18th Century and Earlier Landscape Paintings

An early 17th-century Flemish School oil on copper showing the mythological contest between Apollo and Pan in which the mountain god, Tmolus, gives judgement for Apollo. Unsigned. Pa...

Bonaventura Peeters the Elder (1614–1652) attr., Stormy Coastal Scene with Merchant Vessels, Galliot, and Dolphins Framed by rugged cliffs and illuminated under a dark, swirling sk...

The Roman Landscape French artist, .late 18th century oil on canvas, framed in antique gilt frame framed: 35.5 x 45.5 inches canvas: 29 x 39 inches Provenance: private collection, Fr...

Watercolor and ink French town buildings over a River by Bernard Labbe (French mid 20th century) original watercolor and ink on card image size: 7.5 x 6 inches card overall: 9.4 x 8....

Umbrian painter (16th century) - Madonna and Child in a Landscape (Madonna Conestabile). 19 x 18 cm unframed, 34 x 33 cm with frame. Oil on canvas mounted on panel, in a gilded woo...

Follower of Jacob Savery (1566-1603) Concert of Birds 18th-century oil on panel no signature unframed: 42 × 44 cm (16.5 × 17.3 in) framed: 53 × 54 ...

Harbor Scene Circle of Claude Joseph Vernet (French, 1714-1789) oil painting on canvas, framed in antique gilt frame framed: 20.5 x 25.5 canvas: 19 x 23.5 inches condition: very good...

Figures in an Arcadian Landscape Italian School, 18th century follower of Claude Lorrain (French 1600-1682) oil painting on canvas: 28 x 36 inches framed: 39.5 by 47 inches presented...

Monumental French 18th Century oil on canvas 'Verdure' pastoral scene in the manner of the tapestries of Royal Aubusson and the style of Isaac Moillon. Provenance: Southern French ...

Travellers in Landscape Flemish Old Master, 18th century oil on on canvas, unframed canvas : 29 x 39 inches Provenance: private collection, France Condition: very good condition For...

View of Riva degli Schiavoni is an original old master artwork realized in the late 18th century by a follower of the School of the italian painter Canaletto. Oil on canvas. An imp...

The Fortified Harbour French School, circa 1700's oil on canvas, framed in antique carved gilt wood frame Framed: 21.5 x 28.5 inches Canvas : 15 x 22 inches Provenance: private colle...

Moses with the Israelites before Parting the Red Sea circle of Matteo de Pitocchi (Italian 1626-1689) oil on canvas laid on board, framed framed: 26 x 48 inches canvas: 21 x 43 inche...

Attributed to Aelbert Cuyp (1620-1691) An Equestrian Portrait of Cornelis (1639–1680) and Michiel Pompe van Meerdervoort (1638–1653) with Their Tutor and Coachman Signed 'A. Cuyp. fe...

The Close of Day English artist, second half 18th century circle of Thomas Gainsborough (British 1727-1788) oil on canvas, unframed canvas: 24.5 x 29 inches provenance: private colle...

The Angelic Visitation Dutch School, mid 17th century circle of Rembrandt (Dutch 1606-1669) oil on wooden panel, framed in faux tortoiseshell style frame. framed: 25 x 28.75 painting...

Large 17th Century Italian Old Master, The Garden - Noli me tangere, Pier Francesco Cittadini (attr.) Description In the stillness of a garden in bloom, Noli me tangere captures a p...

The Merchants Port Italian School, 18th century oil painting on canvas, framed framed: 37 x 58 inches canvas: 32 x 52 inches provenance: private collection, UK condition: very good a...

This superb large British Old Master oil painting is attributed to John Inigo Richards. Painted circa 1770 the composition is a view from before the water's edge across a lake to cas...

A large pair of 18th century veduta capriccio scenes with temple ruins after Gennaro Greco from the circle of Pietro Cappelli. The paintings are presented in more modern carved gilt ...

Attributed to Francis Swaine (British, 1725–1782) Naval Engagement at Sea, 18th century Oil on panel In this evocative seascape, a cluster of ships—flags raised, cannons fired—conve...

The Arcadian Landscape Italian School, 18th century oil painting on canvas, unframed canvas size: 32 x 40 inches condition: excellent condition for its age, fully restored. provenance: from a private collection in Paris, France. Large scale classical 18th century Italian Old Master...

Saint Francis Receiving the Stigmata Oil on copper, Flemish school, 17th century Dimensions: with frame 19 cm x 16 cm, without frame 16 cm x 13 cm The scene of Saint Francis receivi...

German School, 1700s The Road to Emmaus oil on panel unframed: 24.3 x 17.5 cm (9.6 x 6.9 inches) framed: 34.5 x 28 cm (13.6 x 11 inches) Provenance: Swedish author and artist Amel...

View of St. Mark Square is an original old master artwork realized in the late 18th century by artist of the School of Giovanni Antonio Canal (C...

Pastoral Landscape Dutch Old Master, 18th century oil on canvas, unframed canvas: 12 x 10 inches provenance: private collection, UK condition: good a...

Artist/ School: Italian School, 17th century. Title: A King and Queen before court figures, amidst a classical landscape with Roman columns. Medium: oil painting on canvas, framed ...

Giuseppe Zais (Forno di Canale 1709 - Treviso 1784) - Landscape with Resting Horsemen. 55.5 x 85.5 cm unframed, 78 x 98.5 cm with frame. Oil on canvas, in a carved and gilded woode...

Shipping in Calm Waters Dutch School, 18th century oil painting on wood panel panel: 10 x 12.75 inches framed: 14 x 17 inches condition: very good, minor evidenc...

Italian painter (17th-18th century) - River landscape with fishermen. 93.5 x 127.5 cm without frame, 102 x 137 cm with frame. Oil on canvas, in a gilded wooden frame (not signed). ...

The Earthly Paradise Frédérick Bouttats (Antwerp, 1590-1661) Painting is Circa 1610-1612 Oil on wood panel, circa 42 7/8 x 29 3/8 (ca. 52 x 39 frame) inches The inner frame is c18th ...

This small Flemish painting, measuring only 24.5 x 18.5 cm and executed on a copper plate, depicts Saint Nicholas of Tolentino. Created in the 17th century, the artist remains unknow...

Dancing Figures Flemish School, 17th century oil on on canvas, framed framed: 21.5 x 28.5 inches canvas : 16.5 x 24 inches Provenance: private collection, France Condition: very good...

This enchanting 18th-century French fête galante captures the elegance and joy of aristocratic leisure, set amidst a lush garden adorned with flowers. A scene of refined celebration,...

Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576) Workshop Putti fighting on the Ponte dei Pugni in Venice Venetian school, late 16th century Oil on canvas 105 x 144 cm -...

Peter Monamy (London 1681-1749) Colliers lying in the Thames at Deptford and unloading their cargoes for the London market signed 'P: Monamy: Pinx' lower left Oil on canvas Canvas Si...

Giacomo Ceruti, known as Il Pitocchetto (1698-1767) – “Turnip” Medium: Oil on canvas Dimensions: 204 x 124 cm (unframed) Provenance: Private collection This remarkable painting, “T...

Ornamental Flowers in a Classical Still Life Composition Italian School, circa 1780's period oil painting on canvas: 32 x 42 inches antique gilt frame: 38 x 48 inches condition: over...

Portrait of Thomas Collard (rector of Withycombe, Somerset 1670-1691) the city depicted in the distance is thought to be Antwerp. the portrait historically has been thought to be fr...

Thomas Stringer (1722-1790) A groom with a saddled bay hunter and dogs, in an extensive landscape Dated 1754 lower left Oil on canvas Unframed size 25 x 36 in Framed size 31 x 42 in ...

Work on canvas Black wooden frame 51 x 73 x 5 cm

John Nost Sartorius (London 1759-1828) A Huntsman with Dogs and Pony Signed 'JN Sartorius pin.' lower right Oil on canvas Canvas Size 26 3/4 x 37 in Framed Size - 31 x 41 in John No...

Title: The Italian City Artist/ School: English/ Italian School, late 18th century; a Grand Tour work. Medium: pencil drawing. Size: 6.75 x 9.75 inches Provenance: from a priva...

Artist/ School: French School, 18th century Title: The Roman Ruins at St. Remy de Provence, France. Inscribed verso to the frame: ‘Ruins at Roman Monument...

John Cordrey (c.1765-1825) A light chaise and four signed 'J.Cordrey/1793' lower left Oil on canvas Canvas Size 13 x 17 in Framed Size 15 1/2 x 20 1/2 in John Cordrey (active c. 179...

Military Camp Scene and Battle. Pietro Graziani (XVII/XVIII century), entourage. A pair ( two) of small paintings. Antique XIX century frames in gilt wood.  In good condition. Oi...

This charming mid-17th-century Dutch oil painting depicts a village with a church and figures. It’s similar to the oeuvre of Joost Cornelisz Droochsloot (1586-1666). All is well, na...

Indian Miniature

Naval Shipping in Stormy Seas English School, 18th century circle of Charles Brooking, (1723-1759) oil painting on canvas: 16.5 x 21.5 inches Morland ...

Joshua Shaw (Billingborough 1776-1860 New Jersey) An open landscape with cattle watering signed and dated 'J. Shaw. 1810' lower right Oil on canvas Canvas Size 36 x 51 in Framed Siz...

The Angelic Visitation Italian School, 17th Century oil on canvas, framed Framed: 30 x 36 inches Canvas: 24 x 29 inches Provenance: private collection, Europe Condition: the antique...

Landscape with hunters by a lake. 18th century. Oil painting on canvas, from the French or Northern Italian school, Louis XV period. Probably part of the door decoration in an interi...

17th Century Flemish Painting "A bustling scene of fishermen, merchants and visitors in a peaceful and picturesque port village” This intriguing painting offers a wonderful and real...

Johann Georg de Hamilton (1672-1737) A saddled officer's Arabian horse with a hound and gun, in a landscape Oil on canvas Canvas size - 21 x 23 in Framed size - 27 x 29 in Provenanc...

Attributed to Ludolf Backhuysen Dutch Coastal Vessels and a Merchantman Off a Harbour Mouth Oil on canvas Canvas Size 22 1/4 x 30 in Framed Size 29 x...

Italianate landscape garden with classical ornament, including Giambologna's Sabine women and a classical urn, view to a bay beyond Coplestone War...

A highly important Flemish Old Master oil painting by Peter Van Lint (1609-1690), titled "Preparing for the Hunt", the painting is dated & signed by the artist, 1620. The painting wa...

Architectural whimsy with Roman ruins, column and ancient arches. Year 1718. Oil on Canvas. Original canvas. Roman school of the early 18th century. The painting is part of the seri...

This exquisite early 19th-century English portrait of a gun dog or foxhound by Thomas Weaver is a masterpiece of sporting art that offers both historical...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...