18th Century Art

BRECCIA FRAGMENT PLINTH Italy, 18th Century Breccia medicea 55 x d 25 cm 21 3/4 x d 9 3/4 in

Islamic Verses in Calligraphy style is a wonderful original manuscript. One page, one-sided, in Arabic, the original sheet (cm 17 x 11) is in excellent condition and under plexiglas...

Oil on Canvas. Northern European school of the 18th century. Carataco was a Celtic king of the Briton tribe Catuvellauni and leader of the anti-Roman resistance and famous as a freed...

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...

Attributed to Francis Swaine (British, 1725–1782) Naval Engagement at Sea, 18th century Oil on panel In this evocative seascape, a cluster of ships—flags raised, cannons fired—conve...

Venetian painter (18th century) - Madonna with Child. 44.5 x 37 cm without frame, 54 x 46.5 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden frame. - I...

The Arcadian Landscape Italian School, 18th century oil painting on canvas, unframed canvas size: 32 x 40 inches condition: excellent condition for its age, fully restored. provenance: from a private collection in Paris, France. Large scale classical 18th century Italian Old Master...

An illuminated page from a book likely in reference to palace life during Emperor Jahangir's reign over the Mughal Empire. Circa 1750. Gouache and ink with gold heightening on cre...

A masterful copy by an unknown artist, after the portrait of "Beatrice d'Este" by Leonardo Da Vinci also known as ‘Portrait of a Lady’ or ‘La Dama con la reticella di perle (The Lady With a Pearl Hairnet)’. The original work originally created in the 15th Century is currently on display in the Pinacoteca Ambrosiana Museum of Milan. Beatrice d'Este was the Duchess of Bari/Milan and was believed to be one of the most attractive princesses of the Renaissance. Her impeccable style won her many admirers throughout Italy and France, and she became a trendsetter of the highest order. This copy of the original painting, is an oil on canvas done in the 18th Century, and in this exquisite portrait, the artist has masterfully depicted the fine details with draped hair, pearls, royal dress, ornate headgear and sumptuous jewelry in front of a dark background. Once again, capturing the imagination with another enigmatic smile. It comes housed in an elegant period giltwood frame with ebonized trims and ready to be displayed with hanging wire on verso. Art measures 28 x 18 inches Frame measures 34.5 x 24.5 inches There is much debate and controversy over who actually painted the "Beatrice d'Este" was it Leonardo da Vinci (1452–1519), or Giovanni Ambrogio de Predis (1455–1508). So we may never know who executed the original portrait which hangs in the museum, but that need not deter from an appreciation of its singularity. Following the portraiture convention established by painters of the Quattrocentro, the artist has chosen to portray his sitter in profile. In doing so, he magnificently captures the essence of his sitter, a girl on the threshold of womanhood. Bedecked in the adornments—silk, velvet, pearls and embroidery (brocade) crafted of spun gold threads—afforded her by birthright and marriage, Beatrice looks forward in noble serenity. And at the same time her profile with its upturned nose and slight smile betrays an innocence that must have been the basis of the oft-repeated epithet: la più zentil donna in Italia” (“the sweetest lady in Italy”). It is believed the lady is Beatrice d'Este (1475-1497), duchess of Bari and later of Milan, the wife of Ludovico Sforza (known as "il Moro"). One of the most beautiful princesses of the Italian Renaissance, she was known for her good taste in fashion. Beatrice was a member of the Este-Sforza family, which joined by marriage two of the oldest reigning and already powerful houses in Italy. The house of Este, which held court in Ferrara, traced its lineage to the 11th century Dukes of Saxony and Bavaria. Beatriceʼs father, Ercole I ruled the Ferrara commune for 34 years, catapulting the city-state (and the Estes with it) to an unmatched level of economic prosperity and cultural prominence. The family was renowned for its love of letters and patronage of the arts. The first time Leonardo da Vinci’s name resounded in the Ambrosiana, it was through the pen of its founder, Cardinal Federico Borromeo, who attributed this little panel to the great Master, describing it as “A portrait of a Duchess of Milan, by the hand of Leonardo”. Following the Cardinal’s statement, the portrait was for long assumed to depict Beatrice d’Este, the wife of Ludovico il Moro. However, scholars have recently been more cautious and vague in their statements, with regard to both the artist (anonymous Lombard or Emilian...

Edmund Garvey (Kilkenny 1740-1813) A view of Bath Oil on canvas Canvas Size 20 x 28 in Framed Size 26 x 33 in Edmund Garvey (1740 – 28 May 1813) was an Irish landscape painter whose...

Emilian painter (18th century) - Madonna with Child, St. Anne and St. John the Baptist. 38 x 48 cm without frame, 52 x 60 cm with frame. Antique oil painting on canvas, in a carved...

‘The British Fleet with a Vice-Admiral of the Red off Dover’ by Dominic Serres R.A. (1722-1793). French-born Dominic Serres didn’t just paint the drama of...

John Francis Sartorius (1775-1831) A Gentleman shooting in a landscape with a horse and spaniels Oil on canvas Canvas Size 11 1/2 x 16 in Framed...

The Merchants Port Italian School, 18th century oil painting on canvas, framed framed: 37 x 58 inches canvas: 32 x 52 inches provenance: private collection, UK condition: very good a...

Circle of Thomas Hudson (1701-1779) British. 18th Century Bust Portrait of a Lady, Oil on Canvas, Inscribed on a label verso, canvas: 30" x 25" (76.2 x 63.5cm). frame: 30 x 25 in...

Image dimensions: 15 X 10 cm. This Persian Miniature scene of men with scimitar is a unique precious original painting on the front with handwriting...

James Seymour (1702–1752) Feeding Time in the Stables Oil on canvas 32 x 38 inches inc. frame Provenance: Private Collection, Lambourn James Seymour (1702–1752) was an English painter, widely recognized for his equestrian art. Seymour was born in London. His father was an amateur artist and art dealer, whose other business dealings (as a banker, goldsmith, and diamond merchant) afforded young Seymour the leisure time to study art on his own, either his father's or the art at the Virtuosi Club of St. Luke - a gentleman's club his father belonged to, specializing in art. In a short time the boy was a self-taught artist, familiar with many of the prominent artists of the period. Seymour's love of art was matched only by his love of horses. He began spending time at racetracks early on, and before long found himself absorbed in the sport - drawing, painting, owning, breeding, and racing horses. His art proved popular among the prominent sporting families of the day, eventually garnering Seymour patrons in Sir William Jolliffe and Charles Seymour, 6th Duke of Somerset...

Oil on Canvas. Genoese school of the eighteenth century. The country landscape sees a dilapidated structure stand in the center, the ruins of a building through whose gashed walls th...

MASSACHUSETTS BAY COLONY, (Boston - September 10, 1754) William Shirley (Captain General and Governor in Chief) Printed and manuscript Document signed. 13 x 17" Complete with official seal...

This drawing by Johann Rudolf Feyerabend, known as Lelong, is a finely executed still life that captures a rustic yet elegant composition. The detailed rendering of objects—such as t...

James Seymour (1702-1752) & Thomas Spencer (1700-1753) An elegant lady and gentleman hare coursing in an extensive landscape Oil on canvas Canvas Size - 33 x 50 in Framed Size - 41 x...

After Hendrick MOMMERS (1623-1693) Haarlem Vegetable Market c1750 An early copy c1750, of an entertaining Dutch vegetable market scene in an Italianate landscape. The original was p...

‘Fire and Moonlight’ by Abraham Pether FSA (1752–1812). The painting – which depicts an extensive moonlit view across the City of London with a cottage on fire in the foreground – was exhibited at the Society of Artists Exhibition in London in 1790 and is sold with detailed provenance going back over 230 years. Such is the painting’s quality that for over 150 years it was thought to be by Joseph Wright of Derby (1734–1797) and was exhibited as such on many occasions alongside many of Joseph Wright’s paintings then in the important private collection of Lord Belper of Kingston Hall. This contemporary view of London in the late 18th century is seen from One Tree Hill in what was once the Great North Wood three miles south-east of the capital; prominent amongst the dozens of famous landmarks of Georgian...

Follower of George Morland (1763-1804). British School, farmyard scene with donkeys resting amongst their owner. Presented in a distressed dark green frame. Unsigned. On panel.

Artist/ School: English School, circa 1740's Title: Portrait of a Lady, traditionally identified as 'Anne of Chesterfield'. Medium: oil painting on canvas, framed Size: painting: ...

'Apuleio' (Apuleius) Copper-line engraving by N Billy after Giovanni Domenico Campiglia. Plate number top right corner of image. Giovanni...

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...

Still Life with Dead Birds 18th Century Italian School oil painting on canvas, framed framed: 17 x 21 inches canvas: 14 x 18 inches provenance: private collec...

This enchanting 18th-century French fête galante captures the elegance and joy of aristocratic leisure, set amidst a lush garden adorned with flowers. A scene of refined celebration,...

Two Magnificent Late Baroque Italian School Paintings Attributed to Paolo de Matteis - A Rare Pair Offered here as a single, exceptional lot are two compelling oil on canvas painting...

The Assumption of the Virgin Italian artist, 18th century based on the earlier composition by Murillo oil on canvas, framed framed: 38 x 30.5 inches canvas: 32 x 24 inches provenance...

Mother & Child British artist, late 18th century after the painting by Sir Anthony van Dyke oil on canvas, unframed canvas : 20 x 18 inches provenance: private collection, Berkshire,...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta della Basilica di S. Lorenzo fuor della mura" (Basilica of San Lorenzo Outside the Walls), published in Rome in 1750 in Piranesi's Vedute di Roma (Views of Rome), This etching depicts the Basilica of San Lorenzo Outside the Walls, which is a Roman Catholic papal basilica and parish church, located in Rome, Italy. The Basilica is one of the Seven Pilgrim Churches of Rome and one of the five "papal basilicas". It was built as a shrine to the martyred Roman deacon St. Lawrence. This Piranesi etching is held by many museums and institutions, including: The Metropolitan Museum, The British Museum, The National Gallery of Art, The Yale University Art Gallery, and The Harvard Museum of Art. This magnificent etching is presented in a brown-colored wood frame and a tan French...

Enoch Seeman Canvas Size: 30 x 25" (76 x 62cm) Outside Frame Size: 37 x 32" (92 x 80cm) 1694-1744 He was born in Danzig, now Gdansk, Poland, around 1694. His father, also Enoch...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With one 1.5 inch inch tear across the area of the top-left corner, well outside of image area. Handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: CXXI, CXXII, CXXIII, & CXXIV. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

Mother & Child British artist, late 18th century after the painting by Sir Anthony van Dyke oil on canvas, unframed canvas : 20 x 18 inches provenance: private collection, Berkshire,...

Greek icon Oil on wood, gold background 18th / 19th century

Joshua Shaw (Billingborough 1776-1860 New Jersey) An open landscape with cattle watering signed and dated 'J. Shaw. 1810' lower right Oil on canvas Canvas Size 36 x 51 in Framed Siz...

Moses Striking Water from the Rock; Circle of Pietro Dandini, Italian 1646-1712 Italian School, late 17th century oil on canvas, framed framed: 3...

Elegant Figures in Interior *see notes below Italian School, mid 18th century most likely of Venetian origin oil on canvas, unframed canvas: 10.75 x 11.75 inches provenance: private ...

Swans Startled by Dog Flemish Old Master, 18th century unsigned (as is typical of the period) oil on bevelled wood panel, framed framed: 14.5 x 17 inches panel: 10 x 13 inches proven...

The painting, large in size and with a notable decorative impact, comes from an important private collection, divided between Rome and Paris, and depicts a rural episode set in a lat...

The Birth French Rococo School, mid 18th century sepia ink on paper over board, framed behind glass. framed: 13 x 11 inches painting : 8 x 6 inches Provenance: private collection, B...

Fighting Dogs French Provincial School, 18th century oil on canvas, framed in period antique wooden frame (walnut?) Framed: 26 x 51 inches Canvas : 19 x ...

Thomas Stringer (1722-1790) A groom with a saddled bay hunter and dogs, in an extensive landscape Dated 1754 lower left Oil on canvas Unframed size 25 x 36 in Framed size 31 x 42 in ...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta dell'interno dell'Anfiteatro Flavio detto il Colosseo" (View of the interior of the Flavian Amph...

Woman is an original drawing, realized by Anonymous artists of the XVIII century. The state of preservation of the artwork is good, but with extensive foxing. The artwork represent...

Bouquet of Flowers French School, early 1700's period oil painting on canvas, framed in antique gilt frame framed: 37 x 54.4 inches canvas: 30 x 47 inches Provenance: private collect...

Oil on Canvas. Inside a 'tavern, which seems almost carved out of a cave, open to a rather barren countryside, some men eat, drink and relax at the table by the fire, while a woman s...

A hand-colored copperplate engraving of a bird and plants by Mark Catesby (1683-1749) entitled "The Crested Titmous" from "The Natural History of Carolina, Georgia, Florida and the Bahama Islands", published in 1731. It depicts a small Crested Titmous bird, facing left, perched on the stem of a plant with clusters of mauve colored star-like flowers. This original Catesby hand-colored engraving, on laid paper with a large central Fleur-de-Lys watermark, is presented in a cream color French mat. The mat measures 20" x 15.5" and the sheet measures 18.75" x 14.75". Mark Catesby was born in England to a prosperous family, but he traveled to America, first to visit his sister and her husband in 1712. From 1712 to 1719 he explored America observing its birds and plants, taking notes, creating drawings and collecting specimens. He returned to England with this material and created more detailed drawings. His next visit to America 1722-1726 allowed for more detailed research. Upon his return to England he created his monumental and beautiful work "The Natural History of Carolina, Florida, and Bahama Islands", which was published in London in two folio volumes of 11 parts each consisting of 20 plates...

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

Francis Sartorius (1734-1804) A horse and groom with a dog signed and dated 'F.Sartorius.Pinxt.1777' (lower right) Oil on canvas Canvas Size - 14 1/4 x 18 in Framed Size - 16 1/2 x 1...

Rococo interior design and furniture, etching, by Franz Xaver Habermann (1721-1796), circa 1750. Lettered 'F. X. Haberman, inv. et del. loh. Georg Hertel, excud : Aug. Vind., number...

A charming 18th-century oil study depicting a woman gathering wheat in the fields. Part of a pair of oils of women harvesting by the same hand. Unsigned. On panel.

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...

'Henley-bridge, Oxon' Aquatint published by Samuel Ireland. From his 'Picturesque Views on the River Thames'. Ireland was an author and engraver who published several series of aqua...

Late 18th Century Bronze Sculpture after the Farnese Hercules Grand Tour bronze with a fine encrusted patination on a later wooden base 16 in. h., overall 12.5 in. h., bronze 3.5 in...

This is a second state impression from three states.

A beautiful 18th century Dutch Old Master oil on panel depicting mountain goats in a landscape at sunset. Excellent quality work in very good original condition. The reverse of the ...

French School of Francois Boucher (Paris, 1703 - 1770) Putti as Fishermen (Allegory of Water) 18th century Oil on canvas 65 x 146 cm. - In frame 77 x 157 cm. We present a splendid...

German School, 1700s The Road to Emmaus oil on panel unframed: 24.3 x 17.5 cm (9.6 x 6.9 inches) framed: 34.5 x 28 cm (13.6 x 11 inches) Provenance: Swedish author and artist Amel...

Thomas Burford (British, c. 1710-1779) Hare coursing outside a country house Oil on canvas Property of a gentleman From the collection of Peter Roe Dimensions: (Frame) 12.5 in. (H)...

The painting, large in size and with a notable decorative impact, comes from an important private collection, divided between Rome and Paris, and depicts a rural episode set in a lat...

Oil on Canvas. The scene is set inside a 'marble palace, with arches and vaults; the numerous figures occupy the space in a play of intertwining bodies and crossing gazes. In the ce...

Good condition overall. With beautiful carved wooden frame. All of our works are covered by our own guarantee of authenticity which covers the work for its lifetime of ownership wit...

Heracles in Combat With Centaur from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen after Camillus Paderni in the 18th C...

French School of the 18th Century Portrait of a gentleman Pastel on paper 25 x 18 cm Framed : 49 x 32 cm The mounting of this work is marked "Attribué à Saint Aubin", which means t...

This is an early 18th century etching of the Grand Canal and Rialto Bridge in Venice entitled "Altra Veduta del Ponte di Rialto" by Domenico Lovisa, f...

18th century oil on canvas chinoiserie scene painted 'en Camaïeu Bleu'. Originally part of a decorative scheme in a dining room as an overdoor set into panelling. Provenance: From ...

The Madonna, Christ Child and St. John Italian Old Master, circa 1700's period oil painting on canvas, unframed Canvas: 28.5 x 24 inches conditon: overall very good for its age, a fe...

Artist/ School: Italian School, early 18th century The painting is almost certainly from the circle of the Italian Baroque painter known as 'Rosa da Napoli', Jacob Roos (Rome 1682-Na...

Up for sale is a beautiful Antique 18-century original oil painting on canvas depicting a portrait of a beautiful woman In a dress of dark gold brocade trimmed with lace. A bright bl...

The donkey is an etching realized by Pierre Charles Baquoy in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Pa...