Mid-18th Century Art

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...

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...

The painting is signed and dated 1858 Felix Schlesinger (1833-1910) was a German painter known for his charming and detailed portrayals of domestic ...

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...

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...

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...

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...

Image dimensions 40x60. Veduta degli Avanzi sopra terra dell’antico Ustrino (View of the visible remains of the ancient crematorium) is a wonderful black and white etching on thick...

This early 19th century etching entitled "Veduta di Piazza Navona sopra le rovine del Circo" was created by Jean Barbault (1718-1762) after a painting by...

Artist: Georges-Louis Leclerc, Comte de Buffon (French, 1707-1788) Title: "Mimufops (Mimusops); Ibricaria (Shingle Oak)" (Octandreie, Monogynie, Plate 300) Portfolio: Histoire Nature...

Chinese painter (18th century) - Oriental scene with pagoda. 54.5 x 72.5 cm unframed, 73 x 82 cm with frame. Oil on canvas, in a wooden frame (not signed). Condition report: Lined...

Anatomy Studies is an etching realized by Nicholas Cochin in 1755. Good conditions with slight foxing. Signed in the plate. The artwork is depicted through confident strokes. The...

Fine 18th century engraving by French artist Jean-Jacques Lagrenée. Presented with hand cut mount and gilt filet in fine wood and gilt 'ribbon and reed' frame. Very charming renditi...

Bowles, Thomas III (after John Donowell) John Bowles & Richard Wilkinson, 1751. Steel engraving with extensive hand coloring in watercolor on cream wove paper, 10 1/4 x 16 inches (...

This exceptional mid-18th century etching by Giovanni Battista (Giambattista) Piranesi (b. 1720-1778) is titled “Veduta della Gran Curia Innocenziana” (“View of the Palazzo di Montecitorio”). It is from Piranesi’s Vedute di Roma...

Chiaroscuro woodcut with underlying engraving on cream laid paper, printed from two blocks in brown and olive. 10 1/4 x 12 3/4 inches (260 x 321 mm) (plate), full margins with the text printing clearly below in black ink. In very good condition with scattered surface soiling and several minor flecks of light discoloration in the margins, especially in the area of the lower right corner, well outside of image area. Unobtrusive notations in pencil in the margin and on the verso. All condition issues are consistent with age. After a drawing of the same title by Polidoro da Caravaggio...

This is an original 18th century hand-colored map entitled "A New & Correct Chart of All The Known World Laid down according to Mercator's Projection" by Emanuel Bowen. It was published in 1744 in London in John Harris's "Navigantium atque Itinerantium Bibliotheca" or "A Complete Collection of Voyages and Travels". This highly detailed and colorful map depicts the world. as it was known in the mid 18th century. A majority of the northern and central portions of Canada and America are left blank due to the purity of knowledge at the time this map was published. The map is embellished with four Compass Roses in the lower left, lower center, lower right and center, along with many rhumb lines. There a is a decorative title cartouche in the upper left. This colorful, attractive, historical and interesting 1744 map presents the entire world on Mercator's projection as it was understood in the middle part of the 18th century, before the landmark explorations of Captain’s Cook, Vancouver, Wilkes and others. It is an example of a nautical chart, a type of map that was designed specifically for use by mariners. The map is centered on the equator and includes both the Eastern and Western Hemispheres. The continents of North America, South America, Europe, Africa, and Asia are depicted, as well as various islands in the Atlantic, Pacific, and Indian Oceans. The map is laid out according to the Mercator projection, a type of cylindrical map projection that was developed in the 16th century by Flemish cartographer Gerardus Mercator. This projection has the advantage of preserving angles and shapes, making it useful for navigation. The map presents a paucity of inland detail, particularly for the Americas, but major cities, geographical landmarks, and regions are included. Ocean currents and Tradewinds are identified, as well as the magnetic declination lines or magnetic variance, which refers to the difference between true north and compass north. The continents are color coded, enhancing the beauty of this map. The three compass roses indicate the directions of the cardinal points. The depiction of the western coast of America, the Pacific and Australia are interesting. There was very little exploration of Australia between the navigations of William Damper in 1699 and Tobias Furneaux in 1773. Most of the maps detail relies on the 17th century Dutch expeditions to Australia's western coast, by Abel Tasman and William Janszoon. Van Diemen's Land (Tasmania) and New Guinea appear connected to the Australian continent. New Zealand appears as a single landmass. North of New Zealand there is a landmass labelled 'Ter d' St. Esprit' which probably represents the New Hebrides Islands. This map precedes the accurate exploration of the South Pacific and east coast of Australia by Captain James Cook later in the 18th century. The map includes ‘Drakes' Port,' the site where Sir Francis Drake supposedly landed in 1579 during his 1579 circumnavigation of the globe. Here he claimed territory for England, restocked, and repaired his vessels. Drake named the region New Albion. The exact location of Drake's Port is a cartographic mystery. Drake's Harbor is believed to be in the region of San Francisco Bay, Bodega Bay, San Pablo Bay...

This is a hand-colored engraving of a parrot bird entitled "La Bondree (Bird of Prey)" by Francois Nicolas Martinet, plate 420 from 'Histoire Naturelle des Oiseaux' in association wi...

Rococo design for a gate, etching, by Joseph Baumann (active 1740-1760), circa 1750. Published by Martin Engelbrecht (1684–1756). Similar works ar...

Four 18th Century Optical views "Vue des Rives de la Seine prise du Pont Neuf à Paris" "Vue de la Place de l'Hôtel de Ville et du Phare à Calais" "Vue de Paris prise du Port de la Co...

Sin firmar, de autor anónimo Se presenta enmarcada la obra con un marco posterior a la pintura Comentar que la tela está reentelada Medidas obra: 65 x 49 cm. Medidas marco: 82 ...

This masterly frontispiece study, executed with a very sure hand, testifies to the survival of the great Baroque taste in 18th century Venice. It could be one of the very last works by Giovanni Antonio Pellegrini: the few lines that cross the papal arms evoke those of Benedict XIV, who became pope in 1740, one year before the artist's death. 1. Giovanni Antonio Pellegrini and the European influence of Venetian history painting in the 18th century Giovanni Antonio Pellegrini was born in Venice in 1675 and trained in the studio of the Milanese painter Paolo Pagani (1655 - 1716). Pagani, who had been living in Venice since 1667, took him to Moravia and Vienna from 1690 to 1696. After a stay in Rome from 1699 to 1701, Pellegrini married Angiola Carriera in 1704, the sister of the great pastelist Rosalba Carriera. From 1708 onwards, Pellegrini left Venice and began an extensive tour of Europe: he worked in England between 1708 and 1713, where he met great success, particularly at Kimbolton Castle and Castle Howard. He then worked in Germany and the Netherlands, then in Bohemia and Austria, before returning briefly to England in 1719. In 1720 he was in Paris where he decorated the ceilings of the Royal Bank for John Law...

This is a striking original antique colored botanical mezzotint and line double page engraving of banana plants, which is finished with hand-coloring. It is entitled "Banana 1. Musa,...

Artist: Georges-Louis Leclerc, Comte de Buffon (French, 1707-1788) Title: "Quivisia; Portesia" (Octandreie, Monogynie, Plate 302) Portfolio: Histoire Naturelle Year: 1749-1789 Medium...

Artist: Georges-Louis Leclerc, Comte de Buffon (French, 1707-1788) Title: "Euphorbia (Spurge)" (Dodecandrie, Trigynie, Plate 411) Portfolio: Histoire Naturelle Year: 1749-1789 Medium...

The Study of Hand after Bouchardon is an etching realized by Nicholas Cochin in 1755. Signed on the plate. Good conditions. The artwork is depicted through confident strokes. The...

'L'Hostel de Chevreuse' Copper-line engraving by Matthaeus Merian. From 'Topographia Galliae', a fine series of engravings of 17th-century French landscapes, gardens, buildings an...

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...

An 18th century view of the first permanent water fountain in London. London: J.Boydell, 1753. Engraving with hand coloring in watercolor on white laid paper, laid down to a modern...

Black and white etching on wire rod paper, representing the Greek myth of Salmacis and Hermaphroditus. Wonderful plate with very fresh impression and a beautiful use of chiaroscuro,...

Two adult Purple Martins are feeding their two fledglings at the nest. This chromolithograph is from The Birds of America by John James Audubon and is ...

The two plates in this set were created utilizing both engraving and etching techniques by William Hogarth in 1753, originally as illustrations of his book on aesthetics, entitled "Analysis of Beauty". Due to their popularity, these plates were later published separately. The publication line in the lower right reads: "Designed, Engraved, and Publish'd by Wm. Hogarth, March 5th 1753, according to Act of Parliament." Hogarth's original copper plates were refurbished where needed by James Heath and engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's copper plates were used for printing. Most were melted during World War I for the construction of bombs. These large folio sized "Analysis of Beauty" engravings are presented in antiqued gold-colored frames with double mats; the outer silk mats are light brown-colored and the inner mats are dark brown. Each frame measures 27.38" x 31.25" x 1.13". There is one tiny spot in the right margin of plate 1 and another in the lower margin; the latter could be from the printing process. The prints are otherwise in excellent condition. The "Analysis of Beauty" 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 Fine Arts Museums of San Francisco. The first engraving (Plate 1) depicts a courtyard of statues which is filled with some of the most famous works of classical sculpture. The most important sculptures are surrounded by less impressive works. The Medicean Venus (#13) is in the center with a statue of Julius Caesar (#19) to the right, elevated on a pulley with a short, overdressed Brutus stands over the falling Caesar. The Apollo Belvedere (#12) is next. A judge stands to the right with his foot on a cherub (#16). Another crying cherub holds a gallows and wipes his tears with the judge's robe. A sphinx (#21) and the drunken Silenus (#107) are below the Venus. Michaelangelo's torso (#54) and a statue of Antonius (#6) are seen in the foreground. The Farnese Hercules (#3) and a bust of another Hercules (#4) under two statuettes of Isis are also included in the scene. The key to these objects is included in the form of a serpentine line winding around a cone (#26), Hogarth's "Line of Beauty". For Hogarth the winding line is an essential element of beauty in art. Hogarth's theory of beauty is communicated in this plate. Plate 2 is thought to represent the Wanstead Assembly, with the Earl of Tynley and his household. It is an adaptation of a scene in the Happy Marriage series, which complements Hogarth's Marriage à la Mode...

This is an original 18th century hand-colored copperplate engraving of a pair of red and black woodpecker birds entitled "1. Pie Roux, de Cayenne 2. Petit Pie Noir, de Cayenne (Red a...

This is a hand-colored engraving of a turtledove entitled "Tourterelle du Senegal (Turtledove of Senegal)" by Francois Nicolas Martinet, plate 160 from 'Histoire Naturelle des Oiseau...

This striking hand-colored botanical mezzotint and line engraving is entitled "Gnaphalium, Gossypium (Cotton Plant)". It is plate 551 in Johann Weinmann's monumental publication "Phy...

Etching on paper realized in 1748. Very good condition except for some minor foxing. Includes a wooden frame cm. 27.5x41.5

An 18th century color printed in addition to hand colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) depicting the following flowering amaranthus p...

Work on paper

London: A. Churchill & J. Knapton, 1754 Engraving on fibrous laid paper with a "C" watermark, 9 3/4 x 11 3/4 inches (246 x 297 mm), full margins. Significant edge wear including mul...

Maria viene aiutata da un Angelo is an original Artwork realized by Giovanni Domenico Tiepolo (Venice, 1727-1804) in 1753. Original Black and white etching and burin on paper. This is the 18th plate of a series of 24 engravings by Giandomenico Tiepolo for Carlo Filippo, Prince of Greinffenklau, in which the same theme, that of the Flight into Egypt, is represented in a new and original way for each sheet. The series entitled "Pictorial Ideas on the Flight into Egypt of Jesus, Mary and Joseph" and published in 1753 in Würzburg is considered the etching masterpiece of the old master Giandomenico Tiepolo. Dimensions: 185 x 240 mm. Wonderful etching in excellent impression, very fresh and bright, in a vibrant black ink. Very good conditions. Reference: D.V. no. 18; R. no. 84; Proutè no. 180, 1977. Giovanni Domenico Tiepolo (Venice, 1727-1804). Tiepolo was an Italian painter and printmaker, mastering the art of etching. He is well known wolrdwide as he assited his father in Wurzburg (Germany), he made stairwell fresco in Vicenza (Italy) and at the Palace of Charles III in Madrid (Spain). La Via Crucis is among the earliest works engraved by Giandomenico Tiepolo, just about twenty years old, where he translates into etchings the namesake series of paintings realised for the oratory...

'Prosp. horti Auraicorum Pomorum a Ruel' Copper-line engraving by Matthaeus Merian. From 'Topographia Galliae', a fine series of engravings of 17th-century French landscapes, gard...

Etching on paper realized in 1748. Very good condition except for some minor foxing. Includes a wooden frame cm. 27.5x41.5

GIOVANNI BATTISTA PIRANESI (1710-1778) UNA DELLE QUATTRO FIGURE RAPPRESENTANTI QUATTTRO VITTORIE, (Focillon 330, Wilton-Ely 463) 1750-1756 Etching, Plate 48 from “Le Antichita Romane“ vol. 3. Engraved by Jean Barbault...

An 18th century engraved portrait of William Harvey, MD by Jacobus Houbraken after a painting by Wilhem von Bemmel, from "The Heads of Illustrious Pers...

The Bridge is a beautiful etching artwork realized by Jan Peter Verdussen in 1745. In good condition except for missing piece of paper and ripping along the margins. Passepartout i...

Etching on light cream laid paper, 8 x 5 1/2 inches (200 x 138 mm), 1/8-inch margins. Minor repairs, including expertly repaired lower right corner, and minor light in-painting at l...

This is a hand-colored 18th century map of the Meissen region of Germany, entitled "Geographischer Entwurff Derer Aemmter Meissen als Creys-Procuratur-Schul-und Stiffts-Ammt benebst ...

Engraving on light wove paper with a large Amsterdam Coat of Arms watermark, 9 5/16 x 7 1/2 inches (236 x 190 mm), narrow margins. Scattered lig...

In this charming scene a maid appears bashful as she is introduced by her mother to the shepherd’s son. Ink and wash on hand made, cool-toned cream laid paper, 6 3/4 x 8 7/8 inches...

Signed: Harunobu ga Series: Series: Eight Fashionable Parlor Views (Furyu zashiki hakkei)? Format Japanese: chuban Provenance: Private Collection, Philadelphia Collection of McCleaf ...

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

4 Etchings on paper realized in 1748. Each cm. 17x22. Very good condition except for some minor foxing. Includes a wooden frame cm. 27.5x41.5

Image dimensions: 25.5 x 18 cm. The Commemoration of Hussein is a fine etching, hand-watercolored, realized by the engraver Gianfrancesco Pivati. This original print, representing ...

Portrait of Sculptor John Michael Rysbrack, from John Vanderbank is an original mezzotint artwork realized in 1734 by John Faber II (L'Aia 1684 ca. - Londra 1756). Signed and dated ...

Jacques Bellin's copper-plate map of the Caribbean island of Saint Kitts entitled "Carte De De l'Isle St. Christophe Pour servir á l'Histoire Genle. des V...

The Merican Pelican and The Pelican from George Edwards "A Natural History of Birds, Most of which have not been figured or described and others very little known..." published in Lo...

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

Countryside Scenes with Horses and Card Players, Rome circa 1740 Pair of Paintings: Countryside Halt with Horses & Card Game in the Countryside Paolo Monaldi (post 1710 - post 1779),...

Beautifully detailed 18th century Dutch copper engraving of hearse and coffin by PV Cuyck, 1754. Original artwork on paper displayed on a whi...

Anatomy Studies is an etching realized by Nicholas Cochin in 1755. Signed in the plate. Good conditions with foxing and folding. The artwork is depicted through confident strokes....