18th Century and Earlier Paintings

Roman school, late 16th-early 17th century Praying Madonna Oil on canvas, 81 x 69 cm Frame 83 x 95.5 cm A divine whiteness reverberates with vibrant luster on the maphorion of the present Virgin. The palpable iridescence that structures the thin rosaceous garment, woven with the same fresh light, produces a slight rustle when she takes her hands off. The Madonna in fact takes a prayerful pose, opening her palms to underline her fervent ecstatic intention; the white neck is rendered with perishable fullness of pigments, like the hands, perfectly alive, and the very shiny eyes. With fine shrewdness the artist of the present styles the Virgin's hair with thin white ribbons, exacerbating the purity. An evocative light falls gently on the bust, a materialized sign of divine glory. The present can be traced back to the late Mannerist climate that prevailed in the capital after the emanation of the Tridentine council (1545-1563). The late Mannerist licenses that can still be seen there, such as the intense lyricism in the stylistic code adopted by the artist, are innervated in the new basic catechetical intent, which at the end of the century produced a certain figurative rigorism. The present, however, still responds to that extraordinary Roman dynamism that raised the capital to a bulwark for the entire mannerist lesson, matched only by a second artistic center, the Florentine one. The engaging carriage of the Virgin reflects the contemporary examples of Giuseppe Valeriano (1542-1596), a Jesuit painter, returning in the Marriage of the Virgin of the Roman Church of Jesus, as well as in the Madonna of Sorrows in the Recanati Altarpiece, equal ardor. But it is in the Assumption of the Virgin painted in four hands with Scipione Pulzone...

This is an extremely rare and unique set of five oil on canvas paintings of naked puttis in either a reclining or flying pose surrounded by still life style flowers set against a bla...

Antique Lombard / Venetian painting from 17th century. Artwork oil on canvas depicting a portrait, a grotesque character in a tavern with a glass of excellent pictorial quality. Pain...

17th century Mystical marriage of Saint Catherine Measures: Oil on canvas, 98 x 81 cm - with frame 119 x 102 cm The scene represents the mystical marriage between Catherine of A...

Giovanni Giacomo Figari (Desenzano del Garda, 1739-1809) Madonna and Child adored by San Francesco di Paola and San Gregorio Magno (About 1765) (2) Oil on panel, 41 x 22.5 - with frame 46.7 x 27.5 x 3.2 cm Expertise Prof. Sava The softly collected and intimate dimension suggested by the present pair of paintings underlines, together with the saints appearing in adoration, the totally private dimension of the order. The saints chosen at the feet of the Madonna and Child are in fact Francesco di Paola and Gregorio Magno, immediately recognizable by the wise features, by the Franciscan habit and by the crosier supported by a putto, the other by the triple crown placed on the ground as a sign of respect. Most likely made as ex votos, as a tribute to the patrons or as preparatory models for two altarpieces, if the saints were to reflect their names, the paintings are offered for specular and meditated composition. An inflamed colorism lights up the veils of the Madonna, enhancing their prominent position with respect to the saint in her presence, and warming the remaining part of the composition with sweet intimacy. The compositional balance, the quality of the drawing and the plastic consistency of the drapery allow the painter's hand to be brought closer to the sphere of Giambettino Cignaroli (1706-1770), a Venetian painter, working in different cities in northern Italy. He was influenced by Ludovico Dorigny, Antonio Balestra...

Pair of Italian School Paintings from the 18th Century. " Allegory of Summer and Autumn" Oils on canvas. In simplistic black frames with slight gilding.

English Georgian style gilt framed painting portrait of 18th century nobleman with book. (Sir Norton Schell).  

Circle of Antonio Amorosi (Comunanza, 1660 - Rome, 1738) Portrait of young people Oil on canvas, 87 x 67 cm The painting depicting this portrait was made by an artist activ...

Antique Italian painting from the late 17th century. Framework oil on canvas depicting a religious subject Praying Madonna of good pictorial quality. Nice size and pleasant impact pa...

We call him “Dr. House”, because he feels so calm, experienced and confident. This beautifully painted oil portrait dates from about 1780 and the antique frame fits this stately appe...

Antonio Calza (Italy, Verona, 1653-18th April 1725) "Battle between Christian and Turkish cavalry with castle" The painting depicts a bloody battle between Christian and Turkish cavalry. Characterized by dynamism, intensity of color and light, the main scene occupies the lower horizontal section of the canvas, optically interrupted by the black fumes of the shots from which emerge, on the left, the towers of a fortress. On the right, in the distance you can see the combat in progress in the countryside, beyond which you can see the pale presence of hills that create a fifth, marking the horizon. To frame the scene contributes to the left, against light and in the foreground, a portion of the wall. The painter, however, introduces a horse on the ground, of which we see only the back, a ruse to involve the observer making him become active and participate in the scene. In the foreground, lifeless bodies, wounded horses and, scattered on the ground, weapons and a drum enhance the drama of the clash. The excitement and expressive force, the intense chromatic range attentive to the conditions of light and the fine brushstrokes, decisive and dramatic, suggests the attribution to Antonio Calza, one of the most important painters of battles of the seventeenth century, excellent student and continuator of the greatest interpreter of the genre, Jacques Courtois called il Borgognone (Saint-Hyppolite 1621 - Rome 1676). Il Borgognone, although not having had a real school or direct students, places itself as a primary reference point by the Italian and foreign "battaglisti". The genre of battle painting found great success in the collections of the Italian and European nobility of the seventeenth and eighteenth centuries. The battles of the Italian Renaissance, in which the scene converged towards a precise protagonist, evolve towards a type of combat "without hero". The bloody realism of the details and the dynamic development of the narrative confuse the figure of the protagonist, when present, to give importance to the swirl of horses and armed fighters, among which, moreover, does not emerge a winner. The certain documents relating to the life and movements of Antonio Calza are scarce; it was equally difficult to reconstruct, from the critics, a catalogue of autograph works. Through paintings in private collections, in museums and paintings passed on the antiques market it has been possible to identify a copious corpus of works that can be traced back to his hand. The work of art historians, together with that of antique dealers, in conferring proper attributions in order to best outline the figure of Calza, continues but studies are still in progress. In this sense, the work of Giancarlo Sestieri should certainly be noted, who investigated the artistic production of the battaglisti and Calza, thus allowing the comparison of the numerous photographic works reported, to identify and recognize the stylistic qualities that distinguish the corpus of paintings assigned to him today. Antonio Calza was born in 1653 in Italy, in Verona and in 1664 he entered the school of Carlo Cignani in Bologna, dedicating himself to painting battles and landscapes. He then perfected in Rome, where he knew the works of the then undisputed head of the sector, Jacques Courtois called the Burgundian. In 1675 he returned to Verona and married an 88-year-old widow who, dying, left him a rich inheritance. Much appreciated by the nobility and the bourgeoisie, he received numerous commissions. Bartolomeo Dal Pozzo (Le Vite de' pittori, de gli scultori et architetti veronesi, 1718) praises "three great paintings of battles...

Antique Italian painting from the late 18th century. Virgin with child in Byzantine style of great character and good pictorial hand. Oil painting on canvas with wooden frame not coe...

Pair of naïve allegorical landscape paintings. Oil on canvas Signed Lieutenant Christian Georg V. Lind , 1837 and 1838. See text on the back. In original gilded Damgaard frames....

The artist portrayed an upper-class lady who has some facial features of Reynolds' Mrs Andrews. More specifically, the long, straight nose and the large eyes. Her head resting on her...

Antique Italian painting from the first half of the 18th century. Work oil on canvas depicting a wooded landscape with St. John the Baptist and a lamb of good pictorial quality. Beau...

Antique Spanish painting from 18th century. Framework oil on canvas depicting a religious subject Piety, Virgin with deposed Christ, of good ...

Area of ??Bon Boullogne (Paris, 1649 - there, 1717) Venus and Cupid with Bacchic procession Measures: Oil on canvas, 64 x 94 cm - with frame 83.5 x 113 cm In the present painting Venus, softly lying on a stone seat equipped with an opulent finely decorated indigo cushion...

Painter active in Rome (late 17th century) Coastal landscape and ships under repair Oil on canvas, 113 x 143 cm With frame 125 x 159 This fantasy coastal view can be attributed to a foreign painter active in Italy between the 17th and 18th centuries. The Italianizing taste, in our case deduced from the models of Agostino Tassi and especially from the examples of Gaspare Vanvitelli...

The third series of photographs by Fine Taxidermists Sinke & Van Tongeren After observing and analyzing so many 17th century paintings, they were inspired to create a new series of ...

Antique Italian painting from the 18th century. Framework oil on canvas depicting a landscape with figures of good pictorial quality. Nice sized and pleasantly decorated paintinf wit...

A late eighteenth century portrait of a lady, oil on canvas, in a French Empire 19th century giltwood frame. Attributed to Henri-Pierre Dan...

Oil on canvas depicting "The Triumph of David". Bolognese painter of the early 18th century. Dimensions: 65x107x9cm. Good condition - used with small signs...

I. Reneman (Netherlands, active in the second half of the 18th century) Parrot with cherubs and flowers Oil on canvas, 100.5 x 84.5 cm Signed on the base “I. Reneman fecit...

18th century, Piedmontese, School Scene with spinner Measures: Oil on canvas, 50 x 60 cm Frame 70 x 80 cm.

Giovanni Crivelli known as Crivellino (Milan,? - Parma, 1760) Fight between dogs and bison Oil on canvas, 84 x 111 cm With frame 112 x 139 cm Thanks to the comparison with h...

17th-18th century: The holy Virgin Mary's soul being pierced by a sword. Unsigned. Oil on canvas. 91.5 × 67 cm. Unframed.

Attributed to Giacomo Ceruti (Milan, 1698-1767) Portrait of Felice Paganoni Oil on canvas, 98.5 x 73 cm With frame, 109 x 85 x 4 cm "Felice Pag...

A late 16th century oil on copper painting by Nicolò Cercignani, an Italian Old Masters artist of the late-Renaissance or Mannerist period, depicting the Raphaelesque transfiguration...

Bernard Keil known as Monsù Bernardo (Helsingør, 1624 - Rome, 1687) Portrait of a woman Oil on canvas, 67 x 48 cm - frame 78 x 62 cm Identified for the first time only starting ...

Painter unknown, 18th century: The immaculate conception. Unsigned. Oil on canvas laid on canvas. Ca. 67 × 52 cm. Unframed.

ENTOURAGE OF FRANCOIS DE TROY (TOULOUSE 1645-1730 PARIS) Portrait of a young mulatto aristocrat Oil on canvas Measures: 80 x 63 cm.

Giovanni Michele Graneri (Italy, Turin 1708-1762) Bambocciata (Farmers dancing in front of the inn) The painting, made in oil on canvas, depicts a moment of celebration where some p...

Jesus with the cross wearing the crown of thorns, verso portait of Jesus wearing the crown of thorns. Unsigned. Oil on canvas laid on wood. 134 × 76 cm. Unframed.

An attractive pair of colonial American mid-18th century oil on canvas portraits. The detail and rendering of the paintings is of extremely fine quality. Highly contrasted figures against the dark backgrounds references the earlier work of Caravaggio and Rembrandt. One such American artist who particularly employed this technique in the late 1760s and early 1770s was John Singleton Copley...

The antique unframed oil painting on canvas is in the Renaissance style. Two ladies are conversing with the man on the right. Canvas is stretched...

Attributed To Joseph Highmore (1692-1789) 'Portrait of child - possibly Prince William Duke of Cumberland, son of King George II' Oil on canvas painted...

Early 18th century Italian Venetian inland painting, a large size oil on canvas Baroque mountain landscape with stream, bridge, waterfall, wayfarers and a village in the background. The woodland is animated by figures, a caravan with horsemen fishermen. This monumental Italian Baroque landscape painting has a strong impact and an excellent composition balance, as it depicts in the center the luminous perspective of a fortified village, whose side wings consist of two mountain rocks with dark wooded vegetation crowded by characters, horsemen, paths, streams.On the left side, with respect to the observer, there is a path that runs alongside a stream that flows into a waterfall in the center of the composition. from a caravan of travelers on foot and on horseback traveling along it in both directions: going up the slope on the mountainous coast you can see a church and a village near the top. The right part of the painting depicts a more sparse and dry vegetation, painted in the chromatic tones of ocher, inside of which there are dead plant, dry branches and a smaller number of figures on the rugged mountain. The iconographic inspiration of this wooded representation seems to be in the large trunk of the withered conifer in a central position, which represents a dead tree, as a? reminder of the transience of everything in life, whose phases are summarized in the two mountainous coasts. In the background a village painted in light and soft blue colors, in stark contrast to the previous scene, seems  to reassure and project us into a future season. With a suggestive theatrical effect, more than 250 cm wide, this Baroque Italian painting comes from a private collection of Milan, the canvas has been lined and shows minor painting retouches at a horizontal seam of the canvas. It is unframed, it has just a wooden profile covering the canvas edge. It is an antique Italian landscape, the perfect opportunity to make a statement. Get the perfect size painting for a great living room, to create that eye-catching focal point. You can make an impact with a single large work by hanging this early 18th century Italian Baroque painting...

Antique Flemish painting from the 18th century. Framework oil on canvas depicting an interior scene of a tavern with characters of good pictorial quality. Nice size and pleasant impact painting, for antique dealers, interior decorators and collectors of old Dutch painting...

O/6504 - Little lovely Fleming old painting, with a scene of children playing. It is still in its original frame. In my office it is resting on a small piece of furniture with a des...

The good Samaritan. Unsigned. Oil on canvas. Measures: 80 x 100 cm. Provenance: Former chief curator at The Royal Collection of Prints and Drawings a...

Ancient Italian painting from the 18th century. Framework oil on canvas depicting biblical subject Joseph at the well sold by the brothers of good pictorial quality. Oval painting wi...

The third series of photographs by fine taxidermists Sinke & Van Tongeren After observing and analysing so many 17th-century paintings, they were inspired to create a new series of ...

A ram lowers its horns in a face off with a barking dog that rises on its haunches. An ox turns its head to watch the row. An annoyed ewe glances over its shoulder, but the two behin...

18th century portrait of a boy from the rococo period, Signed A. Eklund, oil on canvas, circa 1770, Sweden. Good condition with historical ...

The third series of photographs by fine Taxidermists Sinke & Van Tongeren After observing and analysing so many 17th century paintings, they were inspired to create a new series of ...

The third series of photographs by fine Taxidermists Sinke & Van Tongeren After observing and analysing so many 17th-century paintings, they were inspired to create a new series of ...

Early 17th century French landscape painting. Unframed.

18th century Spanish "Penitent Magdalene" oil on canvas in the style of 17th century Italian school, particularly Tiziano models. Dimension: 101 x 71 cm, 111 x 80 cm (frame).

A breathtaking 18th century Spanish oil on canvas painting of Mary Magdalene - Madeleine - in is original frame. Beautiful detail.

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). An allegory of the love Omnia vincit amor...

18th century French Rococo Painting Circle of François Boucher This idyllic pastoral oil painting shows Boucher’s impact on this f...

17th century Dutch Old Master painting with provenance, Barnyard with farm animals and peasants. This Dutch oil on canvas painting is a jewel among the...

17th century Flemish Shool Antwerp, wild boar hunt in the style of Frans Snijders, oil on oak panel marked by Guilliam Gabron 1609-1662, Antwerp. The st...

Ecce Homo by Frans Franken the Younger (Antwerp, 1581-1642) Flemish, late 16th-early 17th century oil on copper Measures: H 7 in; W 8 in Ecce Homo, "behold the man," are the Latin words used by Pontius Pilate...

Huile sur toile représentation de Jésus Christ d'époque XVIIème de dimension 54 cm par 42 cm.

This large, old master still life painting is a perfectly balanced composition of fruit and game birds. In the foreground a rabbit is stretched out. A copper kettle and a basket are ...

Early 17th century French landscape painting. Unframed.

A fine half length portrait of a powder wigged 18th century French aristocratic gentleman simply dressed in a brown waistcoat over an embroidered buttoned vest in which he has placed...