18th Century Paintings

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...

Painting oil on canvas measuring 68 x 92 cm without frame and 88 x 112 cm with frame depicting the allegory of the liberal arts with geometry, geography and mathematics with Apollo a...

Stormy Seas English School, 18th century oil on thick wood panel, unframed panel: 25 x 30 inches provenance: private collection, East Anglia, England condition: very good and sound c...

Circle of George Morland (British, 1762 – 1804) A grey horse at an encampment Oil on board Indistinctly with signature (lower left) 12.1/8 x 10in. (31 x 40.8 cm.)

This superb vibrant Dutch 18th century Old Master floral oil painting is attributed to circle of Gerard Van Spaendonck. Painted circa 1790, it is a beautiful mixed floral still life flower arrangement in an ornate urn on a marble ledge against a landscape. The flowers include roses, tulips, blue iris and trailing blue morning glory. The carved ornate grey/blue urn on the cream marble ledge create a strong textural contrast with the soft petals and leaves. This is a wonderful example of Dutch 18th century floral oil paintings with fine detail and brushwork. Provenance. Private Collection, UK (by descent). Condition. Oil on canvas, 30 inches by 25 inches unframed and in good condition. Frame. Housed in an ebonised frame, 39 by 34 inches framed and in good condition. Gerard van Spaendonck (1746-1822) was a Dutch painter. Gerard was born in Tilburg, an older brother of Cornelis van Spaendonck...

Portrait of William Shakespeare British artist, 18th century oil on canvas, unframed canvas: 24 x 18 inches provenance: private collection, England condition: very good and sound con...

Painting oil on canvas measuring 68 x 92 cm without frame and 88 x 112 cm with frame depicting the allegory of the liberal arts painting, sculpture and music on one side with Minerva...

Portrait of John Hervey, 1st Earl of Bristol (1665-1751). Early 18th-century near-life-size portrait of a noble man richly dressed in a long wig. Circle of the German-British cour...

18th Century Military portrait of a young officer in Napoleonic period military dress. The painting is not signed but the subject is Major Alexander Brown. The work is oil on canvas later mounted on board and presented in a fine 'Regence style' carved gilt frame. There are labels to the back referring to the subject, 'Major Brown of Trinity' and a framers trade label from Edinburgh. A magnificent and imposing portrait of a young military officer in the prime of his life. His red uniform adorned with fine buttons, fringed epaulettes and high gilt collar. His ruddy complexion offset by his stylish hair, a quiff and swept forward to the sides as was the fashion at the time. Sir David Wilkie RA (18 November 1785 – 1 June 1841) was a Scottish painter, especially known for his portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. He painted successfully in a wide variety of genres, including historical scenes. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter". He was Principal Painter in Ordinary to King William IV and Queen Victoria. Apart from royal portraits, his best-known painting today is probably The Chelsea Pensioners Reading the Waterloo Dispatch of 1822 in Apsley House. Sir David Wilkie was actually admitted in 1799 (despite only being 14) through the influence of the Earl of Leven...

Cerchia di Marco Ricci (Belluno 1676 – Venezia 1730) – River landscape with characters. 34 x 26 cm without frame, 43 x 35 cm with frame. Oil on canvas, in carved and gilded wooden ...

Oil on canvas Image size: 21 1/2 x 17 3/4 inches (55 x 45 cm) Original gilt frame In this portrait this young woman is depicted facing forward with her head slightly raised and turned left towards the viewer. She is dressed in a blue satin dress. The low-cut drapery, exposing her décolletage, was not unusual for the time as 18th century women would often wear their dresses off-the-shoulder or fitted with a very open neckline. Her perfectly oval face is enlivened by wide brown eyes, full cheeks and a mouth that sketches a half smile. Her cheeks rose with blush, which was a popular cosmetic style during the Rococo period and contrasts with her ivory skin and powdered hair. Her tied hair is studded with many flowers and the ribbon around the woman's throat accentuates her bare neck. Alexander Roslin Alexander Roslin was one of the most important portrait painters of Europe in the 18th century. He was born in Malmö in Sweden but soon moved into Europe to paint at various royal courts. From 1750 on he worked mainly in Paris. Here he was destined to achieve great success. He had collected letters of recommendation on his journey through Europe, including that of the Duchess of Parma, the sister-in-law of Louis XV. Soon he was admitted to the court and the Royal Academy in Paris and when he married in 1759 he was the most wanted artist in Paris for portraits. He was married to the miniature painter Marie Suzanne Giroust. Although he painted mainly French nobility...

Louis Michel van Loo (Toulon 1707- Paris 1771) attributable Portrait of a noblewoman with her little dog Oil on canvas (79 x 66 cm. - with frame 92 x 78 cm.) A qualitative portrait depicting an elegant noblewoman of French origin, presumably belonging to the wealthy court of Versailles during the reign of Louis XV; this work fully reflects the pictorial qualities as well as the refinement of the compositional style of the French painter Louis Michel van Loo (1707- 1771), one of the most significant portrait painters of his time, and for this reason in demand at the most noble European courts. The work, taking up the traditional formula for portraits of members of the aristocracy, shows the effigy in a half-length pose, slightly turned to the right and looking directly at the viewer. The woman, with a regal bearing, is here portrayed intent on completing her daily beauty ritual, wearing a cape during her make-up, which must have just been completed as pink powder is visible on her cheeks. This luxurious garment reveals a corset with a daring neckline, made of silk and lace, and a coral-coloured dress ending in wide jabote cuffs. Her hair is styled in the French fashion in a hairstyle that highlights her facial features. Having finished her beauty ritual, the woman is intent on removing her cape with one hand, an elegant gesture that emphasises her noble pose. At her side is her small pet dog, sitting on a blue velvet cushion with gold trim. The canvas may have been made on the occasion of a wedding, elegantly celebrating the role of a member of the aristocracy. The presence of the pet depicted in her arms had in fact a precise meaning: the fidelity that is such a well-known characteristic of the dog, declared at the same time the virtues of the effigy. Louis Michel van Loo (Toulon 1707- Paris 1771) was the son of the painter Jean Baptiste van Loo, with whom he studied in Rome and Turin. He attended the Paris Academy, where he won the first prize for painting in 1726. In 1728 he returned to Rome, where he met Francois Boucher. In 1732, passing through Turin, he returned to Paris. In 1737 van Loo became court painter in Madrid, succeeding Jean Ranc...

Pair of oval paintings measuring 66 x 89 cm without frame and 90 x 115 cm with coeval frame depicting two gallant moments during a rest from hunting by painter Hendrik Van Limborch (...

Amazing works of the genre scene, dates to the late 18th century. After the famous French artist Francois Boucher, who was the court painter to King Louis XV. It is in its origina...

The Penitent Magdalene French School, 18th century oil painting on canvas, framed canvas: 30.5 x 25 inches framed: 39 x 33 inches condition: exc...

The New Born Baby (a version of the Nativity?) Dutch School, 18th century oil on canvas, framed framed: 21 x 18 inches canvas: 18 x 15 inches provenance: private collection, Europe c...

Oil on Canvas. The vertically developed landscape features an imposing ruined architectural structure in the center, overgrown with weeds and presented in blurred colors and strokes...

Bolognese painter (18th-19th century) - Maddalena. 70 x 50 cm without frame, 89 x 69 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden frame. Condition ...

The painting (with a Salvador Rosa-style gilded frame 88 x 116 cm) depicts a group of four children who are playing outside on a swinging seesaw; we are probably dealing with a prank, as can be seen by the satisfied expression of the child on the right at the expense of the one in the foreground, who seems to be supported by the others, perhaps because of the fear felt. They are dressed in the same way, with black or brown ankle boots and a kind of double-breasted jumpsuit with a rich lace collar reminiscent of the jabots of dames, blue for the one in the foreground, brick-colored for the other three. Children also look alike in the hair, typical of the period, and features, suggesting a kinship relationship. We find the same subject, for example, in Johann Zoffany...

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...

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...

German School (18th century) A German Pointer with hunting Equipment Oil on canvas Canvas Size 42 x 35 in Framed Size 48 x 41 in

The Allegorical Winged Nude Lady, adorned with the attributes of Spring French School, 18th century (Rococo period) oil painting on canvas, unframed canvas: 30 x 52 inches provenance...

An interesting 18th century study of the Madonna in oil, painted in the Cuzco School style. Unsigned. On tin.

This rather handsome British Old Master portrait oil painting is attributed to circle of Thomas Gainsborough. Painted circa 1780 the sitter is identified on the name plate as Archiba...

This superb British Old Master oil painting is attributed to circle of Sir Thomas Lawrence. Painted circa 1795, the sitter is Major-General James Hanson Salmond (1766–1837) an office...

Original "cassetta" frame in carved, gilded wood. Expertise by Prof. Giancarlo Sestieri.

Publications: - Expertise by Prof. Sandro Bellesi; - S. Bellesi, in Pittura e Scultura a Firenze (secoli XVI-XIX), Florence 2017, p. 111. Matteo Bonechi (Florence, 1669 – 1756) wa...

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...

Italian painter (18th-19th century) - Allegory of Fortitude and Temperance. 59 x 75 cm without frame, 90 x 105 cm with frame. Antique oil painting on canvas, in a carved wooden fra...

The Classical Landscape English School, 18th century oil painting on canvas, unframed canvas: 34.5 x 36.5 inches provenance: private collection condition: very good and sound condi...

This interesting Italian 18th century Old Master oil painting is by noted artist Marco Marcola, also known as Marco Marcuola. It was painted circa 1770 and has excellent provenance. ...

A rare and most attractive still life by William Smith of Chichester. The sumptuous textures of the peaches and grapes contrasting with the dark background. A really handsome 18th Ce...

Frame in lacquered and gilded wood. The painting is mentioned in Dizionario Biografico degli Italiani Treccani in the biography of the artist.

Portrait Of King Philip V (1683-1746) of Spain, 18th Century Spanish School Large early 18th Century European School portrait King Philip V Of Spain on horseback, oil on canvas. E...

Roman school late 17th - early 18th century - Follower of Niccolò Codazzi (Naples, 1642 - Genoa, 1693) Pair of fantastic architectural whims with class...

The price is intended for the couple of paintings. Expertise by Prof. Giancarlo Sestieri. This pair of paintings by Giovanni Domenico Gambone (1720 – 1793) depicts an architectura...

Piedmontese painter of the eighteenth century Pendant of paintings Landscape with wild boar hunting scene Landscape with pastoral scene Oil on canvas, 66 x 132 cm, framed 68 x 134 We show you this pleasant pendant of paintings, characterized by a clear atmosphere and a delicate chromatic harmony, in perfect harmony with the rocaille taste of the Savoy capital of the full of the second half of the 18th century, and can be compared to a Piedmontese painter, presumably active in Turin in that period. The first work, with a pastoral and Arcadian character, shows a small group of shepherds, intent on guarding their animals: the romantic theater that sees a shepherd on horseback singing a song to cheer the rest of the companions to make the scene affected. In the second work, however, the composition is centered on the lively and rich group of figures of hunters who, armed with swords and spears and with the help of hunting dogs, surrounded the wild boars. The style of our two canvases, as well as the type of subject represented, evokes the compositions of Vittorio Amedeo Cignaroli (Turin, 1730 - 1800) with the illustrative tradition repeatedly addressed by the author, the main landscape painter of Piedmontese Rococo, as recalled in the canvases made for the Palazzine di Stupinigi and Racconigi. His technical ability and his rigorous craft earned him the esteem of the Savoy court and consequently of the Piedmontese nobles. His workshop expanded considerably due to the numerous commissions, inducing him to avail himself of the help of a considerable number of workers, apprentices and professional painters who deal with the landscape, figures or costumes according to their specialization, so it becomes difficult to establish whether a work is a workshop or an independent painter. Paintings of this format and of these subjects, often made in groups, were commissioned to be placed in palaces or in small Piedmontese and Lombard castles. Shape and size would suggest that the canvases were originally placed as over the door...

This Beautiful British 18th century British Old Master portrait oil painting is by noted artist Joseph Highmore. Painted circa 1740 it is a half length portrait of a young woman, Eli...

James Fellowes Flourished 1719 - 1750 Portrait of William Henry Kerr, Earl of Ancram, 4th Marquess of Lothian Oil on canvas, signed & dated 1747 Image size: 29 1/2 x 24 1/2 inches (75 x 62 cm) Original gilt wood frame William Henry Kerr was born a member of the Scottish peerage to William, third Marquess of Lothian, and his first wife Margaret, daughter of Sir Thomas Nicholson of Kemnay, first Baronet. William was styled Master Jedburgh until 1722, when his father was elevated to a Marquessate, after which he was referred to as Lord Jedburgh until 1735. Following his father’s military footsteps, on 20 June 1735 Ancram was commissioned as a cornet to the regiment (11th Dragoons) of his grand-uncle, Lord Mark Kerr. Ancram married Lady Caroline...

Oil on canvas. In the depicting scene, three cherubs are play-acting: one of them is wearing a smiling mask and is trying to scare his mate, while the last one is dressed up like a p...

Oral Expertise by Lisa Greaves. Hendrick Govaerts' work takes place between two centuries: between the end of the 17th and the beginning of the 18th century. Flemish by origin, his ...

Expertise by Prof. Giancarlo Sestieri. Vincenzo Re (Parma, 1695 – Napoli?, 1762) born in Parma, was an Italian scenic designer who during his career worked as initially an assistant...

With a "cassetta" frame in gilded and carved wood. Publications: - Expertise by Prof. Egidio Martini; - G. M. Guidetti, in From Sacro to Profano. The Giorgio Baratti...

David Morier (1705-1770) Portrait of a gentleman in red military uniform Oil on canvas Canvas Size - 32 x 24 in Framed Size - 39 1/2 x 31 in Provenance: Sale, Christie's London, 21s...

Expertise by prof. Giancarlo Sestieri. Vincenzo Re (Parma, 1695 – Napoli?, 1762) born in Parma, was an Italian scenic designer who during his career worked initially as an assistant...

Jacob De Wit (Amsterdam, 1695 - 1754) attributable/ workshop Pair of Cupids with Garland of Flowers Oil on canvas 91 x 103 cm. - Framed 104 x 115 cm. Provenance: Christie's (London, Old master Painting 12.12.1996) lot 82 This magnificent composition depicts two cupids holding a garland of flowers, placed on a fine architecture with bas-reliefs and masks, presumably the top of a fountain. One of the two cupids sympathetically holds a part of it with his hands, while his head turns towards the viewer; the second cupid, on the other hand, must have clumsily broken the thread holding its end, and is sitting sullenly with a torch and a tear streaking his chubby cheek. The work, given its stylistic features and compositional taste, can be attributed to the Flemish artist Jacob de Wit (Amsterdam, 1695 - 1754), or to an artist from his workshop, with his typical triumphal and opulent style, which reveals clear influences from Rubens and Van Dijck, but also from Gerard de Lairesse...

Portrait of a young boy, full-length in a blue velvet coat and breeches, standing on a stone terrace in a park landscape, playing with a spinning top....

A delightful painting, oil on paper laid on panel, with beautiful Gainsboresque colouring. This is a fine Old Master circa 1770 landscape in the 18th century Romantic landscape tradi...

The Fox Hunting Party, dated 1770 John Nost SARTORIUS (1759-1828) - names of the hunting party fully inscribed by the artist verso Large 18th Century English Fox Hunting Party land...

Oil on canvas. The depicted scene is set in a closed environment with a wide window which provides a glimpse of landscape. Three cherubs are sitting on benches and they are playing w...

James Seymour (1702–1752) Feeding Time in the Stables Oil on canvas 32 x 38 inches inc. frame Provenance: Private Collection, Lambourn James Seymour (1702–1752) was an English painter, widely recognized for his equestrian art. Seymour was born in London. His father was an amateur artist and art dealer, whose other business dealings (as a banker, goldsmith, and diamond merchant) afforded young Seymour the leisure time to study art on his own, either his father's or the art at the Virtuosi Club of St. Luke - a gentleman's club his father belonged to, specializing in art. In a short time the boy was a self-taught artist, familiar with many of the prominent artists of the period. Seymour's love of art was matched only by his love of horses. He began spending time at racetracks early on, and before long found himself absorbed in the sport - drawing, painting, owning, breeding, and racing horses. His art proved popular among the prominent sporting families of the day, eventually garnering Seymour patrons in Sir William Jolliffe and Charles Seymour, 6th Duke of Somerset...

Oil on canvas Image size: 30 1/4 x 25 inches (77 x 63 cm) Original hand carved gilt frame Provenance Private Estate, England This is a very fine example of Kneller's work in the e...

David Gauld RSA (1865-1936), Winter Snow, Dunlop, 39.3 x 49.5 cm (framed 63 x73 cm) , Oil on canvas.

Dusk Landscape British School, 18th century oil on canvas, unframed painting: 32 x 41 inches provenance: private collection, UK condition: very good and...

Thepainting accompanied by an expertise drawn up by prof Ferdinando Arisi that wrote: This pilgrims' stop is a typical work of Paolo Monaldi active in Rome be...

This important eighteenth-century painting can be attributed to the exquisite production of the Neapolitan school of the first half of the eighteenth century. Indeed, the splendid w...

The 1700s was the golden age of still life, particularly in Northern Europe (but also in Italy and Spain). There is considerable demand for these kinds of paintings, mostly from a n...