18th Century Art

Property from the Estate of Mary S.B. Braga Art Sz: 8"H x 5 7/8"W Frame Sz: 13"H x 10 3/4"W

David Hall McKewan (English, 1817-1873) Raglan Castle Watercolor on paper, 9 x 13 inches (sight) David Hall McKewan studied watercolor painting under David Cox (the elder) and exhib...

Veduta dell'esterno della gran Basilica di S. Pietro in Vaticano (View of the Exterior of St. Peter's Basilica in the Vatican) Etching, 1748 From the first printing of the "Vedute di...

Art Sz: 5"H x 3"W Frame Sz: 9 3/4"H x 8" Paul Sandby RA (1731 – 7 November 1809) was an English map-maker turned landscape painter in watercolours, who, along with his older brothe...

T. Hearne Southill in Bedfordfloire (English Castles and Landscapes) Hand-colored engraving by W. Watts 7 x 5 inches, 10.25 x 8.25 (framed)

Japan: circa 1770. 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...

The Ponte and Castel S. Angelo Veduta del Ponte e Castello Sant' Angelo Etching, 1754 Signed in the plate lower right above the caption From: Vedute di Roma A proper Roman printing with the price in the lower right corner. Printed on a Double Circle Fleur de Lys watermark paper, c. 1760, with full margins. A brilliant impression . Note: A view of the Tiber River, Castello Sant' Angelo and St. Peter's Basilica in the distance. Watermark: Double Circle Fleur de Lys References: Robison c/g Hind 29 ii/VII Foclllon 793 Condition: A Roman printing before the numbers added in Paris. Printed on a Double Circle Fleur-de-Lys watermark paper. Right margin folded over 5/8 inches for framing. Usual centerfold as issued in the album. Slight aging to the sheet. Binding holes at the left margin edge Framed with plexi. Plate size: 14 7/8 x 22 7/8 inches Sheet size: 21 5/8 x 30 5/16 inches Frame size: 22 3/4 x 33 1/2 inches Sant’Angelo Bridge, Italian Ponte Sant’Angelo, ancient (Latin) Pons Aelius, ancient Roman bridge, probably the finest surviving in Rome itself, built over the Tiber by the emperor Hadrian (reigned 117–138 AD) to connect the Campus Martius with his mausoleum (later renamed Castel Sant’Angelo). The bridge was completed about AD 135. It consists of seven stone arches and five main spans of about 60 feet (18 m) each, supported on piers 24 feet (7 m) high. In the 13th century Pope Clement IV installed an iron balustrade and in the 16th century Pope Clement VII placed statues of Saints Peter and Paul...

"Poulaho, King of the Friendly Islands, Drinking Kava" is an engraving created by William Sharp (1749-1824), from a drawing by John Webber (1752-1793), who was the artist on Captain James Cook's 3rd and final voyage of discovery. It was published in the atlas of "A Voyage to the Pacific Ocean Undertaken by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere", the official British Admirality sanctioned journal published upon completion of the voyage in London in 1784 by Strahan & Cadell. Captain Cook visited Tonga on his 3rd voyage, which he named The Friendly Islands because of the warm welcome he and his crew received, unlike some of the other more hostile Pacific islands. The engraving depicts Cook and his men observed a kava ceremony at the village of Mu’a on Tongatapu. King Paulaho sits in the centre foreground, his back to the spectator with a man kneeling before him. The ceremonial mat depicted behind Paulaho indicates that nobody was allowed to sit behind him. The figure in the centre holds a single cup, referring to the Tongan custom of offering the cup to the king first. Kava is native to the islands of the South Pacific and was first described for English readers in 1768 by Captain James Cook. The kava root has been used for centuries as a central feature of ceremonies and celebrations because it was able to bring about a calming and pleasant social atmosphere. The root was crushed and processed into coconut milk to become the focal ceremonial beverage, simply referred to as kava. This engraving is presented in a Koa wood frame and a white mat. Koa wood is legendary in Hawaii. There are occasional faint spots, but the print is otherwise in very good condition. This amazing Koa wood is native to Hawaii and it is known for the deep rich colors and varied grain pattern. Koa has an honored heritage in Hawaii and is highly revered and sacred. The word “koa” means “warrior” in Hawaiian. The warriors of King Kamehameha the Great, created canoes and weapons from a wood plentiful on the Big Island of Hawaii. This wood became synonymous with the warriors themselves, and it became known as koa. There are three other engravings listed from the official journal of Captain Cook's 3rd voyage available that are presented in identical Koa wood frames and mats (LU117324682422, LU117324684052, LU117324684032). They would make a wonderful grouping for a display of 2, 3 or 4 prints. A discount is available for a grouping depending on the number of items included. Captain Cook is remembered as one of the greatest explorers and navigators in history. His explorations included Australia, New Zealand and islands of the South Pacific and the northwest coast of North America. Hawaii was discovered by Captain Cook during this voyage. Hawaii was originally called The Sandwich Islands in honor of The Earl of Sandwich...

Francisco De Goya (Spain, 1746-1828) 'Los Chinchillas (Caprichos. Estampa 50)', ca.1797-1799 burnished aquatint, etching on vellum paper 11.6 x 8.4 in....

Italian, hand painted, oil on canvas landscape with hand painted border. See other painting in separate listing that creates a pair.

A Roman, Carrara marble sculpture of the mythological Greek god Pan as a fountain. Italy.

Francisco De Goya (Spain, 1746-1828) 'Hasta la muerte (Caprichos. Estampa 55)', ca.1881-1886 burnished aquatint, etching on vellum paper 12.1 x 8.2 in. (30.8 x 21.1 cm.) 2nd Edition ...

Italian, hand painted, oil on canvas landscape with hand painted border. See other painting in separate listing that creates a pair.

Bowles, Thomas III (after John Donowell) John Bowles & Richard Wilkinson, 1751. Steel engraving with extensive hand coloring in watercolor on cream wove paper, 10 1/4 x 16 inches (...

Francisco De Goya (Spain, 1746-1828) 'Mucho hay que chupar (Caprichos. Estampa 45)', ca.1797-1799 burnished aquatint, etching on vellum paper 12.2 x 8.4 in. (30.8 x 21.1 cm.) 2nd Edi...

Late 18th – early 19th century landscape with two young girls, and goat. Signed allegedly low capital R. T. Relined/restored. Oil on canvas. 12.75 x 16.

Early naturalistic wildlife rendering by the English artist Peter Paillou. The work features a delicately rendered depiction of a possible capuchin monkey from an 18th century specim...

Colonial School, Mexico, XVIII Century "Virgen del Carmen" Oil on canvas 70 x 40 in

Together with his son Pietro Neri, Andrea Scacciati was active at the Medici court and is well known for his still lifes with flowers. His works display both Roman and northern influ...

Continental school Oil on canvas Depicting the annunciation of the shepherds 18th/19th century No visible signature Realigned/restored 26.5 x 30.5

18th century garden/park scene with fountain, animals, and figures. Tribute to Jacques De La Jove. Oil on canvas. No visible signature. 18 x 24 on framed, 23 x 30.75 framed.

Francisco De Goya (Spain, 1746-1828) 'Bien tirada está (Caprichos. Estampa 17)', ca.1797-1799 etching, aquatint, dry point on laid paper 12.5 x 8.7 in. (31.5 x 22 cm.) 1st Edition Ir...

Melanie Sherman Vintage Peacock III (Wall Piece/Dish (handpainted) Porcelain, Glaze, Overglaze, Chinapaints, 24k German Gold Luster, Brass Wire (for hanging, can be removed) Year: 20...

Francisco De Goya (Spain, 1746-1828) 'Nadie se conoce (Caprichos. Estampa 06)', ca.1797-1799 etching, aquatint, dry point on laid paper 12.5 x 8.7 in. (31.5 x 22 cm.) 1st Edition Iro...

Francisco De Goya (Spain, 1746-1828) 'Ni asi la distingue (Caprichos. Estampa 06)', ca.1797-1799 etching, aquatint, dry point on laid paper 12.4 x ...

Original gouache of a Swiss Aubusson floral tapestry rug 18th century Art Sz: 14 1/2"H x 9"W Frame Sz: 23"H x 17"W w/ silver gilt scallop frame

Lovely hand-colour engraving published 1766 of 'Le Pont Neuf Et Royal', the oldest standing bridge across the river Seine in Paris w/ FAR Gallery 746 Madison Avenue, NYC label affi...

English engraving depicting "Vue du Pont de Westminster" Bridge circa 1775-1780 Provenance: The Old Print Shop Art Sz: 10"H x 16 3/4"W Frame Sz:...

Francisco De Goya (Spain, 1746-1828) ¨Si quebró el Cantaro¨'Tal para cual¨ Serie Caprichos. Estampa 05, ca.1797-1799 etching, aquatint, dry point on laid paper 12.4 x 8.7 in. (31.3 ...

Francisco De Goya (Spain, 1746-1828) ¨Correccion¨ Serie Caprichos. Estampa 46, ca.1797-1799 etching, aquatint on laid paper 11.6 x 8.1 in. (29.3 x 20.5 cm.) 1st Edition Iron without ...

Colonial School, Mexico, XVIII Century "San Francisco Javier" Oil on canvas 18 x 14 in.

Francisco De Goya (Spain, 1746-1828) ¨Si quebró el Cantaro¨ Series Caprichos. Estampa 25, ca.1797-1799 etching, aquatint, dry point on laid paper 11.6 x 8.1 in. (29.3 x 20.5 cm.) 1st...

Francisco De Goya (Spain, 1746-1828) ¨Muchachos al avío¨ Series Caprichos. Estampa 11, ca.1797-1799 etching, aquatint, dry point on laid paper 12.4 x 8.7 in. (31.3 x 22 cm.) 1st Edi...

Francisco De Goya (Spain, 1746-1828) 'El de la rollona". Serie Caprichos. Estampa 04, ca. 1797-1799 burnished aquatint, etching on laid paper 12.6 x 8.6 in. (32 x 21.8 cm.) 1st Editi...

Up for sale is a very interesting antique 17/18 centuries original oil painting on canvas depicting a genre scene with a gentleman in black robes is approached by two elderly men a...

Invented and built by himself in the style of Inigo Jones to whom this plate is most humbly inscribed Print Sz: 10"H x 15"W Frame Sz: 17 5/8"H x 22 3/4"W w/ blue French mat & ornate gilt wood frame Inigo Jones (15 July 1573 – 21 June 1652) was the first significant architect in England and Wales in the early modern period, and the first to employ Vitruvian rules of proportion and symmetry in his buildings. As the most notable architect in England and Wales, Jones was the first person to introduce the classical architecture of Rome and the Italian Renaissance to Britain. He left his mark on London by his design of single buildings, such as the Queen's House which is the first building in England designed in a pure classical style, and the Banqueting House, Whitehall, as well as the layout for Covent Garden square which became a model for future developments in the West End. He made major contributions to stage design by his work as a theatrical designer for several dozen masques, most by royal command...

Print Sz: 15"H x 10"W Frame Sz: 22 3/4"H x 17 5/8"W w/ blue French mat & ornate gilt wood frame

José de Páez (1727-1790) Colonial Mexican painting from the 18th century. Conserved in excellent condition. "La Sagrada Familia" Oil on Copper 8 x 12 in ...

Anonymous Artist "La Anunciación" from the 18th Century. Oil on Copper 21.5 x 15.7 inches Perfect Condition It represents the moment when Mary accepts the divine designs transmitted by the archangel Saint...

Frame Size: Hight: 30.25″ x Width: 23.40″ Frame Thickness: 5.25″ Picture Size: Hight: 21.50″ x Width: 14.50″ Immerse yourself in the divine beauty of Saint Cecilia with this extra...

Map Sz: 14 1/2"H x 19 7/8"W Frame Sz: 21"H x 26 3/8"W A fine example of Cassini's 1798 map of Alaska, the Bering Strait, and Siberia. Cassini issued this map in his 1798 atlas to illustrate the discoveries made by James Cook. Cook was the first to accurately chart the Alaskan coastline and provide a detailed mapping of the Aleutian Islands. Cook's zigzagging route is shown as he skirts the Aleutian Islands, passes through the Bering Strait into the Arctic Ocean, and then turns back to sail south along the Siberian Coast. Here the Aleutians are collectively identified as Isole Alessiane, though many of the original islands...

Map Sz: 18 3/4"H x 22 5/8"W Frame Sz: 27 1/2"H x 31"W Nuremberg: Homann Heirs, [circa 1740]. Copper-engraved map, with full original colour. A highly fascinating and attractive ma...

Signed: Harunobu ga Series: Series: Eight Fashionable Parlor Views (Furyu zashiki hakkei)? Format Japanese: chuban Provenance: Private Collection, Philadelphia Collection of McCleaf ...

Castello Sant Angelo from "Vedute di Roma" by Giovanni Battista Piranesi. 2nd Roman state, 1754. Etching on laid paper with a watermark of a Fleur-de-Lys in a double circle with CB a...

European School, late 18th century. Red chalk with primo pensiero in graphite on cream laid paper, 8 1/2 x 11 1/2 inches (215 x 293 mm). Scattered light handling wear and multiple s...

Greyhound 1773-1802 Engraving 14 x 10 inches Framed: 24 x 21 inches

Classic c1780 engraving of topiary gardens overlooking Geneve, Switz. Provenance: a Newport, RI estate Image Sz: 12 1/8"H x 20 7/8"W Frame Sz: 16"H x 24"W w/ gilt wood period frame

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...

Pencil on cream laid paper, 10 x 8 3/4 inches (254 x 222 mm). Uniform age tone, scattered surface soiling, and handling wear. One pea-sized area of skinning in the top-center sheet ...

Pen and sepia ink on cream laid paper, 8 3/4 x 5 3/8 inches (222 x 136 mm). Scattered paper tape repairs on the verso in the area of the upper left corner, and along the right sheet...

A beautiful 18th century nautical scene filled with movement and activity. One etching from the series of 10 lively nautical scenes entitled Seascapes. This image depicts four vesse...

A classic Grand Tour composition. English School, 18th Century Still life with a Herald's trumpet, a Neoclassical urn, a Mason's square, and a protractor. Ink and wash in gray ink ...

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...

A large marine painting probably depicting a British East Indiaman ship returning from a voyage to the East, attributed to British artist Francis Holman (c1720-1790). Born in Ramsgat...

Denon, Baron Dominique Vivant. View of Arona. Paris: 1788. Etching on light cream wove paper, 5 1/2 x 8 1/2 inches (140 x 215 mm), full margins. Some...

A busy 18th century river scene along Amsterdam's waterfront. One etching from the series of 10 lively nautical scenes entitled Seascapes. This image depicts six vessels, from left ...

Franz Weirotter (1730-1771), Suite of 12 Views of Italy, etchings, 1759 [most signed in the plate by Weirotter]. Reference: Nagel 5. 10 printed in pairs on one sheet; one on a small...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "St. Martin's Abbey" (Plate 333) and "Lady's Chappel" (Plate 331) Portfolio: Buck's Antiquities or Venerable Remains of Above 400 Castles, Monasteries, Palaces in England and Wales Year: 1726-1739 Medium: Set of Two Original Engravings on watermarked laid paper Limited edition: Unknown Printer: Unknown Publisher: Robert Sayer, London, UK Reference: Lowndes page 303-304; Upcott page 33 Sheet size (each): approx. 11.13" x 18.25" Image size (platemark) (each): approx. 7.5" x 14.5" Condition: "St. Martin's Abbey" has a minor crease to upper left corner and repaired edge wear to lower right corner. "Lady's Chappel" has faint toning to sheet and minor soiling in margins. They are both otherwise strong impressions in excellent condition Notes: Comes from Samuel and Nathaniel Buck's three volume portfolio "Buck's Antiquities" or "Venerable Remains of Above 400 Castles, Monasteries, Palaces in England and Wales" (1726-1739), which consists of 428 engravings. Both "St. Martin's Abbey" and "Lady's Chappel" have unidentified watermarks in the center of their sheets. They both also have "Liverpool Free Public Library" chop mark/blind stamps at bottom center of their sheets. Old price pencil inscribed in margins. Saint Martin's Abbey is a community of Roman Catholic Benedictine monks who follow the Rule of St Benedict...