18th Century and Earlier Art

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". ...

Nicolas de Largillière (Paris, 1656-1746) Portrait of a lady, circa 1695 Oil on canvas (relined): 76 x 61 cm Framed: h. 97 cm, l. 82 cm To be included in the forthcoming catalogue raisonné of the artist by Dominique Brême, director of museum of Sceaux and artist specialist. Our work presents a majestic French aristocrat against the backdrop of a twilight landscape. The face seen from the front, the body turned three-quarters, the young woman is portrayed half-length, revealing her slim belted waist. The elongated face with rosy cheeks, almond-shaped eyes, straight nose and strong chin, solemn expression, the young woman sketches...

Veduta della Basilica di San Giovanni in Laterano, is an original etching realized by Giovanni Battista Piranesi in 1749. S. Giovanni in Laterano with palace and Scala Santa on t...

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This fantastic portrait oil painting is attributed to British Old Master Joseph Highmore and was painted in 1770. The half length standing portrait is of a Cleric, dressed in his wig...

Absolutely charming, original, circa 1650, Italian, oil on canvas painting of a puppy at play with a crimson ball.  Canvas size: 14.75 in. high x 18.25 in. wide.

Braun G., Hogenberg F., Oxonium or Oxford, from the collection Civitates Orbis Terrarum, Cologne, T. Graminaeus, 1572-1617. Very fine and interestig B/W aquatint showing a view of O...

Here Gaspard Dughet offers us an idyllic vision of the Roman countryside. The stages follow one another in a perfectly structured composition, revealing here a lake, there travellers walking along, gradually leading our eye to the blue horizon. But behind its classical composition, this landscape is particularly interesting because of three anthropomorphic details that the artist has hidden, opening the way to a radically different interpretation... 1. Gaspard Dughet, a landscape artist in the light of Poussin Gaspard Dughet was born on June 4th, 1615 in Rome where his father, of French origin, was a pastry cook. He was probably named Gaspard in honour of his godfather Baron Gaspard de Morant, who was, or may have been, his father's employer. His older sister Jeanne married the painter Nicolas Poussin (1594 - 1655) on September 1st, 1630. The young Gaspard was apprenticed with his brother-in-law at the beginning of 1631, which led his entourage to name him Gaspard Poussin. The first preserved works of the painter date from the years 1633-1634 and were painted in Poussin’s studio. Around 1635, Gaspard Dughet became emancipated and began to frequent the Bamboccianti circle. In 1636, he became friends with the painter Jean Miel (1599 - 1656), but also with Pier Francesco Mola (1612 - 1666) and Pietro da Cortona (1596 - 1669). This was also the time of his first trips throughout Italy. The painter, although of French origin, appears never to have visited France. In 1646 he settled permanently in Rome. A recognized painter with a solid book of orders, he remained faithful to landscape painting throughout his life, alternating between cabinet paintings and large decorative commissions, using both oil and fresco. Nailed to his bed by rheumatic fever at the age of 58, he died on May 25, 1675. 2. Discovering an idealized landscape Beyond a relatively dark foreground that takes us into the landscape, we discover a vast bluish horizon: a plateau surrounded by deep ravines advances to the right, overhanging an expanse of water that sparkles below. A road winds through a mountainous mass as if leading us to the fortress that crowns it; another town appears in the distance at the foot of three conical mountains. The composition is rigorous, mineral, and structured by geometric volumes. The various stages in the landscape lead one to the next attracting the eye towards the horizon located in the middle of the canvas. The general impression is that of a welcoming and serene nature. In many places the paint layer has shrunk, or become transparent, revealing the dark red preparation with which the canvas was covered and accentuating the contrasts. Human presence is limited to three jack players, leaning against a mound in the foreground. Their long garments, which may evoke Roman togas, contribute to the timelessness of the scene. Close examination of the canvas reveals two other travellers on the path winding between the rocks. Made tiny by the distance, their introduction in the middle register, typical of Dughet's art, lengthens the perspective. While it is difficult to date the work of a painter who devoted his entire life to the representation of landscapes, it is certain that this painting is a work from his later years. The trees that occupied the foreground of his youthful compositions have been relegated to the sides, a stretch of water separates us from the arid mountains counterbalanced by two trees represented on the opposite bank. The introduction of this stretch of water in the middle of the landscape betrays the influence of the Bolognese and in particular of the Dominiquin (1581 - 1641) A number of similarities with a drawing in the British Museum might suggest a date around 1656-1657, since, according to Marie-Nicole Boisclair , it has been compared with the Prado's Landscape with the Repentant Magdalene, painted at that period. 3. Three amazing anthropomorphic details While some late Renaissance landscapes offer a radical double reading, allowing one to see both a face or a human body behind the representation of a landscape, it seems interesting to us to hypothesize that Gaspard Dughet had fun here by slipping in a few details that, taken in isolation, evoke human or animal figures. We will give three examples, looking closely at a cloud, the trunk of a broken tree and the top of a cliff. The main cloud could thus evoke a Christ-like face or that of an antique god...

Oil on Canvas. Genoese school of the eighteenth century. The country landscape sees a dilapidated structure stand in the center, the ruins of a building through whose gashed walls th...

Antique Italian painting from the first half of the 18th century. Oil-on-canvas work depicting a wooded landscape with St. John the Baptist. John the Baptist and a lamb of good picto...

View of the Capitoline Hill is an original etching realized by the italian artist Giovanni Battista Piranesi in 1775. Very precious and rare lifetime impression. Roman edition. II ...

LANDSCAPE WITH FLIGHT TO EGYPT, JASPER VAN DER LANEN (ANTWERP, 1585 - 1634) 17TH CENTURY FLEMISH SCHOOL ANTWERP CIRCA 1630 Oil on copper, dimensions: h. 10.23 in, w. 14.96 in Flemish style frame in ebonized wood adorned with wavy moldings and wood veneer. Framed dimensions: h. 17.32 in, w. 21.65 in Provenance: Philips auction...

Giovan Battista Moroni (circle of) (Albino, Italy, 1520 – 1580 ca.) Title: Portrait of a woman Medium: Oil on canvas Dimensions: without frame 46 x 40 cm - with frame 55.5 x 50.5 cm Antique shaped and gilded wooden cassetta frame. Publications: unpublished. The present portrait shows an adult woman, no longer young, as can be seen from her slightly blistered cheeks, but not elderly either. The suspicious and veiledly inquisitive gaze is well matched by the elegance of her extremely fashionable black clothes...

15th Century Maestro della Pala Sforzesca Title: Ecce Homo Medium: Tempera on Panel Dimensions: without frame 64.9 x 53.2 – with frame 82 x 70 x 5 cm Beautiful "cassetta" frame in e...

The Procession Of The Ark Of The Covenant, The Battle Of Jericho, 17th Century Flemish School - rare & early depiction of the Old Testament - oil on light wood panel Large 17th Century Flemish Old Master depiction of the Ark Of The Covenant carried around Jericho, oil on panel. Excellent quality and condition antique panel painting...

THE IMITATOR OF GIORGIONE (France or Italy, early 17th century) Study of a Man in Armour Oil on canvas in two pieces with a seam towards the bottom (re-lined in the 20th century) H. ...

"Cherubs" (B) Pen and Ink drawing of Putto Italian School Late 17th early 18th century. Pen and ink on paper 6 ½ x 17 ½ (22 ½ x 11 ½) inches Antique scenes of putto and a faun cele...

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...

Ancient Roman Scene from the series "Antiquities of Herculaneum", is an etching on paper realized by Niccolò Vanni in the 18th Century. Signed on the plat...

Veduta della Spelonca, detta il Bergantino is an original etching realized by G. B. Piranesi in 1762. Image Dimensions: 43 x 63 cm Very good condition. Ref. Ficacci., p.442

Provenance: Private Collection, South America Antonio Tempesta began his career in Florence, working on the decoration of the Palazzo Vecchio under the direction of Giorgio Vasari. He was a pupil first of Santi di Tito...

Grande Vierge à l'Enfant en chêne de la fin du 13ème siècle ou début du 14ème siècle. La plastique des visages et du Christ évoque le 13ème siècle (le visage de la Vierge évoque le visage de la Sedes Sapientiae...

A Still Life of Turtles, An Eel, Pike, Lobsters and other Fish on the Shore, A Ship in the Stormy Seas Beyond Signed and dated lower left 1640 Inscribed with inventory number lower right: no. 44 Oil on canvas Framed 29.5 x 37.9 inches Provenance Anonymous sale, London, Sotheby's, 15 April 1999, lot 87, (as 'Circle of Giuseppe...

Celestial Music is an original black and white etching on cream-colored paper, realized by Charles-Nicolas Cochin the Elder (1688-1754), the well-known ...

Bartolomeo Guidobono (Savona, Italy, 1654 - Turin, Italy, 1709) Title: Bacchanal with Maenads, Satyrs and Nymphs Medium: Oil on canvas Dimensions: without frame 120 x 110 cm - with f...

Antique Vases Artist proof, printed on contemporary laid paper, wide margins, representing two antique vases, whom details are in the captures. Etching with good contrasts and sharp ...

“Columbines Pl. 162” A Weinmann, Johann, Wilhelm Mezzotint Engraving With Some Hand Coloring from Johan Wilhelm Weinmann’s ( 1683-1741 ) Phytanthoza Iconographia, a comprehensive sci...

Ancient Roman Drawing, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carlo Nolli in the 18th century. Signed on the plate. Good conditio...

Domenico Maria Canuti (Bologna 1626 - 1684) Title: Toilet of Venus with Cupids and Satyrs Medium: Oil on canvas Dimensions: without frame 79 x 98 cm - ...

Le Chat Sauvage is an etching realized in 1771 by Louis Legrand (1723-1807). The Artwork is depicted through confident strokes in aa well balanced composition. Good conditions.

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...

Village Archery Tournament, 17th Century School Of David Teniers (1610-1690) Large 17th Century Dutch village peasants archery tournament, oi...

La obra es de autor anónimo. El retablo va muy bien enmarcado con un marco neogótico del siglo xix en madera estofada y policromada. Medidas del retablo: 88 cm. altura x 56 cm. anc...

Oil on oak panel Image size: 18 x 17 inches (45.5 x 43.5 cm) Period style frame This painting is a half-length portrait of a lady in the guise of a shepherdess. She is holding a ho...

This splendid mid-18th-century Dutch landscape painting depicts a view with travellers before distant rolling hills. Amid the long shadows of early evening, a travelling party rests...

Salvatore Rosa (Naples 1615 - 1673 Rome) Saint Francis of Assisi in Ecstasy Pen and brown ink, brown wash over black chalk, on paper 7 x 5 cm Bears the stamps of collections on the...

The present pair of portraits would make an exceptional addition to any collection of early American art not only because they were painted by the notable William Jennys, but also because the sitters are members of notable and influential New England families. In addition, these pendants have impeccable provenance: they have never left ownership of the decedents of the Kimball family and this is the first time they have been available for purchase. David Kimball (1766-1848) and Nancy Stacy Kimball (1774-1844) were members of historic Massachusetts families. David Kimball is a sixth-generation decedent of Richard Kimball (d. 1675) and Ursula Scott (d. 1659), who emigrated from Rattlasden, Suffolk County, England to Watertown MA around 1634. The family then relocated in 1637 to Ipswich, the city with which the family is now most strongly identified, when Richard was appointed to be a wheelwright.[1] Nancy likewise had early New England ancestry, descended from Simon Stacy and Elizabeth Clark, who were married in London in 1620.[2] Nancy Stacy was the second wife of David Kimball, and the two were married in 1799. Given this, the present pendant portraits were likely completed shortly after the marriage. David had two children by his first wife Mary Morse, who died in September of 1798. David and Nancy would have nine additional children between 1801 and 1815.[3] Most notably, the couple were parents of the Boston politician and showman Moses Kimball (1809-1895).[2][3] Moses would found the Boston Museum, an early for-profit museum and theater opened in 1841 that resembled European curiosity cabinets: the museum displayed paintings of Thomas Scully and Charles Peale alongside Chinese artwork, stuffed animals, dwarves and mermaids. Alongside these exhibits, visitors could attend the theater which held performances by gymnasts and contortionists, followed by performances of Shakespeare and Dickens.[4] This museum set the model for the Museum of Fine Arts, Boston, which when founded in 1870 held a similarly diverse collection and appealed to the interests of a diverse set of visitors.[5] Moreover, some Greek antiquities from Moses Kimball's museum were eventually given to the MFA and Moses donated approximately $5,000 to the MFA's endowment upon his death.[6][7] William Jennys (1774–1859), also known as J. William Jennys, is an important American primitive portrait...

Still life with peonies, orange blossom and tulips in a vase on a ledge, 19th Century ANTOINE MONNOYER (1670-1747) sales to $95,000 Large 17th Century French Still Life of peonies,...

Le Chat d'Angora is an etching realized in 1771 by ` (1723-1807). It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Arti...

Landscape is a beautiful dranwing in watercolor and pencil on ivory-colored paper realized by Jan Peter Verdussen. In good condition; only a sma...

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 ...

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. ...

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...

The Blood Of Christ, The Milk Of The Madonna, 16th Century circle of Adriaen Isenbrandt (1480-1551) Huge 16th Century Flemish old Master depiction of...

17th Century Italian School, wood panel, depicting the return of the prodigal son. Very good condition.

Dog is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions. Including a crea...

Portrait Of General John Churchill, The Duke Of Marlborough At The Battle Of Ramillies, 1706 by JOHN VANDERBANK THE YOUNGER (1694-1739) Large early 18...

G. B. Piranesi, Veduta del Porto di Ripa Grande (View of the port of Ripa Grande) Etching, Burin and Drypoint on fine watermarked paper (with lily watermarked). Signed on plate lower-right: “G.B. Piranesi Architetto fec.”. 2nd State/ VI (Hind 27) Image Dim: cm 38.2 x 61.5, Dim: 53.3 x 77.3. Good conditions, with some normal fold of paper at the center From one of the most important series of etchings by G.B. Piranesi, ”Views of Rome drawn and etched by Giambattista Piranesi...

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...

Artist: Colen Campbell (Scottish, 1676-1729) Titles: "The Plan of Lindsey House in Lincolns Inn Fields" (Vol. 1, Plate 49) and "Lindsey House in Lincolns Inn Fields" (Vol. 1, Plate 5...

In 2001 the German art historian Art historian and Raphael Expert, Prof. Jürg Meyer zur Capellen, published the painting "Die Heilige Familie" in a monographic article, ascribing the present work to the Venetian painter Giovanni Battista Pittoni (1687 -Venice - 1767). (Newspaper "Weltkunst", October 2001, No 12, p. 1850 f. ill.) He describes it as a typical work by this artist. Pittoni was one of the most influential and successful artists of the Venetian Settecento. He was a pupil of the Veronese Master Giovanni Balestra (1666-1740). His style is influenced by Sebastiano Ricci (1659-1734) and Giambattista Tiepolo (1696-1770). Giovanni Battista Pittoni was already successful at a young age and soon lead his own workshop. He created large-scale hitoria paintings, as well as large, religious altarpieces. In addition to Venetian and Upper Italian patrons, Pittoni also had many interested parties from Europe. His work is accordingly scattered in many different museums and private collections today. Pittoni - like other painter colleagues of his time - repeated his own compositions both by hand and with the help of his workshop. He repeatedly incorporated details into other pictures and contexts. Prof. Meyer zur Capellen noted the very good condition of the present work and the high quality of the paint with fine graduations and the vivid brushstrokes. Provenance: The panting has not been on the art market for at least 300 years. In the year 2000 the work was donated by the Münster-based, Noble Family Ketteler zu Harkotten to a private collection in Westphalia. Most probably the canon Nikolaus Hermann von Ketteler zu Harkotten bought the piece in Venice in 1750 together with the altarpiece of the Clemens Church in Münster. On the reverse of the work is a fideicommissum number by Ketteler zu Harkotten. As it belonged to the family commission, the painting was inalienable until 1919, when the corresponding law was repealed, and after that time it remained in the family's possession without interruption. Pittoni's only direct relationship to Münster is the commission for the high altar painting of the Baroque St. Clemens Church. It can be assumed that then canon von Ketteler saw this painting in the artist's workshop during his stay in Venice and acquired it for himself. This would also explain the discrepancy in dating. (ca. 1735/1750). However, it is also possible that the painting originated in the possession of Ferdinand von Plettenberg...

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...

Agostino Beltrano (Naples, Italy, 1607 - 1665) Title: The Procession to Calvary Medium: Oil on canvas Dimensions: without frame 98 x 122.5 cm - with frame 118 x 142.5 cm Beautiful or...

Le Pyrame is an etching realized by Louis-Simon Lempereur in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Art...

Oil painting on canvas. Genoese school of the eighteenth century. Inside a large room with arched windows opening onto the street, a group of friars seated on the ground are sharing ...

Portrait Of 1st Baron Hawkstone, Sir Rowland Hill, Tory MP for Lichfield (1705-1783) by Charles JERVAS (1675-1739) Large 18th Century portrait of Baron Hawkstone, Sir Rowland Hill,...

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

Oil on Canvas. The composition features the following in the center a hanging hare, flanked by some quail and a pigeon; on the destr side, a wicker basket containing chestnuts and p...