18th Century and Earlier Paintings

18th Century Italian Framed Pietra Dura Stone Plaque. Plaque features a bouquet of flowers and fauna in yellow, pink, and green on black background. The detailed blooming floral arr...

An exceptional, museum quality very large 18th century Greek icon of the Pentecost. Egg tempera and gold leaf on wood, primed with gesso. Attributed to Mount Athos...

This is a delightful antique Spanish oil on canvas painting after Bartolome' Esteban Murillo, depicting two peasant boys eating grapes and melon, Circa 1780 in date.  It features a ...

"Perseus Rescuing Andromeda" Masterful Old Master Oil on Canvas Painting, Large size, framed. Painting depicts the dramatic scene from Greek mythology where Perseus, the hero, saves ...

This late 18th century stunning Rococo portrait portrays an aristocratic lady with grey hair, decorated with flowers and a blue ribbon, reflecting the era’s love for elegant fashion....

Madonna and Child late 1600s, oil painting on canvas from northern Italy, in good condition, within walnut frame, from a private collection in Milan. The work depicts the Virgin hol...

Rembrandt Van Rijn (1606-1669) Reproduction GHI.M.A Authorized Measures: Height 57 cm Width 68 cm Technique oil on canvas The company GHI.M.A. certifies that the relief, the app...

We are pleased to present this captivating religious painting of the Italian school, painted in oil on canvas in the 18th century. This wonderful painting depicting the Madonna in pr...

Magnificent almond-shaped portrait of a young poet, painted in oil on canvas and framed in a fine carved and gilded wooden frame. At the cente...

Pines and Cranes Anonymous. Kyoto Kano School. Late 17th/early 18th centuries, circa 1700. Pair of six-panel Japanese folding screens. Ink, gofun, pigment and gold leaf on paper. This bold composition presents two pine trees extending to the left and right across a gold leaf background. One tree is silhouetted against a green ground, golden clouds obscuring its true size, the other stretches across a stylized waterway. The pines are paired with Manchurian cranes with red crests and snow white plumage. Both have been highly auspicious motifs in East Asia since Chinese antiquity. Here the artist utilized fluid and instinctive ink brushstrokes to define the trunk, branches and tail feathers, in strong contrast to the precision and sharp angularity of the crane’s legs and beaks. The adoption of this vast metallic painting support required an unerring sense of design and composition, so that the negative space surrounding motifs could imply context for the otherwise floating pictorial elements. The brushwork detailing the trunks of the pines, the exaggerated dimensions of the pine trees and the strength and dynamism of the composition are all reminiscent of Kano Eitoku...

Pieter Van Lint (Antwerp, 1609-1690) Allegory of industriousness leading to peace and abundance Oil on copper; frame measures cm H 132 x W 159 x D 8, copper measures cm H 104 x W 130 Artwork signed (bottom center) "P.V. Lint F./ en A.B" The important and valuable painting, made of oil on copper, depicts the Allegory of industriousness that leads to peace and abundance. The work is signed in the bottom and center "P V Lint", or Pieter Van Lint (Antwerp, 28 June 1609 - Antwerp, 25 September 1690), famous Flemish painter and designer active in Antwerp in the second half of the seventeenth century. Van Lint elaborates a complex and articulated composition in which he inserts several figures also drawn from mythology to propose the allegorical message of industriousness that leads to peace and abundance. The artistic style of the author is characterized by meticulous realism and by the careful attention to detail and the rendering of the materials that make up the objects described. As we will see later, every detail represented within the work contains a symbolic and allegorical meaning that reinforces the message that already the same figures express. The remarkable dimensions of the copper support, not so infrequent in the artistic production of the artist, contribute to make the work of great value: Unfortunately, many of these artifacts have been lost because copper was often recovered in times of war and famine, and reused to obtain weapons and common tools. The copper foil proved to be ideal for oil painting because it constituted a non-absorbent support, rigid, smooth and characterized by the same reddish coloring that was used for the preparation of funds. The major production centers were Antwerp, Hamburg and Amsterdam, although the technique was widely used in Italy. The considerable cost of the material indicates a wealthy client, interested in possessing a valuable and durable work over time, this characteristic that the metal foil has more than the canvas. The painting is known to scholars. It is recorded in the catalog of the artist of the RKD Netherlands Institute for Art History (with measures 104 x 129 cm). He also appeared on the French antiques market...

Amazing Tiziano Vecellio's Circle of the 17th century "Ecce Homo" Oil on canvas, 17th century, based on the original housed in the Kunsthistorisches Museum, Vienna. Dimensions: 1...

17th century painting J.Castano 17th century Spain

The Entrance to the Grand Canal, Venice - exquisite oil on panel, unsigned. This is a superb oil painting of one of the most famous scenes in Venice, dated around the mid 18th centu...

Attribution of Mattia Preti " Salvator Mundi " 17th Century Italian painting from the 17th century depicting the figure of the infant Jesus as Salvator Mundi (Savior of the World),...

A rare striking 18th century Tibetan Thangka depicting the Green Tara seated on a lotus throne ready to step down to offer comfort and pro...

Madame Rimsky-Korsakov by Franz Xaver Winterhalter (1805-1873, Germany). Measures: Height 67 cm Width 57 cm Print on canvas In good conservative condition, present signs of t...

17th C representation of the Roof of Folly: An Allegory of the Fall, German School This enigmatic 17th-century painting, laden with symbolic content, echoes the allegorical traditio...

Italian School, 18th century. A masterful example of 18th-century Italian School artistry, this Old Master landscape painting captures the sublime beauty of an idealized European co...

Splendid 17th century Italian painting. Oil painting on canvas depicting the alliance of Jacob and Laban. The subject is inspired by a canvas by Pietro da Cortona (1596-1669), preser...

17th Century Large Old Master Battle Scene Painting. Flemish School, circa 1610 - 1680. Oil on canvas painting depicts a dynamic battle scene fi...

Amazing Flemish Master 17th Century "Saint Jerome" Oil/canvas/double, 82 x 64 cm. good condition

18th Century Spanish Colonial Oil On Canvas Painting, La Santa Trinidad (The Holy Trinity). Painting depicts God the Father, God the Son (Jesus Christ) and God the Holy Spirit figura...

A set of 5 Japanese floral paintings from the 18th century. Each painted with mineral pigments directly applied to gold leaf. They were originally designed to be mounted on the leave...

Early religious work of art, presented in the original antique frame. This beautiful and uplifting portrait of Saint Joseph holding hands with the child Jesus is an oil on canvas an...

17th Century Italian School Oil on Canvas - Soldiers and Travellers Resting by a Rocky Cove The painting carries a plaque with the name of the attributed artist Salvator Rosa (1615-...

An exquisite circa 1790 equestrian oil on canvas of a red-coated and bewigged gentleman fox hunter with outstretched arm and hand holding cap, 'riding to hounds' on a galloping bay h...

Roman School, 17th century Madonna and Child Oil on copper, 15 x 11 cm Framed, 26 x 22 cm The small copper on display here depicts the Madonna and Child against a dark background...

Flemish school of the 16th century Allegory of Africa
After The Allegories of the Continents by Maerten de Vos (engraving by Adriaen Collaert)
 Oil on copper
 Inscription: "Giulio Ro...

The 39-year-old gentleman had himself portrayed as an aristocrat in an idyllic landscape. At the time, parks and forests were associated with the nobility's lands and pastimes. The s...

Set of Four Chinese Paintings in Rosewood Frames, Signed, 19th Century, Oil Canvas Stunning example of Oriental works on canvas on wood. Each in a fine custom rosewood frame, matted. The set depicting a story of a band leader...

This set of four antique hand painted pottery tiles are all unsigned, so no specific artist can be identified, but are presumed to have be...

Peruvian Cuzco School Oil on Canvas of the Archangel Michael defeating Satan 18th Century. Later Frame. Wear commensurate with age. The Cuzco or Cusco school was a Roman Catho...

1870 original religious painting. Cherubs Signed by S.Barber Interior measurements: 48.42in x 39.76in Frame: 2.75 in.

Pair of miniature paintings with bucolic landscapes and figures in shades of blue, two Enamel plates painted with landscapes with figures within gilded frames, of European and probab...

Pier Francesco Cittadini (Milan, 1616-Bologna, 1681) "Jacob and his family go to Egypt" Oil on canvas, cm 109 x 190 (canvas only) The valuable painting, made in oil on canvas, depicts Jacob and his family go to Egypt and we believe it can be, given the high quality painting, autograph work of Italian Pier Francesco Cittadini (Italy Milan, 1616 - Bologna, 1681) made after 1647. The work, in excellent condition is accompanied by a coeval frame in wood finely carved and golden. The scene depicted, which was confused with the Flight to Egypt in the past years, is instead identified with the biblical episode of Jacob’s journey. In the foreground, reading the painting from left to right, we see a caravan composed of animals, including donkeys, dromedaries, goats, dogs and horses and people, women, men and slaves, who carry on their journey along the banks of a river, following a path that to the right, would seem to lead to the through of a bridge. In addition to the watercourse is described an environment characterized by large rocks and impervious come far to cover the entire verticality of the canvas. On the left, in the distance, we see the tail of the caravan that runs along the steep path. Large trees enliven and harmonize the environment, as well as white and grey clouds characterize the predominantly clear sky and illuminated on the right by sunlight. The story is told in the Bible, Book of Genesis, 30, 25, passage in which is described the flight of Jacob from Haran after the contrasts with Laban, father of his wife Rachel. Jacob is the third great patriarch of the Bible. From his descendants originate the twelve generations of the people of Israel. He is the son of Isaac and Rebekah, who led him to flee from the wrath of Esau to Haran to seek refuge from his brother, Laban. At his uncle’s house Jacob met his daughter Rachel. As soon as he saw his cousin, Jacob was taken. Jacob will stay seven years in the service of Laban to marry his beloved Rachel. But Laban, with a deception, will give him in marriage first Lia, the least beautiful eldest daughter, and only after another seven years the splendid Rachel. From his first wife he will have several children, while Rachel will give birth to the beloved son, Joseph, who will become viceroy of Egypt. After years of service, Jacob asked to be paid with every dark-coloured garment among the sheep and every spotted and dotted garment among the goats. Laban accepted and sent away from his sons all the leaders of that kind. So Jacob took fresh branches of poplar, almond and plane tree, and flayed them, and put them in the troughs. The optical suggestion induced the goats and the sheep to conceive and give birth to dark, striped and dotted garments. He also ensured that all the strongest and healthiest leaders of the flock of Laban would drink near the barked branches, thus assuring a genetic superiority to his part of the flock. His flocks grew numerous and strong and he became richer than his relative, arousing envy. It was clear that Laban would not respect him much longer. At the suggestion of the Lord, Jacob decided to return to Canaan. Trying to avoid any possible dispute, he left with his family while Laban was absent for shearing sheep. But when, three days later, his uncle returned home, he became angry, feeling offended because Jacob had gone secretly and had not allowed him to greet his daughters and grandchildren. In addition, his teraphim, statuettes, or idols, which depicted the family deities, had disappeared. After 7 days of pursuit, Laban and his men reached Jacob’s group on Mount Gilead, in the mountainous region west of the Euphrates River, where his uncle and grandson had a stormy conversation. The younger man was outraged at being accused of stealing idols and told Labano to rummage through his family’s tents at will. Neither of them could know or even imagine that it was Rachel who took the idols and hid them in the saddle of the camel. During the search, she sat down firmly on the saddle, apologizing for not being able to get up, «because I usually have what happens to women» (Gen 31:35). So the loot wasn’t discovered. The author of this work was inspired by the composition of an engraving by Stefano Della Bella (1610-1664) of circa 1647. The engraving by Stefano della Bella bears the title "Iacob sur ses vieux jours quitte sans fascherie pour voir son filz Ioseph, sa terre et sa patrie" and is signed on the bottom left "Stef. of the Beautiful In. et fe." while on the right it is declared "Cum privil. Regis", that is with license of the king. Stefano Della Bella (Italy - Florence, May 18, 1610-Florence, July 12, 1664) was born in a family of painters, sculptors and goldsmiths and was left early orphan of his father sculptor, he dedicated himself first to the art of goldsmith at the school of Giovanni Benedetto Castiglione and Gasparo Mola, then turning his attention to drawing and engraving. He soon began drawing figures and copying the etchings of Jacques Callot, which inspired his early works. Under the protection of the Medici, in particular of Don Lorenzo, cadet son of Grand Duke Ferdinand I, Della Bella has the opportunity to make study trips to Rome, where he stayed from 1633-1636; In Rome he met French engravers and publishers of prints such as Israël Henriet and François Langlois, who influenced his decision to move to Paris in 1639, four years after the death of Callot. In Paris he soon reached, thanks to the engravings commissioned by Cardinal Richelieu, the success also worldly; he frequented courtiers, theatre artists and writers, while refusing too oppressive honors. In 1646-1647 he continued his travels in the Netherlands to Amsterdam, Antwerp and Dordrecht. He returned to Florence in 1650 and resumed working under the protection of the Medici court, working for his patrons. In 1656 he became a member of the Academy of Apatists. The painting object of this study is reasonably attributable to Pier Francesco Cittadini, or Pierfrancesco Cittadini, called the Milanese or the Franceschino (Italy - Milan, 1616-Bologna, 1681) as some exemplary stylistic comparisons proposed to follow can prove. Pier Francesco Cittadini was an Italian baroque painter, mainly active in Bologna. His artistic training first took place with the painter Daniele Crespi...

C. Maratta went to Rome in 1636 and became an apprentice in the Studio of Andrea Sacchi. Pope Alexander VII commissioned many paintings from him. Maratta’s paintings of the later 165...

This is an absolutely incredible early 17th century oil on canvas painting representing Holy Family-Virgin Mary, St.Joseph, St. Elisabeth, John the Baptist and Baby Jesus. Sir Peter ...

A delightful small painting, framed in a contemporary frame in carved and gilded wood, depicting a lively genre scene. In the background, an Italian garden opens up to reveal two you...

An early 18th century French 3-panel folding screen, oil-on-canvas, depicting village and maritime scenes in cartouches with other decoration.

17th/18th century Flemish old master painting of Saint Jerome in a landscape with objects. Oil on copper. Framed. Light inscription on reverse. Sight: 9 x 7in. Overall: 14 x 12in. Co...

Dipinto Fiammingo del 1600 a olio su rame raffigurante uno scorcio di paesaggio con figure, una scena di genere con una moltitudine di personaggi affollati in una strada con delle ar...

Follower of Jacopo Da Ponte, called Jacopo Bassano (Bassano del Grappa, circa 1510 - Bassano del Grappa, 13 February 1592), 17th century Allegory of the Spring Measures: With frame: ...

18th century French school, portrait of an aristocrat woman circa 1760 - 1770, oil on canvas set into a Louis XVI style frame (the frame is a 19th century production ; it is gilt wit...

A rare and evocative example of Spanish Colonial art from the Cusco School, this 17th-century oil on wood panel captures the iconic biblical scene of Sain...

A 17th Century baroque painting of a sideview of Jesus Christ Salvator Mundi or Saviour of the World in sfumato Saint Savior of the World, a title given to Christ on the Catholic f...

18th Century French Rococò Painting An oil on panel painting attributed to the great French artist of the eighth century, Jean Ra...

Wear to canvas throughout with some punctures; requires restoration. From a private collection Free international shipping 18th Century Old Master Painting...

Late 18th century, Louis XVI Trumeau. The mirror is no the original, the painting representing a children scene needs a restoration Good condition. For shipping: 5 x 165 x 74 c...

A very important painting by the great artist of the Florentine school, Onorio Marinari. Dr. Silvia Benassai has confirmed Marinari’s authorship of the Saint Margaret of Antioch; available on demand, a historical-artistic fact sheet prepared by Dr. Silvia Benassai Onorio Marinari (1627 – 5 January 1715) was a very important Italian painter and printmaker of the Baroque period, active mainly in Florence. His father, Sigismondo di Pietro Marinari, was also a painter, and he trained with his cousin, Carlo Dolci, later being also influenced by Simone Pignoni and Francesco Furini. His fresco in the Palazzo Capponi, Florence, is dated 1707. He worked mainly in Florence for Florentine and Tuscan clients, but he did not devote himself only to painting. In fact, in 1674, he published an essay on astronomy entitled Fabbrica ed uso dell' Annulo Astronomico. Bartolomeo Bimbi was one of his pupils. St. Margaret of Antioch July 20, Martyr Margaret, known as Margaret of Antioch in the West, and as Saint Marina...

Original oil on canvas painting of the adoration of the magi, with Mother Mary and infant Christ. Framed over 5' wide x 4' tall, no signature/unknown artist. Canvas has craquelure, o...

Michele Antonio Rapos (Turin 1733-1819), Still life of flowers and fruits, Oil on canvas frame: cm H 133 x W 124 x D 8 (canvas: cm 108.5 x 108.5) The painting depicts a triumph of ...

17th C Landscape Painting with Staffage, Noblewoman with Squire, Oil on Copper.

Venetian school of the 17th century. Great oil on canvas artwork depicting a biblical episode, the sacrifice of Isaac. To test the faith of Abraham, a just and devout man, God orders...

Remarkable Spanish colonial late 18th/early 19th-century Cuzco school painting of Madonna and Child, or Virgin Mary. Oil on canvas Cuzco school painting with a desirable aged patina ...

English oil on canvas portrait dating from the late 1700s painted in the manor of Joshua Reynolds. We believe the giltwood frame could be the original as it is right for the period. ...

Large original oil on canvas painting of the crucifixion of Christ hanging on the cross, with his Mother Mary and two other female figures. Unframed, just over 4.5' tall. Beautifully...

An extraordinary and monumental pair of 18th century École Française Oil on Canvas portraits of Marie-Josèphe of Habsbourg of Austria (1699-1757), wife of Frederick Augustus II of Saxony, Elector of Saxony, and of their son Frederick IV of Saxony (1722-1763), bearing the Imperial and Royal Order...