in Milan, IT
PIETRA DURA TABLETOP WITH PARROTS AND CHECKERBOARD Rome, 18th Century Polychrome marbles, pietre dure and pietra paesina 117 x 73 x 5 cm 46 1/4 x ...
Category

18th Century and Earlier More Art

Materials

Marble

18th Century Italian breccia circular vase probably carved in Rome
Located in Milan, IT
18th Century Italian breccia circular vase probably carved in Rome ROUND BRECCIA TAZZA, 18th Century Breccia H 29 cm D 39 cm
Category

18th Century and Earlier More Art

Materials

Marble

PAIR OF FRENCH MOUNTED PIETRA DURA URNS, 19TH CENTURY
Located in Milan, IT
PAIR OF PIETRA DURA MOUNTED URNS France, 18th and 19th Century Amethyst and breccia pavonazzetto height 24.5 cm height 9 3/4 in
Category

18th Century and Earlier More Art

Materials

Marble, Bronze

Untitled (Needlepoint Tapestry with Gold Thread Details 17th century Wool)
Located in Columbia, MO
Artist Unknown Needlepoint Tapestry with Gold Thread Details 17th century Wool Framed
Category

Baroque 18th Century and Earlier More Art

Materials

Gold

Portrait of a Lady in Blue Silk Dress & Crimson Mantle c.1695; by Thomas Murray
Located in London, GB
The sitter is elegantly attired in a blue silk dress over a white frilled chemise and a striking crimson mantle. The artist, Thomas Murray, can be described as one of the most successful and talented during the last part of the seventeenth century. It is not surprising that Murray painted the portraits of King William III, Queen Mary, Queen Ann as well as several other high-ranking individuals. The influence of Sir Godfrey Kneller is evident and even expected considering the importance of Kneller, and even though the formula employed for head and shoulders portraits of woman during the period is similar, Murray’s work is distinguishable by a refined and elegant manner, a smooth overall feel, and often, distinctive eyes. Murray is known to have employed not only the same pattern as our portrait but the three distinctive colours (blue, white, red) many times. Thomas Murray was born in Scotland but moved to London to study with a member of the De Critz family. Later he was a pupil of the English portraitist John Riley (1646-1691), who was court painter to King William III and Queen Mary, and was practising as a painter on his own in the 1680s. In 1691 he took over Riley’s studio when that artist died in 1691 and he established a very successful practice. The Rev, James Dalloway accounted that Murray “was remarkable for his personal beauty and for the elegance of his manner” and he was also noted to have been hard working, courteous and popular with his customers. His portraiture retains an individual style and easily recognised but his earlier work is similar to John Closterman, who was a fellow pupil, and many consider this period to be his finest. Murray invested wisely in property and when he died in 1735, he left around £40,000. He had no children and he bequeathed his money to a nephew with instructions that his monument, with a bust, should be erected in Westminster Abbey, provided that it did not cost too much – but his nephew decided that it was indeed “too expensive” and the plan did not proceed. He is buried in St. Paul's, Covent Garden. Murray’s work is represented in many British country houses and private collections, the National Portrait Gallery London, Royal Society and Middle Temple in London, and in the Uffizi Gallery in Florence. A good example of 17th century British portraiture...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

Portrait of a Lady with Crimson Wrap & Fur c.1675-1681, Gerard Soest, Old master
Located in London, GB
This exquisite portrait, presented by Titan Fine Art, was painted in the era of London’s Great Fire - a young woman has been depicted wearing the most luxurious attire and a fortune ...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

ROUEN, XVIIIème - Suite en faïence de 2 PLATS
Located in ROUEN, FR
ROUEN, XVIIIème - Suite en faïence de 2 PLATS à contours chantournées et décors grand feu polychrome d'une double corne d'abondance et œillets noirs. 35 x 25 cm.
Category

French School 18th Century and Earlier More Art

Materials

Faience

Jardiniere Directoire
Located in ROUEN, FR
JARDINIERE DIRECTOIRE de forme carrée ornée d’une étoile et une rose des Vents ainsi qu’un écusson avec la lettre « A ». Intérieur en tôle. Ep.Empire. H.26 L.21.
Category

French School 18th Century and Earlier More Art

Materials

Wood

Dégueuloir de fontaine Louis XVI
Located in ROUEN, FR
Dégueuloir de fontaine Louis XVI en plomb à masques de lion entourés de motifs feuillagés. Ep.XVIIIè. Diam.21.
Category

French School 18th Century and Earlier More Art

Materials

Other Medium

Petit thermomètre Louis XVI
Located in ROUEN, FR
Petit thermomètre Louis XVI en bois doré et sculpté à décor de nœuds de rubans, guirlandes de fleurs et de laurier. Il est en bois peint. Ep. fin XVIIIè. H.36 L.13.
Category

French School 18th Century and Earlier More Art

Materials

Wood

Encoignure desserte Louis XVI estampillé de TOPINO
Located in ROUEN, FR
Encoignure desserte Louis XVI, estampillé de TOPINO, en acajou et placage d’acajou veiné à encadrement de bronzes. Elle ouvre par 1 tiroir en ceinture qui surmonte 2 étagères à galer...
Category

French School 18th Century and Earlier More Art

Materials

Marble

Interpres Homeri Pervetustus - Rare Book - 1517
Located in Roma, IT
Interpres Homeri Pervetustus, Scholia Vetera in Rome, 1517.  Vol. in 8º, cm 27.5 x 3 x 21, in Greek. Missing sheets pp 70 -79,  122-128, 171-189 Binding half-leather and marbeliz...
Category

Modern 18th Century and Earlier More Art

Materials

Paper

English Portrait of a Lady Seated by a Plinth in Wooded Landscape, Oil on canvas
By Willem Wissing
Located in London, GB
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. Beautifully composed, the ...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

Porcelain KPM Plaque - Exquisite Saint Cecilia: Large size
Located in Jacksonville, FL
Frame Size: Hight: 30.25″ x Width: 23.40″ Frame Thickness: 5.25″ Picture Size: Hight: 21.50″ x Width: 14.50″ Immerse yourself in the divine beauty of Saint Cecilia with this extra...
Category

Victorian 18th Century and Earlier More Art

Materials

Porcelain

Portrait Painting of Lady Mary Capel, Countess of Essex in a Yellow Dress c.1698
Located in London, GB
This portrait depicts an elegant, aristocratic women wearing a yellow silk dress with white chemise and a red mantle elegantly draped around her body. By tradition the portrait represents Mary Capel, Countess of Essex. Born Lady Mary Bentinck in 1679, she was the daughter of William Bentinck, 1st Earl of Portland, a Dutch and English nobleman who became in an early stage the favourite of stadtholder William, Prince of Orange (the future King of England) and his wife Anne Villiers (died 1688). Lady Mary's maternal grandparents were Sir Edward Villiers and Lady Frances Howard...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

Gold Tang China Horse Head
Located in New Orleans, LA
This exceptional and rare rendering of a horse head, composed of gold over silver, hails from the illustrious Tang dynasty of China. The powerful Tang dynasty reigned for nearly 300 ...
Category

Other Art Style 18th Century and Earlier More Art

Materials

Gold, Silver

"Premiere Vue Des Environs Du Lac Leman Du Cote Du Midi" c1780
Located in Bristol, CT
Classic c1780 engraving of topiary gardens overlooking Geneve, Switz. Provenance: a Newport, RI estate Image Sz: 12 1/8"H x 20 7/8"W Frame Sz: 16"H x 24"W w/ gilt wood period frame
Category

18th Century and Earlier More Art

Materials

Engraving

British East Indiaman Ship Returning from a Voyage to the East
Located in Milford, NH
A large marine painting probably depicting a British East Indiaman ship returning from a voyage to the East, attributed to British artist Francis Holman (c1720-1790). Born in Ramsgat...
Category

18th Century and Earlier More Art

Materials

Canvas, Oil

Portrait Lady in Russet Silk Dress c.1710, Michael Dahl, oil on canvas painting
By (Circle of) Michael Dahl
Located in London, GB
This charming work is a good example of the type of portrait in vogue during the first quarter of the eighteenth century in Britain. The sitter, portrayed bust-length, wears a russet silk dress over a white chemise...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

Topographical Map of Pompeii, 1785, by Francesco Piranesi, Reprint
Located in Larchmont, NY
Francesco Piranesi (Italian, 1758-1810) Topographical Map of Pompeii Originally executed 1785, modern reprint (likely 20th Century) Engraving Framed: 4...
Category

Realist 18th Century and Earlier More Art

Materials

Engraving

Portrait Painting of a Lady Holding a Portrait Miniature of a Boy c.1673-1680
By John Michael Wright
Located in London, GB
By tradition the sitter in our portrait is Ann Curran. It is very likely that our portrait is the same one that was part of the collection of The Most Honourable Maria Arabella, Dow...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

18th Century India Company
Located in ROUEN, FR
"18th Century India Company" COMPAGNIE DES INDES Bouillon covered in famille verte porcelain decorated with flowers and a stylized frieze. Green and yell...
Category

18th Century and Earlier More Art

Materials

Porcelain

Très belle coiffeuse d'époque Louis XVI Estampillée d'Antoine Lardin
Located in ROUEN, FR
Très belle coiffeuse d'époque Louis XVI a marqueterie de fleurs pouvant former un bureau avec tablette d'écriture et ouvrant marqueterie double face, joli ...
Category

18th Century and Earlier More Art

Materials

Wood

Charming 17th Century Travel Jewelry Cabinet
Located in ROUEN, FR
"Charming 17th Century Travel Jewelry Cabinet" Charming 17th century travel jewelry cabinet in blackened wood inlaid with green and red marble and alabaster parts. e all surmounted b...
Category

18th Century and Earlier More Art

Materials

Walnut

Portrait of a Lady in an Elaborate Stone Cartouche, Oil on canvas Painting
By Mary Beale
Located in London, GB
Portrait of a Lady in an Elaborate Stone Cartouche c.1675-80 Mary Beale (1632-1699) Titan Fine Art present this superb portrait where the sitter has been portrayed wearing a low-cut white chemise under a gold silk robe with a draped light...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

Mogens Lassen Set of 2 Carved Wooden Stools
Located in Milano, IT
Sculptural pair of Danish-designed stools, designed by 1960s designer Mogens Lassen. The stools have a beautiful sculptural and iconic line. Its very fluid and harmonious lines denot...
Category

Minimalist 18th Century and Earlier More Art

Materials

Wood

Portrait of a Gentleman in Armour and Mauve Cloak c.1740; Louis Tocque, Painting
Located in London, GB
The sitter in this superb portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the eighteenth-century French school of painting. The young nobleman has been portrayed wearing an ingeniously embellished French ceremonial armour, a mauve cloak, and an abundance of cascading curls falling below his shoulders. Our portrait proclaims to every onlooker that this is a superior being. The manner in which portraits were painted was set out by the terms of the commission and usually marked significant life events such as a betrothal, a death, elevation of rank… but they almost always emphasised the wealth and importance of the sitter. This type of portrait had become a standard format for aristocratic portraiture in Europe during the last quarter of the seventeenth century up to the middle of eighteenth century. Incorporated into the background was often a raging battlefield or a military encampment; our portrait is free from these trappings and contains a dramatic moody sky ensures the viewer focuses mainly on the subject. The features of the sitter’s face have been captured with great sensitivity, his confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The flamboyance and penetrating sense of character, lending an air of noble expectancy to the composition, seems almost eclipsed by the artist's virtuosic handling of paint. It is not hard to understand why many wealthy sitters commissioned the artist to paint their portraits. Such fine and ornate armour was not actually used on a battlefield and thus its portrayal in portraiture was largely symbolic of a sitter’s wealth and status as well as a claim of succession to a chivalrous tradition. The style of hair and neckcloth were fashionable circa 1740. Held in an exquisite eighteenth century carved and gilded frame - a fine work of art in itself. Louis Tocqué was a very successful French portrait painter active during the Rococo period of art. His work was known for its attention to detail, its portrayal of the character of the sitter, the refined postures, and the delicacy of the rendered draperies. He created both realistic and expressive portraits. Tocqué was born in Paris in 1696 and trained with the famous portrait painters Hyacinthe Rigaud, Nicolas Bertin, and Jean Marc Nattier whose daughter he later married. He entered the Academy in 1731 and became a full member in 1734 with his portraits of Galloche and the sculptor Jean Louis Lemoine, and he pursued a brilliant career as a portrait painter, receiving numerous commissions from members of the French aristocracy and royalty. His works were highly sought after by collectors of the time, and his reputation earned him the appointment of official portrait painter to the court of France in 1746 – in fact he stayed at most of the courts in northern Europe. From 1737 to 1759 he exhibited a large number of works at the Salon. Tocqué's paintings can be found in museums and private collections around the world. Recent sales...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

Engraving Hunting: The Hunt For The Vipers
Located in Paris, FR
Engraving, "the hunt for vipers" xylographs (wood and copper engravings), after Jan Van der Straeten, dit Stradanus (Bruges 1523-Florence 1605). Painter of history, mythological, rel...
Category

Renaissance 18th Century and Earlier More Art

Materials

Engraving

Engraving Hunting: Hares Hunting With Cheetah
Located in Paris, FR
Engraving, "The hare hunt with Cheetah" xylographs (woodcuts and copper engravings), after Jan Van der Straeten, dit Stradanus (Bruges 1523-Florence 1605). Painter of history, mythol...
Category

Renaissance 18th Century and Earlier More Art

Materials

Engraving

Portrait of a Lady, Marie-Madeleine de Chamillart, Oil on Canvas Painting
Located in London, GB
This work formed part of the collection of paintings and family heirlooms of Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) and his wife, Baroness Marguerite (née d’Harcourt) de Cabrol de Moute (1915-2011). The couple had unimpeachable and enviable family backgrounds, and were descendants of ancient princelings; together they were one of the most prominent high-society couples of the twentieth century and counted the Duke of Duchess of Windsor amongst their closest friends. This portrait is that of Marie-Madeleine de Chamillart (died 28 May 1751) nee Nicolas de Lusse. She had a daughter, Anne, in 1692. In 1700 she married Clément Chamillart (1663-1708), President of the Accounts of the King's Chamber. The couple had a daughter, Madeleine (born 1701), who married Louis, the only son of Guillaume de Guitaut and Antoinette de Vertamont in 1719. Guillaume de Guitaut resided at Château d'Époisses in Burgundy France and his descendants still live today. A portrait of our sitter is still held at the Château. Clément Chamillart died in 1708 and our sitter remarried Jean-Baptiste de Johanne de la Carre (1678-1726), marquis de Saumery, maréchal de camp, in 1713. This marriage produced two daughters, Marguerite (died 1729) and Marie Madeleine (born 1720). Much of the beauty of this elegant portrait resides in its graceful composition – it is a fine example of French portraiture. Beautifully and meticulously rendered throughout, the sitter has been depicted three quarter length in an outdoor setting beside a potted orange tree. The lady is shown in a blue dress with silver detailed décolletage and large voluminous sleeves turned over to reveal elaborately detailed lining. The sumptuous fabrics convey a sense of wealth and prestige. The portrait is striking in its portrayal of the sumptuous fabrics and their decorative richness. The prominent sprig of orange blossom that she is holding is a traditional representation of marriage and eternal love in art, but it also alludes to youth and freshness, and by virtue of the great expense and difficulty with which it was often grown, to great wealth. In accordance with the sitter's age and the style of clothing and hair with the curls on the forehead, this portrait can be dated to the 1720s. Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) was the son of Roger de Cabrol de Moute and Helen Mary de Lassence. He was one of the more engaging personages in that delightful social constellation of social figures who animated what has become known as "Cafe Society" which was international but inevitably most at home in Paris from the 1920's until the 1960's. He married Marguerite d'Harcourt (1915-2011), known as Daisy, in Paris in 1937, the only daughter of Étienne, Marquis d'Harcourt, and his wife, Marie de Curel. The Harcourt family belongs to the circle of the oldest families in France; the founder of the family, Bernard le Danois, received the seigniory of Harcourt in the tenth century, following the conquest of Normandy. In the 11th century, his descendants took part in the conquest of England alongside William the Conqueror. Later, the Harcourt family was divided into a French branch and an English branch, which successively received the titles of barons, viscounts, and counts. Marguerite "Daisy" Marie Brigitte Emmanuelle Ghislaine d'Harcourt, Baronne de Cabrol was one of the last survivors of twentieth century French high society. Through her mother, Daisy was a descendant of the great industrial family of Wendel, with iron and steel enterprises in Lorraine; she also descended from Nicolas Soult, one of Napoleon's Marshals and three times Prime Minister of France. The couple became friends of the Duke and Duchess of Windsor in 1947, and were invited to the Chateau de la Croë, their rented house on Cap d'Antibes. There they found the exiled Windsors living in unusual post-war luxury, serving delicious food and providing fresh sheets every day. Daisy suspected that the Windsors were bored, but, having nothing else to do, were condemned to an endless round of social engagements. She and Fred were among the few allowed to see the Duchess laid out after her death in 1986. Daisy was a considerable hostess, giving a ball every year for her charity, L'Essor, to which le tout Paris would come. One of these, in 1954, was at the Palais des Glaces, in Paris (later used in the film Gigi), at which she entertained Charlie Chaplin, the Begum Aga Khan and the Windsors. According to Nancy Mitford...
Category

Old Masters 18th Century and Earlier More Art

Materials

Canvas, Oil

Engraving Hunting: Deer Hunting With Lasso
Located in Paris, FR
Engraving:  The Deer hunting Woodcuts and copper engraving, after Jan Van der Straeten so called Stradanus (Bruges 1523-Florence 1605). A historical, mythological, religious, allegorical, genre scenes, landscape and mural compositions painter. He lived in Antwerp, Venice, Florence, where he worked for the Medici He then met  Vasari and worked with him  at the the Vatican, the Palazzo Vechio .... Out of a set of 5 prints: - The  Duck Hunting - The ibex hunting with dogs...
Category

Renaissance 18th Century and Earlier More Art

Materials

Engraving

Flemish Old Master, Study of Donkey Carriage, 17th Century, Sanguine Drawing
Located in Greven, DE
This drawing shows several studies of a donkey with a carriage. Its style is close to Flemish 17th century artists. On the passepartout one reads "Mathias Scheyer/ Jacob Weyer", both...
Category

Baroque 18th Century and Earlier More Art

Materials

Chalk, Handmade Paper

Hunting Engraving: Hunting Ibex With Snakes
Located in Paris, FR
Engraving:  The Ibex hunting with snakes Historical , mythological, religious, allegorical subjects, genre scenes, landscape painter. Mannerist. He settled in Antwerp, Venice, Flore...
Category

Renaissance 18th Century and Earlier More Art

Materials

Engraving

Ancient Greek Terracotta Comic Actor Figurine
Located in Milan, IT
TERRACOTTA FIGURINE OF A COMIC ACTOR , Greece, c. 350 B.C. Labeled to the reverse, 'LAWRENCE COLL./LOT 426. SOTHEBY./APR. 1892. P. 816.'; Terracotta height 15.2 cm height 6 in Prove...
Category

18th Century and Earlier More Art

Materials

Terracotta, ABS

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