18th Century and Earlier Landscape Paintings

A large marine painting probably depicting a British East Indiaman ship returning from a voyage to the East, attributed to British artist Francis Holman ...

Work on paper mounted on wood 35.5 x 45.5 x 2 cm

Attributed Charles François Grenier de Lacroix or Charles - François Lacroix de Marseille (1700 - 1782) as signed lower left on the stone “Lacroix”. The scene of the departure of nobles on a ship, somewhere among the Mediterranean landscapes at sunrise. Lacroix's sense of color and attention to detail are particularly impressive: the sea is calm, the sun is rising and as a soft pink hue begins to emerge in the clouds, the morning haze has not yet cleared and the air is clear and clean, large ship...

Work on canvas Black wooden frame 71 x 91 x 3 cm

This charming 18th century French Old Master oil painting is attributed to circle of Joseph Frans Nollekens. Painted circa 1740 it is described as a fete champetre - a form of entertainment in the 18th century, taking the form of a garden party. They were often elegant affairs and became very popular in 18th French paintings. Antoine Watteau invented the genre, from around 1710 and they were also included as a category in the French Academy. In this painting, several well dressed figures are sat in the foreground by a fountain and statue, being entertained by a musician. Beyond, a wide avenue of trees leads towards a very grand country house with countryside beyond. There is superb detail in the figures and their colourful clothing. The brushwork in the trees and sky is also superb. This is a charming example of an 18th century fete champetre and of a French Old Master oil painting. Provenance. Gloucester estate. Condition. Oil on canvas. Image size 49 inches by 30 inches and in good condition. Frame. Housed in a fine gilt frame, 56 inches by 37 inches and in good condition. Josef Frans Nollekens or Joseph Frans Nollekens (1702–1748)[2] was a Flemish painter who was principally active in England where he is often referred to as "Old Nollekens" to distinguish him from his famous son, the sculptor Joseph Nollekens. He painted conversation pieces, galant companies and fêtes champêtres in the style of Watteau, genre scenes as well as portraits. He was also active as a picture restorer. A fête champêtre was a form of entertainment in the 18th century, taking the form of a garden party. This form of entertainment was particularly practised by the French court, where in the Gardens of Versailles and elsewhere areas of the park were landscaped with follies, pavilions, and temples to accommodate such festivities. The term is a French expression, very literally translating as "party in the fields", meaning a "pastoral festival" or "country feast" and in theory was a simple form of entertainment, perhaps little more than a picnic or informal open air dancing. In practice, especially in the 18th century, the simplicity of the event was often contrived. A fête champêtre was often a very elegant form of entertainment involving on occasions whole orchestras hidden in trees, with guests sometimes in fancy dress. Such events became a popular subject in French 18th-century painting, representing a glamourized aristocratic form of pastoral, with "scenes of well dressed dalliance in a park setting". Antoine Watteau invented the genre, from around 1710, and is its best exponent, imitated by others such as Nicolas Lancret and Jean-Baptiste Pater...

Carnival scene in 17th-century Rome (in Piazza Navona) Michelangelo Cerquozzi (Rome 1602 – Rome 1660) workshop Roman school of bamboccianti (mid-17th century) Oil on canvas 74 x 96...

Francesco Tironi (Venice 1745 - Venice 1797) - Venetian landscape with shepherds and herds. 95 x 130 cm without frame, 107 x 140 cm with frame. Antique oil painting on canvas, in a...

Jan Van Huchtenburg Battle of Peterwardein, 1716 Oil on canvas, 45 x 64 cm monogrammed "HB" n 1670 he settled at Haarlem, where he married Elisabeth Mommes. It seems he practised and kept a dealers...

This superb exhibited British 18th century Old Master Italian landscape oil painting is by noted artist Thomas Barker of Bath. Painted in 1794 and exhibited at the Royal Academy in 1...

Beautiful couple of Roman Landscape by J. F. Van Bloemen, in very good conditions and with later wooden frames. Bibliography and Exhibitions: Old Master Exhibition, H.Terry-Engell, ...

Carnival in Rome in Piazza Colonna Roman school of bamboccianti (mid-17th century) - workshop of Michelangelo Cerquozzi (Rome 1602 - Rome 1660) Oil on canvas 74 x 96 cm. - Framed 88...

Pair of Gallant scenes is a pair of artworks realized by the French School in 18th Century. Oil on canvas. It Includes 2 ancient gilded frames. Scen...

John Ferneley Snr (1782-1860 Melton Mowbray) Sir Richard Sutton's foxhounds signed J. Ferneley lower right Oil on canvas Canvas Size 16 1/8 x 20 1/2 in Framed Size 21 x 25 in Proven...

Jacques Muller (Utrecht 1630 - 1680) Signed: 'J. Muller f(ecit).' Pupil of Abraham van Cuylenborch (Utrecht, 1620 - 1658) Diana and the nymphs bathing in a cave Second half of the ...

Étienne Jeaurat (Vermenton 1699 - Versailles 1789) Game of children intent on harvesting grain (Allegory of Summer) Mid-18th century Oil on canvas 97 x 129 cm - Framed cm. 112 x 14...

18th century painting Cavalry Oil on wood panel 16 x 21.5 cm

Bon Boullogne (Paris, 1649 - Paris, 1717) workshop of Episodes from the myth of Diana oil painting on canvas Dimensions: 84 x 114 cm. with antique frame 100 x 132 cm. The beautiful painting proposed shows a series of episodes taken from the myth of the divinity Diana, the Roman divinity of hunting, forests and wild animals, masterfully captured in this valuable painting, which shows a luxuriant wood, a favorite place of the divinity, as a theater of his adventures. The composition opens, on the left, with a sort of presentation of the divinity, portrayed as an attractive young girl, surrounded by her faithful Nymphs, one of whom holds her quiver with arrows, and by one of her beloved dogs. hunting her. The 'story' continues in the central part where we can see the divinity during a wild boar hunt...

Elegant painting from the second half of the 17th century. Oil on canvas artwork depicting a splendid landscape with grazing animals, of great pictorial quality. In the foreground we...

17th century Italian School The Virgin and Child with Saint John the Baptist Oil on canvas Dimensions: h. 106 cm, l. 77 cm Important 17th century Italian carved giltwood frame Fram...

The painting "The Road to Emmaus in a Landscape" by Gillis de Hondecoeter is a masterful example of early 17th-century Dutch landscape painting. The sce...

Great Spanish painting from the second half of the 17th century. Oil on canvas artwork depicting a religious subject, Pope Innocent III confirms the Franciscan Rule, of good pictorial quality. A large, impactful painting adorned with a 19th-century carved and gilded wooden and plaster frame. Artwork that develops horizontally, ideal for placing in an important hall or study, for antique dealers and interior decorators. A painting that shows various signs of aging and old restorations (see photo), in a beautiful patina. The perspective offered by the painter is pleasant. The main subject, in the foreground on the left, connects to the view with architecture and characters on the right through the checkerboard...

17th century, school of the Carracci St. John the Baptist announcing the coming of Christ Oil on copper, 24 x 19 cm Framed, 33 x 26 cm The painting features in the foreground the...

Ancient monuments is an original painting realized by Vinzenz Fischer (1729-1810) in the late 18th century. Mixed colored oil painting on canvas. This beautiful artwork represents ...

Grand Tour Study Italian School, 18th century monogrammed, lower right hand corner, Watercolour wash painting on board, glazed frame Framed size: 9 x 11 inches The painting captures...

James Stark (1794-1859) Herding cattle through a wooded river landscape Oil on canvas Canvas Size 18 x 24 in Framed Size 23 x 29 in James Stark (1794-1859): A Pioneer in Landscape P...

Oil on Canvas. Venetian school of the late 17th-early 18th century. Within a large classical landscape with rich vegetation and rosy atmospheres is a small handful of soldiers: some,...

Village Archery Tournament, 17th Century School Of David Teniers (1610-1690) Large 17th Century Dutch village peasants archery tournament, oi...

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

This late 17th-century Italian oil painting depicts a view with distinctive Italianate architecture including a building with an iconic portico and pediment. Popular in mid-17th-cen...

Painted in collaboration with Hendrick van Balen (Antwerp, 1575 – 1632). Provenance: Private Collection, Uruguay, since the 1930s. The eldest son of Jan Br...

Antonio Travi, called Sestri (Genoa, Sestri Ponente 1608 - Genoa 1665) Landscape with ruins and biblical scene First half of the seventeenth century oil on canvas, 82 x 121 cm The beautiful painting published, which presents a vast landscape with architectural ruins, fully reflects the pictorial poetics of Antonio Travi (Sestri Ponente 1608 - Genoa 1665), the first landscape painter of the Genoese pictorial school; A poetic that remains constant throughout his career: Bernardo Strozzi...

"The Working Landscape" Italian School, 17th century oil painting on canvas, framed canvas: 42.5cm x 60cm framed: 50.5cm x 68cm Fine quality Italian Old Master oil painting on can...

Original Oil on Canvas, probably of Dutch School, of the mid-18th Century. Wood Lable attributing the work to E. Williams Senior. Small restoration, otherwise very good condition.

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...

Piero di Giovanni Bonaccorsi, known as Perin del Vaga (Florence 1501 - Rome 1547), workshop of - Flagellation of Christ. 71.5 x 59.5 cm unframed, 89 x 76 cm with frame. Oil on pane...

Workshop of Jan Brueghel the Younger (1601-1678) & Hendrick van Balen (Antwerp, 1575 – 1632) 17th century Antwerp School The Virgin and Child ...

This painting, created during Zuccarelli's stay in England, represents the decisive moment when Macbeth, together with Banquo, meets the three witches who announce that he will be Ki...

French painter (18th century) - Flute player and dog. 43.5 x 35 cm without frame, 54 x 45 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden frame (not si...

John Thomas Serres (1759-1825) Fisherfolk unloading the days catch Oil on canvas Canvas Size - 17 x 25 in Framed Size - 22 x 30 in John Thomas Serres, a luminary in the realm of mar...

Venetian painter (18th century) - Sketch for Venus and Chronos. 59 x 43 cm without frame, 70 x 54 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden frame...

Duomo of Milan with peasants is a modern artwork realized by an Italian Artist in 18th century. Mixed colored oil on canvas 40x33cm with frame included. Good conditions.

Mythological Figures in Classical Sunset Landscape French School, 17th century oil on canvas, framed framed: 20 x 23.5 painting: 13.5 x 17 inches provenance: private collection, Engl...

Théobald Michou (Tournai, 1676 – Antwerp, 1765) River landscape with village Oil on canvas 62 x 98 Framed 74 x 110 cm We present this vast and harmonious composition, where ...

« A Mediterranean capriccio » Oil on canvas by Abraham STORCK With an appraisal by René Millet ( Well Known French Expert in Paris) Within a tortoise-shell Turtle This oil on canvas...

Oil on Canvas. The wide view frames a snowy mountain landscape, with a wide valley under sharp peaks, in which a small lake opens; small figures of wayfarers walk along the path fro...

Rare Engraving "Cabane Des Hold, Terres Artiques, Fig CII," 1st edition "Description de l’Univers, page 281 This rare image depicts the Willem Barentsz expedition of 1597 to Novaya Zemlya, Russia. The engraving, with later hand-coloring, shows the cabin and ship of the Dutch arctic expedition of Barentsz on Novaya Zemlya (Nova Zembla), with the party being attacked (and in some cases apparently eaten) by bears and wolves. Dutch explorer, Willem Barentsz, reached the west coast of Novaya Zemlya in 1594, and in a subsequent expedition of 1596 rounded the northern point and wintered on the northeast coast. Barentsz died during the expedition, and may have been buried on the northern island. This artwork is a page from a book by 17th century cartographer and engineer, Allain Manesson Mallet (French, 1630-1706), "Description de L'Univers, contenant les differents systêmes du monde, les cartes générals et particulières de la géographie ancienne et modern." Paris: Denys Thierry, 1683. Presented in an cream colored mat. Text on verso shown in images. Mat Size: 11.5"H x 9.07"W Paper Size: 8.25"H x 5.44"W Image Size: 5.63"H x 3.75"W Alain Manesson Mallet (French, 1630-1706) was a 17th century cartographer and military engineer. He started his career as a musketeer in the army of Louis XIV, became a Sergeant-Major in the artillery and an Inspector of Fortifications. He later served under Alfonso VI, King of Portugal...

The painting captures a serene moment on the foothill plateau, just as the day is beginning to wake up. The mountains are still wrapped in a soft blanket of morning fog, giving the s...

Venetian painter (18th century) - River landscape with characters. 34 x 26 cm without frame, 43 x 35 cm with frame. Ancient oil painting on canvas, ...

Girolamo Bonini, called Anconitano (Ancona, circa 1600 - Bologna 1680) Annunciation (or Madonna of the Beautiful Angel) Oil on canvas (115 x 91 cm. - Framed 134 x 108 cm.) Work accompanied by the expertise of Prof. Emilio Negro The work, undoubtedly commissioned as an object of private devotion, shows the Annunciation to the Virgin Mary, a Gospel episode here set on the two figures portrayed in the foreground, the Archangel Gabriel with outstretched wings, a portrait of supernatural beauty, and the Virgin; We see her here absorbed in reading a prayer book with her eyes turned humbly downwards as a sign of devotion, while a small cherub hands her white lilies, a symbol of purity and chastity.   In the upper part of the composition is the austere image of God the Father, with the dove radiating with light, emblem of the Holy Spirit, surrounded by a flock of angels fluttering in the clouds charged with intense glow and play of light, in full Baroque style. It should also be noted that the image of the Saviour's mother in a delicately pious attitude, with her yellow veil, her broad blue mantle and her usual modest red dress from which the edges of her white blouse protrude, is to be interpreted as a kind of tender allegory of sacred love. The painting in question is an interesting replica with variants of the composition commissioned from Francesco Albani for the Fioravanti chapel in the ancient church...

Italian painter (18th century) - Landscape with ruins and characters. 97 x 138 cm. Antique oil painting on canvas, without frame (not signed). Condition report: Lined canvas. Good...

Antique Italian painting from the second half of the 17th century. Oil on canvas artwork depicting a religious subject, Christ and the Samaritan woman at the well. Jesus is traveling...

Jan Thomas van Kessel 1677-1741 Flemish A Peasant Country Scene Signed (lower left) Oil on canvas A quintessential example of Flemish genre painting, A Peasant Country Scene refl...

Adriaen de Gryef (Leiden 1657 - Brussels 1722) Signed ‘A Gryeff f’(ecit) - centre left Peasant in the courtyard with still life of animals and fruit Oil on canvas Dimensions (cm): ...

Italian landscape with a bridge, tower, shepherd and animals. Scope of Jan Both ( Utrecht, 1618-1652), arrival in Rome and Venice in addition to his native Holland. The 17th-century...

Workshop of Johann Anton Eismann (1604-1698) Landscape with ruins and figures Oil on canvas, 110.5 x 93 cm Framed, 123 x 104 cm The background depicts a rocky shoreline facing th...

Jacob De Heusch (Utrecht, Netherlands, 1657 – Amsterdam, Netherlands, 1701) Title: Pair of Landscapes Medium: Oil on canvas Dimensions: without frame 50 x 8...

This lovely Dutch Old Master oil painting is attributed to artist Pieter Wouwerman. Painted circa 1660 it is figurative landscape with horseback travellers and their dogs in the foreground with ruins on their right. Beyond is a river and hilly landscape, all in the fading light of approaching dusk. There are some superb details making this an excellent Dutch Golden Age oil painting. Provenance: Devonshire estate. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a complementary gilt frame, 31 inches by 27 inches and in good condition. Pieter Wouwerman (1623-1682) was a Dutch Golden Age landscape painter. He was born in Haarlem. According to Arnold Houbraken, a biographer of artists from the Dutch Golden Age, Pieter Wouwerman was the brother of the landscape painters Jan and Philips Wouwerman, who, like his more famous brother, made a living selling Italianate landscapes in the manner of Pieter van Laer...

Two Arcadic Landscapes are a couple of original oil paintings by a follower of the Flemish artist, Jan Frans Van Bloemen (1662-1749). These old master's original paintings represen...

Cochin de Venise (Italy, 1622 - 1695) "River Landscape" Oil on Canvas Framed: 116 x 146 cm Flat: 97 x 128 cm No signatured This magnificent landscape painting, attributed to the Ven...

Alessio de Marchis (Naples 1684 - Perugia or Urbino 1752) circle of - Arcadian Landscape with Shepherds and Flock. 60 x 72 cm unframed, 74 x 86 cm with frame. Ancient oil painting ...