Late 18th Century Art

During his stay in Italy from 1734 to 1752, Joseph Vernet made several trips to Naples between 1737 and 1746, where he painted numerous maritime scenes. The pre...

This simply stunning German 18th century Old Master oil painting is by noted artist C.L. Braun, signed lower right on the table edge. It was painted circa 1780 and has the look of a...

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

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...

18th century portrait painting of a clergyman Pieter Van Bleeck (follower) A fine late 18th century/early 19th century portrait oil on canvas three quarter length study of a clergyman The artist has managed to capture the gentle demeanour of the sitter. housed in a gilt frame by a follower of Pieter Van Bleeck the size being 58 x 69 cm approx whilst overall the picture is 76 x 90 cm In very good condition having been cleaned and relined at some point. Pieter Van Bleeck Petrus Johannes (Pieter) van Bleeck (baptized 25 June 1697 in The Hague – 20 July 1764 in London) was an 18th century Dutch portrait painter and mezzotint engraver active in London, where he moved in 1723. Van Bleeck is especially known for theatrical subjects such as Owen Swiny, Kitty Clive...

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...

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 ...

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...

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.

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...

Anatomy of Animals is an etching realized in 1771 by René Gaillard. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Ar...

JARDINIERE DIRECTOIRE de forme carrée ornée d’une étoile et une rose des Vents ainsi qu’un écusson avec la lettre « A ». Intérieur en tôle. Ep.Empire. H.26 L.21.

Felice Boscarati (Verona 1721 - Venice 1807) - The noble weaver. 71 x 52 cm without frame, 80 x 62 cm with frame. Antique oil painting on canvas, in a carved wooden frame. Conditi...

Painting oil on canvas with dimensions of 110 x 125 without frame and 120 x 135 cm with frame depicting a landscape en plen air case and characters immersed in the nature of the seco...

Two soldiers is an etching realized by Giambattista Tiepolo in 1785.  Sheet 23 x 30 cm. Good impressions on paper, with wide margins. Reference: D...

This drawing full of freshness presents us with the profile of an elegant lady, drawn by Augustin de Saint-Aubin on a beautiful summer day in 1776, during the early months of Louis X...

Ouanderou is an etching realized in 1771 by A-J De Fehrt. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Ca...

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 ...

Letter L is an etching realized by Luigi Vanvitelli artist of 18th century. Good condtions. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original ti...

Portrait of a Gentleman English School, late 18th century oil on canvas, framed framed: 29 x 23.5 inches canvas: 26 x 19.5 inches provenance: private collection, England condition: ...

These two royal portraits are a major historical testimony to the stay of the Comte d'Artois (the future Charles X) and his family in Edinburgh in 1796-1797. Given by the sitters to Lord Adam Gordon, the Governor of Edinburgh, and kept by family descent to this day, these two portraits provide us with a vivid and spontaneous image of the Duc d’Angoulême and his brother the Duc de Berry. Danloux, who had emigrated to London a few years before, demonstrate his full assimilation of the art of British portrait painters in the brilliant execution of these portraits. 1. Henri-Pierre Danloux, a portraitist in the revolutionary turmoil Born in Paris in 1753, Henri-Pierre Danloux was first a pupil of the painter Nicolas-Bernard Lépicié (1735 - 1784) and then, in 1773, of Joseph-Marie Vien (1716 - 1809), whom he followed to Rome when, at the end of 1775, Vien became Director of the Académie de France. In Rome he became friends with the painter Jacques-Louis David (1748 - 1825). Returning to France around 1782, he settled in Lyon for a few years before returning to Paris in 1785. One of his first portraits was commissioned by the Baroness d'Etigny, the widow of the former Intendant of the Provinces of Gascony, Bearn and Navarre Antoine Mégret d'Etigny (1719 – 1767). He then became close to his two sons, Mégret de Sérilly and Mégret d'Etigny, who in turn became his patrons. In 1787, this close relationship with the d'Etigny family was further strengthened by his marriage to Antoinette de Saint-Redan, a relative of Madame d'Etigny. After his marriage, he left for Rome and did not return to France until 1789. It was during the winter of 1790-1791 that he painted one of his masterpieces, the portrait of Baron de Besenval. Set in a twilight atmosphere, this portrait of an aristocrat who knows that his death is imminent symbolizes the disappearance of an erudite and refined society which would be swept away by the French Revolution. The Jacobin excesses led Danloux to emigrate to England in 1792; many members of his family-in-law who remained in France were guillotined on 10 May 1794. Danloux enjoyed great success as a portrait painter in England before returning to France in 1801. During his stay in England, Danloux was deeply under the influence of English portraitists: his colors became warmer (as shown by the portrait of the Duc d'Angoulême that we are presenting), and his execution broader. 2. Description of the two portraits and biographical details of the sitters The Duc d'Angoulême (1775-1844) was the eldest son of the Comte d'Artois, the younger brother of King Louis XVI (the future King Charles X), and his wife Marie-Thérèse of Savoie. He is shown here, in the freshness of his youth, wearing the uniform of colonel-general of the "Angoulême-Dragons" regiment. He is wearing the blue cordon of the Order of the Holy Spirit, which was awarded to him in 1787, and two decorations: the Cross of Saint-Louis and the Maltese Cross, as he was also Grand Prior of the Order of Malta. Born on 16 August 1775 in Versailles, Louis-Antoine d'Artois followed his parents into emigration on 16 July 1789. In 1792, he joined the émigrés’ army led by the Prince de Condé. After his stay in Edinburgh (which will be further discussed), he went to the court of the future King Louis XVIII, who was in exile at the time, and in 1799 married his first cousin Marie-Thérèse Charlotte of France, the daughter of Louis XVI and the sole survivor of the royal family. The couple had no descendants. He became Dauphin of France in 1824, upon the accession to the throne of his father but played only a minor political role, preferring his military position as Grand Admiral. Enlisted in Spain on the side of Ferdinand VII, he returned home crowned with glory after his victory at Trocadero in 1823. He reigned for a very short time at the abdication of Charles X in 1830, before relinquishing his rights in favor of his nephew Henri d'Artois, the Duc de Bordeaux. He then followed his father into exile and died on 3 June 1844 in Gorizia (now in Italy). His younger brother, the Duc de Berry, is shown in the uniform of the noble cavalry of the émigrés’ Army. He is wearing the blue cordon of the Order of the Holy Spirit, awarded to him in May 1789, and the Cross of Saint-Louis (partly hidden by his blue cordon). Born on 24 January 1778 in Versailles, Charles-Ferdinand d'Artois also followed his parents into emigration and joined the émigrés’ army in 1792. After his stay in Edinburgh, he remained in Great Britain, where he had an affair with Amy Brown...

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...

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 ...

Artist: William Curtis (English, 1746-1799) Title: Set of Six Hand-Colored Engravings Portfolio: The Botanical Magazine Year: 1789-1810 Medium: Set of Six Original Hand-Colored Engra...

The Painting is Signed Description: Fabbio Fabbi (1861-1946) was an Italian painter renowned for his Orientalist artworks and his ability to capture the beauty and allure of Eastern...

English painter (early 19th century) - Boats in the moonlight on the Thames. 30.5 x 41.5 cm without frame, 49 x 59 cm with frame. Antique oil painting on canvas, in carved and gild...

Man and soldier with an urn  is an etching realized by Giambattista Tiepolo in 1785.  A woman looks out of the print. Two characters, a man and a soldier, are in front of a funeral ...

Death holds an audience  is an etching realized by Giambattista Tiepolo in 1785.  Death, an old nun with a veiled head leafs through a large book and holds an audience. In front of ...

The knight and his horse is an etching realized by Giambattista Tiepolo, in 1785.  Sheet 23 x 30 cm. Good impressions on paper, with wide margin...

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...

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:...

Work on wood Empire plaster frame and gilded wood 42 x 36.5 x 6 cm

Anatomy  of Animals is an etching realized by Gaillard in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi"...

Two soldiers is an etching realized by Giambattista Tiepolo, in 1785.  Sheet 23 x 30 cm. Good impressions on paper, with wide margins. Referenc...

Portrait of boy aged 12-14 painted in late 18th century presumably by RA John Opie, 1761 – 1807 (or his studio, circle), English historical and portrait painter. He painted many grea...

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...

Work on wood Brown wooden frame 49 x 58 x 4 cm

Louis-Félix de La Rue (1730-1777)  A Mythological scene Pen and black ink on paper Bears an old inscription with the name of the artist on the lower left bo...

Le Chat Domestique is an etching realized by Jean Charles Baquoy in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabin...

Composition with Angels is an etching realized in 1771 by Louis Legrand (1723-1807). The Artwork is depicted through confident strokes in aa well balanced composition. Good conditi...

Work on canvas Empire plaster frame and gilded wood 42 x 38 x 5 cm

Italian painter (18th-19th century) - Mythological scene. 100 x 100 cm without frame, 131.5 x 131.5 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden fra...

Le Cochon d'Inde 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...

Horns is an etching realized in 1771 by de Sève. Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description ...

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...

Mangabey is an etching realized by Claude Jardinier in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". P...

Animal's Anatomy is an etching realized by Claude Jardinier in 1771. Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière...

Le Leopard is an etching realized by Jean Charles Baquoy in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Ro...

Animal's Anatomy is an etching realized by Juste Chevillet in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du...

Le Tapir is an etching realized by Juste Chevillet in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Pa...

Anatomy  of Animals is an etching realized by Juste Chevillet in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet d...

Le Pigeon- Paon is an etching realized by Jacques Menil in 1771.Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description d...

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...

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...

Le Pigeon - Gravate is an etching realized in 1771 by Jacques De Sève. Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière ...

Philosopher standing with a book is an etching realized by Giambattista Tiepolo, in 1785.  Sheet 32 x 23 cm. Good impressions on paper, with wid...

The Finger of Creation is an etching realized by Jakob Van Scley. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Ro...

Animal's Skeleton 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 Ro...