18th Century and Earlier Art

 A Human Sacrifice in a Morai in Otaheite (Tahiti)  1784 by John Webber is from the  First Edition Atlas Accompanying Capt. James Cook and King; Third and Final Voyage of Captain...

This is a superb Italian Old Master portrait oil painting attributed to circle of Guido Reni. It is a half length portrait of the penitent Mary Magdalene...

Portrait of a lady, three-quarter length, wearing a blue silk gown, seated in a classical interior, with her daughter in a pink gown standing beside her holding a sprig of blossom. T...

Oil on Canvas. The painting offers a half-length portrait of a young man in deshabillé who is lighting his pipe by drawing fire with a stick from the candle placed in front of him o...

This very rare, first edition, folio hand-colored engraving of an eagle is plate 215 from Ulisse Aldrovandi’s 'Opera Omnia', published between 1599 a...

This etching on laid paper is the 13th plate of the series of 27 entitled Idee pittoresche sopra la fugga in Egitto di Giesù, Maria e Gioseppe executed by Giambattista Tiepolo and pu...

This colored botanical mezzotint and line engraving finished with hand coloring by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Ephemerum Virginianu flore Purpureo, B. Ephemer...

Gerard SOEST (1600 - 1681) Portrait of a Young Boy oil on canvas 35.5 x 30.5 inches inc. frame Gerard Soest (circa 1600 – 11 February 1681), also known as Gerald Soest, was a portra...

Ecce Homo is a superb, striking and emotive Old Master in oil on copper after the renowned Italian Baroque artist Carlo Dolci. The "Ecce Homo" shows the figure of Christ before His c...

This stunning 18th century Dutch Old Master Golden Age floral oil painting is attributed to a circle of Simon Pietersz Verelst. Painted circa 1720 it is a still life floral of a mixe...

Late 15th Century Florentine School Madonna with Child Bas-relief Pietra serena (a blue-gray sandstone) 85.5 x 60.5 cm Provenance: - via Stefano Bardini purchased in 1896 by Prince ...

Family Devotion with Cherubs French School, 18th century after the earlier work by Sir Peter Paul Rubens oil on canvas, unframed Canvas : 29 x 24 inches Provenance: private collectio...

Ornamental Fowl Fighting, circa 1700 attributed to MARMADUKE CRADOCK (1660-1716) Large circa 1700 Scene of ornamental fowl defending the hen and chicks, oil on canvas attributed to...

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

Archipelagus Septentrionalis is an ancient map realized in 1650 by Johannes Janssonius (1588-1664). Good conditions. From Atlantis majoris quinta pars, Orbem maritimum [Novus Atlas...

Hendrick de Somer, known as Enrico Fiammingo (Lokeren 1602 - Naples 1655) Saint Jerome penitent in the cave oil on canvas 103 x 130 cm. - In original period frame 123 x 152 cm. Th...

Oil work on canvas sold with frame. Total size with frame: 58x39x5 cm

Goddess from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen in the 18th Century. Signed on the plate. Good conditions with some foxing and folding ...

Enoch Seeman Canvas Size: 30 x 25" (76 x 62cm) Outside Frame Size: 37 x 32" (92 x 80cm) 1694-1744 He was born in Danzig, now Gdansk, Poland, around 1694. His father, also Enoch...

Louis-Gabriel BLANCHET (Versailles, 1701 – Rome, 1772) Presumed self-portrait of the artist Oil on canvas H. 73 cm; W. 60 cm Circa 1730 Originally presented in a Restoration period frame with a "Mignard" cartouche, this beautiful painting initially appeared to us as a work from northern Italy. However, it exuded a rather French form of refinement, suggesting that its artist may have assimilated a dual influence from both sides of the Alps. We thank our colleague and friend Philippe Mendès for spontaneously and judiciously "bringing out" the name of Louis-Gabriel Blanchet, a Romanized French portraitist, whose spirit and stylistic characteristics we clearly recognize here. Blanchet's "French" years, before his final departure for Rome in 1728, following his winning of the second Grand Prix for painting after Subleyras in 1727, are extremely poorly documented. His father, Gabriel, was valet to Blouin, himself Louis XIV's first valet at the time. According to Thierry Lefrançois, Blanchet was one of the few students of Nicolas Bertin (1667-1736), whose studio he is said to have joined in the early 1720s. At a baptism on March 24, 1724, where he was godfather, he is mentioned as a painter in the picture store of the Duke of Antin, the director of buildings between 1708 and 1736. At this time, he was probably already married to Jeanne Quément, with whom he had a daughter also named Jeanne, who would marry Nicolas Aviet, the son of a valet in the queen's wardrobe, in Versailles in 1738. When Blanchet arrived in Rome in October 1728, he was accompanied by Subleyras, Trémolières, and Slodtz. He enjoyed the goodwill of Vleughels, the director of the Académie de France, which had been based at the Palazzo Mancini since 1725, even though the latter was not always kind to our resident. From 1732, he was under the protection of the Duke of Saint-Aignan when he took up his post as ambassador to Rome. Along with Slodtz and Subleyras, they formed a trio of friends, joined by Joseph Vernet shortly after his arrival in Rome in 1734. Slodtz and Blanchet, on the occasion of Subleyras's marriage in 1739, were there to attest that their friend was not bound by any marital commitment, and Blanchet was a witness at Vernet's wedding in 1745. It is most likely from these early years in Rome that our portrait of the artist dates, the expression and turn of his face irresistibly reminiscent of a self-portrait. The still relatively youthful features may correspond to Blanchet's thirty-something years, and the fluffy wig was still fashionable at this time. The painting fits well with the depiction of a young painter wanting to display both the beginnings of success and a certain simplicity or restraint. A slight smile expresses a form of assurance in this man with a gentle, sincere gaze and a face radiating a keen sense of wit. We find here the air of intimacy present in almost all of Blanchet's portraits, even those from the 1750s and 1760s, as well as an almost complicity with the viewer. The spirit of the painting is quite close to that of the presumed portrait of Bouchardon (painted around 1730) and the portrait of Pannini, painted in 1736, but it possesses a more natural quality, notably thanks to the absence of decorum. Our work exhibits the characteristics of Blanchet's paintings: elegance, luminosity (especially in the whites), vibrant and refined colors (here, the harmony of the garnet of the garment and the slate blue of the background, whose uniformity is tempered by a very sketched landscape and a grove of greenery), light complexions, rather rosy cheekbones, often full lips, and rather tight framing. According to the Academy's rules, Blanchet's stay should have ended in the spring of 1732, but, for reasons unknown, he remained in the Eternal City until his death, as did his friend Subleyras, with whom he shared accommodation until the late 1730s. The latter regularly called upon him to collaborate on his paintings, such as The Meal at Simon's. Through Saint-Aignan's intervention, Blanchet was employed in the late 1730s by the Stuart princely family, then exiled in Italy. He notably produced copies (now lost) after Liotard of the portraits of Charles Edward and Henry Benedict, the sons of James III Stuart. The latter also commissioned three other portraits (now in the National Portrait Gallery in London), whose more formal character contrasts with the intimate spirit of Blanchet's portraits. Blanchet frequented English painters, such as the landscape painter Richard Wilson, and studied with the Scottish portraitist Katherine Read...

Archery is a beautiful oil on canvas realized by an anonymous French artist of the end of XVIII century and the beginning of XIX century. This marvelous genre scene is very detailed...

Coastal view at sunset with fishermen and boats Atelier of Charles François Grenier De Lacroix, called de Marseille (Marseille 1700 - Berlin 1782) Oil on canvas 50 x 62 cm. - in fra...

Oil on Canvas. North Italian school of the 17th-18th centuries. The scene has in its center the figure of the Risen Christ who, seated on the clouds, holds the Cross with one hand an...

A fine Dutch still life Old Master by Leendert de Laeff which is signed and dated 1664. This oil on canvas on panel depicts a still life of fruit with insects and butterflies. A supe...

This superb Italian 17th century Old Master animal oil painting is attributed to Baroque artist Giovanni Agostino Cassana. Painted circa 1650 the composition is of two rabbits, a guinea pig and a dove in an interior. The two rabbits, one brown one grey are in the immediate foreground, head to head eating something and the dove is standing to their right. The brown and white guinea pig is sitting above and behind them. As the background is dark the animals really stand out and there is superb detail in their respective fur and feathers. This is a charming Italian Old Master animal oil painting and an excellent example of Cassana's work. Provenance. Scottish estate. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a ebonised frame, 32 inches by 28 inches, in good condition. Giovanni Agostino Cassana (c.1658 – 6 May 1720) was an Italian painter of the Baroque period. He was a son of Giovanni Francesco Cassana and an elder brother of Niccolò and Giovanni Battista. He was born at Venice, and was initially instructed by his father. In 1670 he worked at the court of Ferdinando de' Medici in Florence and travelled regularly between the two cities, but spent at least the years 1718–1720 in Genoa, where he later died. He painted portraits with some success, but preferred painting animals in the style of Antonio Maria Vasallo, Benedetto Castiglione, and Joannes Fyt, a style which he learned from Jacques van de Kerckhove...

This superb German Old Master still life oil painting is attributed to circle of Johann Amandus Winck and also shows the influences of the Dutch Old Masters. Painted circa 1780 the p...

Work on paper

This is a hand-colored copper plate engraving entitled "Chamemelum Romanum flore simplici (Chamomile), Cincus Sativus (False saffron, Safflower), Chamaemelum Romanum Flore (Roman Chamomile)", depicting flowering Chamomile, Safflower and Roman Chamomile plants respectively from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. This beautiful colorful engraving is printed on thin laid chain-linked paper with wide margins. There are a few small spots and some irregularity of the lower edge. There is some bleed-through of text from the verso. The print is otherwise in excellent condition with striking hand-coloring. The sheet measures 22.25" high and 17.38" wide. Basilius Besler (1561–1629) was an apothecary and botanist. He was curator of the Willibaldsburg Castle garden of Johann Konrad von Gemmingen, prince bishop...

Rare hand colored copper plate engraving by noted Botanist Johann Wilhelm Weinmann (1683-1741) Beautiful color after 250+ years! This wonderful antique engraving is beautifully mat...

Letter B is an Etching realized by Luigi Vanvitelli. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antichità di Ercolano Esposte”)...

Circle of Jacques-Louis David (French, 18th Century) Provenance: Private Collection, Buenos Aires Exhibited: “Art of Collecting,” Flint Institute of Art, Flint, Michigan, 23 November 2018 – 6 January 2019. This vibrant portrait of young man was traditionally considered a work by Jacques-Louis David, whose style it recalls, but to whom it cannot be convincingly attributed. Rather, it would appear to be by a painter in his immediate following—an artist likely working in France in the first decade of the nineteenth century. Several names have been proposed as the portrait’s author: François Gérard, Louis Hersent, Anne-Louis Girodet (Fig. 1), Theodore Gericault, and Jean-Baptiste Wicar, among others. Some have thought the artist Italian, and have proposed Andrea Appiani, Gaspare Landi...

Artist: William Curtis (English, 1746-1799) Title: Set of Six Hand-Colored Engravings Portfolio: The Botanical Magazine; or, Flower-Garden Displayed Year: 1796-1829 (First-third seri...

Gilbert Jackson English Active: 1620 - 1650 Portrait of a Girl Oil on panel, signed upper left and Inscribed upper right Image size: 24 ½ x 20 inches Contemporary style hand made...

Hendrick Bloemaert (Utrecht 1601/02 – Utrecht 1672) Venus and Cupid Oil on panel H. 75 cm; W. 61 cm Signed and dated 1636 Hendrick Bloemaert is a notable figure of the Golden Age of...

Edmund Garvey (Kilkenny 1740-1813) A view of Bath Oil on canvas Canvas Size 20 x 28 in Framed Size 26 x 33 in Edmund Garvey (1740 – 28 May 1813) was an Irish landscape painter whose...

After Raphael Conestabile Madonna 1483 - 1520 Oil on canvas Image size: 8 x 8 inches (20.5 x 20.5 cm) Original ornate hand carved gilt frame Conestabile Madonna Made in compositiona...

Silver was the material of choice for both ecclesiastical and domestic vessels in the New World, not only for its status as a precious metal, but also because of its abundance and du...

Dutch School, late 17th - early 18th century Scene with Cook Peeling Apples Oil on canvas, 32 x 26.5 cm 20th-century "a cassetta" frame in black-painted and gilt wood (48 x 42 cm wit...

Grimace is a beautiful brown and black China ink drawing and watercolor on wire rod paper, made by an anonymous artist of the late 18th century. A precious old master's original dra...

This is an original antique colored botanical mezzotint and line engraving of a flowering Betel Nut Palm plants, which is finished with hand-coloring. It is entitled "Fagus Fau Buch,...

Johann Carl Loth (Munich, Germany, 1632 - Venice, Italy, 1698) Title: Saint Mark Medium: Oil on canvas Dimensions: without frame 65 × 72 cm - with frame 82.5 x 88 cm Expertise by Professor Dario Succi Publications: Lo studiolo...

Bernard Picart, 'The Death of Hercules' from 'The Temple of the Muses', engraving, 1730. Signed in the plate, lower left. Titled in French, English, German, and Dutch. A superb, rich...

Vanitas 18th century French School Oil on canvas Old frame gilded with gold leaves Dim canvas : 73 X 60 cm Dim frame : 93 X 80 cm Certificate of authenticity

'Euripide Poeta Tragico' (Euripides, Tragic Poet) Copper-line engraving by Nicola Billy after Giovanni Domenico Campiglia. Plate number top right corner of image. Giovanni Domenico...

Portrait Of Thomas Smythe (1514-1577), 16th Century School of Hans HOLBEIN (1497-1543) Fine huge 16th Century English Old Master portrait of Sir Thomas...

Although we have little bibliographical information on William James, we know that he was trained by Canaletto during the painter's stay in England between 1746 and 1755. Although he may never have been to Venice, William James remained under the influence of his master for a long time and became known for his paintings inspired by Canaletto's artworks. In this painting, William James is inspired by one of the twelve views of the Grand Canal painted by Canaletto for Joseph Smith, or more precisely by the engraving made by Antonio Visentini in 1735 after this painting. He delivers a very personal version, vibrant with colours, in which he brilliantly reproduces the moving surface of the sea, animated by the ever-changing traffic of the gondolas. 1. William James, the English follower...

Portrait Of Gilbert Talbot 7th Earl of Shrewsbury (1552-1616), 16th Century Circle of George Gower (c.1540–1596) Huge 16th Century Portrait Of Gil...

17th century German fountain design Copper-line engraving, published in 1664 in Nuremberg. From 'Architectura Curiosa Nova' by George Andreas Beckley (...

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (2 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emi...

James Shaw (fl.1769-1784) Still life of fruit and nuts Oil on canvas Canvas Size - 13 1/2 x 17 3/4 in Framed Size - 16 1/4 x 20 1/2 in Born in Sedgley in Staffordshire, it is unclea...

Maria Giovanna Battista Clementi known as La Clementina (Turin, 1692 - Turin, 1761), Attributable to Portrait of Victor Amadeus II of Savoy (Turin 1666 - Moncalieri 1732) king of Sardinia, duke of Savoy, marquis of Saluzzo and duke of Monferrato, prince of Piedmont and count of Aosta, Moriana and Nizza from 1675 to 1720. Oil on oval canvas, 79 x 62 cm., Framed 98 x 82 cm. The portrayed in this fascinating virile portrait is King Vittorio Amedeo II of Savoy, portrayed in ceremonial armor and red cloak according to the traditional courtly iconography, represented half-length, slightly three-quarter-length, with the towering "courtly" wig, according to the dictates of fashion of the first decades of the century, of French inspiration. In order to represent the power embodied in our austere portrayal, the sovereign is immortalized with the symbolic attributes of the power of the family, identifiable in the ancient crown of the Kingdom of Sardinia, in the scepter with the Mauritian cross and in the necklace of the Supreme Order of the Most Holy Annunziata, established in 1364 by Amedeo VI, as the highest honor of the House of Savoy...

This superb Dutch Golden Age portrait is attributed to circle of Dutch artist Wybrand Simonsz de Geest. Painted in 1666 it is a full length portrait of a young William Stonestreet. He is holding the paw of a clipped little white dog with drapes and clouds beyond. (It was common practise to dress young boys in dresses up to the age of about 6 or 7 when they were 'britched' or wore britches). An excellent example of Dutch Golden Age art that wouldn't look out of place in a museum. Wm Stonestreet 1666, Prebend of Selsely is inscribed top left. Provenance. Berkshire estate. Condition. Oil and canvas, 44 inches by 36 inches and in good condition. Frame. Housed in an ornate gilt frame, 52 inches by 44 inches and in good condition. Wybrand Simonsz. de Geest (16 August 1592 – c. 1661) was a Dutch Golden Age portrait painter from Friesland in the Netherlands. Wybrand de Geest was born and died at Leeuwarden. He learned painting from his father, Simon Juckesz, a stained glass worker. He studied later with Abraham Bloemaert. From 1614 to 1618 he travelled in France and Italy on a Grand Tour. In 1616 he met up with Leonard Bramer in Aix-en-Provence. While in Rome he became a member of the painters' circle known as the Bentvueghels. He earned the nickname 'De Friesche Adelaar', or "the Frisian Eagle". De Geest married Hendrickje Fransdr Uylenburgh in 1622, a niece of Saskia van Uylenburgh...

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...

Rare Vierge à l'Enfant en bois polychrome de tradition romane, région du Fenouillèdes, représentant une Virgo Lactans. Avant cette découverte, seules 3 vierges allaitantes médiévales...

Set of Eight Apostles each oil on panel each framed (different as some are golden, some are not, please view the photos) So far there is no certain attribution. The style of the ser...

Portrait Of Elizabeth Percy, Countess of Northumberland (1646-1690), 17th Century Studio of Jan MYTENS (1640-1670) Large 17th portrait of Elizabeth Percy Countess of Northumberland, oil on panel. Excellent quality and condition portrait of the daughter of the Earl of Southampton and granddaughter of the Earl of Chichester. Percy came to fame in the 1660's as one of the Windsor Beauties in the court of Charles II. Presented in its original antique hand carved frame...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "Cereus Erectus Altissimo Surinamensis (Cereus Cactus Plant)". It is plate...

A 17th century English portrait of a lady by Sir Peter Lely (1618-1680), half-length in a painted feigned oval, wearing a green silk gown with chestnut coloured cloak over one shoulder, her fair hair curled in the fashionable ringlet style of the period. Oil on canvas in an English giltwood 'Lely' frame. We are grateful to Diana Dethloff and Catharine MacLeod (who are currently working on a Lely catalogue raisonné) for their confirmation of Lely as the artist from photograph analysis of this previously unidentified early work. Provenance: Private collection Nottingham until 2021 Mellors and Kirk sale December 2000, lot 1173 The sitter is likely to have been from an upper class or aristocratic family in court circles, who were the main source of Lely`s patronage. The simple composition serves to highlight the beauty of the sitter through portraying her pale decolletage and complexion, set against the gentle gaze of her blue eyes, the soft blush of her cheeks and her full red lips. Peter Lely (1618-1680) was originally of dutch origin and became Principle Painter to the King in 1661, following in the footsteps of Van Dyck who had died in 1641. He dominated the portrait painting scene in England for over 20 years, creating a distinctive 'court look' in his work which had a strong influence on many other artists. He had an extremely successful and popular portrait practice which meant that he soon had to develop production methods that could accommodate the high demand for portraits, and also for copies and versions of them which were given as gifts to family and courtiers. The use of studio assistants was a common practice for busy artists and as with Van Dyck, Lely is known to have used specialist assistants to execute particular parts of his paintings. Artists who worked in Lely`s studio included John Baptist Gaspars who specialised in drapery painting, William Wissing, John Greenhill...

Cesare Pronti (Cattolica, Italy, 1626 - Ravenna, Italy, 1708) Title: Martyrdom of Saint Agatha Medium: Oil on canvas Dimensions: Without frame 57.7 x 37 cm – with frame 64 x 42.7 x 3...

Jan Weenix Canvas Size: 32 x 26" (82 x 66cm) Outside Frame Size: 40 x 34" (102 x 86cm) This beautiful painting is unsigned but this is not unusual with Jan ...