18th Century Art

James Seymour (1702-1752) A Standing Leap at a Gate Mezzotint with hand colouring Image size 10 x 14 in Framed size 16 1/2 x 20 in James Seymour was an English artist renowned for h...

This early 18th century hand-colored copperplate map of North and South America entitled "Totius Americae Septentrionalis Et Meridionalis Novissima Repraesentatio" was created by Johann Baptist Homann and published in Nuremberg, Germany, between 1710 and 1731. The map details cities, forts, mountains, forests and lakes, as well as districts. There is a decorative cartouche in the lower left which depicts a volcano, scenes representing the people in their native costumes, as well as animals and plants of the Americas. A village is seen in the background on the left. A second smaller decorative cartouche in the upper right includes text and a series of allegorical figures. A large portion if the north central and western portions of North America is left without detail, because the region was largely unexplored at the time this map was created. The map also shows "Terra Esonis Incognita", representing a mythical continuous land bridge from North America to Asia, a northwest passage. The map preceded the French and...

John Thomas Serres (1759-1825) Fisherfolk unloading the days catch Oil on canvas Canvas Size - 17 x 25 in Framed Size - 22 x 30 in John Thomas Serres, a luminary in the realm of mar...

The Arrest of Marie Antoinette is a rare etching realized by Jean Baptiste Verite in the Late-18th Century. Good conditions with slight foxing. The artwork is realized through deft...

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

This superb British 18th century Old Master oil painting is attributed to circle of noted landscape artist Richard Wilson. Painted circa 1750 it is a stunning light, bright and airy expansive panoramic landscape. There is a river in the foreground and mountains in the background. On the left of the river stands some ruins and on the right, figures are resting under the trees. The palette of blues, greens and very varied and rich with some lovely pinky brown tones for the land on the right. The brushwork is also delicate but confidently executed. A superb example of a British Old Master landscape oil painting, finished off in a carved and gilt wood English Rococo frame with name plate. Provenance. The Asbjorn Lunde Foundation, Inc. Throughout his long life, Mr. Lunde supported more than forty museums in his native New York, across the United States, and in Europe with loans, gifts, and funding. Mr. Lunde was a proud New Yorker with roots in Norway. He was keenly interested in nineteenth-century Scandinavian and Swiss landscape painting, Old Master painting, and Asian decorative arts. According to an old label to the reverse, the present painting was once owned by James Northcote (1746-1831) who gave it to William Hillman on 25th May 183(0?) Property of the Bacot family. Christies stamps verso. Watson Gallery London. Remains of label verso. Condition. Oil on canvas, 26 inches by 18 inches and in good condition. Frame. Housed In a carved and gilt wood English Rococo frame bearing Richard Wilson name plate, 33 inches by 25 inches and in good condition. Richard Wilson RA...

James Fellowes Flourished 1719 - 1750 Portrait of William Henry Kerr, Earl of Ancram, 4th Marquess of Lothian Oil on canvas, signed & dated 1747 Image size: 29 1/2 x 24 1/2 inches (75 x 62 cm) Original gilt wood frame William Henry Kerr was born a member of the Scottish peerage to William, third Marquess of Lothian, and his first wife Margaret, daughter of Sir Thomas Nicholson of Kemnay, first Baronet. William was styled Master Jedburgh until 1722, when his father was elevated to a Marquessate, after which he was referred to as Lord Jedburgh until 1735. Following his father’s military footsteps, on 20 June 1735 Ancram was commissioned as a cornet to the regiment (11th Dragoons) of his grand-uncle, Lord Mark Kerr. Ancram married Lady Caroline...

Appearance is a black and white etching on cream-colored paper, realized by Charles-Nicolas Cochin the Elder (1688-1754) in 1750s. Good condition.

A beautifully hand carved Roman marble bust of an Emperor or Senator. The richly draped robe features a relief of a face.

Gaspare Diziani (Belluno 1689 – Venice 1767) - Madonna and Child. 74 x 58 cm unframed, 88.5 x 69.5 cm with frame. Ancient oil painting on canvas, in a carved and gilded wooden fram...

This a rare 18th century hand-colored large folio-sized copperplate engraving entitled "Platalea leucorodia" (Spoonbill) by Cornelius Nozeman in volume II of his publication 'Nederlandsche Vogelen', engraved by Christiaan Sepp or his son Jan Christiaan Sepp, published in Amsterdam in 1770. This engraving depicts a Platalea leucorodia Spoonbill, a large bird that lives mainly in Europe, Asia and Africa. It commonly migrates long distances on thermal air currents from the colder Northern European climates to Sub-Saharan Africa in the winter, sometimes as far long as Finland to South Africa. The Asian black stork...

This is an original antique colored botanical mezzotint and line engraving of flowering Red Geraniums which is finished with hand-coloring. It is entitled "Geranium Anemones folio Af...

Escuela española; siglo XVIII. San Joaquín, Santa Ana y la Virgen Niña. Es un Óleo sobre cobre anónimo y buena calidad pictórica. Medidas de la obra: 69 x 87 cm. Medidas del marc...

A hand-colored copper plate engraving depicting "Calendula prolifera; Calendula lutea flore pleno; Calendula lute medioruffa" flowers from Basilius Besler's landmark work, Hortus Eys...

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...

Pair of Religious Scenes are an original pair of old masters' artworks realized in the 18th century by Anonymous Italian artist. Oil on canvas. Pr...

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

Venetian Master (18th century) - Mask of Columbine. 161 x 68 cm unframed, 169.5 x 76.5 cm with frame. Antique oil painting on canvas, in a white lacquered wooden frame (not signed)...

Olio su tela. Scuola francese della seconda metà del XVIII secolo. Probabilmente opera di un seguace di Claude Joseph Vernet (1714 -1789), pittore francese specializzato in marine e ...

Neo classical school, France, end of the 18th Century Allegory of Time, Pen and black ink on paper, gray ink wash 30.5 x 19 cm irregularly shaped In g...

Galleria grande di Statue Etching, 1743 Signed lower left corner of the plate From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s Condition: Excellent Image size: 14 5/8 x 9 3/4 inches Reference: Robison 2 iii/V Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

Ferdinand von Kobell (1740–1799) Figures by a River at the Edge of a Wood Black chalk, stump and white chalk highlights, on paper 19 x 28.8 cm Signed and dated lower right: 1777 P...

Thomas Hudson (Devon 1701 - London 1799) Portrait of a Notable in his Study Oil on canvas 124 x 102 cm. In antique frame 142 x 120 cm. This fascinating portrait is a valuable te...

This is an 18th century engraving and etching entitled "Parmigiani Amica" by Robert Strange after a painting by Girolamo Francesco Maria Mazzola, better known as Parmigianino, who lived during the Renaissance period. It was published in London in 1774. As the inscription states, the painting was in the collection of the King of Naples at the time the engraving was made. The engraving depicts a half-length portrait of a young woman, known as Parmigiani's Amica (meaning "female friend" in Italian). She is depicted wearing a simple but elegant dress with a low-cut neckline, which reveals her delicate features and graceful neck. Her hair is arranged in a simple yet stylish manner. She is turning to the right to look lovingly at her infant, which she is holding with her right arm. She is touching the baby's mouth with her left hand. The background of the engraving is plain and unadorned, allowing the viewer to focus entirely on the subject of the portrait. The result is a beautiful and timeless image that captures the essence of Renaissance portraiture. The engraving is printed on watermarked paper. The sheet measures 16.25" high and 12' wide. The sheet is adhered to paper in its upper corners and it has been removed from the paper in its lower corners. There is some mild discoloration and some wrinkling in the margins, including the lower inscription area, and a small dark spot in the upper margin, which may represent a drop of ink occuring at the time of printing. These issues do not involve the image, which is in very good condition. The print is held by several museums and institutions, including: The Metropolitan Museum of Art in New York, The British Museum in London, The Royal Museums of the UK, The British National Trust...

Eight 18th century-era fashion plates from the portfolio Modes, by Madeleine Connat. Paris: Paris Etching Society, 1951. Each an engraving with hand coloring in watercolor on cream ...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "Stramonia Aegyptiaca foetida semine pallido flore albo duplici triplicive...

Signed and dated indistinctly under the mount. Presented in a gilt frame and wash-line mount. On paper.

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...

This is an original 18th century hand-colored map entitled "An Accurate Map of the East Indies Exhibiting the Course of the European Trade both on the Continent and Islands" by Emanu...

- ANNA CATERINA GILLI or GILLI Anna Caterina Turin 1729- 1751 Her paintings recorded in Turin as a decorative artist for the Royal Palace and the Stupinigi, working in a simil...

Pair of still life paintings with floral vases in Baroque style. The vertically arranged bouquets display a wonderful composition of various colorful flowers. Oil on canvas. Image s...

A very interesting and important Engraving, framed between two glasses and two colors natural and gilded wood frame of the Plan of the palace of Caprarola that inspired the American ...

Copper-line engraving. 1781. From John Latham's 'General Synopsis of Birds' 1781-1785, and its Supplements. Plate number top left. Laid paper. John Latham was the leading English or...

Copper-line engraving. 1781. From John Latham's 'General Synopsis of Birds' 1781-1785, and its Supplements. Plate number top left. Laid paper with watermark. John Latham was the lea...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Geniculata Wieder Kraief, B. Genipa seu Ganipaba". It is plate 531 in...

Provenance: Dukes of Marlborough Collection, Blenheim Palace until its sale at Christie's London on 26 July 1886 (lot 172) English private collection until its sale at Christie's London on 11 December 1992 (lot 363) Erna Weidinger Collection (1923 - 2021) - Austria Literature : Georg Scharf - A list of the pictures in Blenheim Palace - Catalogue raisonné Part 2 - London 1862 (page 166 - number 199 "after Palma Giovane") Charles Davies...

After the Hunt Jan Josef Horemans the Younger Antwerp 1714 – 1790 Flemish School Signature: Attributed to Jan Josef the Younger Horemans Medium: Oil on canvas Dimensions: Size incl...

A miniature English School portrait of two children holding a loving embrace. Well presented in a charming bird's-eye maple frame with internal gilt slip and glazing. Unsigned. On pa...

Arabic Calligraphy of praying is a precious manuscript reporting Islamic Sacred Verses in an ancient calligraphy style. One page, one-sided, in Ara...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "Castanea Equina, Chateignier amaire (Horse Chestnut)". It is plate 342 in...

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 ...

A romantic late 18th-century pastel portrait, attributed to the German portraitist Johann Heinrich Wilhelm Tischbein (1751-1829). Exquisitely presented in its original giltwood frame...

Madonna with Sleeping Child Follower of Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) Roman painter 18th century Oil on canvas Measurements: canvas 64 x 50 cm, in frame 76 x 62 cm. This delicate depiction of the Madonna in adoration of the Child exhibits all the human dimension and sweetness of the maternal atmosphere: Mary clasps the sleeping child to her in a tender embrace, which touches her cheek, enveloped and protected by the mantle and even a flap of the mother's veil. The pictorial style and composition recall the ambit of Giovan Battista Salvi, the Sassoferrato, who distinguished himself expressly for this subject, with the Virgin immortalised in a humble and strongly earthly pose, depicted with simple white, red and blue colours and delicate plays of nuances on the faces and hands. This iconographic prototype was so successful that it became the painting for countless works destined for devotion during the 17th and 18th centuries, particularly appreciated for private commissions due to its marked gentleness and formal perfection, particularly of the faces. Born in Marchigiano, Salvi developed his activity in Rome, following the dictates of the classicist sacred painting of the Bolognese school of Reni, Carracci and Domenichino, but succeeding in having an autonomous and therefore clearly distinguishable style.  In very good overall condition, there are some small scattered restorations and some unravelling of the painted surface. Framed in a beautiful gilded frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda...

A very good impression of the published state of this work after Nicholas Lancret (1690-1743), painter of “Fetes Galantes.” Mercure de France announce...

Bold antique copper engraving of the floor plan of a French cathedral from Recueil d'Architecture, 1780. Original artwork on paper displayed on a whi...

This is a wonderful Guardi's Triptyc, composed by three oval oil painted panels attributed by some of most reputable scholars to the Venetian old master Francesco Guardi (1712-1793)....

"The two Armies being engaged by break of day, Jupiter sends Iris to bid Hector retire from the Fight, and not return till Agamemnon's wounds had obliged him, to withdraw from the Fi...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "a. Pisum Minus sine Putamine, b. Pisa Indicum". It is plate 819 in Weinma...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Convolvulus Major Folio Subrotundo Purpureg Albo, B. Convolvulus Major...

English School, 18th century Pen and black ink with gray wash on cream laid paper, 9 1/4 x 5 inches (238 x132 mm). 1/4 inch repaired loss, top center, to the left of the figure’s h...

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 ...

Framed 18th-century pen and ink drawings of elaborate capital and base supports, inspired by Ancient Greek architecture and design. Well presented in a fluted gilt-effect frame. Unsi...

Portrait painting of a young woman dressed in black with a bonnet. The woman has a rose in her right hand and presents her left hand with a r...

Landscape is an etching realized by Pierre-François Laurent in 1755. Good condition. Signed on Plate. The artwork is depicted through confident strokes. The etching was realized ...

The Coronation of the Virgin. Oil on copper. All of our works are covered by our own guarantee of authenticity which covers the work for its ...

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...

La obra no va firmada, es de augtor anónimo Se presenta sin enmarcar la pintura El estado de conservación de la pintura dse puede ver, presenta faltas y precisará restauración Med...

Copper-line engraving. 1781. From John Latham's 'General Synopsis of Birds' 1781-1785, and its Supplements. Plate number top left. Laid paper. John Latham was the leading English or...

Well presented in a simple mahogany frame and cream mount On wove.

Well presented in a simple mahogany frame and cream mount. On wove.