18th Century and Earlier Art

Altra veduta della Chiesa di S. Ignatio de Papa della Compa di Giesu nel Rione della Pigna is an etching realized in the Late 17th Century by Giovan Battista Falda. Good condition e...

Antonio Mondino (information from c. 1610 to c. 1626) Title: Mystic Marriage of St Catherine of Alexandria Medium: Oil on canvas Dimensions:...

Image dimensions: 21.5 x 15 cm. Ancient Roman Ruins is a beautiful black and white etching and burin on laid paper, representing the Sepulcher of the Plauzia family in Tivoli and th...

Still life in a landscape with fruit and game Work of the late Roman Baroque of the late seventeenth / eaarly eighteenth century attributable to Giovanni Paolo Castelli, known as Spadino (Rome, 1659 - 1730) oil on canvas 62 x 76 cm., Framed 90 x 109 cm. An open-air setting, with a hilly landscape gash that opens into the distance in the central part, surrounds our beautiful canvas, which showcases a rich selection of game and fruit, arranged in the foreground near the point of view of the observer, occupying a large part of the visual field with their bright and festive colors. The style and quality of the work, like the pictorial technique of this still life, characterized by subtle luminous vibrations and a lively chroma, make it attributable to the Roman Giovanni Paolo Castelli, known as Lo Spadino (Rome, 1659 - 1730), one of the most important specialists of this pictorial genre of late Baroque Rome, which had a very successful career between the 17th and 18th centuries. Analyzing the rich and heterogeneous catalog of the Roman master, in fact, our canvas can be included among his rare works which, alongside a selection of fruit - among which stand out large melons, ripe figs, dark grapes and plums - we see a game advert, presumably as requested by a patron who loves hunting. Next to various birds, spoils of a profitable hunting trip, there is also a small green woodpecker, with the characteristic red spot on the head, and a nice rodent that terminates from behind the trunk. The painter abandons himself to a skilful and brilliant chromatic texture of the surfaces, through a pictorial material rendered with exceptional vibration in its luminous and 'tactile' body, fully respecting the taste of the full Roman Baroque. The quality appears excellent, distinguished by a skilful and brilliant chromatic texture of the surfaces, which appear almost vibrant thanks to a skilful drafting of the pictorial material. Inevitable and evident are the Flemish suggestions, which had influenced the Roman Baroque still life, in particular the work of Abraham Brueghel...

Image dimensions: 21.5x39 cm. Beautiful plate from the volume "Campi Flegrei" by William Hamilton including 59 plates by Pietro Fabris. This particular plate illustrates the eruptio...

Gerard ter Borch (II) (1617-1681), copy after, around 1700 'Boy Fleas a Dog' Oil on canvas Professionally restored (cleaned and relined) In modern frame in 17th century style Dimensions excl. frame: 33 x 27,5 cm. Dimensions incl. frame: approx. 50 x 45,5 cm. Depcited is a boy busy fleaing a dog. The boy sits on a chair with the dog on his lap. On a table on the right there is a book and a pen. On a wooden bench lies the boy's hat. What is unique about this painting by Ter Borch, is the relationship that is depicted between human and animal. Mostly animals like dogs where depicted as an attribute in paintings in the 17th century, and sometimes used to symbolize certain character traits. This boy is lovingly caring for his dog, which he is giving his full attention. Another interesting detail is that Ter Borch's brother Moses, was probably the model for this painting. Ter borch often used family members as models for his paintings. Moses was also a very talented painter and draughtsman. Several copies of this work by Ter Borch are known. One of these copies is in the collection of the Dutch Rijksmuseum (Image included in the image gallery (last image)). The original painting is in the collection of the Alte Pinakothek museum in Munich, Germany. Gerard ter Borch, also known as Gerard Terburg, was a Dutch genre painter who lived in the Dutch Golden Age. He influenced fellow Dutch painters Gabriel Metsu...

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...

French Master (18th century) - Allegory of the Arts. 53 x 72 cm without frame, 63 x 83 cm with frame. Ancient oil painting on canvas, in a gilded wooden frame. Condition report: L...

Bonaventura Bettera (Bergamo, 1663 - documented until 1718) Still Life with Musical Instruments (LINK) Oil on canvas 90 x 116 cm - Framed 105 x 131 cm. The merit of the 17th centur...

The Inside of a Hippah in New Zealand is from the 1784 First Edition Atlas Accompanying Capt. James Cook and King; Third and Final Voyage of Captain James Cook John...

View of Castel of Acqua Felice is an original etching realized by the italian artist Giovanni Battista Piranesi in 1751. Very precoius and rare lifetime impression. Roman edition. I...

4 Groups of 9 plates of Grotesque Masks. [Published: Venanzio Monaldini, Rome, 1781]. Rare and strong impressions of etchings of grotesque masks, after...

Oil on Canvas. Venetian school of the 18th century. The large northern landscape, with verdant mountain slopes in the midst of which a river flows, is inhabited by several figures in...

Delicate and caring Madonna with child, oil on copper, measuring 23 x 16 cm without frame and 32 x 25 cm with frame. Sweet colors and intimate attitudes for this painting that posse...

Hercules and Omphale Oil on panel, 52 x 41 cm According to legend, Hercules had to make atonement and became a slave to the Lydian queen Omphale. When she found out who her slave was, she married him. Falling for his mistress and made effeminate by the luxury of court life, the former hero allowed himself to become the laughing stock of the court. He dressed in women's clothes, spun wool and did other women's work, whereas Omphale wore his lion's skin and carried a wooden club. When the time of punishment was over, the hero realised his delusion and left Omphale. So far, the painting could not be clearly assigned to an artist. Nevertheless, it impresses with its fluid and convincing painting, whose colourfulness and conception are reminiscent of the Prague School around Bartholomäus Spranger. This work follows an engraving and an etching made by Michel Dorigny in 1643 after a design by Simon Vouet. It shows the same scene but the print differs in minor details from the present painting (see e.g. the head of the lion) and the treatment of the faces seems to be painted more detailed and refined. So far there is no painting...

Giovani Ghisolfi (Milan 1623-1683), attributed / workshop View of classical architectural ruins with Pythagoras pretending to return from Hades Oil on canvas, cm. 70 x 84 In frame c...

Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Pietro Campana in the 18th century. Sig...

Dutch School, 17th century oil painting on board, this work features a golden ship on blue seas with white crests against a stormy clouded sky. In the distance more ships can be seen, and a spot of blue sky gives the stormy clouds relief. Light shines through the white clouds casting shadows of color on the gray storm and choppy sea waters. Dramatic and masterful. Presented in overall very good condition in what may be the original mahogany wood frame. Excellent for an office, library, den or study, but can also be effective in a living room, dining room or bedroom. The frame has a rich wood tone. Easy to ship and ready to hang. Check out our Saltire Gallerie...

Matteo Bonechi (Florence, Italy, 1669 - 1756) Title: Triumph Medium: Oil on canvas Dimensions: without frame 65 x 80 cm - with frame 85 x 100 cm Expertise by Professor Sandro Belles...

Artist: Jean Berain (the Elder) (French, 1640-1711) Title: "Untitled" (Plate 35) Portfolio: Ornemens Inventez par J. Berain (Ornament Designs Invented by J. Berain) Circa: 1711 (Firs...

Giacomo Stella (Brescia 1545 - Rome 1630) Allegory of Wisdom (or prudence) Oil painting on canvas 193 x 75 cm., In frame 199 x 82 cm. The work is accompanied by critical study drawn...

Nicolas de Largillierre painted Elisabeth Marguerite in oil on canvas. A larger version of this work was offered by Sotheby's for $500,000 and is now in a French Museum - Palais ...

Circle of Jan Miense Molenaer (Haarlem, c. 1610 - 1668) Genre scene Oil on canvas, 87 x 69 cm Frame, 88 x 105 cm Jan Miense Molenaer was a Dutch painter, among the exponents of t...

Le Marcassin - Le Cochon de lait is an artwork realized  by Jacques de Seve in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is g...

Le Riche is an artwork realized  by Jacques de Seve in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboard. Total...

Hornskeleton is an artwork realized  by  Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboard...

Portrait Of King Edward VI (1537-1553) as Prince Of Wales, 16th Century English School - Oil on panel - circa 1547 Large 16th Century portrait of Edward VI as Prince Of Wales, oil on panel. Early and important portrait...

This evocative Veronese School painting captures the moment in the Garden of Gethsemane when Christ, overwhelmed with sorrow, prays to God before his arrest and crucifixion. Supporte...

This Chinesco bowl was from a pre-Columbian society from around 300 BCE. It features abstract, geometric designs in red and black. The diameter is 8".

David & the Head Of Goliath, 17th Century after GUERCINO (1591-1666) Huge 17th Century Italian Old Master of David after defeating Goliath, oil on can...

Roman Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Ferdinando Campana in 1772s. Signed on the plate. Good conditions. T...

The Consecrated Madonna, circa 1700 Eastern European School Large 17th 18th Century European School depiction of the Consecrated Madonna, oi...

Wonderful black and white aquatint showing an antique view of Munchen, capital of Bavaria. From the collection by Braun G. and Hogenberg F., "Civitates Orbis Terrarum", Cologne, T. ...

Signed to the lower left. Presented in a gilt frame with foliate detailing. On paper.

Oil on Canvas. Roman school of the 17th century. In classical mythology, the goddess Venus, wife of Vulcan, had him forge weapons for her son Aeneas. In the scene, set in the cave wh...

(MADE TO ORDER) (Sabbath, Kiddush, Unique, Gold Luster) *Lead Time may vary between 1-3 weeks Melanie Sherman "Just A Little Tipsy" Year: 2021 Porcelai...

Painting oil on glass, depicting a praying Madonna measuring 55 x 45 without frame and 62 x 52 cm with frame by the painter Giuseppe Bernardino Bison (Palmanova 1762 - Milan 1844). ...

GIOVANNI FRANCESCO BARBIERI, known as GUERCINO (1591-1666) Leaning Nude Man (recto); Kneeling Man, Hands Tied Behind His Back (verso) Black chalk heightened with white on light blu...

Hunting dogs and a deer, British oil painting Richard ANSDELL 19Th c Description Title: End of the run Materials: oil on canvas Signature: not signed Provenance: private collection...

Hero And Leander, 17th Century Studio of DAVID II TENIERS (1610-1690) Large 17th century Dutch Old Master classical scene of Hero and Leander, oil on canvas. Excellent quality an...

The architect is Paolo Posi, and the image is engraved by Giuseppe Vasi.  Etching on paper. Good condition. The title:  Celebratasi colla Machina della precedente sera la beneficenz...

The painting and the preparatory drawing are offered together. Provenance Private collection, Germany, Trier, c. 1980- 2013 Saint John the Baptist Brown ink and wash over red chalk on oatmeal paper 31 x 20.5 cm Inscribed: „Ferrau Fenzonio da Faenza invt. esque … imp. da Fran. Villamena …“. bears the collector's mark of Henry Scipio Reitlinger (1882-1950; Lugt 2274a) on a tiny label glued to the verso On the reverse is a partial drawing of a Pieta, pricked for transfer. Provenance New York, Doyle, 14. October 2015, No. 6 The painting and the preparatory drawing resemble the composition of an engraving after Ferraù Fenzoni by Francesco Villamena. Drawing, engraving and painting are almost identical, except for minor differences. Even the measurements nearly correspond: painting (32 x 25,5 cm), drawing (30 x 20,5 cm), engraving (31,1 x 23,5 cm). Dr. Guiseppe Scavizzi confirmed the attribution of the present panting to Fenzoni and he dates it to c. 1590. The inscription on the drawing reads “Ferrau Fenzonio da Faenza invt. esque. . . imp. da Fran: Villamena . . .”. The engraving’s inscription also lists place and date “Ferra Fensionius inventor/F. Villamoena sculpsit Rome/Aspectu fruitur… antra puer/cum Privilegio… 1613”. Interestingly, the engraving is not mirrored as it is in most printing processes. Painting, drawing and engraving are not reversed but the same. It is remarkable to note that there are further paintings by Fenzoni which were engraved in the same order and not reverted. They also show strong parallels regarding the compositions and the measurements (see for example “Deposition of Christ” ). Ferraù Fenzoni was an Italian painter mainly active in Todi. He is also called Il Faenzone after his birthplace (Faenza). He apprenticed in Rome during the papacy of Gregory XIII and contributed to numerous fresco cycles under pope Sixtus V, such as the Loggia della Benedizioni in the Lateran Palace, the frescoes on the walls and vaults of the Scala Santa of the adjacent Basilica of San Giovanni in Laterano, and the decoration in the Sistine library. His expressive canvases straddle the styles of Mannerism and Baroque. In 1594, he moved to Todi. A “Last Judgement” by him is housed in the cathedral of Todi. He returned to Faenza in 1599, where he decorated chapels in the cathedral from 1612 to 1616. In 1622, he completed a “Deposition”, now in the local Pinacoteca. In 1640, Fenzoni was named “cavaliere dello speron d’oro” by Cardinal Colonna and, on 25th April 1634, he was nominated vicar and “castellano of Granarolo”. Fenzoni‘s style is characterized by a mixture of the Mannerism of the Northern Netherlands and the Italian Baroque. Saint John the Baptist, Old Master, 17th Century, By Fenzoni, Religious Scene, Rome Art...

A delicate 18th century sepia watercolour depicting an angelic child praying amongst reeds. Beautifully presented in a period gilt frame with sgraffito decoration. Much of the artist...

Frans Francken the Younger 1581 - Antwerp - 1642 Flemish Painter 'The Departure of the Israelites from Egypt – The Exodus', c. 1610 - 1620 Medium: pen in sepia on paper Dimensions: mage size 26 x 34,5 cm, frame size 55 x 65,5 cm Biography: Frans Francken the Younger, born in Antwerp in 1581 and passing away on May 6, 1642, also in Antwerp, was a distinguished Flemish painter. He is recognized as the most prominent and productive member of the renowned Francken family of artists. Francken explored a wide range of subjects, creating large altarpieces for churches and producing smaller works depicting historical, mythological, and allegorical scenes. Notably, his depictions of collectors’ cabinets established a popular new genre of art during his era. He was known for collaborating with other artists, enriching their works with his skilled renderings of figures and narrative elements, complementing specialists in landscape, architectural scenes, and floral still-life painting. Francken was born to Frans Francken the Elder and Elisabeth Mertens. His father was a pupil of Antwerp’s leading history painter, Frans Floris, and a significant creator of altarpieces in Flanders during his time. Francken received his artistic training under the guidance of his father. Additionally, it is possible that Frans and his brother, Hieronymus Francken II, received further instruction in the workshop of their uncle, Hieronymus Francken I, in Paris. A versatile artist, Francken made significant contributions to various genres within Flemish art, introducing new themes and subjects. Many of his works comprised small-scale historical, allegorical, and biblical cabinet paintings, often emphasizing figures. He is credited with either inventing or popularizing several novel themes that gained popularity in Flemish painting, including genre scenes featuring monkeys (also known as singeries) and Kunstkammer or gallery paintings, presenting a plethora of natural and artistic treasures against a neutral wall. Francken introduced various other unconventional themes that later gained traction, such as the ‘Triumphal Procession of Amphitrite’ and ‘Croesus and Solon.’ He also produced a series of paintings depicting witches and witchcraft, including portrayals of witches’ sabbats. His remarkable paintings are held in the collections of numerous major museums throughout Europe. Francken specialized in rendering the human figure, as evidenced by etched and engraved portraits of the artist by Anthony van Dyck (after Peter Paul Rubens), identifying him with the Latin inscription: ‘ANTVERIÆ PICTOR HVMANARVM FIGVRARVM’ (Figure painter of Antwerp). He was frequently invited to contribute figures to compositions by other esteemed artists, including landscape artists such as Tobias Verhaecht, Abraham Govaerts, and Joos de Momper...

The Horse is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. Image Dimensions: 5 x 7 / 8 x 10 c...

Portrait Of Julia Copley, 18th Century circle of Sir William Beechey (1753-1859) Large 18th century English School portrait of Julia Copley in her wedding dress, oil on canvas. Exc...

Map of Persiae, Armeniae, Natoliae et Arabiae Descriptio per F de Wit 1688 engraving from: Atlas Contractus Orbis Terrarum Praecipuas ac Novissimas Complectens Tabulas. Amsterdam, N. Visscher, 1656-77. (Koeman III, Vis5-8) This highly decorative map of the Middle East is by the Dutch engraver, publisher, and map seller...

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

Oil on Canvas. Of large format and octagonal outline, the canvas features a landscape inscribed in a painted frame with friezes, falling into the category of eighteenth-century paint...

Cancer is an original etching on paper realized by Charles De la Haye after Andrea Stech, in the 18th century. Signed in the plate on the lower. Good conditions except for a small missing paper on the lower left. Amazing 18th-century artwork refers to a mythological sky map...

Le Lapin D'angora en Mue is an etching realized by Antoine Defehrt in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la des...

ITALIAN RENAISSANCE CAPITAL WITH MYTHOLOGICAL FIGURES, 15th Century marble H 18 x Diam 33.5 cm H 7 x Diam 13 1/4 in

Portrait Of A Elizabethan Gentleman Traditionally Identified As Edmund Spenser (1552-1599) Large Elizabethan School portrait of gentleman traditional...

- ANNA CATERINA GILLI or GILLI Anna Caterina Turin 1729- 1751 Her paintings recorded in Turin as a decorative artist for the Royal Palace and the Stupinigi, working in a simil...

Felice Torelli (Verona, Italy, 1667 - Bologna, Italy, 1748) Title: Rachel Hiding the Idols Medium: Oil on canvas Dimensions: without frame 41 x 116 cm -...

Oil on original canvas Image size: 78 1/4 x 44 inches (199 x 112 cm) Contemporary style frame Provenance Sir Rowland Cotton, 1608 Family Descent Private Collection Sir Rowland Cot...

Roman Theater is an original etching on paper realized after Michelangelo Specchi, the engraver is anonymous. Signed on the plate, lower left. With the description on the lower. T...

This monumental bust is a museum-quality example of Roman Baroque sculpture. Crafted by the legendary Domenico Guidi and carved from Carrara marble, the impressive portrait captures the visage of Pope Innocent XI, Benedetto Odescalchi (1611-1689). It presents a larger-than-life example of Guidi’s remarkable skill as a sculptor, which ultimately made his workshop one of the most important in Rome during his age. Today, his works are rarely found on the market, particularly his extraordinary works in marble. Pope Innocent XI was born Benedetto Odescalchi into an Italian noble family of prominent bankers. Spending his early years in banking, he eventually turned to the law, earning his doctorate in 1639. His background would serve him well in his service to the papacy, and he became known as a frugal and devout member of the Church. In 1676, he was unanimously elected Pop after the death of Clement X. During his nearly 13-year reign, he instilled his own personal ideals of austerity and frugality onto the Church, with a deep commitment to reform and piety. He is captured here by Guidi in his traditional Pope’s mozzetta and camauro cap. A wide stole is draped over his shoulders, ornamented by acanthus leaves and the coat of arms of the Odescalchi family. It displays Guidi’s mastery over the chiaroscuro effect, particularly in the high level of contrast in his cheeks and his eyes, which Guidi achieved through various methods of high polish. A very similar portrait sculpture of Pope Innocent XI by Guidi can be found in the collection of the Royal Castle in Warsaw. The Warsaw bust belongs to a series of portraits of popes which the Odescalchi family commissioned from Domenico Guidi in the 1690s. Compared to that example, the present bust is far more dramatic, with deeper cut lines and a more precise expression. It is likely that the present piece was seen by the Odescalchi family, who ordered a similar one to be made. The piece was almost certainly intended to be displayed in a niche, given its dramatic cutting and its roughly carved back. Others of Guidi’s busts can be found in important collections throughout Italy, England and the United States, though many of these are lesser bronze repetitions. A bronze bust of the Pope Alexander VIII by Guidi is currently in the collection of the Victoria & Albert Museum (London), while a terracotta version of the same is in the Los Angeles County Museum. A bronze of Pope Alexander VIII can be found in the Princely Collection of Lichtenstein, and his impressive marble papal bust of Clement IX graces the pope’s tomb in Santa Maria Maggiore. The present bust of Pope...