18th Century and Earlier Art

The Close of Day Italian School, early 18th century oil on canvas, unframed canvas: 17 x 22.5 inches provenance: private collection, France condition: very good and sound condition

No sentimentality on the loose here. Not with the expressions on the mother and her three children all engaged in various forms of 18th-century drudgery on this late summer’s eve. An...

Old Master, French School red chalk drawing on paper is not signed . Done in Sanguine on paper the nude appear like Hercule . The feel and look of the works while academic studies a...

Portrait of Barbara Herbert, Countess of Pembroke c.1708 Charles d’Agar (1669-1723) This magnificent large-scale portrait, presented by Titan Fine Art, depicts the British court of...

Peter Paul Rubens (circle of) An Apostle circular 15.15 inches (38.5 cm) oil on canvas Provenance: Bukowskis Auctions, lot 725149, as "Peter Paul Rubens, circle of".

Netherlandish School XVIII Century Monogrammed Old Master Oil Painting An intriguing oil painting of early extraction depicting the crucifixion at Calvary outside Jerusalem. I am s...

Bartholomäus Spranger (Antwerp, 1546 – Prague, 1611) workshop Aristotle and Phyllis Oil on canvas 64 x 54 cm In frame 79 x 72 cm The curious subject of this painting, quite...

Saint Anthony The Abbot In A Natural Landscape. Flemish School, Late 16th - Early 17th Century Technique: Oil on panel Period: late 16th - Early 17th Century School: Flemish Dimensi...

This lovely Dutch Old Master portrait oil painting is attributed to circle of Willem Wissing. Wissing settled in England and emerged as Peter Lely's most important pupil after his de...

Benvenuto Tisi, il Garofalo (Garofalo, Rovigo 1476 - Ferrara 1559) workshop/follower Madonna with Child and Saint Joseph Oil on canvas 125 x 90 cm - In frame 143 x 109 cm. I...

Unknown Artist (Dutch School, late 18th century) Pastoral Scene with Goatherds, ca. 1780–1800 Oil on canvas In this lively pastoral composition, a group of figures reclines in rusti...

Watercolor and ink French town buildings over a River by Bernard Labbe (French mid 20th century) original watercolor and ink on card image size: 7.5 x 6 inches card overall: 9.4 x 8....

Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576) Workshop Putti fighting on the Ponte dei Pugni in Venice Venetian school, late 16th century Oil on canvas 105 x 144 cm -...

La obra no va firmada El estado de conservación de puede ver, es bastante bueno, solo aconsejaría una limpieza ya que está un poco sucia, pero por lo demas, muy aceptable Se presen...

This stunning Flemish Old Master portrait oil painting is attributed to circle of Anthony Van Dyck. Painted circa 1630, the sitter is Frances Stewart née Howard (1578 -1639) Duchess ...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

Expressive depiction of Christ being aided by Simon of Cyrene by an unknown artist, Italiante School style of 17th-century Northern European painters principally Dutch, c.1700s-1800s. This piece is composed of oil on linen, laid down on fiberboard. Presented in a giltwood frame. Image size: 42"H x 33"W. Italianate painters, group of 17th-century northern European painters, principally Dutch, who traveled in Italy and, consciously adopting the style of landscape painting that they found there, incorporated Italian models and motifs into their own works. Chief among the Italianates were Bartholomeus Breenbergh, Andries and Jan Both, Nicolaes Berchem, and Jan Asselijn...

17th-century Flemish school Still life with flowers Oil on panel 33 x 25 cm In frame 50 x 42 cm The painting depicts a wonderful still life of flowers, where numerous colour...

This superb large three quarter length British Old Master portrait in a landscape oil painting is attributed to circle of John Vanderbank the Younger. Painted circa 1738 the sitter is Mrs James Hoste of South Wootton and Sandringham, nee Hammond. She was the daughter of Anthony Hamond and Susan Walpole, daughter of Robert Walpole, and was sister to Robert, 1st Earl of Oxford. She married Major James Hoste of Sandringham, Norfolk, and they had two daughters. The sheen of her blue satin dress against her gold cloak is stunning. A really lovely 18th century portrait with excellent provenance. Inscribed with sitter details lower left. Provenance. By descent within the family of the sitter at West Acre High House, Norfolk; Cheffins, Cambridge, 'West Acre High House' sale, 24 November 2010, Lot 519; Wood Hall, Arkesden, Essex. Literature: 'Portraits in Norfolk Houses', Prince Duleep Singh, 1927, No. 36. Sitter's details on two labels verso. Condition. Oil on canvas, image size is 50 inches by 40 inches and in good condition. Frame. Housed in an ornate gilt frame, 58 inches by 48 inches framed and in good condition. John Vanderbank (1694-1739) was an English portraitist and book illustrator, who enjoyed a high reputation for a short while during the reign of King George...

This strong Flemish Old Master portrait oil painting is attributed to Ferdinand Voet. The sitter is Anna De Hooghe, the fourth wife of artist Ludolf Bakhuizen (1631-1708), a German-born Dutch painter, draughtsman, calligrapher and printmaker. He was the leading Dutch painter of maritime subjects after Willem van de Velde the Elder and Younger left for England in 1672. He also painted portraits of his family and circle of friends. Painted circa 1660 Anna is standing profile but turned to the viewer/artist with her hand to her heart. She is set in a landscape at twilight. A really lovely painting and superb example of Dutch art. It is recorded in the RKD archives with N Maes signature LL - since removed through restoration. Provenance. The estate of George Way. Archive RKD Condition. Oil on canvas, 38 inches by 34 inches unframed and in good condition. Frame. Housed in a fine period carved frame, 46 inches by 42 inches framed and in good condition. Jacob Ferdinand Voet or Jakob Ferdinand Voet (1639-1689) was a Flemish portrait...

This rather special Italian Old Master religious portrait oil painting is attributed to a follower of Giovanni Battista Salvi, or Sassoferrato as he is better known. Painted circa 17...

The Knight is an original oil painting on canvas realized during the XVII century by an anonymous artist. Provenance: Pecci-Blunt collection. Good condition...

Provenance: Private Collection, Argentina; there acquired by Mr. and Mrs. Ernest T. Harper, New York, by 1960; by descent to: Mr. and Mrs. Alan Harper, New York, until 2024. This extraordinary mirrored frame is an exuberant and nearly perfectly preserved example of Andean 18th-century decorative art. Pierced mirrored rosettes surrounding floral motifs are set against mirrored surrounds along a broad frieze bordered within and without by elaborate raised moldings, inlaid by small, shaped mirrors. Repeating ornamental motifs reflecting both Spanish and indigenous designs surround both the inside panel and the exterior perimeter, the four corners of which are punctuated by mirrored rosettes. Glass mirrors were unknown to the indigenous population of the Americas prior to the arrival of Europeans (obsidian mirrors...

Military Camp Scene and Battle. Pietro Graziani (XVII/XVIII century), entourage. A pair ( two) of small paintings. Antique XIX century frames in gilt wood.  In good condition. Oi...

The Flagellation of Christ Flemish Baroque, 17th century oil on wood panel, framed framed: 31 x 42 inches wood panel: 19.5 x 26 inches Provenance: pri...

This is a hand-colored copper plate engraving entitled "Ptarmica Vulgaris (Sneezewort), Papaver Spinosum (Mexican Poppy), Chrysocame Peregrina (Seaside Strawflower)", depicting flowering Sneezewort, Mexican Poppy and Seaside Strawberry 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. The left margin is thinner than the others and the left edge is somewhat irregular where the engraving was previously bound in the original publication. The print is otherwise in excellent condition with striking hand-coloring. The sheet measures 20" high and 16.38" 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...

John Nost Sartorius (London 1759-1828) A bay horse in a wooded landscape Signed 'J.N.Sartorius' lower right Oil on canvas Canvas Size - 12 x 14 in Framed Size - 19 x 21 in John Nost...

Shipping in Calm Waters Dutch School, 18th century oil painting on wood panel panel: 10 x 12.75 inches framed: 14 x 17 inches condition: very good, minor evidenc...

Italian painter (18th century) - Saint Monica in prayer. 56 x 32 cm. Antique oil painting on canvas, without frame (not signed). Condition report: Good state of conservation of th...

This large hand-colored map entitled "Estats de L'Empire des Turqs en Europe, ou sont les Beglerbeglicz our Gouvernements" was originally created by Nicholas Sanson d'Abbeville and this version was published by Hubert Jaillot in "Atlas Nouveau" in Paris in 1692. It depicts the territories of the Ottoman Empire in Europe, predominantly Eastern Europe. Highlights include, the Mediterranean Sea, the Adriatic Sea, the Black Sea, the Dalmation Coast including present day Croatia, Bosnia and Herzegovina, Montenegro, Serbia, Slovenia, Italy, Greece, North Macedonia, Turkey, Romania, Hungary, Albania, Kosovo, Bulgaria, Transylvania, Moldova and southern portions of France, Switzerland, Germany, and Poland.. The map consists of two sheets joined as one along a vertical joint. The map has original hand-coloring. It is printed on antique hand-made laid, chain-linked paper with wide margins. The sheet measures 24.88" high and 38" wide. There is a central vertical joint, as issued. The map is in very good condition. Nicholas Sanson d'Abbeville (1600-1667) was one of the greatest French cartographather of French cartography. Sanson opened his first printing business in Paris in 1638. The king recognized his skill and knowledge and made him the official geographer to the court. He eventually served two kings in this capacity. Sanson was succeeded by his sons and son...

French school early 18th Century Portrait of a cleric, oil on canvas 68 x 54 cm, oval I recently had this painting cleaned and restored by a professional restorer. It is in good co...

17th Century Old Master Drawing Old master drawing with figure and putti Housed in a handsome contemporary wooden frame Drawing dimensions 4...

Landscape with martyrdom of Saint Stephen is an old master artwork realized in 17th century. Mixed colored oil painting on canvas. Includes coeval gilded frame cm. 148x196. The artwork is attributed to Vincent Adriaenssen called il Manciola (Antwerp, 1595 - Roma, 1675) Among the painters who worked in the first half of the seventeenth century it is possible to indicate only the Neapolitan Scipione Compagno (1624-1680) as the author of scenes of martyrs set within a landscape or a view such as, for example, the Martyrdom of Saint Stefano recently hesitated at the Ansorena in Madrid on June 16, 2021. It should be noted, however, that the landscape represented in the painting examined here, characterized by luxuriant vegetation, meticulously represented "in the Flemish style", shows differences with the typical settings of the paintings di Compagno, characterized above all by urban views, visionary architectures or rather arid vegetation. Even the refined figures, so elongated and lanky, represented in our painting, in particular the group of knights in the foreground on the right, are not reflected in the production of the Neapolitan painter. These elements, to which we add the depiction of the Eternal Father amidst the clouds and the detail of the dog in profile in the foreground, instead recall a painter mainly known as a battle soldier, but who was also the author of many works depicting episodes from ancient Rome set within luxuriant landscapes, or rather Vincent Adriaenssen known as Manciola, a painter from Antwerp whose figure has been shed light thanks to recent studies. The group of horsemen represented to the right of the examined painting is, in fact, comparable with other groups on horseback present in numerous works by Manciola such as, for example, in the Triumph of Caesar (Rome, Babuino, 23-03-2010; formerly Florence, Collection Privata, 2006), while similar elongated and somewhat lanky figures, dressed in red, yellow, blue and white, can be found in the three paintings conserved at the Cassa di Risparmio di Pesaro, which in the past were erroneously attributed to the Umbrian painter Francesco Allegrini...

Elaborate Floral Arrangement French artist, 18th Century oil on canvas, framed Framed: 27 x 34 inches Canvas: 22 x 29 inches Provenance: private collection, England Condition: very...

Antonio Diziani (Venice 1737 - Venice 1797) - Bucolic landscape with characters and wagon. 45 x 101.5 cm without frame, 55.5 x 111.5 cm with frame. Ancient oil painting on canvas, ...

Flemish school 17th or 18th century Circle of Thomas WILLEBOIRTS BOSSCHAERT (Berg-op-Zoom, 1613 - Antwerp, 1654) Oil on canvas 72 x 59 cm (90 x 77 cm with frame) This work has been painted in a style close to the Antwerp school of the middle of the 17th century, to Anton van Dyck especially. We have found in particular several paintings similar to our painting in the works of Thomas Willeboirts Bosschaert. After having studied with Gerard Seghers...

Francesco Tironi (Venice 1745 - Venice 1797) - Venetian landscape with shepherds and herds. 95 x 130 cm without frame, 107 x 140 cm with frame. Antique oil painting on canvas, in a...

This stunning Italian Baroque Old Master portrait oil painting is attributed to the circle of Guercino, Giovanni Francesco Barbieri (1591 - 1666) and it is ascribed verso. The paint...

Isaac van Duynen was a 17th century painter, specialized in fish still lifes. Born in Dordrecht, he settled in The Hague around 1650. We know from 17th century sources that his paint...

The Penitent Saint Italian artist, 17th century oil on copper panel, framed framed: 10 x 8 inches copper panel : 7.5 x 5 inches provenance: private collection, France condition: very...

Toilet of Venus Francesco Albani (Bologna 1578 - 1660) Follower of Oil on canvas 64 x 96 cm In fine gilded frame 83 x 121 cm. The painting on offer, depicting ‘Venus’ Toilet',...

Impressive neoclassical Carrara marble sculpture depicting the Allegory of Friendship and Loyalty, second half of the 18th century. The sculpture depicts Friendship as a classical ...

Hiroshi Sugimoto The Necklace of Jane Seymour, Henry VIII's Third Wife, 2000 Limited Edition Signed pendant of silver-plated brass, imitation pearls, Swarovski glass stones, handmade...

Aeneas and Dido Attributed to Pseudo-Caroselli (Rome, active c. 1630/1650) Oil on canvas 148 × 93 cm. framed 162 × 107 cm. The episode depicted in the superb canvas illustra...

The four plates in this "Four Times of the Day" set were created utilizing both engraving and etching techniques by William Hogarth in 1738. Hogarth's original copper plates were refurbished where needed by James Heath and these engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's original copper plates were used for printing. Most were melted down during World War I for the construction of bombs. Printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. The inscription below each print reads "Invented Painted & Engraved by Wm. Hogarth & Publish'd March 25. 1738 according to Act of Parliament". These large folio sized "Four Times of the Day" engravings/etchings are presented in complex gold-colored wood frames with black bands and scalloped gold inner trim. A majority of each thick impressive frame is covered with glass applied near the outer edge. Each frame measures 25.75" high, 22.25" wide and 1.88" deep. There are a few small dents in the edge of these frames, which are otherwise in very good condition. "Morning" has two focal areas of discoloration in the upper margin and some discoloration in the right margin, a short tear in the left margin and a short tear or crease in the right margin. "Noon" has a spot in the upper margin that extends into the upper image, but it is otherwise in very good condition. "Evening" has a faint spot in the upper margin, but it is otherwise in very good condition. "Night" is in excellent condition. The "Four Times of the Day" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Victoria and Albert Museum. Through this series Hogarth is portraying early 18th century London street life at "Four Times of the Day". His characters are exhibiting their personalities, quircks, strange activities, but he also wants to draw attention the disparities between the wealthy aristocracy and the common working class. Plate 1, "Morning" depicts morning in Covent Garden in the winter in front of Tom King...

Monumental 18th-century French battle. Oil painting on canvas depicting the Battle of Hydaspes, in which Alexander the Great defeated the Indian king Porus. A painting of considerabl...

Artist: Adriaen van Stalbemt (Stalbempt) 1580-1662 Title: Abraham and the Sacrifice of His Son Isaac “Das Opfer des Abraham” According to the Old...

Como pueden apreciar, la obra no va firmada, es de autor anónimo Se presenta sin enmarcar la pintura El estado de la obra se puede ver, presenta varias faltas de pintura y precisar...

This superb British Old Master portrait oil painting is attributed to circle of noted artist Michael Dahl. Although born in Sweden, Dahl lived and worked most of his life in England ...

Portrait of a Child with Pet Dog Italian School, early 1600's circle of Annibale Carracci (1560-1609) oil on canvas, framed Framed: 11.5 x 9 inches Board : 10.5 x 8.5 inches Provenan...

Le Leopard 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 Ro...

Venetian painter of the 17th/18th century Venus and Cupid Oil on canvas 57 x 49 cm. In frame 71 x 61 cm. The painting captures the attention with its intimate and sensual re...

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...

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...

This is a hand-colored copper plate engraving depicting Ranunculus (Persian Buttercup) flowers 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 thick laid chain-linked paper. There is latin text on the verso. There are central horizontal creases and two small holes on the right and another in the left lower corner. It is otherwise in excellent condition. Basilius Besler (1561–1629) was an apothecary and botanist. He was curator of the Willibaldsburg Castle garden of Johann Konrad von Gemmingen, prince bishop...

Francesco Battaglioli (Modena c. 1710 - Venice post-1796) - Architectural Capriccio with Figures. 83.5 x 114.5 cm unframed, 98 x 130 cm with fra...

Le Margay is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulièr...

London: 1799. Copperplate stipple engraving with hand coloring in watercolor, 17 1/2 x 10 1/4 inches (445 x 260 mm) (sheet), full margins. In very good condition with some minor, lig...

Copper-plate engraving, hand-colored, 1608 - c.1630 and published by Joannes Jansonius, Amsterdam. Image size 15.75 x 21.19 inches (40 x 53.9 cm). A classic example of a world ma...

Lodewijk Toeput, known as Ludovico Pozzoserrato (Antwerp or Mechelen c. 1550 - Treviso 1604 or 1605) - Meeting of Ladies and Gentlemen in a Landscape. 44 x 49 cm unframed, 63 x 68 c...