Mid-18th Century Art

This superb British 18th century Old Master portrait oil painting is attributed to Thomas Hudson. Painted circa 1750 it is a three-quarter length standing portrait of a gentleman in ...

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 ...

Portrait of a Lady French artist, Rococo period 18th century oil on canvas, framed framed: 15 x 12.5 inches canvas: 10.5 x 8.5 inches provenance: private collection, France condition...

Etching realized by Giambattista Albrizzi (1698-1777) for Thomas Salmon's Lo Stato presente di tutti i Paesi e Popoli do Mondo. Regno di Spagna. Includes a contemporary wooden frame...

French 18th century old master portrait of a majestic lady dressed "à la Turque" The sitter at the viewer with a kind and enigmatic smile and twinkling eyes. She looks elegant and kind, yet also has an intelligent and determined aura, reflecting the character of someone who is in charge of her own life and destiny. De Silvestre paid great attention to her spectacular outfit, which is striking in its portrayal of the sumptuous fabrics and their decorative richness. She is wearing a luxurious royal blue robe à la...

Portrait of a Noble Lady English artist, mid 18th century circle of Thomas Gainsborough (English 1727-1788) oil on canvas, unframed canvas: 30 x 25 inches provenance: private collect...

Thomas Hudson (Devon 1701 - London 1779) Portrait of a senior naval officer, c. 1750s Probably a captain or admiral; half-length, holding a telescope, with a warship beyond Oil on canvas 91.3 x 71.1 cm.; (within frame) 114.3 x 93.8 cm. (Unsigned) Provenance: Christie’s, London, 22 November 1985, lot 105 (as Thomas Hudson); Private collection, United Kingdom; Haynes Fine Art, Broadway, Worcestershire; Where acquired, private collection, United States, 16 August 1988; Neal Auction, New Orleans, 14 September 2025, lot 302 (as Attributed to Thomas Hudson); Where acquired by Haveron Fine Art. Literature: Bridgeman Art Library, The Bridgeman Art Library (London: The Library, 1995), p. 89 Christie’s, London, Important English Pictures (London: Christie’s, 22 November 1985) Archival: Witt Library, Courtauld Institute of Art (no. 061487); Heinz Archive and Library, National Portrait Gallery, 1725-50, Thomas Hudson: Men Authentic (1) (Box) This attractive and quintessential half-length is exemplary of Hudson’s leading portrait practice, produced at the height of his decade-long dominance over the London market beginning in 1749. Typical of Hudson's 1750s output, the portrait was likely made after his five-week visit to Rome and Naples, and bares the stylistic merits of this continental excursion. Indeed, the trip seemed to fortify a gradual refinement of Hudson’s technique: namely the emphasis of directional brushstrokes, which sensitively follow the contours of the facial features. The resulting feathery quality is combined here with a striking chiaroscuro effect, which Hudson borrowed directly from Rembrandt. Amalgamating the rich colouring of the Rococo with a mannered Baroque posing, Hudson renders the senior naval officer with a characteristic presence. Resting one hand assuredly at his hip, the finely worked telescope illustrates the officer’s seniority; the warship sailing on the horizon beyond provides further indication of his commanding rank. The telescope is held by a hand modelled with sculptural poise, and the typically Van Dyck manner (seen elsewhere, e.g. Princess Amelia Sophia Eleonore of Great Britain, YCBA B2001.2.246) further illustrates Hudson's studied grounding. Despite the apparent stylistic placement of the work, an earlier date is possible, since the officer wears civilian clothes and not the naval officer’s uniform first introduced in 1747 (which officers afterwards invariably chose to be shown in). The officer has previously been suggested as Edward Henry Sartorius, of the prominent naval Sartorius family; however, this identification is improbable on biographical and documentary grounds. Hudson was regularly commissioned by leading naval officers, and produced highly satisfactory portraits praised for their great likeness and genteel swagger. He charged 24 guineas for a standard 50 x 40 inch half-length in the 1750s period, and the present work (somewhat smaller in size) would have cost not much less. Comparable works include those of Admirals of the Fleet George Anson, 1st Baron Anson, and Sir John Norris; Admiral Sir George Pocock; Admiral Sir Peter Warren; Vice-Admiral The Honourable John Byng; and Rear-Admiral Richard Tyrrell. The present portrait is particularly similar in composition to Hudson’s Portrait of a Flag Officer of The White Squadron, which similarly employs the narrative device of a telescope held at a dynamic angle across the composition, with a warship to the left side of the officer’s retracted arm. Thomas Hudson (Devon 1701 - London 1799) Thomas Hudson rose to become the leading British portraitist of the mid-18th century, albeit in close competition with his Scottish counterpart Allan Ramsay. Born in Devon, Hudson studied alongside George Knapton under Jonathan Richardson the Elder (marrying his daughter in 1725, expressly against Richardson’s wishes), and inherited a dignified formality jointly derived from Van Loo. His work is first recorded in 1728, and between 1730-40 he practised in Bath and the West Country, where in addition to portrait commissions, he was employed to retouch and reline old pictures. He returned permanently to London thereafter, and devised a series of stock poses to which he would return with variation throughout his career. Beginning in 1745 with the death of Richardson and the departure of Van Loo, Hudson became the city’s most successful portraitist, and embarked on ambitious defining works such as his Portrait of Theodore Jacobsen ‒ not drastically unlike the continental heights of Pompeo Batoni in conception. Profiting from his success, he relocated from Lincoln’s Inn Fields to a house in Great Queen Street previously inhabited by Van Loo, and one door down from Kneller’s old rooms. An exceptionally productive period began in 1749 which lasted until the late 1750s. Among this output were highly praised portraits of the Prince and Princess of Wales, commissions for most of the preeminent aristocrats, and superlative group portraits including Benn’s Club of Aldermen, and those of the Thistlethwayte, Marlborough and Radcliffe families. Hudson relocated to King Street, Covent Garden, operating a prolific studio operation which resulted in some four hundred paintings ‒ of which at least eighty were engraved. A prodigious assembly of young pupils included Sir Joshua Reynolds (1740-3), Joseph Wright of Derby (1751-3, 1756), Richard Cosway, John Hamilton Mortimer, and the drapery painters Joseph and Alexander van Aken (also employed by Ramsay). As one later reviewer expressed: ‘Hudson, his art may well display to sight / Who gave Mankind a Reynolds and a Wright’ (Miles, ‘Introduction’). The ambitious young Reynolds made many drawings from classical statuary under Hudson’s instruction, and wrote home that, ‘While doing this I am the happiest creature Alive (sic.)’ (Sweetser, p.12). However, he was later dismissed from his pupilage some two years prematurely for refusing to carry a painting to Van Aken’s studio in the rain. It was at this point that Reynolds returned to Plymouth (Devonport), and produced some thirty portraits of the local gentry (including one example presently owned by Haveron Fine Art). Hudson was one of a number of artists who congregated in Old Slaughter’s Coffee House, alongside Hogarth, Ramsay, Hayman, and Rysbrack. Together they supported Thomas Coram’s Foundling Hospital, of which they each belonged to the 600 governors (in whom Hudson met many of his future clients), and promoted the building as London’s first public space of artistic exhibition. He visited the Netherlands and France for five weeks in 1748 accompanied by St Martin’s Lane colleagues, and was arrested with Hogarth for making drawings of the Bastille fortifications. He afterwards stayed in Rome and Naples in 1752 with Roubiliac, meeting Reynolds twice on the return journey. He returned to England and bought a house at Cross Deep, Twickenham (upstream from Pope’s villa), and made an effective museum of the space. He lived there with his second wife, a wealthy widow named Mrs Fynes. Having been involved with early attempts to establish a royal academy of the arts, Hudson exhibited at the Society of Arts in 1761 and 1766, although he had effectively retired from painting by the latter date. His last painting was in 1767, and he died at Twickenham in January 1779 aged seventy-eight. Hudson was also exceptional for the extensive collection of artworks which he amassed during his lifetime. The collection was thoroughly impressive in extent, and included outstanding Old Masters: Breughel, Canaletto, van Dyck, Hals, Holbein, Kneller, Lely, Michelangelo, Parmigianino, Poussin, Raphael, Rembrandt, Rubens, Tintoretto, Titian, Vasari, and Velázquez. His earliest recorded purchase was in 1741, and he spent heavily at the sale of his father-in-law, even buying works jointly with Van Aken. Likewise, at the posthumous 1750 sale of Van Aken, Hudson spent £215 on the second day (nearly half that day’s sale total). As a pupil, Reynolds had been sent to bid for Hudson in Lord Oxford’s sale of 1742, and proudly recalled having been greeted with a handshake by Hudson’s friend Pope at another picture sale. Hudson also collected extensively from within his own generation, acquiring works by contemporaries including Gainsborough, Reynolds, Richardson, Rysbrack, Vanderbank, and his predecessor Van Loo. Following his death, the works were dispersed in two sales at Messrs. Langford, with the finer works sold at Christie’s in 1785 after the death of his second wife. However, his connoisseurship was not without flaw ‒ having outbid Benjamin Wilson for a Rembrandt drawing, Wilson etched and printed a new ‘Rembrandt’ plate...

Bernard Picart, 'The Deluge' from 'The Temple of the Muses', engraving, 1730. Signed in the plate and dated '1730' lower left. Titled in French, English, German, and Dutch. A superb...

This lovely British 18th century portrait oil painting, with excellent provenance, is attributed to circle of George Henry Harlow. Painted circa 1760, it is a standing half length po...

Up for sale is a compelling and atmospheric original antique oil painting on canvas, depicting a poignant genre scene. A gentleman dressed in formal black robes—likely a figure of au...

Charcoal and graphite on grayish laid paper, 10 1/2 x 7 3/4 inches (265 x 195 mm), the full sheet. Scattered light, minor and unobtrusive foxing, several non-archival cellophane tape...

Italianate landscape garden with classical ornament, including Giambologna's Sabine women and a classical urn, view to a bay beyond Coplestone War...

Two Mid 18th century hand coloured copper plate engravings of equestrian subjects by Johann Elias Ridinger. Initial signed 'in the plate' bottom right. Presented in fine gilt wood fr...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta del Mausoleo d'Elio Adriana ora chiamato Castello S. Angelo nella parte opposta alla Facciata de...

French School 18th Century Portrait of a gentleman holding his hat Oil on paper transferred on wood panel 34 x 27 cm Not signed which is normal for this type of artwork In a beautifu...

Francesco Zugno (Venice 1709 - Venice 1787) - Death of St. Joseph. 61 x 48 cm unframed, 76 x 63 cm with frame. Oil on canvas, in a carved and gilded wooden frame (not signed). We ...

Giuseppe Zais (Forno di Canale 1709 - Treviso 1784) - Landscapes with Washerwomen. 41 x 56 cm unframed, 49.5 x 64.5 cm with frame. Oil on canvas, in a carved and gilded wooden fram...

Friedrich Wigand (Russian, 1800-1853). Portrait of a Young Man, 1841. Oil on canvas, 12.5 x 16 inches. Framed measurement: 17 x 20.5 inches. Signed an...

Shunga is an original modern artwork realized by Katsukawa Schuncho (1726 – 1793) in the half of the 18th Century. Oban yokoe. Erotic scene from the series "Koshuko zue juni ko" (Erotic pictures...

The Piazza della Rotonda, with the Pantheon and Obelisk. Etching on fine watermarked paper. Signed on plate on lower-left margin "Piranesi del. Sc." and with the address of Bouchard...

Terracotta sculpture - Allegory of Vanity. Italy, 18th century. 17 x 12 x 42 cm high. Made entirely of terracotta. It depicts a bare-breasted girl holding a mirror and a cherub wit...

Charles-André van Loo (Nice 1705 - Paris 1765) workshop of - Allegory of the Divine Comedy. 54 x 83 cm unframed, 70.5 x 99.5 cm framed. Old oil painting on canvas, in a carved and ...

This lovely Italian Old Master portrait oil painting is by Domenico Maria Sani. Painted circa 1732 the sitter is of Maria Anna Vittoria (1718 - 1788), daughter of Philip V and Elisabetta Farnese, who in 1729 married Joseph prince of Brazil and king of Portugal...

View of Castel of Acqua Felice is an original etching realized by the italian artist Giovanni Battista Piranesi in 1751. Very precoius and rare lifetime impression. Roman edition. I...

Francesco Battaglioli (Modena c. 1710 - Venice post-1796) - Architectural Capriccio with Figures. 83.5 x 114.5 cm unframed, 98 x 130 cm with fra...

Venetian painter (18th century) - Venus and Chronos (preparatory sketch). 59 x 43 cm unframed, 70 x 54 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden ...

China ink and Watercolour. With handwritten notes, indicating the place and date of the artwork in lower margin: "Fait proche de Turin, ce 13 Juin 1744". Numbered on the lower right ...

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...

Venetian painter (18th century) - Turkish nobles with parrot and musician. 43.5 x 63.5 cm without frame, 50 x 70 cm with frame. Antique oil painting...

Artist/ School: Manner of Guido Reni (1575-1642) Italian Title: The Prophecy of Simeon Medium: oil painting on canvas, unframed Painting: 21.5 ...

Jan Weenix Canvas Size: 32 x 26" (82 x 66cm) Outside Frame Size: 40 x 34" (102 x 86cm) This beautiful painting is unsigned but this is not unusual with Jan ...

This superb British Old Master marine oil painting is attributed to Peter Monamy. Painted circa 1730 it depicts Morning Gun - A morning gun is a gun fired at the first note of revei...

Italian painter (18th century) - Saint Monica in prayer. 56 x 32 cm. Antique oil painting on canvas, without frame (not signed). Condition report: Good state of conservation of th...

Piazza del Popolo con Obelisco Egizio Etching, 1752 Signed in the plate lower left (see photo) From: Della Magnificenze di Roma Antica e Moderna ( The Magnificense of Ancient and Modern Rome) , (1747-1761) Volume II, The Main Squares and Obelisks, columns and other ornaments, 1752, Plate No. 21 Della Magnificenze di Roma Antica e Moderna_ (1747-61), a collection of 238 plates that was published in ten volumes. Vasi recorded all types of architecture and organized these images of contemporary Rome by subject, with each volume representing a different category of architecture. This comprehensive project provides one of the most complete views of eighteenth-century Rome Condition: Excellent Image/Plate size: 8.25 x 12.63 inches Sheet size: 11 x 15 7/8 inches Vasi was Giovanni Battista Piranesi’s teacher. Piranesi (1720-1778) entered Vasi’s studio as an apprentice at age 20 c. 1740. Piranesi left Vasi’s employment after stabbing Vasi over the perception that Vasi was withholding secrets of the etching process. Giuseppe Vasi was an Italian engraver and painter born and trained in Sicily. He received a classical education in his hometown of Corleone and trained as a printmaker in nearby Palermo, perhaps under the tutelage of the etchers Antonino Bova and Francesco Cichè. He moved to Rome in 1736, already an established printmaker, and spent most of his career documenting the urban landscape of the city in engravings. Through his patron, the politically and culturally influential Cardinal Troiano Acquaviva d’Aragona, Vasi met other artists working in Rome, such as Sebastiano Conca, Ferdinando Fuga, and Luigi Vanvitelli. He was also influenced by his predecessors, including Giovanni Paolo Panini, Giovanni Battista Falda...

This stunning British Old Master landscape oil painting, with excellent provenance, is by George Lambert. Lambert was a pioneer of British landscape in art for its own sake. Painted in 1744, the painting is entitled View of a Manor House and Cottages in Elizabeth Einberg's 63rd volume of the Walpole Society 2001 and is described as follows: In the foreground a road emerges from a wood to cross a ford and then leads up the hill to the right, towards a manor house seemingly built into the remains of a medieval or Tudor edifice. The main track, crowded with sheep and rustic figures, passes the massive square gateposts lower down the hill on the left. Further to the left is a thatched cottage with smoke coming out the chimney. In the distance is a wide coastal view. The main buildings, which are in the dead centre of the composition, represent almost certainly an as yet unidentified English view. The colouring and detail in the trees and foliage are superb. This is an excellent Old Master oil painting by one of the all time great British landscape artists with extensive provenance. Signed and dated 1744 lower left on rock in black. Provenance. Elizabeth Einberg, “Catalogue Raisonnè of the works of George Lambert” The Annual Volume of the Walpole Society, 2001 Vol. 63, page 149 no P1744, fig.71. Antonacci Efrati Antichità Rome Gallery. Burden sale, Parke Bernet, New York, 20-21, April 1938 (376 repr.) Robert E. Peters, Sotheby Parke Bernet, New York, March 1975 (41 repr.) Lit. Schnackenburg 1995, pp 83-84, cat. no.14 fig 13. Condition. Oil on canvas, 54 inches by 52 inches and in good condition. Frame. Housed in an ornate gilt frame, 64 inches by 62 inches and in good condition. George Lambert (1700-1765) was an English landscape artist and theatre scene painter. With Richard Wilson he is recognised as a pioneer of British landscape in art, for its own sake. Lambert was born in Kent and studied art under Warner Hassells and John Wootton, soon attracting attention by the quality of his landscape painting. He painted many large and fine landscapes in the style of Gaspar Poussin and Salvator Rosa. Many of his landscapes were finely engraved by François Vivares, James Mason (1710–1785), and others, including a set of views of Plymouth and Mount Edgcumbe (painted conjointly with Samuel Scott), a view of Saltwood Castle in Kent, another of Dover, and a landscape presented to the Foundling Hospital in London. Lambert also obtained a great reputation as a scene-painter, working at first for the Lincoln's Inn Fields Theatre, in London, under John Rich. When Rich moved to Covent Garden Theatre, Lambert secured the assistance of Amigoni, and together they produced scenery of far higher quality than any previously executed. Lambert was a man of jovial temperament and shrewd wit, and frequently spent his evenings at work in his painting-loft at Covent Garden Theatre, to which men of note in the fashionable or theatrical world resorted to share his supper of a beef-steak, freshly cooked on the spot. Out of these meetings arose the well-known "Beefsteak Club" which long maintained a high social reputation. Most of Lambert's scene-paintings unfortunately perished when Covent Garden Theatre was destroyed by fire in 1808. Lambert was a friend of William Hogarth and a member of the jovial society that met at 'Old Slaughter's' Tavern in St Martin's Lane. In 1755 he was one of the committee of artists who proposed a royal academy of arts in London. He was a member of the Society of Artists of Great Britain, exhibited with them in 1761 and the three following years, and during the same period contributed to the Academy exhibitions. In 1765 he and other members seceded and formed the Incorporated Society of Artists of Great Britain, of which he was elected the first president. In conjunction with Samuel Scott, Lambert painted a series of Indian views for the old East India House in Leadenhall Street. He also etched two prints after Salvator Rosa. Lambert was associated in 1735 with George Vertue, Hogarth, and John Pine (engraver, 1660–1756) in obtaining a bill from parliament securing artists a copyright on their works. Lambert's portraits were painted by Thomas Hudson, John Vanderbank (engraved in mezzotint by John Faber the younger in 1727, and in line by H. Robinson and others), and Hogarth. Lambert's most famous painting is "A view of Box Hill, Surrey" (1733) which depicts a well-known beauty spot south of London. Hogarth considered Lambert a rival to the famous French landscape painter Claude Lorrain (1600–1682) with respect to his use of soft light to unify the scene in this painting. Though he never visited Italy he was inspired by the classical tradition of landscape painting. Lambert died on 30 November 1765 at his home on the Piazza in Covent Garden. His pupils included John Inigo Richards...

French Rococo painter (18th century) - Gallant scene in a landscape. 63.5 x 76 cm without frame, 91 x 102.5 cm with frame. Antique oil painting on canvas, in a carved and gilded wo...

FINE ORIGINAL ANTIQUE 18th CENTURY BRITISH OLD MASTER OIL PAINTING MAN O WAR IN HARBOUR Description Good Condition canvas but very old with some browning in places (see picture). C...

Engraving on cream laid paper, 8 x 5 7/8 inches (202 x 149 mm), trimmed at the platemark. Adhered at each corner to a small sheet of archival laid paper. Horizontal edge loss at the ...

18th century Bust portrait of a gentleman in a blue coat with gold buttons (Said to be Edmund Hoyle, inventor of Whist) oil on canvas circle of James Latham. Housed in a gilt frame the size overall is 71 x 84 cm (28 x 33 inches approx) whilst the painting is 56 x 69 cm ( 22 x 27 inches approx) unsigned The overall condition is very good having had some restoration. The painting has been relined, cleaned and re varnished. There has been some strengthening/overpainting. There is a Rectangular patch repair along lower edge, centre, reverse approximately 5 x 7cm with associated retouching to front,all essentially done sympathetically. some fine stable craquelure throughout. Some minor self coloured losses to frame. None of the above detracting from a very attractive portrait. Edmond Hoyle Edmond Hoyle English card game authority, "the Father of whist" Born 1672 England Died 29 August 1769 (aged 96–97) London, England Edmond Hoyle (1672 – 29 August 1769)[1] was a writer best known for his works on the rules and play of card games. The phrase "according to Hoyle" came into the language as a reflection of his generally perceived authority on the subject James Latham James Latham was born in Thurles, County Tipperary, Ireland and possibly related to the family of Lathams of Meldrum and Ballysheehan. After some practice of his art, Latham studied for an academic year in Antwerp (1724–25) where he became a Master of the Guild of St Luke. He returned to Dublin by 1725, and may have visited England in the 1740s, as the influence of Joseph Highmore, as well as Charles Jervas and William Hogarth, is evident in his work of this period. Anthony Pasquin memorably dubbed Latham "Ireland's Van Dyck". Latham died in Dublin on 26 January 1747. Several of James Latham's portraits are in the National Gallery of Ireland collection in Dublin; one is of the famous MP Charles Tottenham (1694–1758) of New Ross, Co. Wexford, "Tottenham in his Boots" (Cat. No.411) and a second is a portrait of Bishop...

French painter (18th century) - Flute player and dog. 43.5 x 35 cm without frame, 54 x 45 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden frame (not si...

An 18th century, Mughal painting of a tribal chief, shown richly dressed and reclining in a courtyard surrounded by numerous concubines. Exceptional attention to detail throughout, p...

Angels is an original etching applied on paper, realized by Étienne Fessard in 1748, signed and dated at the bottom right. The state of preservation of the artwork is good and aged. ...

This charming mid-18th-century oil painting depicts a veritable array of revellers holding a feast by a tavern. It’s after a work by Flemish artist, David Teniers the Younger (1610-1...

Bernard Picart, 'The Death of Hercules' from 'The Temple of the Muses', engraving, 1730. Signed in the plate, lower left. Titled in French, English, German, and Dutch. A superb, rich...

Set of 4 double-page mezzotint engravings, printed in colour and finished by hand. [Published: H. Lentz and H.G. Neubauer, Regensburg, 1737]. An attractive collection of fine plates...

This is a hand-colored engraving of a black guillemot bird entitled "Le Guillemot" by Francois Nicolas Martinet, plate 903 from 'Histoire Naturelle des Oiseaux' in association with G...

Elaborate Floral Arrangement French artist, 18th Century oil on canvas, framed Framed: 27 x 34 inches Canvas: 22 x 29 inches Provenance: private collection, England Condition: very...

Marianne Loir (Paris 1705 – Paris 1783) Presumed Portrait of Jean-Jacques-Blaise Baloin de Belvèse, Baron de Vennac (?-1781) Oil on oval canvas H. 54.5 cm; W. 46 cm Unsigned Grandda...

Mid 18th century hand coloured copper plate engraving of an equestrian subject by Johann Elias Ridinger. Initial signed 'in the plate' bottom right. Presented in a fine gilt wood fra...

GIOVANNI BATTISTA PIRANESI (Italian 1720-1778) VEDUTA DEGLI AVANZI De’MAUSOLEI E DELLE FABBRICHE…c 1756 (Hind 83; Focillon 20.A.293; Giesecke 116; Wilton-E...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand- made parcel-gilt, ebonised and decalcomania frame...

The Pseudo-Guardi was an unidentified Venetian painter from the 18th or early 19th century who closely imitated the style of Francesco Guardi (1712–1793), one of the great Venetian v...

Image dimensions: 25.5 x 18 cm. A Slave flayed by the Enemies, Peruvians desolation during an Eclipse of the Sun is a fine etching, hand-watercolored, realized by the engraver Gianf...

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 w...

Antique Italian painting from 18th century. Framework oil on canvas, on the first canvas, depicting a view with characters, animals and ruins of good pictorial quality. Large size fr...

18th Century Italian Portrait Credited to Maria Giovanna Battista Clementi The painting probably depicts a young nobleman of Savoy court ...

This superb British 18th century Old Master capriccio oil painting is attributed to circle of noted landscape artist Richard Wilson. Painted circa 1750 it is a stunning river landsca...

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...

Antique Flemish painting from the 18th century. Framework oil on canvas depicting religious subject Holy family of good pictorial quality. Nice sized and pleasantly decorated framewo...

A mischievous tableau with sexual overtones. Tokyo: Shuei-Sha, 1768. Woodblock print in colors printed on laid mulberry paper, 10 3/4 x 7 7/8 inches (273 x 200 mm), full margins. I...