18th Century and Earlier Art

Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692) St Catharine's College, Cambridge Engraving 12 x 16 cm An eighteenth-century view of St Catharine's College, Cambri...

Wildlife is an etching realized by Jean Le Pautre in 18th Century. Good conditions. Signed on plate. The artwork is depicted through confident strokes.

The internal organs is an ancient original etching Table no. 36 of the popular "De Humani Corporis Fabrica" by Andrea Vesalio, in the 1642 edition by Nicolaus Fontanus (Fontayn), Am...

Giovanni Domenico Gambone (1720 - 1793) Title: Pair of Capricci Medium: Oil on canvas Dimensions: without frame 85 x 112 cm - with frame 97 x 124 cm The price is intended for the c...

Felice Pinariccio, known as Le Lasagna (active in Bologna during the 1560s-1570s) Virgin and Child with Saint John the Baptist and Saint Jerome Pen and brown ink, brown wash heighte...

Scipione Compagno (active in Naples in XVII century) Title: Crucifixion Medium: Oil on canvas Dimensions: without frame 64 x 52.5 cm - with frame 80 x 67 cm Antique wooden cassetta frame carved, sculpted and gilded by Mecca technique Expertise by Nicola Spinosa, art historian Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti...

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...

French school of the 18th century An ancient shipyard or building site (?) Ink and ink wash on paper 17.5 x 23 cm In a modern frame 32 x 37 cm

This Flemish Baroque art by David Teniers the Younger’s is a captivating masterpiece, “Tavern Gathering,” painted in 1646. Renowned as the preeminent Flemish genre painter of his tim...

Clemens August Ferdinand Maria Hyazinth, Duke of Bavaria (* August 16, 1700 in Brussels; † February 6, 1761 in Koblenz) was as Clemens August I from 1723 to 1761 Archbishop of Cologne and thus at the same time Elector of the Holy Roman Empire, sovereign of the associated archdiocese as well as the tributary lands of Recklinghausen and Westphalia. In addition, he was Legatus natus of the Holy Apostolic See in Rome and Archchancellor of Imperial Italy. Furthermore, he combined the offices of Grand Master of the Teutonic Order...

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...

The Ornament is a woodcut print realized by Charles-Antoine Jombert in 1755. Good conditions. The print was realized for the anatomy study “JOMBERT, Charles-Antoine (1712-1784) - M...

Artist: Rembrandt Van Rijn (Dutch, 1606-1669) Title: Bust of a Man Wearing a High Cap, The Artist's Father Year: 1630 Medium: Etching Paper: Verge paper Image (plate mark) size: ...

Woman is an original drawing, realized by Anonymous artists of the XVIII century. The state of preservation of the artwork is good, but with extensive foxing. The artwork represent...

The Death of Lazarus Engraving, 1593 Feria VI. Post Domin IIII From: Evangelicae Historiae Imagines, Plate 76 Condition: Excellent Sheet size: 9 7/8 x 6 1/8 inches Reference: Referen...

Le Chevreuil is an etching realized by Jean Charles Baquoy in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du ...

Still Life is a superb original oil painting on panel, realized by the Italian artist Vincenzino Volò, best-known as Vincenzino dei Fiori (Rémondans, 1620-Milan, 1671) around 1640-1660. Original Title: Natura morta di fiori entro vasi biansati (Still life of Bouquet in two-handled vases). On the back of the panel, two labels are glued "da Milano", "A Piacenza", ("from Milan" "to Piacenza"). The labels indicate a transfer of the artwork, perhaps in the first half of the twentieth century, from Piacenza to Milan. While instead the style and technique make us understand the artwork was commissioned or created in the Milan of Federico Borromeo, archbishop of Milan from1595 to 1630. The author of the painting can be identified in the person of Vincenzo Volò, a talented artist who fell into oblivion, recently rediscovered and appreciated. Founder of the Vincenzini family, he was born in Franche-Comté in 1620 (in the past its birth was erroneously fixed to 1606). In the mid-forties of the seventeenth century he arrived to Milan, and held a leading artistic role: he was the founder of a family workshop that imposed his style and strongly influenced Milanese collecting with his still lifes and influenced generations and generations of painters. Vincenzino also was the first painter of still life to work on the Bella Island for Vitaliano VI Borromeo and collaborated with well-known figure painters such as Francesco Cairo, Scaramuccia, Nuvolone and Fumagalli. As regards the style, the archaic tendency of Lombard painting of still life from the early decades of the seventeenth century is clearly evident, looking at primitivism and the happy schematization of the composition of the artwork. The dating of this artwork could be fixed around the first half of the seventeenth century because it is confirmed by the type of support, a wooden panel, always used by Vincenzino. As for the subject, Volò generally painted bouquets of flowers in two-handled vases placed on transversal planes seen from the front. It is possible to compare this work with other Dei Fiori's artworks: the pair of Flower Vases...

Casino della Villa Patrizi Fuori di Via Pia is an original black and white etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Goo...

Carel VAN FALENS (Attributed to) Antwerp, 1683 – Paris, 1733 Oil on canvas 12.7 x 20.3 cm (17.8 x 25.4 cm with frame) Trace of signature in the center above the horse's head "V F." (...

Interior of Animals is an etching realized by Marcel Gaillard in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet ...

The Ornament is a woodcut print realized by Charles-Antoine Jombert in 1755. Good conditions. The print was realized for the anatomy study “JOMBERT, Charles-Antoine (1712-1784) - M...

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...

Provenance: Private Collection, New Jersey The present painting depicts Saint Vincent Ferrer preaching from a raised pulpit to a group of seven peopl...

Our Lady Of Sorrows, 17th Century circle of Carlo Dolci (1616-1686) Large 17th Century Italian Old Master of The Virgin Mary as depicted as Our Lady ...

PIETRO MONTANINI (Perugia, Italy, 1619 - 1689) Title: Landscape Medium: Oil on canvas Dimensions: without frame 50 x 65 cm - with frame 64 x 79 cm An...

The Ornament is a woodcut print realized by Charles-Antoine Jombert in 1755. Good conditions. The print was realized for the anatomy study “JOMBERT, Charles-Antoine (1712-1784) - M...

Portrait Of Mrs Isabella Blair, 18th century circle of Sir Henry Raeburn (1756-1823) Large 18th Century Scottish portrait of Mrs Isabe...

Circle of Michael Coxie (Malines, 1499 - Malines, 1592) Ecce Homo with Pontius Pilate Oil on panel Flemish school 16th-17th century 112 x 81 cm - framed 121 x 90 cm. The proposed p...

Transport yourself to the lush landscapes of Germany through this captivating artwork. Painted during the artist's stay in Germany, the painting beautifully captures the verdant scen...

Animals Pompeian Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Aniello Cataneo in the 18th Century. Signed on the plate. Good conditions. The etching...

A gray sandstone head of Avalokiteshvara, Khmer, Cambodia, Bayon Style from the 13th century. The artwork is unsigned. Provenance: Charles Craig, Privat...

STEFANO DALL’ARZERE (Padua, circa 1520 – 1570) Saint Jerome Praying, with a Landscape in the Background Pen and brown ink, heightened with white over black chalk lines 15.5 x 12 cm...

Le Rat is an etching realized by Jacques Baron in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good conditions wit...

Le Renard is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good condi...

L'Ours Brun is an etching realized by Pierre Charles Baquoy in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". ...

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...

Collegio di Propaganda Fide is an etching on paper of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except for consumed margins and Foxings. Giuseppe Vasi (Corleone,1710 - Rome, 1782) was an engraver, architect, and landscape artist. Between 1746 and 1761, Vasi published 10 volumes with 240 engravings of the monuments of Rome...

River Landscape with Bystanders is an original old master artwork realized by Artist of 18th Century. Mixed colored oil painting on canvas. The painting is approachable to traditio...

Ancient Roman Frescoes, from the series "Antiquities of Herculaneum", is an original etching on paper realized from a design by Nicolò Vanni in the 18th century. Signed on the plate...

This exquisite painting, resembling a precious jewel, serves as an exceptional illustration of the devotional cabinet paintings created by Giuseppe Maria Crespi, a highly original Bolognese artist during the late 17th and early 18th centuries. Crespi's distinctiveness extended beyond his unique style and technique to the subjects he chose to portray. While his portraits and genre paintings often displayed a light-hearted and even irreverent tone, his treatment of religious themes resonated with deep emotion, even in its most inventive forms. This recently uncovered work by Crespi is a typical representation, invoking the tender connection between mother and child, and the Child's destiny, all within a compact and intimate format. Executed on a small scale, the painting showcases Crespi's remarkable sensitivity and mastery of paint, especially evident in the expressive brushwork of the drapery. The restrained and focused composition of the Holy Family allows for contemplation of the figures. Mary cradles the Christ child gently, seemingly presenting him to the viewer, her gaze knowing as the infant holds a diminutive cross, symbolizing his future crucifixion. Joseph appears in the background, emerging from the left side of the frame, gazing upward with folded hands in prayer. Individual motifs from this painting reappear in other works by Crespi, suggesting a synthesis of familiar elements into a vibrant composition. The artist's revisitation of designs throughout his career is evident, and this painting on copper likely belongs to a later period, reflecting stylistic ties to other works and Crespi's increased production of smaller devotional pieces. Distinguished by its cool palette, bold coloration, and the expressive force of the artist's hand, this Holy Family painting...

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

A splendid Flemish painting from the second half of the 17th century. Oil on canvas artwork depicting a rare biblical scene, the baptism of the Ethiopian eunuch by Saint Philip. A hi...

Portrait Of Madame De Cotte, circa 1710 circle of Hyacinthe RIGAUD (1659-1743) - one of a pair Large circa 1710 French portrait of Madame De Cotte, ...

Sir Joshua Reynolds 1723-1792 British Sir Henry Bowles Howard, 12th Earl of Suffolk and 5th Earl of Berkshire Oil on canvas Sir Joshua Reynolds is unequivocally considered the most important English portraitist of the 18th century who was instrumental in adapting the Grand Manner style in the portrait genre. In fact, when the Royal Academy was founded in 1768, Reynolds was elected its first President, setting the precedent of quality for which all other portraitists would strive. Reynolds's portrait of Henry Bowles Howard, 12th Earl of Suffolk, showcases his genius in the genre and mastery over the medium. Reynolds’s portrait of the Earl expertly invokes classical values with strong lighting, rich colors and expert attention to detail to help underscore the prominence and revered echelon of the sitter. Howard was an esteemed British politician and Knight of the Garter. He served as Secretary of State for the Northern Department from 1771 to 1779, and he played a key role in utilizing mercenaries during the American Revolution and safeguarding Sweden's independence. The portrait employs Reynolds's signature style to render Howard rightfully as a gentleman of distinction. Captured seated in a stately library, the Earl appears learned and austere as he places one hand upon a stack of important documents and looks wistfully into the distance. Reynolds makes these compositional choices decisively, as the seated position gives Howard a weighty appearance of importance and the semi-profile turn captures his countenance at an attractive angle that highlights his strong, masculine features. The work draws on the classical conventions of Greek and Roman art and the Italian Renaissance masters, anchoring the nobleman in a history of refinement. Everything from his strong yet welcoming expression to his pale face enlivened by a rush of blood to the cheeks presents the picture of a strong, vital and powerful leader. As the first president of the Royal Academy in London, Reynolds’s commissions raised the status of an artist in Britain during the Romantic period and also established the portrait as an esteemed high art genre that garnered equal import to the history paintings that reigned supreme in decades prior. Today, Reynolds’s works grace the walls of the most important museums in the world, including the Louvre, the Metropolitan Museum of Art, and the National Gallery in London, among others. Circa 1770 Canvas: 50 1/2" high x 40 1/4" wide Framed: 61" high x 52 1/2" wide x 3 1/2" deep Provenance: Sir Henry Howard, 12th Earl of Suffolk and 5th Earl of Berkshire, 1739-1779 His mother, Lady Mary Howard, née Finch, Lady Andover, d. 1803 Acquired by descent to her daughter, Frances, and her husband Richard Bagot (later Howard) Acquired by descent to their daughter, Mary (1784-1877), and her husband Col. Fulke Greville Upton (later Howard), d. 1846 Acquired by descent to Lieutenant Colonel H.R.G. Howard Sale, Christie's, London, March 24, 1961, no. 29 Julius Weitzner, London and New York Sale, Paris, Musée Galliéra, December 7, 1965, no. 165 Newhouse Galleries, New York, NY Mr. and Mrs. F. Howard Walsh, Fort Worth, Texas, 1966 Walsh Family Art Trust Private collection, Oregon M.S. Rau, New Orleans Exhibited: British Institution, London, 1844, no. 130, loaned by the Hon. Fulke Greville Howard. South Kensington, "Second special exhibition of National Portraits," 1867, no. 478, lent by the Hon. Mrs. Greville. Agnew's, London, 1903, no. 17. Literature: Algernon Graves and W. V. Cronin, A History of the Works of Sir Joshua Reynolds, P.R.A., vol. 3 (London, 1899), p. 945. David Mannings...

Ancient Roman Fresco, from the series "Antiquities of Herculaneum", is an original etching on paper realized by various artists in the 18th century. Monogrammed on the plate. Good ...

Heracles and Cupid from "Antiquities of Herculaneum" is an etching on paper realized by Giuseppe Aloja in the 18th Century. Signed on the plate. Good conditions with some folding. ...

Pan Teaching Daphnis To Play from "Antiquities of Herculaneum" is an etching on paper realized by Carlo Cataneo in the 18th Century. Signed on the plate. Good conditions with some...

Ancient Roman Statues, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Ferancesco cepparili in the 18th century. Signed on the plate. Good...

Ancient Roman Fresco, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carlo Nolli in the 18th Century. Signed on the plate on the lower ...

Satyr from the series "Antiquities of Herculaneum" , is an etching on paper realized by Various Authors in the 18th Century. Monogrammed on the plate. Good conditions. The etching...

Portrait Of A Lady As Diana, 17th Century Salomon de Bray (1597-1664) Large 17th Century Dutch Old Master portrait of a lady as Diana, oil ...

Artist: Colen Campbell (Scottish, 1676-1729) Titles: "The Plan of this New Design to the Earl of Islay" (Vol. 1, Plate 53) and "This New Design to the Earl of Islay" (Vol. 1, Plate 5...

Isaac and Rebecca had two sons: the twins Esau and Jacob. Esau was the first-born, giving him the birthright. Among Jews the birthright gave the eldest son authority over the family,...

Hand colored Etching from Civitates Orbis Terrarum. One of the first printed views of Moscow, and the first of Braun and Hogenberg,The table shows ...

James Thornhill (1674-1735) Oil on canvas 12 x 14 inches; 16 ½ x 18 ½ in. Inc. frame The subject matter and inclusion of herms on both sides shows the influence of Louis...

Nicolas Vleughels (Paris, 1668 - Rome, 1737) attributable King David meets Abigail oil on canvas 79 x 59 cm in frame 79 x 100 cm The painting depicts the meeting between Kin...

Ancient Roman Scene from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Elia Morghen in the 18th Century. M...

This study presents a typical Roman countryside landscape: an ancient mausoleum in front of which a cart is passing by followed by two peasants. If the technique (a pen drawing on graphite lines, completed with a wash of brown and grey inks) and the signature inevitably evoke the art of Lorrain, we find on the verso of this drawing additional evidences that lead us to consider this unpublished drawing as a work by the master. The motif of the mausoleum has been taken up in pen on the verso in a technique that can be found in several other drawings by Lorrain. There is also a study of three characters, which can be considered as preparatory to Lorrain’s painting entitled The Port of Ostia with the Embarkation of Saint Paula, leading us to claim this attribution with a dating of around 1639. 1. Claude Lorrain or the perfection of classical landscape in Rome in the 17th century Claude Gellée was born in 1600 in Chamagne in Lorraine. Orphaned at the age of twelve, he spent a year with his brother in Freiburg, where the latter was a woodcarver. Claude Gellée then probably arrived in Rome in 1613, where he joined the workshop of Agostino Tassi (1580 - 1644) in 1617. Between 1619 and 1620 he studied for two years in Naples in the workshop of Goffredi Wals (who was himself a former pupil of Tassi). In 1625 he returned to Lorraine for two years where he worked alongside Claude Deruet. He then returned to Rome, a city he never left for the rest of his life (except for short trips to the surrounding countryside). From 1627 to 1650 he lived in Via Margutta. From 1635 onwards he became a renowned painter and commissions started to pour in. Considered during his lifetime as the most accomplished of the classical landscape painters, his reputation never faded. Between 1629 and 1635 Le Lorrain often went to the Roman countryside to draw with his friend Joachim von Sandrart (1606 - 1686). He became a member of the Academy of Saint Luke in 1633, while being closely acquainted with the Bentvueghels, this guild which brought together the young Nordic painters active in Rome. In 1643 he joined the Congregation of the Virtuosi. In 1650 he moved to Via Paolina where he lived until his death. Little is known of his intimate life. He seems to have had a daughter, Agnes, from an ancillary love affair. In 1657/ 1658 she moved in with him. Stricken with gout in 1663, he died in 1682. 2. Description of the drawing; the technique of nature studies Two peasants are walking behind a horse-drawn cart on a road that winds through ancient tombs. While a rectangular tomb with a columned facade can be seen in the distance, the cart passes an important ancient building. It has a circular shape and its partially ruined façade is decorated with columns. The start of a second floor can...

Mattheus Terwesten (The Hague, 1670 - 1757) Portrait of a young woman with palette and brushes, as Allegory of the art of Painting Oil on canvas 160 x 91 cm. - In frame 178 x 107 cm...