18th Century Art

A topographical engraving of Maugersbury in Gloucestershire by Johannes 'Jan' Kip (c.1652-1722). From 'The Ancient and Present State of Gloucestershire 'by Sir Robert Atkyns, publish...

Sagittarius is an original etching artwork on paper realized by Charles De la Haye after Andrea Stech, in the 18th century. Signed on the plate on the lower. ...

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...

Leo is an 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. Amazin...

Valuable painting depicting 'Arcadian landscape with figures along a stream and villages in the distance', attributed to Jan Frans Van Bloemen, L'Or...

After William Hogarth (British, 1697–1764) Royal Sports PIT TICKET • Engraving by William Dent (British), active from 1783 to 1793 • Inscribed bottom right: Dent sculp • Plate ca. 7.6 x 9.1cm • Image ca. 6.3 x 7.9 cm • Sheet ca. 23.5 x 15 cm Fantastic imagery full of detail and symbolism – For example discover the cast shadow of the dept collector with his truncheon, looming over the winner, whose fast gained riches are being stolen by a thief as we watch. This well know subject was originally created by the famous British artist William Hogarth and then reproduced over time by many contemporary artists as prints of various formats and as paintings. Here we have a rendition engraved by William Dent, who was active from 1783 to 1793 and signed his work in the plate bottom right. I think this impression would date to the late 18th or then to the very early 19th Century. I was told, that these small prints, served as entry tickets to cock fights in Georgian England...

Engraving of Veduta della Piazza di S. Marco, verso L'Horologio by Pierre van der Aa. Printed in 1722. Unsigned. Unframed. Image size, 11 x 13 5/8 in. Has the original center crease.

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

Cain & The Death Of Abel, 18th Century School of William Blake (1757-1827) Circa 1790 English School depiction of Cain and the Death Of Abel, oil on canvas. Rare biblical depiction...

Louis-Félix de La Rue (1730-1777)  A biblical or mythological episode Signed and dated lower right (under the mount, see photos of the drawing out of frame) ...

A stipple engraving with etching, coloured in plate, by Charles Wilkin (c.1750-1814) after Sir William Beechey RA's (1753-1839) painting 'Portrait of...

Ancient Ruins is an original old master artwork realized by Abraham Rademaker (1677-1735) in 18th Century Wonderful watercolor by the famous 18th-centur...

Oil on canvas Image size: 17 x 23 1/2 inches (43 x 60 cm) Contemporary William Kent hand made frame

After a copper engraving (46 x 34 cm) by Gilles Rousselet after Van Dyck, ca. 1640 Paris. Oil on cardboard, 44 x 35 cm Trompe-l'oeils are pictures whose depicted objects are painte...

Gaspare Diziani (Belluno, 1689 - Venice, 17 August 1767) Gilded, carved and sculpted wooden cassetta frame Expertise: Ugo Ruggeri The narration of our...

Circle of Sir Godfrey Kneller Dutch, (1646-1723) Portrait of a Lady in an Ermine Trimmed Cloak Oil on canvas Image size: 26.5 inches x 22.5 inches Size including frame: 33.5 inches x 29.5 inches A well-executed half-length portrait of a lady painted in a feigned oval, circle of Sir Godfrey Kneller. The use of a feigned oval was a device used in portraiture to give a sense of depth and add an intimacy to the painting, drawing your attention to the sitter. The subject, posed without her wig in the undressed fashion of the day, wears a blue ermine trimmed blue cloak over a white silk robe...

A fine engraved portrait of the founder of the modern police force,Gabriel Nicolas de la Reynie (1625-1709), engraved by Pieter Van Schuppen (1627-1702) after the original portrait b...

The Roman Gods In An Allegory Of Love, 18th Century Italian School Large 18th Century Italian School "Allegory of Love" in a panorama of Roman Gods, o...

Ouse Bridge York Antique Print Matt size 30cm x 33cm Image Size 12cm x 17 cm

An engraving by Johann Jakob Frey the Elder (1681-1752) after Domenichino (1581-1641), printed from the original plate, depicting the Old Testament scene...

After Simon Johannes van Douw (Antwerp c. 1630 - c. 1677) The stop of a traveler on horseback near a post station Oil painting on canvas 45 x 55 cm In frame cm. 55 x 65 In this pleasant painting, depicting a knight parked near a post station, the Flemish tradition is based on a strong Italianizing sensitivity, especially by observing the setting and its peculiar brightness. The mixture of genres and the particular style of execution make it easy to trace the authorship back to a Nordic author but active in Rome, or strongly influenced by the style in vogue in the Eternal city, between the seventeenth and eighteenth centuries: we are referring, in in particular, to a follower of the Antwerp Simon Johannes van Douw. The chromatic elegance and refinement with which he outlines the figures are typical aspects of his painting. The scene takes place outside a cottage, probably a post office for travelers, where a modest family divides the tasks by assisting the knights. We see a young boy who hands water to the horse before he sets off again, the father is preparing to feed him with straw and the mother who instead takes care of the little son. The Italian reminiscences, evident in our painting, have been absorbed by many Northern European authors such as Nicolaes Berchem, Philips Wouwerman or Johannes Lingelbach, all inspired by the leader Pieter van Laer...

Etching on light cream laid paper, 8 x 5 1/2 inches (200 x 138 mm), 1/8-inch margins. Minor repairs, including expertly repaired lower right corner, and minor light in-painting at l...

Portrait Of Lady Maynard, circa 1745 English School Large 18th Century English portrait of Lady Maynard, oil on canvas. Excellent quality and condition portrait of the young woman ...

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...

French school of the eighteenth century Atelier of Jean-Marc Nattier (Paris 1685 - Paris 1776) Portrait of a gentleman in armor Louis XV period - early 18th century Oil painting on canvas, 81 x 65 cm., In frame 97 x 80 cm. The painting examined here, depicting a gentleman in a knight's armor, presumably a noble officer, can be dated to around the beginning of the 18th century and is evidently a work to be referred to the prolific and prestigious Parisian workshop of Jean-Marc Nattier (Paris 1685 - Paris 1776), one of the most significant portrait painters of his time and a great interpreter of the French school, one of the leading portrait painters of the reign of Louis XV. Thanks to his numerous pupils, he produced a large number of splendid portraits, such as the work we are offering you, which fully exhibits the formal and aesthetic elegance required by the master's atelier for the demanding aristocratic clientele. Note the meticulous rendering of the facial features and the sharpness of the contours highlighted by the light, both in the details of the face and in the reflections of the armor, rendered with great skill. Behind our portrayed, presumably to evoke his military exploits or to honor a recent victory, a glimpse of a battlefield is depicted, still in the midst of combat, with the fumes of the cannons that are dispersed in the sky, with the typical colors gray-blue used by Nattier in his works. The pose of our lord is royal, canonical to all officers of rank, following the favorite formula for the portraits of the members of the French aristocracy, presented in half-length to three-quarters and with a proud gaze towards the observer, as illuminated by the glow of his own prestige: in our case he wears the parade armor and is immortalized with the classic hairstyle surrounded by a bow on the back from which a long lock of hair starts. The work is presented in an excellent state of conservation, with a gilded wooden frame. For more information, please contact us. It is also possible to see the painting in our gallery in Riva del Garda...

Sir Thomas Lawrence PRA 1769-1830 Portrait of a Gentleman Pastel on paper Mounted and gilt frame Provenance Old label verso describes how this was drawn in 1783 at the age of 14! This rare early portrait drawn in Bath shows the level of technical skill that Lawrence had reached at 14 years old. His use of colour and tone to depict flesh and all the subtle variations in the texture and pigmentation of his sitter’s face, powdered hair and clothes show how Lawrence conceived pastel as a form of painting and partly explains how he could have made the smooth transition to oil painting so soon afterwards. When he arrived in Bath from Devizes in 1780, eleven-year-old Thomas Lawrence (1769–1830) was promoted as a natural-born genius like his Renaissance predecessor Raphael. The local press announced the arrival of the boy wonder and his ‘Striking Sketches’, inviting the ‘Nobility and Gentry’ to sit for their portraits. Thomas Lawrence was a prodigious portraitist from the age of just eight, when he began to draw his first portraits in pencil...

Philips Galle after Hendrick van Cleve III An extremely fine Dutch engraving on laid paper. Italian landscape with probably the ruin of the cemetery o...

Art Sz: 5 3/4"H x 5 5/8"W Frame Sz: 10 3/8"H x 10 3/8"W Property from the Estate of Paula Peyraud

A fine 18th-century view of Bath Abbey, engraved by Johannes 'Jan' Kip (c.1652-1722) for one of the most important English topographical publications of the 18th century, 'Britannia ...

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

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

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...

William Henry Haines (1812 – 1884), Ca’ d’Oro in Venice Oil on canvas cm 61 x 101 signed (W Henry) and dated (unreadable) lower left. On the back, labels tha...

Pontefract church, Yorkshire Antique print 1785 Matt size 30cm x 33cm Image Size 12cm x 17 cm

An oil painting by Adolf Friedrich Harper from 1799. A rare antique painting from the romanticism era. Framed in ornate gold wood frame, signed in lower left corner. Artist: Adol...

Thomas Spencer was a leading sporting and equestrian artist of the period of John Wootton and James Seymour; his art shows a considerable to debt to tha...

View Newport Castle from the opposite bank of the River Usk, shows the bridge. Printed in 1784 Matt size 24cm x 26cm Image Size 11 cm x 15 cm

Chiaroscuro woodcut with underlying engraving on cream laid paper, printed from two blocks in brown and olive. 10 1/4 x 12 3/4 inches (260 x 321 mm) (plate), full margins with the text printing clearly below in black ink. In very good condition with scattered surface soiling and several minor flecks of light discoloration in the margins, especially in the area of the lower right corner, well outside of image area. Unobtrusive notations in pencil in the margin and on the verso. All condition issues are consistent with age. After a drawing of the same title by Polidoro da Caravaggio...

Pisces is an original etching artwork on paper realized by Charles De la Haye after Andrea Stech, in the 18th century. Signed on the plate on the lower. Good...

What is so wonderful and unusual about this 18th Century portrait is the relatability of the sitter. There is an openness to the world in his gaze, curiosity, a sense of humour, pass...

Piedmontese painter of the eighteenth century Pendant of paintings Landscape with wild boar hunting scene Landscape with pastoral scene Oil on canvas, 66 x 132 cm, framed 68 x 134 We show you this pleasant pendant of paintings, characterized by a clear atmosphere and a delicate chromatic harmony, in perfect harmony with the rocaille taste of the Savoy capital of the full of the second half of the 18th century, and can be compared to a Piedmontese painter, presumably active in Turin in that period. The first work, with a pastoral and Arcadian character, shows a small group of shepherds, intent on guarding their animals: the romantic theater that sees a shepherd on horseback singing a song to cheer the rest of the companions to make the scene affected. In the second work, however, the composition is centered on the lively and rich group of figures of hunters who, armed with swords and spears and with the help of hunting dogs, surrounded the wild boars. The style of our two canvases, as well as the type of subject represented, evokes the compositions of Vittorio Amedeo Cignaroli (Turin, 1730 - 1800) with the illustrative tradition repeatedly addressed by the author, the main landscape painter of Piedmontese Rococo, as recalled in the canvases made for the Palazzine di Stupinigi and Racconigi. His technical ability and his rigorous craft earned him the esteem of the Savoy court and consequently of the Piedmontese nobles. His workshop expanded considerably due to the numerous commissions, inducing him to avail himself of the help of a considerable number of workers, apprentices and professional painters who deal with the landscape, figures or costumes according to their specialization, so it becomes difficult to establish whether a work is a workshop or an independent painter. Paintings of this format and of these subjects, often made in groups, were commissioned to be placed in palaces or in small Piedmontese and Lombard castles. Shape and size would suggest that the canvases were originally placed as over the door...

Al Dolo is an original Artwork realized by Giovanni Antonio Canal, commonly known as Canaletto (Venice, 1697 - 1768). Original Etching on Laid paper, 1735-1744. The work is from th...

A very fine late 18th century watercolour of the Derbyshire countryside. Finely presented in a washline mount and gilt effect frame. Inscribed on the reverse of the frame "Verso - view of Grange from an emergence to the southward with the Derwent River and Lake...

Mythological Scene is a mixed colored painting on board realized by Anonymous artist in the XVIII century. The artwork represents a mythological scene with women and cherubs. Inclu...

Giuseppe Zais (Canale d'Agordo, Belluno 1709 - Treviso 1781) Pendant of paintings - The assault of the brigands / After the assault Oil on canvas, 108 x 42 cm. each In the frame 128...

Pair of views of Rotterdam: The Stock Exchange building / View of the canal with the old port Eighteenth-century Vedutist painter oils on canvas 47 x 66 cm. - with frame 56 x 75 cm. This pleasant pair of paintings depict two glimpses of the city of Rotterdam, investigated here as vivid documentaries of the habits and customs from the public life of the wealthy Dutch port city, as well as one of the founders of the Dutch East India Company, is an excellent example of 18th century Vedutism We see, in particular, in the first work the monumental Palazzo della Borsa (defined as Il Beurs), designed by the architect Adriaen van der Werff in Westnieuwland, initially a place destined for legislation on trade, where merchant-bankers met periodically to exchange securities credit and enter into sales; it is located on the bank of the Nordblaak River and shot with the Gaapers Bridge in the foreground. The second work immortalizes the docking of the ancient port of Rotterdam, with the foreground view of the two city gates (the Wester Old Hoofdpoort on the left and the Ooster Oude Hoofdpoort on the right); in the background on the left the St. Laurenskerk (Church of San Lorenzo), also called the Great Church of Rotterdam, is the only medieval structure, while on the right the English Church. Very well executed, characterized by a marked brightness and a chromatic range with bright colors and highlighted by the contrast between lights and shadows, our canvases are a very interesting testimony of eighteenth-century Rotterdam, portraying two of the views that have historically influenced a lot on economic history of the city. We can attribute the authorship to an author of the full eighteenth century, inspired by the pictorial style of the Italian landscape painters and whose iconography was presumably drawn from the numerous prints with perspective views made through the optical cameras. In particular, these views of Rotterdam draw their iconographic origin from a collection of perspective prints of the most influential European cities, made by the engraver Johann Balthasar Probst (1732-1801), characterized by a remarkable refinement in the line, at the service of a sense of perspective of undoubted value, and above all characterized by a strong Nordic taste. Descendant of a large family of Augsburg engravers, Probst contributed to making his workshop an important European publishing center between the 17th and 18th centuries, among the major German print publishers in the first half of the 18th century. Despite his travels, including in Italy, between Venice, Rome and Naples, not all the cities he portrayed were drawn from life but taken from earlier prints and drawings and filtered through northern European clichés. Many of these engravings have been lost and are now difficult to find on the antiques market.

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

Antonio Mercurio Amorosi (Comunanza 1660 - 1738) Portrait of a little girl with cat Oil on canvas, cm. 42 x 31.5 – with frame cm. 56 x 44 Shaped, carved and gilded wooden cassetta fr...

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

French 18th century old master portrait of a majestic and elegant lady. The aristocratic lady gazes at the viewer with a kind and enigmatic smile and twinkling eyes. In comparison w...

Pair of Framed Giovanni Battista Piranesi Architectural Vases Etchings C.1770 Outstanding pair of antique etchings by Piranesi A Sua Eccellenz...

Battle scene is an original print, realized in mid-18th. Century by the German artist Christian Johann Rugendas (1708-1781) . Tching and Aquatint on paper. Passpartout included 35x5...

A charming watercolour showing a mother and father raising a small child onto the back of a horse while three more children sit on a wooden sled pull...

Artist/ School: circle of Julius Caesar Ibbetson (29 December 1759 – 13 October 1817) Title: Figures by stone bridge against a river highland landscape, beautifully detailed early w...

Price is for each framed print (several available). Hand-coloured mezzotint engraving from: ""Phytanthoza Iconographia"", c1739, presented in a hand-made parcel-gilt, ebonised and ...

Collections: Robert Gallon (1845-1925); Private Collection, UK. Oil on canvas laid down on panel Framed dimensions: 11.5 x 10 inches This highly engaging, previously unpublished portrait by Johan...

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...

French School, Portrait of a Young Lady, perhaps an actress Oval Louis XIV sculpted and gilded frame French Art, Roccoco Art The oval portrait of a young woman measures 61 by 50,5 cm canvas sight size and its 18th century oak carved and gilded frame...