18th Century and Earlier Art

This etching reproduction of Las Meninas was produced by the Louvre Museum, meticulously capturing the essence of Velázquez’s most iconic masterpiece. Printed using the calcolgraphie...

Woodcut on cream laid paper, 7 1/4 x 2 1/2 inches (182 x 63 mm), narrow margins. Laid down to non-archival board with scattered soiling and some adhesive staining. Okumura Masanobu (Japanese 1686 – 13 March 1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga ("pictures of beautiful women"). While Masanobu's early life is largely undocumented, he is believed to have been born about 1686, possibly in Edo (modern Tokyo). Edo was a small fishing village when Tokugawa Ieyasu chose it as his administrative capital of the Tokugawa shogunate, and by the early 17th century the city had prospered and its population had grown to half a million. Masanobu appears to have been self-taught painter (though he did study poetry under Tachiba Fukaku); he is not known to have belonged to any artistic school. His early work shows the influence of the Torii school of ukiyo-e painting...

18th-Century Romantic Landscape Painting – Alpine Scene Artist: Unidentified Period: 18th Century Medium: Oil on Canvas Dimensions: Framed: 38 x 52 cm Artwork: 29 x 41 cm Style: Rom...

This Pre-Columbian bowl featuers red marks on a light orange ground. It is 9" in diameter and has been previously repaired.

Pair of large oval-shaped baroque mirrors (II / II) Roman master carver of the seventeenth century Carved, lacquered and gilded wood Antique mercury silvered glass mirror 92 x 76 cm. (at the mirror 59 x 43 cm.) We present this pair of prestigious oval-shaped mirrors (of which a second pair is also available, of excellent executive level, which interprets the period of the Italian Baroque in an exemplary way. The works are in carved and gilded wood with a black lacquered background, richly decorated with a deep volute carving with particularly vigorous leaf motifs, coping and lateral ends embellished with cherub heads. This type of boldly carved volute acanthus mirrors...

Studio of Sir Peter Lely Dutch, (1618-1680) Portrait of a Lady Oil on canvas Image size: 29.25 inches x 24.25 inches Size including frame: 37...

Oil painting on canvas. Lombard school of the late 17th-early 18th century. The rich composition offers a large bouquet of colorful flowers in an embossed vase, next to a bowl full o...

Price is for each framed print (nine available). From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand-made parcel-gilt, ebonised and decalcomania frame...

FLEMISH SCHOOL 17th Century STILL LIFE WITH FRUITS unsigned oil on canvas 17-3/4 x 21-3/4 inches (45 x 55 cm.) framed: 22 x 27 inches (56 x 68 cm.) PR...

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...

Holy Baptism, Oil painting on canvas by an unknown artist About the artwork: Bible Scene, Early 18th Century, Florentine School TECHNIQUE: oil pai...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) Magdalen College, Oxford Engraving 12 x 16 cm A magnificent eighteenth-century view of Magdalen, engraved by Pieter van...

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...

"Que pico de Oro" (What a Golden Beak) - Etching and Aquatint on Paper 5th or 8th edition print of "Que pico de Oro" from the Los Caprichos with burnished aquatints, drypoints etchi...

Portrait Of A Rooster With Adorned Feathers, 18th Century Circle of John Nost SARTORIUS (1759-1830) Large 18th century English study of a rooster in a farmyard, oil on canvas. Supe...

Portrait Of A Lady, Believed to be Miss Craigie, 18th Century circle of Allan RAMSAY (1713-1784) Fine large 18th century portrait of a Lady in a. white dress, believed to be a Mi...

Cornelis Bega (1631/2-1664), The Mother Seated in an Inn, etching, circa 1660-64. Reference: Hollstein 31, a later impression, second state (of 2). In good condition, trimmed outside...

Whitby Harbour In The Moonlight, 19th Century attributed to Louis Hubbard GRIMSHAW (1870-1943) 19th Century view of Whitby Harbour in the moonlight, oil on panel by Louis Grimshaw...

A captivating Dutch genre painting in the manner of Pieter de Hooch (1629-1684). A couple can be seen taking tea together in a roomy interior with afternoon light flooding in from a ...

Circle of Ridolfo Ghirlandaio 1483 - 1561 Oil on panel Image size: 20 ½ x 16 ½ inches (52 x 42 cm) Handmade contemporary style gilt frame The lamentation of Christ was one of the most popular scenes depicted in European art from the 11th to the 18th century. Depicting the lamentation or pieta from the Italian word for ‘Pity’ of Christ with Jesus’s mother Mary cradling his body. Christ is depicted nude, wearing only a blueish loincloth around his waist, a horizontal scar marking his rib cage. His head and torso are held upright, and his eyes are closed, his right arm lays to his side as does his left. Standing behind him, is the Virgin Mary, outfitted in her traditional dress of a robe with a white veil. She stands behind Christ and bends slightly, looking looking away from Christ to something that has caught her attention, her right hand holding his shoulder. Her left-hand carefully holds his arm. This work is quite unusual with Mary . This stunning work jumps out with its dark background and strong flesh colours. Ridolfo Ghirlandaio was the son of the eminent painter Domenico Ghirlandaio. Following his father’s death in 1494, when he was just eleven years old, Ridolfo is thought to have continued his training with his uncle Davide, who had taken over the Ghirlandaio workshop. Vasari noted that Ridolfo also studied with Fra Bartolommeo...

Francesco Salvatore Fontebasso (Venice, Italy, 1707 - 1769) Title: Allegory of Vanity Medium: Oil on canvas Dimensions: without frame 74.5 x 98 cm - with frame 95 x 119 cm With a "cassetta" frame in gilded and carved wood Expertise by Professor Egidio Martini Publications: G. M. Guidetti, in From Sacro to Profano. The Giorgio Baratti...

'Flamsteed' Copper-line engraving by Joseph Baker after T Gibson. 1790. John Flamsteed FRS (1646 - 1719) was an English astronomer and the first Astronomer Royal. He catalogued ov...

This small landscape shows a hunting scene: two riders are chasing a stag with their dogs at the edge of a forest. Signed by Peter von Bemmel, it is typical of the production of this...

A moody pair of oil on canvas paintings of birds in lush landscapes. Frames later.

Hendrick Govaerts (Mechelen, Belgium, 1669 - 1720) Title: Genre Scene Medium: Oil on canvas Dimensions: without frame 48.5 x 60 cm - with frame 63 x 72 x 6 cm Oral Expertise by Lisa...

Luca Cattapane (Cremona, 1597-1620), attr. Adoration of the Shepherds Oil on canvas, 110 x 90 cm - with frame 129 x 101 cm Ascribed to the Lombard school of the late 16th century,...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand-made parcel-gilt, ebonised and decalcomania frame...

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...

Collections: Commissioned by Andrew Corbett, husband of the sitter; The Venerable Stuart Corbett; Sir Stuart Corbett; By descent to 2002; Sotheby’s, London 21 March 2002, lot.104; Lowell Libson...

Nicolas Van Houbraken (Messina, Italy, 1668 - Pisa, Italy, 1733) Title: Still life with mushrooms Medium: Oil on canvas Dimensions: without frame 26 x 32 cm - with frame 38.5 x 33.5...

ITALIAN RENAISSANCE MARBLE RELIEF WITH GRIFFIN Central Italy, 16th Century marble 42 x 28.5 x 5.5 cm 16 1/2 x 11 1/4 x 2 1/4 in

A bronze Thai Bell from the Dongson Culture (1000 BC-200 AD). The work is unsigned.

PORTRAIT OF COURT MUSICIAN JOSEF LEMBERGER (1667-1740) Hungarian School Large 18th Century Hungarian Portrait of court musician Josef Lemberger, oil on canvas. Superb quality and early important...

Fascinating limestone gargouille (or gargoyle) from the region of Avignon, France, dating from the 14th century. A rare and striking hand-carved piece that perfectly embodies the med...

Rubensian school, 17th century Allegory of abundance Oil on panel, 30.5 x 45 cm With frame 38.5 x 55 cm

In the mid-18th century, Bénard was famous for his genre paintings, portraits and landscapes. Drawing on Jean-Antoine Watteau’s sense of poetry and Jean –Honoré Fragonard’s use of...

Exquisite Pair of Neoclassical bronze Bacchus and Bacchante figures cast in a dark patinated bronze. The pair rest on on white marble bases set with relief cast gilt plaques. 18th C...

Great Italian painting from the first half of the 18th century. Oil on canvas artwork from the Lombard school depicting a splendid musical still life, of notable pictorial quality. W...

Pen and brown ink and brown and grey washes on paper Signed top middle Image size: 10 x 3 3/4 inches (25.5 x 8 cm) The sketch is a useful example of Bigari's work in the late-Baroqu...

Oil on Canvas. The scene recounts the biblical episode from the book of Exodus in which baby Moses, whom his mother had entrusted to the river inside a basket to save him from the s...

Amazing painting of Cleopatra oil on canvas with a gilt wood frame. Attributed to Giuseppe Diamantini (Fossombrone 1621-Venice 1705) The dramatic subje...

PRICE IS FOR EACH FRAMED PRINT "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origina...

Small silk tapestry, with some applied inserts in painted canvas, corresponding to the faces and hands of the characters. The scene depicts Plato's Academy, with the philosopher sitt...

Richard WILSON Circa 1780 Canvas Size: 28 x 38" (71 x 97cm) Outside Frame Size: 42 x 52" (107 x 132cm) Free Shipping A chance to acquire a rare piece by Richard Wilson. This impos...

This is a 17th century engraving entitled "Messire Nicolas Lambert Seigneur de Thorigny, Conseiller du Roy" by Pierre Drevet after a painting by Noicolas de Largillière, published in Paris in 1698. This portrait depicts a three-quarter length view of Nicolas Lambert de Thorigny, who is dressed in elaborate robes and collar of a wealthy Parisian nobleman of the time. He is seated directed to the left and looking directly at the viewer. He is holding an inscribed note in his right hand. A magnificent billowing curtain is in the background. Lambert's coat of arms is shown in the center of the lower inscription area. In the inscription area is lettered with title, production detail: "Nic. Largilliere pinxit" and "Petr. Drevet sculpsit", and publication detail: "Se vend a Paris chez Drevet rüe du Foin au coin du College de Maître Gervais". Nicolas Lambert, Seigneur de Thorigny (1600-1664), was a French nobleman and military commander who lived in the 17th century. He served in the French army during the Thirty Years' War, a conflict that took place from 1618 to 1648 and involved many European powers. Lambert fought in several battles during the war and rose to the rank of colonel. After the war, Lambert returned to France and became involved in politics. He served as a member of the Estates General, a legislative body that advised the king, and as a governor of several provinces. He was a counsellor and confidant of King Louis XIV. He had the title of Président de la Chambre des Comptes. He also became a member of the French Academy of Sciences, a prestigious institution that promotes scientific research and scholarship. Lambert was known for his military expertise, his intelligence, and his commitment to public service. He iInherited the Hôtel Lambert in Paris from his brother Jean Baptiste in 1644 and hired some of the most prominent artists of the time, including Charles Le Brun to decorate and furnish the building. This beautiful old master engraving was created with impressive detailed technique. It is printed on laid, chain-linked paper. The sheet measures 18.5" high and 13.38" wide. The sheet is adhered to an archival backing paper at the top. There is a faint horizontal center fold and mild discoloration in the inscription area and in the upper margin on the right, with mild wrinkling here. The print is otherwise in very good condition, considering its age. This engraving is so rare, that no comparable prints could be identified for sale online. It is currently only listed in museum collections, including: The Metropolitan Museum of Art, The British Museum, The Louvre, The Riksmuseum, The Victoria & Albert Museum, The Fitzwilliam Museum at the U. of Cambridge, The Boston Museum of Fine Arts, Harvard Art Museums, The Finnish National Museum, The Philadelphia Museum. It is shown in the Metropolitan Museum's Cataloque of French paintings entitled: "French Paintings in The Metropolitan Museum of Art, published in 2018, page 36. The page is included in the photos. Nicolas de Largillière (1656-1746) was a French portrait painter who achieved great success and acclaim during the late Baroque and Rococo periods. He was born in Paris and trained under the painter Antoine Goubeau. He studied in Antwerp and London before returning to France. While in England he was a favorite painter of King Charles II and King James II of England...

Collections: Russell sale, Christie’s, 14 February, 1807: ‘John Russell, Esq., R.A. deceased, crayon painter to His Majesty, the Prince of Wales, and Duke of York; and brought from his late Dwelling in Newman Street’, lot 92, ‘St Peter’, bt. Thompson (£1.13s); Anonymous sale; Sotheby's, London, 25th September 1980, lot 113; Private collection, UK, 2016. Literature: Martin Postle, 'Patriarchs, prophets and paviours: Reynolds's images of old age', The Burlington Magazine, vol. cxxx, no. 1027, October 1988, pp. 739-40, fig. 9; Martin Postle, Sir Joshua Reynolds: The Subject Pictures, Cambridge, 1995, p.136, repr.; Neil Jeffares, Dictionary of pastellists before 1800, online edition, J.64.2928. Signed and dated: J Russell/ fecit 1772 (lower right) Framed dimensions: 25 x 31 inches John Russell was admitted to the Royal Academy in March 1770, at the same time as Daniel Gardner. The nascent Academy Schools were still establishing their teaching structures, but central to the syllabus were the twin components of drawing after the antique and from life models. By 1772 Russell had already been awarded a silver medal and progressed to the life academy, where he produced this remarkable pastel study of George White. White was the most famous model employed by the Royal Academy and prominent artists in the second half of the eighteenth century. A paviour – or street mender –by profession White had been discovered by Joshua Reynolds, who in turn introduced him to the Academy. Russell’s striking head study demonstrates his abilities as a portraitist and pastellist, at the same time showing his interest in the Academy’s preoccupation with promoting history painting. George White was one of the most celebrated models in eighteenth-century London. According to the painter Joseph Moser: 'Old George…owed the ease in which he passed his latter days, in a great measure to Sir Joshua Reynolds, who found him exerting himself in the laborious employment of thumping down stones in the street; and observing not only the grand and majestic traits of his countenance, but the dignity of his muscular figure, took him out of a situation to which his strength was by no means equal, clothed, fed, and had him, first as a model in his own painting room, then introduced him as a subject for the students of the Royal Academy.' As Martin Postle has pointed out, whilst characterful studies of old men posed as biblical figures, prophets or saints by Continental old masters were readily available on the art market – Reynolds himself had copied a head of Joab by Federico Bencovich in the collection of his friend and patron, Lord Palmerston - finding a model in Britain from whom to execute a painting was more difficult. White therefore offered a rare opportunity for artists to combine portraiture and history painting, by painting a model in the guise of an historical or literary character. In 1771 Reynolds showed at the Royal Academy a picture of White entitled Resignation. It was engraved in 1772 and accompanied by a stanza from Oliver Goldsmith’s Deserted Village, implying a literary context to what is essentially a portrait. In his annotated Royal Academy catalogue, Horace Walpole noted: ‘This was an old beggar, who had so fine a head that Sir Joshua chose him for the father in his picture from Dante, and painted him several times, as did others in imitation of Reynolds. There were even cameos and busts of him.’ White sat to, amongst others Johan Zoffany, John Sanders, Nathaniel Hone and the sculptor John Bacon...

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

16th-century Flemish master Circle of Quentin Metsys (Leuven, 1466 - Antwerp, 1530) Ecce Homo oil on panel cm. 34 x 23 with frame 47 x 37 (not contemporary) An important painting...

L. Franssen Mother and child with a rose Oil on wood, 44,5 x 33,5 cm signed The artist of this outstanding painting is completely unknown so far. There is no entry under "L. Franssen" in any encyclopaedia or reference work. There was a Dutch artist, Jan Fransen (1604/5 - ca. 1646), who was mainly based in Amsterdam. According to Thieme/Becker, he created numerous paintings with biblical depictions, study heads and still lifes. However, it could also have been Jan Franssen or Frantzen, who was not born until 1644 but was also active in Amsterdam. However, no confirmed works by either artist are known. Just as interesting as the attribution is the depiction: a young woman holds her child on her lap while she prepares a meal on a hob. At the same time she holds a rose in her hand. Most likely, Mary is depicted here with the young Jesus...

An illuminated page from a book likely in reference to palace life during Emperor Jahangir's reign over the Mughal Empire. c 1690. Gouache and ink with heightening in gold on light ...

Painting, oil on canvas, measuring 92 x 77 without frame and 107 x 82 cm with frame , depicting a Saint Jerome in ancient philosopher and ascetic version, typical of the greatest tra...

Portrait Of John Parker, 1st Lord Boringdon (1735-1788), 18th century School of Joshua Reynolds (1723-1792) Large 18th portrait of John Parker, 1st Lord Boringdon, oil on canvas. E...

Provenance: Unidentified collector’s mark “D.G.R,” lower right (Lugt 757b) Wilhelm Suida (1877–1959), New York; by descent to: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA This impressive drawing of the Assumption of the Virgin is the work of the Genoese artist Giovanni Battista Paggi. The son of a nobleman, Paggi received a humanist education and was a self-taught artist. According to Paggi’s first biographer, Raffaele Soprani, it was only after encountering Luca...

PRICE IS FOR EACH FRAMED PRINT "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origina...

This is a hand-colored copper plate engraving depicting flowering "Hyacinthus Comosus Spurius" (Hyacinth), "Hyacinthus Anglicus" (Blue Hyacinth), "Palma ...

Isaac van Ostade (1621-1649) – "Winter Landscape" An exquisite 17th-century Dutch Golden Age winter scene by Isaac van Ostade (1621-1649), a master of genre painting renowned for his...

A pair of rare, early 1700’s, Roman, beautifully hand–carved, solid Carrara marble cherubim singing in adoration. Each with feather embellished robe fragments. Both mounted on custo...

Painting, oil on canvas, measuring 75 x 103 cm without frame and 82 x 110 cm with frame, of the Flemish school depicting a hunting scene. The confident outline of the almost drawn a...