Early 18th Century Art

Flight into Egypt, Cusco School XVII Century. Oil on convex panel. The panel is carved on the frame, making everything one single piece of wood.

"Pair Of Neapolitan Santons, Late 18th-early 19th Century" Santons with head and limbs in terracotta, and body in tow. Good original condition. Repairs and minor accidents. High. 49 ...

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...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) The University Church of St Mary the Virgin, University of Oxford Engraving 12 x 16 cm An eighteenth-century view of the University Church, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. St Mary's was the first building of the University of Oxford and its parish consists almost exclusively of university and college buildings. Its eccentric Baroque porch, designed by Nicholas Stone, faces the High Street, and it boasts a spire which is claimed by some church historians to be one of the most beautiful in England. Radcliffe Square lies to the north and to the east is Catte Street. The 13th-century tower is open to the public and provides magnificent views across the heart of the historic university city, especially Radcliffe Square, the Radcliffe Camera...

Dominicus van der Smissen Early 18th Century Portrait of Conrad Friedrich Hurlebusch Oil on canvas Image size: 20½ x 16¼ inches Period gilt frame This is a portrait of Conrad Friedrich Hurlebusch, composer, Kapellmeister and organist, whom Van der Smissen most probably portrayed during his stay in Hamburg, Brunswick or Amsterdam. The identification is based on the reproduction of the portrait which was engraved by Pieter Anthony Wakkerdak (1740- 1774). Van der Smissen has reduced the face of the sitters to an egg-shaped oval in three-quarter view, applying diminution to one half of the figure’s torso, which is farther away from the viewer. This partial side view, with the head turned to look at the viewer over the shoulder, creates spatial depth and brings the figure to life by avoiding the stiffness of a frontal depiction. Because the artist chose to highlight the figure from above, a distinct shadow is cast under the tip of the nose, in the shape of a triangle. This is an often recurring and almost ‘signature’-like feature in Van der Smissen’s oeuvre. Hurlebusch's garments are of a very high quality and serve to reflect the sitter’s wealth, status and elegance. During this period, gentlemen often shaved their heads in order to facilitate the wearing of a wig, which wouldbe worn with a suit. Here Hurlebusch has been depicted in a luxurious turban-like cap lined with lynx fur, a highly fashionable and expensive material at the time. Over his shirt, he wears a velvet fur-lined gown adorned with decorative clasps fashioned from silver braid. The elegant informality of his appearance can be seen in his unbuttoned shirt and the unfastened black ribbon hanging from his button hole, which has been artfully arranged into a fluttering drape by the portraitist. The Sitter Hurlebusch was born in Brunswick, Germany. He received the first instructions in his field from his father Heinrich Lorenz Hurlebusch, who was also a musician. As an organ virtuoso, he toured Europe, visiting Vienna, Munich and Italy. From 1723 to 1725 he was Kapellmeister in Stockholm; later he became Kapellmeister in Bayreuth and Brunswick, and lived in Hamburg from 1727 to 1742, where he had contact with fellow composers Johann Mattheson and Georg Philipp Telemann. He made his living composing, performing and teaching. In 1735 and 1736, he is believed to have visited Johann Sebastian Bach in Leipzig, who promoted Hurlebusch’s compositions as the local seller...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) All Souls College Engraving 12 x 16 cm An eighteenth-century view of Le College de Toutre les Ames (All Souls), engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. The college was founded by Henry VI...

This painting is inspired by the "Rest on the Flight into Egypt" by Simone Cantarini called Il Pesarese, who was an Italian painter and etcher. He is ...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) Queen's College, Oxford Engraving 12 x 16 cm An eighteenth-century view of Le College de la Reine (Queen's College), engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. The college was founded in 1341 by Robert de Eglesfield in honour of Philippa of Hainault (the wife of King Edward III...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) The Bodleian Library, Oxford Engraving 12 x 16 cm An eighteenth-century view of the bea...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) The Divinity School, University of Oxford Engraving 12 x 16 cm An eighteenth-centur...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) Lincoln College, Oxford Engraving 12 x 16 cm An eighteenth-century view of Lincoln, engr...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) The University of Oxford Botanic Garden Engraving 12 x 16 cm An eighteenth-century view of one of Oxford's dreamiest spaces: the Botanic Garden, engraved by Pieter van der Aa after David Loggan, the noted engraver, draughtsman, and painter. The University of Oxford Botanic Garden was founded in 1621 and is the oldest botanical garden in Great Britain. van der Aa's engraving focuses on its architectural qualities, with four features of the garden highlighted for their beauty, symmetry, and prowess of design. Of particular interest in this etching are the four trompe l'oeil pieces of gently curling paper which frame the gates of the garden. The Danby Gate (bottom left) at the front entrance to the garden is one of the three entrances designed by Nicholas Stone...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) The Sheldonian Theatre, University of Oxford Engraving 12 x 16 cm An eighteenth-century view of Oxford's marvellous She...

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...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) Wadham College, Oxford Engraving 12 x 16 cm An eighteenth-century view of Wadham, engrave...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) St John's College, Oxford Engraving 12 x 16 cm An eighteenth-century view of Canterbury Quad, St John's, engraved by Pi...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) Gloucester College, Oxford (now Worcester College) Engraving 12 x 16 cm An eighteenth-century view of Worcester College...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) Stonehenge Engraving 12 x 16 cm Two eighteenth-century views of the pagan and mystical Stonehenge, engraved by Pieter v...

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

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) Brasenose College, Oxford Engraving 12 x 16 cm An eighteenth-century view of 'Le Nez de Bronze', or Brasenose, engraved...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) St John's College, Oxford Engraving 12 x 16 cm An eighteenth-century view of St John's, engraved by Pieter van der Aa a...

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

Celestial Music is an original black and white etching on cream-colored paper, realized by Charles-Nicolas Cochin the Elder (1688-1754), the well-known ...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) St Alban Hall, Oxford - now Merton College 12 x 16 cm Engraving St Alban Hall, sometimes ...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) Winchester College, or "Le College de St Marie de Winton" 12 x 16 cm Engraving An eig...

Le Roy Mene au Trone from the Series Le Sacre de Louis XV  (1722-1731 )  is an etching by French artist Charles Nicolas Cochin the Elder ( 1688-1754...

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

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

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

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) Christ Church, Oxford Engraving 12 x 16 cm An eighteenth-century view of Christ Church, engraved by Pieter van der Aa a...

This is an early 18th century hand-colored copperplate engraving of the anatomy of lemons by Johann Christoph Volkhamer, entitled "La parte interiore del Cedro di fio e Sugo doppio" ...

Ancient View of Prague is an original modern artwork realized in Germany in the first half of the 18th century. Original B/W lithograph on ivory paper. Inscripted on the upper cen...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) Cambridge from the East (1727) Engraving 12 x 16 cm An eighteenth-century view of Cambridge from the East, engraved by ...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) Map of Cambridge 12 x 16 cm Engraving (1727) An eighteenth-century map of Cambridge eng...

An interesting hand-coloured copper plate engraving titled 'Taking Bird with a Low Bell and Batt Fowling'. Published as part The Gentleman’s Recreations, intended for the education...

As Florence Ingersoll-Smouse wrote in 1921 in her book devoted to Jean-Baptiste Pater, "a painter of the Fête galante, Pater is interesting both by his intimacy with Watteau, to whom many of his works are still attributed, and by his own value as an artist.” This sanguine, full of life and spontaneity, is typical of the preparatory studies made by the painter to be used later in the composition of his paintings. 1. Jean-Baptiste Pater, pupil and disciple of Antoine Watteau Antoine Pater, Jean-Baptiste's father, belonged to the petty bourgeoisie of Valenciennes where he worked as a merchant-sculptor. His brother Jacques was a local painter who was probably involved in his nephew's training. Born on December 29, 1695, Jean-Baptiste Pater was first trained with Jean-Baptiste Guider, a local painter whose death in 1711 was probably the reason for Jean-Baptiste’s departure alongside Watteau, who was visiting Valenciennes. Watteau's difficult character led to their separation in 1713. Back in Valenciennes, Jean-Baptiste Pater encountered difficulties with the powerful Corporation of Saint-Luke (to which he refused to belong) which forced him to return to Paris in 1718. He reconciled with Watteau shortly before his death (on July 18th 1721), inherited the commissions that Watteau had been unable to fulfil and completed some of his paintings. Pater was accepted by the Académie Royale in 1725 but did not produce his reception painting The soldier’s revels until three years later. Throughout his brief career (he died at the age of forty on July 25th 1736), he mainly had a clientele of amateurs and received only one royal commission, shortly before his death. 2. Description of the drawing and related artworks Pater had adopted his master Watteau's method of composition. His study drawings were carefully glued in a notebook and were used to animate his compositions. His paintings sometimes suffer from a somewhat artificial composition, since the figures seem to be pasted one next to the other. This point has also been made about Watteau’s. The theme of military scenes (which was at the time included in the genre of Fêtes galantes!) was one of Pater’s favourite subjects. Together with the Bathing Women...

Trichoglossus goldiei  - John Gould lithograph with hand-colored size 54 cm X 37 cm This remarkable ornithology lithograph with hand-finished col...

Painting oil on panel measuring 40 x 30 cm without frame and 48 x 38 with frame representing a great bishop of the Venetian school from the first half of the 18th century. Very curi...

18th century hand-colored engraving on laid paper by M.R. veuve Tardieu (1732-1826) of "L'Hippotame Jeune" by French illustrater Jacques de Seve (fl. 1...

Oil on canvas Image size: 24 x 18 1/2 inches (61 x 47 cm) Gilded wood framed Provenance Estate of Judge Davis Norton and Florence Edelstein. William Bateman was a British Whig politician who sat in the House of Commons between 1721 and 1734. He was made Knight Companion of the Order of the Bath...

This colorful and detailed 17th century hand-colored copperplate map by Frederick De Wit was published in Amsterdam between 1666 and 1760. The map depicts the Île-de-France, which is one of the ancient provinces of France. Paris is located in the center of the map, with Versailles to the southwest The map extends from Rouen in the west to Reims in the east. The area around Paris, the Véxin Français, was the original domain of the king of France. Other areas were ruled by French feudal lords. For example, the Véxin Normand area was the domain of the Duke of Normandy...

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: ...

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

Kameya - Tea House Lithography by Utagawa Hiroshige (Ando Hiroshige) Print in Good Condition Measures 12.5 in x 19 in

Ciconia Nigra - John Gould lithograph with hand-coloured size 54 cm X 36 cm This remarkable ornithology lithograph with hand-finished colour is ...

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...

Trogon Personatus - John Gould lithograph with hand-colored size 54 cm X 36 cm This remarkable ornithology lithograph with hand-finished color i...

This 18th century hand-colored copperplate celestial map by Johann Doppelmayr entitled "Theoria Planetarum Primariorum In qua ipsorum motus in Copernican...

A hand-colored copper plate engraving depicting flowering "Melocactos" (Turk's Cap Cactus or Mother-in-law's Cushion), "Rosa Hiericontea aperta" (Rose of Jericho Unfolded), "Rosa Hie...

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.

Pair of rare Botanical Hand Colored Engravings about 1737-1745 Beautifully framed French hand painted mat, in gold leaf frame each print measure 9.5x14.5 Johann Wilhelm Weinmann (1...

Pieter van der Aa (1659-1733), after Jan Kip (1652/3-1722) Old St Paul's Cathedral (1707) 14 x 17 cm Engraving A view of the nave of Old St Paul's Cathedral, engraved by Pieter van der Aa after Johannes 'Jan' Kip, the Dutch draftsman, engraver and print dealer...

Pieter van der Aa (1659-1733), after David Loggan (1634-1692) The Costumes of the University of Cambridge (early 18th century) 14 x 36 cm Engra...

This 18th century hand-colored copperplate celestial map by Johann Doppelmayr entitled "Astronomia Comparativa in qua Planetarum Primaria Phaenomena" (Co...

The present collection is a set of 131 prints after Gerard Hoet, the Dutch golden age painter and engraver, depicting various biblical scenes. Hoet was a leading artist in the Classicizing Dutch Academic style, and his work is defined by history paintings, with a particular interest in mythological, classical, historical, and biblical scene, in particular Old testament scenes...

"Veduta del Sepolcro della Famiglia Plauzia per la Strada Che Conduce da Roma a Tivoli vicino a Ponte Lugano" from "Le Antichità Romane" (Roman Antiquities), one of the most famous works by Piranesi. "Antichita" illustrates the tombs along the Appian Way...

Matteo Bonechi (Florence 1669 - Florence 1756) Presentation of Jesus Oil on canvas, cm. 75 x 49 – with frame cm. 89,5 x 65 Shaped, carved and gilded wooden box frame Expertise: Sandro Bellesi Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti (From the Giorgio Baratti Collection) curated by Anna Orlando, Agnese Marengo and Annalisa Scarpa, Genova, 2022, pp. 20, 21. The present painting is a very interesting testimony of the creative process of Matteo Bonechi, one of the leading artists on the Tuscan art scene in the early 18th century. The canvas in question is in fact the last preparatory model made by Bonechi before he executed an altarpiece for the church of San Filippo Neri in Cortona in 1716. The scene presented here is that of the Presentation of Jesus, when, forty days after his birth, the child is ransomed through an offering in the temple and placed in the hands of Simeon, who prophesies his future: the coming of the Messiah...

This 18th century hand-colored copperplate celestial map by Johann Doppelmayr entitled "Phænomena Motuum Irregularium quos Planetar inferiores Venus et M...