18th Century Landscape Paintings

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...

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...

George Morland (1763-1804) A farmstead in a landscape Oil on canvas Signed 'Morland' lower right Painting Size - 18 1/2 x 24 in Framed Size - 22 x 28 in George Morland was born in J...

Italian painter (18th century) - Landscape with shepherds at rest. 44 x 61 cm. Antique oil painting on canvas, without frame. Condition report: Lined canvas. Good condition of the...

This exquisite painting, attributed to the circle of Charles Antoine Coypel, presents a mythological scene. Though the artist remains unknown, the work clearly echoes the style of th...

Neapolitan painter (18th-19th century) - Penitent Magdalene with two cherubs. 100 x 80 cm without frame, 129.5 x 109.5 cm with frame. Antique oil painting on canvas, in a carved wo...

Richard Bankes Harraden (1778-1862) Italian landscape with Monte Socrate (after Jan Both) Signed and dated 1823 on the reverse Oil on canvas Canvas size ...

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...

Follower of Pietro da Cortona (18th-19th century) - Venus appears to Aeneas as a huntress. 50 x 60 cm without frame, 80.5 x 90 cm with frame. Antique oil painting on canvas, in a c...

Italian painter (18th century) - River landscape with characters. 58 x 79 cm without frame, 72 x 94 cm with frame. Oil on canvas applied on board, in a lacquered wooden frame. Con...

Dutch painter (18th-19th century) - The spanking. 60 x 99 cm without frame, 67 x 106 cm with frame. Antique oil painting on wood, without frame. Condition report: Wooden support s...

Roman painter (18th century) - Landscape with wayfarers. 43.5 x 34.5 cm without frame, 58.5 x 49.5 cm with frame. Antique oil painting on canvas, in carved and gilded wooden frame....

Follower of Nicolas Lancret (Paris 1690 - Paris 1743) - Gallant scene in a landscape. 63.5 x 76 cm without frame, 91 x 102.5 cm with frame. Antique oil painting on canvas, in carve...

Italian painter (18th century) - Street theatre. 74.5 x 62.5 cm without frame, 86 x 73.5 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. Condition report:...

German painter (18th century) - The cauldron. 84 x 105cm. Antique oil painting on canvas, without frame. Condition report: Lined canvas. Good state of conservation of the pictoria...

French painter (18th century) - The prison. 84 x 105cm. Antique oil painting on canvas, without frame. Condition report: Lined canvas. Good state of conservation of the pictorial ...

Giuseppe Bernardino Bison (Palmanova 1762 - Milan 1844) - Fantastic landscape with citadel and equestrian statue. 35 x 62 cm without frame, 53 x 80 cm with frame. Antique oil paint...

French master (18th century) - Samson and Delilah. 81 x 119 cm without frame, 99 x 137 cm with frame. Antique oil painting on canvas, in antique carved wooden frame. Condition rep...

English painter (early 19th century) - Boats in the moonlight on the Thames. 30.5 x 41.5 cm without frame, 49 x 59 cm with frame. Antique oil painting on canvas, in carved and gild...

Venetian painter (18th century) - Turcherie with parrot and player. 43.5 x 63.5 cm without frame, 50 x 70 cm with frame. Antique oil painting on can...

Circle of Hendrik Frans van Lint (Antwerp 1684 - Rome 1763) - Apollo and Daphne. 40 x 50 cm. Antique oil painting on canvas, without frame. Condition report: Lined canvas. Good co...

Christian Reder (Leipzig 1656 - Rome 1729) - The departure of the soldiers from the fort. 57.5 x 108.5 cm without frame, 89 x 122 cm with frame. Antique oil painting on canvas, in ...

Master active in Piedmont (dated 1782) - Tavern "Al Gambero Bon Vino". 133 x 133 cm without frame, 139 x 139 cm with frame. Oil on canvas, in a giltwood frame. - Indistinctly sig...

Pierre Louis De La Rive (1753 Geneva - 1817 Geneva). Two countrywomen with a donkey. Oil on canvas, mounted, 27 x 20 cm (visible size), 37 x 31 (frame), monogrammed "P.R." at lower right. About the artwork De La Rive has taken the typical scenes of Dutch landscape genre paintings...

This large wash drawing is a slightly enlarged version of a composition executed by Hubert Robert in 1761, at the end of his stay in Rome. This composition is a marvellous synthesis of the painter's art: the clatter of the waterfall, in a grandiose setting inspired by antiquity, is opposed to the intimacy of a genre scene, made up of a few peasant women performing some agricultural work. 1. The stay in Italy, an important founding stage in Hubert Robert's carrier Hubert Robert came from a privileged family of Lorraine origin, linked to the Choiseul-Stainville family, where his father was an intendant. The protection of this powerful aristocratic family enabled him to study classical art at the Collège de Navarre (between 1745 and 1751). After a first apprenticeship in the workshop of the sculptor Slodtz (1705 - 1764), he was invited by Etienne-François de Choiseul-Beaupré-Stainville (the future Duke of Choiseul, then Count of Stainville) to join him in Rome when the latter had just been appointed ambassador. Hubert Robert arrived in Rome on 4 November 1754, aged twenty-one, and remained there until 24 July 1765. Thanks to his patron, he obtained a place as a pensioneer at the Académie de France without having won the prestigious Prix de Rome. On his arrival in Rome, he frequented the studio of the painter Giovanni Paolo Panini (1691 - 1765), the inventor of the ruins painting, and also benefited from the proximity of Giovanni Battista Piranesi’s studio (1720 - 1778). During his eleven-year stay in Rome, Hubert Robert studied the great Italian masters and drew many of the great archaeological sites, multiplying the sketches which he would use throughout his career, becoming one of the masters of the "ruin landscape". Back in Paris in 1765, he was very successful. He was accepted and admitted to the Royal Academy of Painting and Sculpture on the same day, July 26th 1766, which was very unusual. He was appointed draughtsman of the king's gardens in 1784, then guard of the Royal Museum from 1784 to 1792. Arrested in 1793 and detained in the prisons of Sainte Pélagie and Saint-Lazare, he was released in 1794 after the fall of Robespierre and undertook a second trip to Italy. In 1800, Hubert Robert was appointed curator of the new Central Museum and died at his home in Paris in 1808. 2. Description of the artwork This composition, formerly called "La Cascade du Belvédère Pamphile" , is undoubtedly inspired by the water theatres of the Frascati villas. Hubert Robert presents a hemicycle of columns with rustic bossages at the foot of which is a cascade of water falls into a basin. The hemicycle is flanked by two high walls, pierced by window wells topped with antique masks...

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...

Expressive depiction of Christ being aided by Simon of Cyrene by an unknown artist, Italiante School style of 17th-century Northern European painters principally Dutch, c.1700s-1800s. This piece is composed of oil on linen, laid down on fiberboard. Presented in a giltwood frame. Image size: 42"H x 33"W. Italianate painters, group of 17th-century northern European painters, principally Dutch, who traveled in Italy and, consciously adopting the style of landscape painting that they found there, incorporated Italian models and motifs into their own works. Chief among the Italianates were Bartholomeus Breenbergh, Andries and Jan Both, Nicolaes Berchem, and Jan Asselijn...

Giacomo Guardi (Venice, 1764 - Venice, 1835) View of Venice with the Giudecca Canal and the Gesuati Church oil on canvas 34 x 42 cm. - framed 40 x 50 cm. Expertise dott Federica Sp...

Pastoral Landscape by Peter la Cave (fl. 1789-1816) oil painting on wood panel, framed framed: 12.5 x 15 inches panel: 8 x 10 inches provenance: private ...

Italian painter (18th-19th century) - Allegory of America. 63 x 61 cm without frame, 73 x 71 cm with frame. Antique oil painting on gold background, in a wooden frame. Condition r...

Oil on Canvas. The large landscape depicts a stretch of wooded countryside, traversed by a stream, near hills. On the path beyond the stream, a small figure of a wayfarer, walking a...

Jacob Fabris (Venice, 1689 - 1761) Architectural Capriccio with ancient classical ruins Oil on canvas cm. 56 x 112 with frame cm. 77 x 130 Expertise of Prof. Emilio Negro (Bologna) ...

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...

There are so many details to fall in love with in this 18th-century painting depicting an Italianate landscape, for example, the delicately painted figures having a conversation and ...

Jacob Fabris (Venice, 1689 - 1761) Architectural Capriccio with ancient classical ruins Oil on canvas cm. 56 x 112 with frame cm. 77 x 130 Expertise of Prof. Emilio Negro (Bologna) ...

18th century French Portrait - Prince and Princess of Conti as Apollo and Diana by François de Troy (1645-1730) and studio Louis Armand de Bourbon II, Prince of Conti, born on Novem...

The work, tempera on canvas in a great state of conservation, is part of a series of four big paintings of various authors documented in origin in the Villa La Zambra in Sesto Fioren...

Italian painter (18th-19th century) - Saint Cecilia and angels. 60 x 80 cm without frame, 79.5 x 99.5 cm with frame. Antique oil painting on canvas, in a carved wooden frame. Cond...

Lazare BRUANDET Paris, 1755 – Paris, 1804 Oil on canvas 24.5 x 32 cm (35.5 x 44 cm with the frame) Signed lower left “Bruandet” Beautiful old frame from the 19th century Lazare Brua...

Dutch painter (late 18th century) - Pipe smokers. 43.5 x 50.5 cm without frame, 52 x 59 cm with frame. Antique oil painting on canvas, in a gilded wooden frame (some cracks). Cond...

Very fine early 18th century Dutch old master portrait of a Royal Man in Military uniform, possibly King Frederick IV of Denmark and Norway This three-quarter length portrait depict...

Ferdinando Arisi one of the most influent art critic wrote about this painting : This pilgrims' stop is a typical work of Paolo Monaldi active in Rome between...

James McDougal Hart (1828-1901) was a prominent American landscape painter and a key figure in the Hudson River School. His landscapes are characterized by their serene and idyllic q...

Charles-André van Loo (Nice 1705 - Paris 1765) circle of - Allegory of Comedy. 54 x 83 cm without frame, 68 x 96 cm with frame. Antique oil painting on canvas, in a carved and gild...

Alessandro Magnasco (1667-1749) Giove and Licaone Oil on canvas in gilded frame Early XVIII century: around 1730 Measures: 160 x 150 cm frame included This paiting is published in...

Francesco Zuccarelli (Pitigliano, Italy, 1702 - Florence, Italy, 1788) Landscape with River and Waterfall Oil on canvas, without frame 55 x 78.5 cm - with frame 70 x 93 cm Expertise...

Follower of Giandomenico Tiepolo (19th century) - The minuet. 64.5 x 90.5 cm without frame, 72 x 97 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. - The ...

A Venetian capriccio view with classical architectural ruins and in the background the church of San Giorgio Maggiore and the Church of Santa Maria della Salute next to the Grand Can...

Oil on Canvas. Central European school of the 18th century. A river landscape in the vicinity of a hamlet is proposed, with a small bridge in the center bypassing the watercourse, a...

ÉCOLE FRANCAISE XVIIIè. Entourage d’HUBERT Robert. Paysage d’Italie, probablement une vue imaginaire des canaux de Venise». Cartouche dans la partie basse marqué Hubert Robert. Aquar...

Italian painter (17th-18th century) - Adam and Eve. 172.5 x 124.5 cm without frame, 175.5 x 127.5 cm with frame. Antique oil painting on canvas, in a wooden frame. - Monogram on t...

An accomplished 18th century oil depicting a shepherd watching over his flock by the river bank of a provincial. town. Unsigned. On canvas.

Pair of Italian 18' century paintings , oil on canvas with Venetian Palace gardens , antiques sculptures and various figures . Measurements with frame cm 75 x101

A fine, large 18th century veduta capriccio scene with temple ruins after Gennaro Greco from the circle of Pietro Cappelli. The painting is presented in a more modern carved gilt woo...

Bambocciata with Card Game in the Countryside (Partita a carte) PAOLO MONALDI (post 1710 - post 1779), entourage ante 1750 Oil on canvas Measurements: Unframed: 45 x 31 cm. Fra...

Countryside Interlude with Horses (Sosta in campagna) PAOLO MONALDI (post 1710 - post 1779), entourage ante 1750 Oil on canvas Measurements: Unframed: 45 x 31 cm. Framed: 61 x ...

French School of Francois Boucher (Paris, 1703 - 1770) - Child's play 18th century Oil on canvas 74 x 60 cm. - Framed cm. 92 x 80 We present a splendid painting, the work of a Fren...

Italian painter (18th-19th century) - The fourteen stations of the Via Crucis. 119 x 95 cm without frame, 137 x 114 cm with frame. Group of fourteen ancient oil paintings on canvas...