Antiques

Sterling silver plated copper Sheffield decanter coaster. The coaster is stamped with a Neoclassic anthemion decoration on the pierced gallery below a gadroon molding. A turned wood ...

A pair of Georgian large paste drop earrings, each earring with a large cushion-cut colourless faceted paste suspended by a smaller one, all set in silver cut-down collets with yellow gold back and gold wire fittings, circa 1820, measuring approximately 1.8 x 1cm, gross weight 4.9 grams. This antique pair of earrings is in very good condition for its age. Unmarked, tested as silver and 15ct gold. A classic pair of Georgian paste drop earrings. These earrings offer a wonderful glimpse into Georgian history...

Secessionist Porcelain Lidded Box by KARL KLAUS (1889-1925) for SERAPIS WAHLISS, Vienna, c. 1911, hand-painted in gold and black enamels in a stylized geometric diamond and holly mot...

Small Swiss alp trunk.

Edwardian Bronze Silk Mesh Over Pale Pink Satin Gown With Long Sleeve

Pair of Art Nouveau life size carved wood figures of dancing women with original paint colors (signed G. VAN DER MERSCH on base)

A Victorian gold and turquoise serpent necklace, the flexible tapering yellow gold body formed of three rows of scale-like collets each set with a ro...

Set of Three Meiji Period Blue & White Imari Fish Form Brush Washers Japan, circa 1890s Embrace the elegance of Japanese artistry with this captivating set of three Meiji period blu...

Beautiful, very rare original bench no. 5 by the Thonet brothers (Gebrüder Thonet) Vienna from 1859. Vienna Secession. Art Nouveau With original branded logo and one original paper l...

Red Coromandel Folding Screen with 6 Panels, ca. 1890

Exceptional and rare minaudiére from 1890 make with black satin and silver opening set with semi precious stones, the inside has been change.

French Cut Steel Shoe Buckles from the late 19th Century. Elegant Art Nouveau lobed fan motif curved and set with hundreds of hand set cut steel "stones". Each 3" x 1.5". France 1880's.

Royal House Antiques Royal House Antiques is delighted to offer for sale this lovely antique circa 1880 hand carved Georgian Irish style Gainsborough armchair with heavily carved fr...

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...

PORTRAIT OF D. MARIA BÁRBARA DE BRAGANÇA (1711-1758), QUEEN OF SPAIN Circle of Louis-Michel van Loo (1707-1771) Oil on canvas Her Royal Highness, the Infanta Maria Barbara of Braganza (1711-1758) was the first-born child of King John V of Portugal (1689-1750) and his queen consort Maria Anna of Austria (1683-1754). Born in December 1711, she had the Convent Palace of Mafra built in her honour following a vow made by her royal father. Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne. Daughter of one of the most illustrious monarchs of his time, Maria Barbara was carefully educated to become a fond admirer of the arts, and of music in particular, having had the Italian composer Domenico Scarlatti (1685-1757) as her music teacher. On the 10th January 1723 the young princess was betrothed to the Infante Ferdinand of Spain (1713-1759), eldest son of King Philip V (1683-1746). Six years later, on the 19th January, she entered her new country in a carefully choreographed ceremony that became known to history as the “Exchange of the Princesses”. This unique event took place on a specially built Bridge-Palace, a wooden, luxuriously decorated structure that included various modules and rooms, on both banks of the river Caia, the natural border between the town of Elvas in Portugal and of Badajoz in Spain. Simultaneously, on the same day that the Portuguese Infanta crossed the border to marry the Spanish Crown Prince, her new sister in law, the Infanta Mariana Victoria of Bourbon (1718-1781), her husband’s sister, crossed the same bridge in the opposite direction to marry Prince D. José, the Portuguese heir to the throne. Once married, Maria Barbara would spend 17 years as Princess of Asturias, only becoming Queen of Spain at her husband’s accession following the death of Philip V in 1746. She is portrayed in the 1743 painting by Louis-Michel van Loo (1707-1771) now in the Prado Museum, in which Philip V had himself represented with all his close family. The new Queen would take an important role at court eventually becoming the liaison between her husband and the King of Portugal, particularly throughout the negotiations for the Treaty of Madrid (1746-1750). Maintaining her interest in music, she patronized the Italian castrato singer Farinelli (1705-1782) while remaining close to her old master Scarlatti, having herself composed some sonatas for a large orchestra. She would also commission and fund the building of the Royal Salesians Monastery complex in central Madrid, where both her and Ferdinand VI are buried. The portrait we are presenting for sale shows the Queen in half-length, turning left at three quarters. She is wearing a blue low-cut dress embroidered with flowers and foliage, over a lace cuffed white blouse, and an ermine cloak pined on the left-hand side by a diamond broach. The powdered hair style is held sideways by a seven diamond and black plume headdress and topped by a small gold and pearl crown. The right arm rests on a cushion while the left hand, at chest height, holds a miniature male portrait. The Infanta’s features are analogous to the 1725 portrait by the painter Domenico Duprà (1689-1770), also in the Prado Museum collection. Further similarities can be found in another portrait by Louis-Michel van Loo, in which a seven diamond and black plume headdress is also present. In this work, the cushion supporting Maria Barbara’s right arm has also some obvious similarities to our painting. The same diamond headdress reappears in Van Loo’s above-mentioned portrait of Philip V’s family dated from 1743. It is nevertheless in Lisbon’s Ajuda National Palace that it is possible to find an almost identical depiction of the Infanta holding a miniature portrait of her husband. In it, the future Ferdinand VI is portrayed facing right at three quarters and wearing a curly wig, suit of armour, the golden fleece insignia and a blue band, in a composition that closely resembles an 18th century Spanish school painting that appeared in the art market in January 2016. Another detail common to various portraits of the Portuguese Infanta and Queen of Spain is the small gold and pearl crown on her head. In another Van Loo painting, also from the Prado Museum, in which Maria Barbara is portrayed as Queen, this crown is represented together with a headdress similar to the one previously described. Another two paintings by the same artist, at the Royal Academy of Saint Ferdinand, include the same ornament. We must also refer the paintings by the artist Jean Ranc (1674-1735). In one, dating from 1729 (Prado Museum), the Infanta is depicted outdoors holding a flower bouquet and wearing a yellow silk dress with red cloak, and a set of diamond and ruby jewellery that includes a headdress similar to the one present in our portrait. Another work by the same artist, belonging to the Complutence University of Madrid, depicts the Infanta sumptuously dressed in identical colours to our painting and wearing an elaborate headdress and diadem. These portraits, beyond their iconographical importance as contemporary records of the Infanta and Queen Maria Barbara, are also illustrative of 18th century fashion for jewelled head dressing. Often, flowers were combined with joyful adornments, composing almost theatrical displays that would reinforce the ostentatious nature of the image. The ornamental flowers and the chromatic character of the jewels would complement the luxury of the colourful dresses in blue, crimson, green or other silk shades, in compositions whose sole purpose was to highlight a royal sitter’s wealth and power, becoming an essential statement accessory within the strict court protocols and codes of conduct. Circle of Louis-Michel van Loo (1707-1771) Slowly but steadily, the resolute, tranquil and dignified attitude of Renaissance and Baroque portraiture becomes artificial and presumptuous. Mid 18th century society favours elusive expression and psychological deepness, albeit limited to the face, that, with emphasis on detail, on the rich colour palette and on changing costumes and landscapes, associated to the courtliness of gestures, creates a strongly artificial environment while maintaining a highly poetic intrinsic character. Louis-Michel van Loo followed a dynasty of famous Dutch origin artists that had settled in France. Initially taught by his father, Jean-Baptiste von Loo (1684-1745), the younger van Loo studied in Turin and Rome and frequented the Paris Academy. In Rome he worked with his uncle Charles-André van Loo (1705-1765) and become a painter for the Turin Court. In 1737 he arrived in Spain being summoned by Philip V to succeed Jean Ranc as painter of the king’s chamber. In Madrid, his work covers the numerous Court commissions and the Royal Saint Ferdinand Fine Arts Academy, of which he was a founding member and director for the Painting department in 1752. Is production at court consisted essentially of numerous portrait paintings, often Royal gifts...

18th - 19th century French neoclassical period fireback. The fireback is made of cast iron and has a black / pewter patina. The condition is good, no cracks.

Fine pair of European armchairs, richly carved with beautiful back and original leather seats, 19th Century.

A lovely chiaroscuro woodcut by Antonio Maria Zanetti the elder after a work by Parmigianino (Girolamo Francesco Maria Mazzola). Printed on cream laid paper, laid down to a cream lai...

- Once courtship is complete, male and female swans bond for life and this delightful pair of Japaneer cloisonné swans symbolize love and const...

Dating from the late 19th century, this bloomed gold lorgnette necklace is set with demantoid garnet highlights. Enclosing folding spring loaded len...

18th century Large chest of three drawers from late Baroque period in richly carved curvaceous serpentine drawer fronts, shaped top and on bun feet in super later patinated paint. La...

Antique 18k gold lorgnette, adorned with approx. 3.50ctw in H/VS-Si diamonds. The piece can be worn as a pendant. Measures 4.5" x 1 3/8" when closed , and 3.75" width of the open gla...

A statement piece that will make an impact in most settings. The antique cabinet itself is 36 cm high. It is mounted on a modern hand-forged frame. Which shows a perfect symbiosis of antique and...

Swedish Folk Art Chair dated 1821 This exceptional folk art chair, crafted from pine wood in 1821, is 202 years old. The beautiful patina and various repairs over the years have ma...

This stately George IV bergère armchair with caning details exudes elegance and sophistication. The armchair is crafted from walnut and features carved details and decorative element...

A museum-grade mid-17th century Dutch silver marriage casket or knottekistje, circa 1660. Raised on solid silver bun feet the miniature casket is profusely engraved to all faces depicting a courting couple and architecture entwined in scrolling foliage. The reverse of the casket depicts the last supper, however, if you look closely, you can see a boy stealing food or wine from underneath! Possibly, this is the courting gentleman showing that he had a sense of humour. The scratch lined moulded top is surmounted with an intricate handle (once gilt) and floral patera to the centre. There are two inscriptions each within a cartouche 'In Lÿfde Beltact het al' and 'Getrouw tot in den doot' which loosely translates to 'faithful until the death' and 'love is everything'. Wedding caskets...

An Italian upholstered and carved-wood settee, turn of the 18th and 19th century. This sweet antique love seat from Italy features a low-profile arched back with squared shoulders, from which the nicely carved-wood arms emerge and slope down into scrolled knuckles and leaf-carved arm posts. The chair-rail skirting is carved in a succession of swags, with rinceau carved accents atop the front knees. The sofa is presented upon six elegant and shapely legs. The current fabric is in good/usable condition, but new upholstering could make this piece your own. This late 18th to early 19th century Italian...

18th century Italian gold leaf angel wing mounted on tourmaline in crystal quartz. The large, gold leaf and painted angel wing originally came from a church in Tuscany. It was onc...

Mahogany Sewing Table with Brass Details from the Late 19th Century We present you a neat sewing table. This piece of furniture is placed on bent cabriole legs with brass appliqués....

Two antique Royal Copenhagen Blue Fluted Plain serving dishes. Early 19th century. Measures: 37 x 29 x 4.8 cm. In good condition. Both dishes with small chips. 1st factory quality...

Letter T 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...

The rectangular black marble and pietra dura top is set above a walnut base naturalistically carved with C-scrolls, lilies and foliage on a central lily support with outswept dolphin feet. At the back are two cabriole legs headed by shells and equally ornate carving. The inlaid decoration comprises a central sunburst within a patchwork border of specimen marbles and fossils including: Madrepore, Petworth, Portoro, Brocatelle, Sicilian Jasper and ‘Duke’s Red’. The top of the base is stamped ‘Artist R. Tudsbury Edwinstow. nOTsh.’ circa 1840. Measures: Height 33in, 84cm Width 60in; 152.5 cm Depth 361/2in, 92.5 cm Provenance: Oberton Hall: “The Grecian-black marble top, with its ribbon-banded tablet and polychromed pietre dure compartment is a masterpiece of the Derbyshire Black Marble Works at Ashford and Old Royal Museum, Matlock. It was probably designed by William Adam (d.1873) who succeeded to the Works in 1831. A trade sheet illustration of the Museum featured a related table, where the Museum was noted as being ‘under the Especial Patronage of his Grace [Charles Cavendish, 6th] Duke of Devonshire/Minerals and Shells/Inlaid Tables/Mawe’s Original Royal Museum, Matlock-Bath. The finest Spar, and elegantly engraved Black Marble Ornaments, Chimneypieces etc, London Jewellery’.” Please see page 60 for further information on Ashford Marble...

A Swedish Neoclassic style gilt-wood and upholstered sofa bench from the 19th century. This antique sofa from Sweden, approximately 5.75 feet in...

"La Tempete" is an original etching by Claude Lorrain (Claude Gellee). This is Claude's earliest dated etching (1630). The work depicts a storm-tossed sea with ships on the verge of ...

Of rectangular form with an overall ebonized finish and layers of giltwood moldings, with unique eight point stars centered on each side, the corners with fleur de lis decoration, th...

A small scale and charming Italian 18th century Baroque st. double frame patinated wood and gilt mirror. The rectangular mirror with its original patinated off white frame has eight ...

An unique Victorian example, 1870 ca Very beautiful, fashioned upon three rare Natural not Nucleated Salt Sea Pearls, the trio inspired the whole unique design 1.0 Full carat of old ...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning fully restored original pair of Victorian Walnut framed Howard & Son’s Bridgewater model, Bern...

Painted in the 19th century, this exquisite miniature portrait wonderfully exemplifies realism in traditional oil painting. The small artwork is painted in the conventional portraiture style of the Old Masters, and achieves soft realism with fine brushwork and a subdued, neutral palette. The half length portrait depicts a fine Victorian woman dressed in all black with a delicate lace collar and bonnet. She wears a ruby broach...

The sitter is Mary Charlotte Anne Wellesly-Pole, eldest daughter of William, 4th Earl of Mornington and niece to the Duke of Wellington. This is one of Hoppner's best works. The sitt...

Circa 1840s, most likely French. This ornate 18K gold antique brooch is centered with a black onyx plaque depicting, a scene of a bird chasing a butterfly. The bird is superbly mode...

A Fine Mid-18th Century French Louis XV Period Oak Side or Occasional Table with Panelled and Moulded Detailing. This charming table dates to the middle of the 18th century and is of excellent colour. The three plank top features a simple edge moulding and the frieze of the piece also features a moulded edge of a much more complex pattern, combined with a shaped apron. The table has a single drawer at both ends with the original handles and stands on finely shaped cabriole legs with restrained hoof form feet. The combination of a relatively simple overall form and rococo detailing works very well indeed and the table is a charming and interesting piece of provincial French furniture...

A stunning vintage Boho breakfront. Done in the Biedermeier style with Greek Key molding and leaded mullion glass doors. Incredible rolling clouds interior wall paper. Monumental in ...

Italian Bolognese Late 17th Century Red Chalk (Sanguine) Drawing of a Kneeling Young Man. Circa 1680 This Sanguine drawing is in good condition. Small dark brown spots are visible a...

An exquisitely carved Italian antique alabaster centrepiece vase or urn circa 1860. The detail of this beautiful urn offers a glimpse into the styles of 19th century Italy, the body finely carved with masks and foliage to either side between entwined handles reminiscent of the famous Warwick Vase. It stands on an equally as decorative socle base carved with leaves and an egg and dart trim. With its smooth and somewhat translucent appearance, this antique alabaster vase...

---Stone(s):--- (1) Natural Genuine Diamond - Old European Cut - Prong Set - J Color - VS1 Clarity - 0.84ct (exact - certified) ** See Certification Details Below For More Info ** (8...

Original Georgian Repousse Garnet and Beryl brooch with removable bottom dangle. A beautiful example of 1830's craftsmanship. 1 oval center pinkish garnet accented by 8 oval pinkish ...

Solid carved wood antique baroque mirror. Could be French. Gold gilding. Statement piece. Lights up a room. I'm not certain of the actual age. I...

Circa 1910s This one of a kind floral motif late Art Nouveau / early Art Deco era brooch is superbly modeled and finely crafted in 18K yellow gold. The brooch is set with twenty sev...

Victorian 19th century Festoon drop Necklace with Turquoises. A magnificent and exceptional piece of jewelry, most probably British created during the mid Victorian era (1840-1901),...

18th Century French Louis XV Giltwood Mirror with Floral Basket Crest

A pair of hand crafted wood and gilt gesso overlay baroque display stands (ideal for clocks or small statues and busts), each with applied harleq...

An impressive Italian mid 19th century Baroque st. triple framed giltwood mirror. The large scale mirror is raised by pierced S scrolled supports flanking the pierced central foliate...

A lovely and unique Italian giltwood carved mirror made in the 19th Century. This silver gilded rectangular mirror is eye-catching with richly carved scrolls decorating the frame. The surround is beautifully colored by age, showing the remaining silver gilt over wood with the color of terra cotta bole and gesso coming through with spots of red ochre. The surface is attractively distressed but this mirror is structurally stable. The overall shape is rectangular and the old mirror plate is in great condition with just a bit of foxing that adds an alluring air of mystery. This exquisite hand-carved Italian antique...

Monumental Georgian Statement Outstanding and utterly beautiful this rare example from the Georgian period, 1790/1800 ca Comes to us in fine original, wearable, condition Flat wide c...

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

This aged Victorian era antique arched oak exterior door is reminiscent of the entrance to an ancient English castle or old church. Thick and sturdy, i...

Rare Find This authentic Victorian period pendant is 1880 ca. Very pretty and distinctive from the period designed with a gorgeous bow topping the oval shape main pendant of fine gem...

A fine antique 18th century Dutch Delft pottery tile. Depicting a mermaid in the ocean wringing a snake with her hands. Simply a wonderful Dutch Delft tile! Date: 18th Cent...

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...