18th Century and Earlier Art

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...

Publications: - E. Negro, N. Roio, Giacomo Cavedone 1577-1660, Modena 1996, pp. 164, 165.

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

Beautiful original frame in walnuts wood with decorations in gold. Publications: - Expertise by Prof. Nicola Spinosa; - N. Spinosa, in Barocco spaziale: dialoghi di luce, forma, ...

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....

Already been in Koelliker collection (no. inv. LK0431) Publications: - C. Alpini, Ritratto di Gian Giacomo Barbelli nel IV centenario della nascita, in “Insula Fulcheria”, XXXIV, ...

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This superb Dutch Old Master portrait oil painting is attributed as by a follower of Dutch 17th century artist Gerrard van Honthorst. The original of this painting hangs in Wilton House, Wiltshire, home to the 18th Earl and Countess of Pembrokeshire. The painting was previously attributed to Van Dyck by early cataloguers, but after exhaustive comparisons with the two Honthorst brothers' works, it was concluded that Gerrard van Honthorst was the artist who painted the original in Wilton House. Our painting was painted circa 1695 by a follower of Gerrard Honthorst. It was sold to us as circle of Cornelius Johnson. The sitter is Prince Rupert of the Rhine, Duke of Cumberland, Earl of Holderness (1619-1682). He was an English army officer, admiral, scientist, and colonial governor. He first came to prominence as a Royalist cavalry commander during the English Civil War. Rupert was the third son of the German...

Balthasar Van Den Bossche (Antwerp, 1681 - 1715) Alexander the Great and Campaspe in the studio of the painter Apelles The canvas was exhibited in Perugia (Museo di Palazzo della Pe...

Madonna, 16th Century circle of JOOS VAN CLEVE (1485-1540) 16th Century Netherlandish Antwerp School portrait of the Madonna, oil on panel from the circle of Joos Van Cleve. Exce...

18th Century Continental School Bronze Sculpture of Aphrodite, c. 18th Century 25-3/4 in. h. x 11 in. w. x 9 in. d., without Base 1-1/4...

This wonderful 17th century Old Master religious oil painting is attributed to Dutch Golden Age artist Benjamin Gerritsz Cuyp. Painted circa 1633 it is entitled The Annunciation to t...

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

WEINMANN, Johann Wilhelm. Citrus and Apricots Hieronymous Lenzius, Regensburg, [1735]-1737-1745. attractive plate, being one of the earliest examples of colour printing. Johann ...

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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...

Verse 1 through Verse 60 From: Leyli o Majnun by Nizami Ganjavi (1141-1209CE) This folio comprises the first 60 verses of the epic Persian poem “The masnavi of Leyli va Majnun (4,60...

Oil on panel Jan van Ravesteyn was described as an outstanding portrait painter by Karel van Mander as early as 1604. After a possible apprenticeshi...

Portrait of William Paget (1505–1563), 1st Baron Paget de Beaudesert, Court Of King Henry VIII, 17th Century school of Hans Holbein the Younger (1497-1543) Large 17th Century Tudor...

Provenance The Sitter (Probably commissioned for the marriage of Samuel Edwin and Lady Catherine Montagu in 1697), Thence by descent, Charles Edwin (c. 1670 - 1716), Llanmihangel Pl...

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 lovely British 18th century Old Master portrait oil painting is attributed to the manner of Thomas Beach. The sitter is Silvestra Monypenny when she was about 12. She is the on...

Francisco De Goya (Spain, 1746-1828) 'Hasta la muerte (Caprichos. Estampa 55)', ca.1881-1886 burnished aquatint, etching on vellum paper 12.1 x 8.2 in. (30.8 x 21.1 cm.) 2nd Edition ...

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...

Sir Edward Clarke Lord Mayor Of London (1630-1703), 17th Century inscribed to Hyacinthe Rigaud (1649-1743) Large 17th Century portrait of Sir Edward Clarke, Lord Mayor Of London, o...

WEINMANN, Johann Wilhelm. Melons Hieronymous Lenzius, Regensburg, [1735]-1737-1745. attractive plates, being one of the earliest examples of colour printing. Johann Weinmann (168...

Semi Nude Man drawing a Dagger Italian School, early 17th century circle of Caravaggio oil on canvas, framed framed: 21 x 17 inches canvas : 18 x 14 i...

WEINMANN, Johann Wilhelm. Apples Hieronymous Lenzius, Regensburg, [1735]-1737-1745. attractive plates, being one of the earliest examples of colour printing. Johann Weinmann (168...

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...

Adriaen van Stalbemt (Antwerp, 1580-1662) Allegory of Peace and War, circa 1620-1630 Oil on oak panel: h. 49.5 cm, l. 73.2cm (19.29 x 28.74 in) Giltwood frame with laurel leaves, Lo...

WEINMANN, Johann Wilhelm. Pair of Poppies Hieronymous Lenzius, Regensburg, [1735]-1737-1745. attractive plates, being one of the earliest examples of colour printing. Johann Wein...

This stunning 17th century Dutch Old Master Golden Age floral oil painting is by noted Dutch artist Simon Pietersz Verelst. The full attribution...

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 early 18th century. Here, the emphasis is placed directly on the sitter's alluring femininity, with this being enhanced by the falling hair around her shoulder. This looseness of focus is created with a free fluidity of brushstrokes. He has used a Rembrandt-esque technique of subtle tones in the face, and we can see how Kneller often allowed the bluer ground layer to show through when suggesting the darker flesh tones.The painterly technique seen here is an excellent demonstration of Kneller’s style. The bold handling of the flesh tones is Kneller at his most emphatic, while the sizeable areas of dark grey ground we see are indicative of his method of painting quickly, developed by this stage in his career to cope with the many demands of a large circle of patrons. The same effect is used for the shadows in the face: rather than paint darker colours on top of the pink flesh tones, as most artists would have done, Kneller instead painted in the reverse order, using the ground layer for his dark shadows, and then painting the lighter colours on top. Often he worked with an almost dry brush in strong firm strokes. Here the flesh tones have been rapidly, almost roughly painted, with bold areas of impasto giving way to areas where almost no paint has been applied at all, a trick that allowed Kneller to use the blue-grey ground layer to show darker flesh tones. Godfrey Kneller...

Crossing of the Red Sea Workshop of Frans Francken II (1581-1642) 17th century Antwerp School Oil on oak panel Dimensions: h. 49.5 cm, w. 64.5 cm (19.49 in x 25.39 in) Moulded and blackened wooden frame with wide mouldings, with inverted profile from the later period. Framed dimensions: h. 82 cm, w. 97 cm (32.28 x 38.19 in) Our panel illustrates one of the episodes of the Old Testament, recounted in the book of Exodus. After crossing the Red Sea...

Head Portrait of a Man with Beard Flemish/ Dutch School, circa 1580-1620 period circle of Adriaen Thomasz. Key (Dutch, 1544, Antwerp – after 1589) oil on canvas, framed framed: 20 x ...

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...

Classical Figures in Ancient Landscape Italian School, 18th century oil on panel, painting: 9 x 12 inches provenance: private collection, Paris condition: very good and sound condition

Sunil Das - Old Horse 11 x 9 inches (unframed size) 18 x 16 ( Expected framed size) Pastel on Sand Paper Circa, 1958 ( Delivered framed ) A very old unique and rare work by the M...

Partridge Shooting/ Snipe Shooting/ and 2 Duck Shooting lithograph scenes on wove paper Art Sz: 10 5/8"H x 12 3/4"W Frame Sz: 7 3/4"H x 19 7/8"W By J. Pocker & Son George Morland...

This remarkably fluid terracotta bozetto was made in preparation for Pietro Pacilli’s most important public commission, a large-scale marble statue of San Camillo de Lellis for the nave of St Peter’s Basilica in Rome. Expressively modelled, this terracotta sculpture is a rare and significant work made by a major Roman sculptor at a transformative moment of European sculpture. Pacilli began his working life on the great Baroque decorative projects initiated in the seventeenth century, but he found success as a restorer of ancient sculpture working to finish antiquities for a tourist market, becoming an important figure in the emergence of an archaeologically minded Neoclassicism. Pacilli trained Vincenzo Pacetti and provided important decorative work for the Museo Pio-Clementino, at the same time he is recorded restoring some of the most celebrated antiquities excavated and exported during the period. Pacilli was born into a family of Roman craftsmen, his father Carlo was a wood carver, and Pacilli is recorded working with him on the Corsini Chapel in San Giovanni Laternao as early as 1735. In 1738 his terracotta model of Joseph and Potiphar’s Wife won the first prize in the second class of the sculpture concorso at the Accademia di San Luca, this is particularly notable as Bartolomeo Cavaceppi came third. He worked as a carver and stuccoist completing works for the churches of San Marco and SS. Trinita dei Domeniciani Spagnoli. Pacilli operated as a sculptor and restorer of antiquities from his studio at the top of the Spanish Steps, close to Santa Trinita dei Monti, where he is listed as a potential vendor to the Museo Pio-Clementino in 1770. In 1763 Pacilli completed a silver figure of San Venanzio for the treasury of San Venanzio. He is recorded as Pacetti’s first master and it was evidently through Pacilli that he began to acquire his facility as a restorer of ancient sculpture. Pacilli, at his studio ‘poco prima dell’Arco della Regina alla Trinita dei Monti,’ exercised, what the nineteenth-century scholar, Adolf Michaelis called ‘rejuvenating arts’ on several important pieces of classical sculpture, including in 1760 the group of a Satyr with a Flute for the natural brother of George III, General Wallmoden, Hanovarian minister at Vienna. In 1765, Dallaway and Michaelis record that Pacilli was responsible for the restorations, including the addition of a new head, to the Barberini Venus which he had acquired from Gavin Hamilton. The Venus was then sold to Thomas Jenkins, who in turn passed it on to William Weddell at Newby Hall. In 1767 Pacilli exported a series of ancient busts ‘al naturale’ including portraits of Antinous, Julius Ceaser and Marus Aurelius, also a statue of a Muse and a Venus. As early as 1756 Pacilli seems to have been operating as an antiquarian, helping to disperse the collection of the Villa Borrioni. Pacilli supplied sculpture to notable British collectors, including Charles Townley, who on his first trip to Italy purchased the Palazzo Giustiniani statue of Hecate from Pacilli. Pacilli was involved with the Museo Pio Clementino from its conception, supplying busts of Julius Ceaser and a Roman Woman as well as completing stucco putti surmounting the arms of Pope Bendedict XIV to signal the entrance to the new Museo Critiano. In 1750 Il Diario Ordinario del Chracas announced that Pacilli had begun work on a sculpture of San Camillo de Lellis for St Peter’s. Camillo de Lellis founded his congregation, the Camillians, with their distinctive red felt crosses stitched on black habits in 1591. Having served as a soldier in the Venetian army, Camillo de Lellis became a novitiate of the Capuchin friars, he moved to Rome and established a religious community for the purpose of caring for the sick. In 1586 Pope Sixtus V formerly recognised the Camillians and assigned them to the Church of Santa Maria Maddalena in Rome. Camillo de Lellis died in 1614 and was entombed at Santa Maria Maddalena, he was canonised by Benedict XIV on June 26, 1746. It was an occasion that prompted the Camillians to make a number of significant artistic commissions, including two canvases by Pierre Subleyras showing episodes from San Camillo’s life which they presented to Benedict XIV. In 1750 Pacilli was commissioned to fill one of the large niches on the north wall of the nave with a sculpture of San Camillo. The present terracotta bozetto presumably had two important functions, to enable Pacilli to work out his ideas for the finished sculpture and at the same time to show his design to the various commissioning bodies. In this case it would have been Cardinal Alessandro Albani and Monsignor Giovan Francesco Olivieri, the ‘economo’ or treasurer of the fabric of St Peter’s. Previously unrecorded, this terracotta relates to a smaller, less finished model which has recently been identified as being Pacilli’s first idea for his statue of San Camillo. Preserved in Palazzo Venezia, in Rome, the terracotta shows San Camillo with his left hand clutching his vestments to his breast; the pose and action more deliberate and contained than the finished sculpture. In producing the present terracotta Pacilli has expanded and energised the figure. San Camillo is shown with his left hand extended, his head turned to the right, apparently in an attempt to look east down the nave of St Peter’s. The model shows Pacilli experimenting with San Camillo’s costume; prominently on his breast is the red cross of his order, whilst a sense of animation is injected into the figure through the billowing cloak which is pulled across the saint’s projecting right leg. The power of the restrained, axial contrapposto of bent right leg and outstretched left arm, is diminished in the final sculpture where a baroque fussiness is introduced to the drapery. What Pacilli’s terracotta demonstrates, is that he conceived the figure of San Camillo very much in line with the immediate tradition of depicting single figures in St Peter’s; the rhetorical gesture of dynamic saint, arm outstretched, book in hand, head pointed upwards was perhaps borrowed from Camillo Rusconi’s 1733 sculpture of St. Ignatius...

A portrait of Christine de France, duchesse de Savoi, made with oil paint on canvas. Christine Marie of France (10 February 1606 – 27 December 1663) was Duchess of Savoy from 26 Ju...

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Olio su tela. Scuola centro-europea della fine XVIII secolo. La scena racconta un episodio biblico ampiamente riproposto nell'arte pittorica, tratto dal libro di Ester: la giovane i...

This art - work is part of the project REFLEXUS. The paint is made in the author's technique of painting by Vasili Zianko based acrylic painting on canvas using a variety of texture...

Ornate Classical Fruit Still Life Italian School, 17th century oil on canvas, unframed canvas: 22 x 27 inches provenance: private collection, UK condition: very good and sound condi...

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Oil on oval lime wood panel Collection number on the back: 272 We see a herd of goats and their shepherds on the bridge, one of the shepherds is on a horse, the others look at the men near the riverbank. Two standing figures are pointing and discussing with one another, while the other one is sitting and relaxing after a long trip. We'd like to thank dr. Guido Jansen for his attribution. Goffredo Wals was a German painter, who spent most of his career in Italy. Most of his works were in small format, often circular and painted on copper...

Antique oil on canvas painting depicting the mystical marriage of St. Catherine. The scene takes place in the foreground, and the Madonna is seen holding the Child toward St. Cather...

Oil on panel Portrait of a child holding peaches, accompanied by a dog. We are grateful to Fred Meijer for confirming the attribution on the basis of high-resolution photographs. The present portrayal of a silk-robed child, attended by a pedigree puppy and holding a sprig of expensive, exotic fruit, exudes the burgeoning wealth of the mid-17th century Dutch Republic, and is characteristic of the accomplished hand of Jacob Gerritsz. Cuyp. The sex of the present child is difficult to determine with certainty, as young boys also were attired in dresses at this time, but the silk bonnet...

Camel is an artwork realized  in the 18th Century by an artisti follower of Stefano della Bella. Pencil Drawing.  The artwork is in good conditions . The artwork is depicted skill...

WEINMANN, Johann Wilhelm. Melons Hieronymous Lenzius, Regensburg, [1735]-1737-1745. attractive plates, being one of the earliest examples of colour printing. Johann Weinmann (168...

A heartwarming sepia study of a shepherdess comforting her young baby. Well-presented in a contemporary gilt-effect frame. Unsigned. On paper.

A delightful watercolour study depicting a young woman wearing a dress and smock. She points to her left hands showing her palm to the viewer. The artist captures her with a delicate...

The Brothel Oil on panel Tavern and brothel scenes were popular subjects in 17th-century Flemish art, depicting the vibrant and often rowdy social life of the time. The scenes wer...

This small yet captivating painting, crafted on a copper plate, dates back to the mid-1600s and was created by a Flemish artist. Subject Matter: The central figure in the artwork is Mercury, easily identified by his symbolic attributes like winged sandals, petasus, and caduceus. Beside him is a likely female figure, characterized by her attire and absence of weaponry. The depicted scene could represent two mythological tales: Mercury and Calypso: This interpretation suggests the artwork shows the moment Zeus sends Mercury to Calypso's island, Ogygia. Mercury is there to order Calypso to release Ulysses, whom she saved from a shipwreck but kept captive. The lush, wooded background and the three distant figures could hint at Ulysses' farewell to Calypso. Mercury and Herses: Another interpretation could be a scene from the love story of Mercury and Herses. The background figures might symbolize the sisters returning from a procession, while the forefront could be the initial meeting between Mercury and the most beautiful sister, Erse. Artistic Inspiration: The painting's landscape and setting are heavily influenced by the early 17th century Northern European art trends, especially the works of Jan Brueghel the Elder. However, the artwork stands apart with its unique luminescence in detailing and a distinctive approach to depicting figures. While the exact origin and artist remain somewhat mysterious, the style and treatment of light hint towards works close to Josse de Momper...

Inspired by European landscape painting of another era, the artist finds intimacy in an unexpected place. The changeable moon sends forth steady reverberating yellow light with th...

Sculpted in walnut wood In Germany the use of walnut was quite rare, in some cities in Northern Germany such as Lüneberg and Hamburg the use of walnut was allowed by gild regulation...

Two charming stipple engravings after paintings by George Morland (1763-1803). The first depicts a scene in the song The Lass of Livingstone inspired by the popular Scottish song. Th...