18th Century and Earlier Paintings

Original oil on canvas laid on panel painting, Italian school. Unsigned. Possibly a religious composition with three putti in lower left. Condition: Age related craquelure, some abra...

Italian 17th century still life painting in period carved gilt frame Italian school still life painting from the workshop of a great master. The 17th century Baroque painting in oil...

China Trade watercolor paintings of exotic birds on branches are in watercolor and gouache on Chinese paper. One picture depicts a pigeon perched on a tree branch with a landscape background. Chinese calligraphy can be seen in the top right corner. The second picture depicts two courting birds in shades of brown, both perched on a branch, also in a landscape background. Both paintings framed with a green silk mat and contemporary gilt and dark wood frame. Reference: Chinese Export...

Alessandro Rosi (Florence 1627-1697) "St. Christina of Bolsena and the Angel." Oil on octagonal canvas, 94x77 cm. In carved and gilded wooden frame (total measurements 125x114 cm) A...

Extremly charming oil painting. Child portrait of the Swedish king Charles XI (1655-1697) from the late 17th Century in the circle of David Klöcker Ehrenstrahl (1628-1698). No frame....

A wonderful French 18th century Oil on Canvas and Giltwood painting of a mother and son by Robert Le Vrac de Tournières. The painting is framed within a richly carved giltwood frame ...

18th Century or 19th Century Orientalist Painting Of A Turkish Ottoman Sultan Mahomed Unframed in good condition ready to be framed and hung Size ...

Late 18th Century English Oil Painting – Civil War Scene with Horse and Soldier A finely composed late 18th to early 19th century English oil painting on panel, depicting a romantic...

18Th Century, Pair of Italian Allegorical Paintings By Vittorio Amedeo Rapous Pair of paintings depicting the Allegory of Spring with putti and the Allegory of Autumn with putti, Vi...

Dipinto religioso italiano di Scuola Lombarda Madonna con Bambino e San Giovannino circa 1650 con una buona composizione equilibrata ed armoniosa al centro della quale si trova il Bi...

Antique Italian painting from the 17th century. Oil on canvas artwork depicting a wonderful Holy Family. Painting of remarkable pictorial quality, particularly evident in the masterf...

Flemish painting from the first half of the 17th century. Oil on canvas artwork depicting a religious subject of great charm, Saint Jerome in his study. He lived between the fourth a...

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

Original oilpainting on woodplate by the famous artist Christian Wilhelm Dietrich (Dietricy). Born in Weimar 1712, died in Dresden 1784. In ...

Icon of Ezekiel painted in egg tempera on a wood panel. The image is of Ezekiel's ascension to heaven. Russian/Ukrainian, 1700's.

IMPORTANT TRIPTIC FLORENTINE SCHOOL (Italy) 16th Century Oil on wood, representing the Eternal Father, Our Lady with Baby Jesus, Saint Bernadino of Siena, San León, Saint Stephen an...

Mitani Toshuku (1577-1654) “Falcon” Wall panel, ink and light color on paper. Upper seal: Mitani Lower seal: Toshuku Dimensions: Each 118.5 cm x 51 cm x 2 cm (46.5” x 20” x .75”) Individual falcon paintings by Mitani Toshuku (1577-1654), an early artist of the Unkoku School. Founded by Unkoku Togan (1547–1618), a master of the Momoyama period, the Unkoku school enjoyed long lasting patronage in southern Japan. Togan was a retainer of the Mori family in present day Yamaguchi prefecture. Members of the school considered themselves to be in the artistic lineage of Sesshu Toyo...

Amazing pair of baroque cornucopias, with painted glass, s. XVIII, Spanish origin, Andalusian school (Córdoba) Outstanding pair of Cornucopias in carved wood and gilwood decorated w...

A late 18th century French painting depicting a romantic couple in a pastoral setting. Oil on canvas. Unsigned. Original gilded wood frame. Small repair to canvas in the upper left c...

Francesco Fedeli (Venice, 1738 - 1805) called “Il Maggiotto “ great Italian painter and physicist. The “𝗖𝗼𝗻𝗰𝗶𝗮 𝗖𝗮𝗿𝗲𝗴𝗵𝗲” ( Craftsman fixing chairs ) is taken from one of...

This evocative three-quarter length portrait, executed in the Venetian School during the 17th century, depicts an imagined figure of an elite Ottoman woman, rendered in rich oils on ...

2 portraits, late 18th century, oil on board.

1681, Pair of Paintings signed Grechetto da Leone as Govaert G. VAN DER LEEUW Oil on Canvas Dimensions: cm W 91 x H 123 x D 6; canvas: cm W 72 x H 103.5 This pair of fine paintings,...

Illustration to an unidentified chapter of the Tale of Genji (Genji Monogatari) Tosa School (second half of the 17th Century) Ink, pigment, gofun and...

Pair of American oil on canvas portraits in the original floral gilt frames and stretchers. South Carolina, Late 18th century. Signed Dr. Anthony Hemingway on re-verso.

Mitani Toshuku (1577-1654) “Falcon” Wall panel, ink and light color on paper. Upper Seal: Mitani Lower Seal: Toshuku Dimensions: Each 118.5 cm x 51 cm x 2 cm (46.5” x 20” x .75”) Individual falcon paintings by Mitani Toshuku (1577-1654), an early artist of the Unkoku School. Founded by Unkoku Togan (1547–1618), a master of the Momoyama period, the Unkoku school enjoyed long lasting patronage in southern Japan. Togan was a retainer of the Mori family in present day Yamaguchi prefecture. Members of the school considered themselves to be in the artistic lineage of Sesshu Toyo...

Suiboku is a style of ink painting that is reminicent of the way calligraphers paint. Masterfully painted Muromachi Period (1336-1573) painting, unique in style and strength for the period with very bold lines. Sesshu Toyo...

Traditional Russian icon made in the 18th century, depicting the crucifixion of Jesus who is surrounded by various saints such as St. Boniface and St. Nicholas on the top. It also in...

19th Century copy of 18th century portrait of Robert Harley, 1st Earl of Oxford, (born 1661, London, died 1724, London). He was a British statesman who headed the Tory ministry from ...

Religious Oil on Canvas – European School, 18th Century Dimensions: 50 x 45 cm (frame), 34 x 29 cm (view): San Carlos Borromeo, Archbishop of Milan (1538-1584) A serene and contempl...

An early 17th century painting in oil on canvas from the Spanish School depicting the Lamentation of Christ. In this moving depiction of the Lamentation Christ...

Circle of David Teniers (Antwerp, 1610 - Brussels, 1690) Interior with figures of commoners Oil on canvas, 37 x 27 cm Framed, 48 x 37 cm David Teniers the Younger (Antwerp, Dece...

18th Century Oil on Canvas Heraldic Funerary Hatchment Painting, Memento Mori Painting, Vanitas Skull Painting, Vanitas Painting. A large high quality 1...

A Large and sensitively rendered and highly decorative 18th portrait of a dashing young gentleman He wears a long powdered wig and an extravagant costume which includes an electric ...

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

An antique Indian Mughal School miniature painting, executed in opaque watercolor on paper, capturing the image of an old man on his knees, holding a book in his hands. Dating back to the mid to late 18th century. Matted and framed. Antique Indian Miniature Paintings...

A large scale (life size) 18th Century Italian oil on canvas. 'THE BODY OF THE DEAD CHRIST IN THE TOMB' after Hans Holbein the Younger, showing Christ lying in the tomb. His head re...

Catalan Baroque S.XVI The Adoration of the Magi Oil on wood 92cm x 68cm Dated 1527 At the beginning of the Renaissance period, Gothic forms coexisted in Catalonia with other new solutions, in which religious fervor was mixed with the attention to detail of everyday life. Following the medieval tradition, the altarpieces are thought from a narrative vision, and flat painting...

AURELIANO MILANI (attributed) (Bologna, 1675 - Rome, 1749) "The Repentance of Saint Peter" Oil on canvas, 75x58.5 cm without frame 85cm x 68.5cm with frame Aureliano Milani (Bologna,...

Ancient Religious Painting From The 17th Century 17TH CENTURY RELIGIOUS PAINTING. SANTA CATARINA. LATIN WRITING. MEASUREMENTS: 116X80CM

Giuseppe Bonito (Italian, 1707-1789) A Large 18th Century Portrait of a Gentleman. Oil on canvas, in original gilt-wood rococo frame. Canvas: 45″ high x 34″ wide Frame: 52″ high x ...

Sharing similarities of a mid-17th-century Italian capriccio painting, this French oil painting from Provence depicts fantastical architecture set amongst the more realistic setting ...

A late 17th century Italian oil on canvas of a battle scene on a bridge by Francesco Graziani called Ciccio Napoletano (active in Naples late 17th/18th century). Measurements are ...

A traditional Russian triptych of Christ and the Virgin of the Unfading Roses. The Mother of God and her son are shown wearing crowns and dressed in r...

Courtiers are those that are in attendance at a royal court. Beautifuly painted court figures in procession with ancient musical instruments. Tosa School painting in mineral pigments...

This six panel Italian screen is from the Baroque period, circa 1700. The four central panels have been affixed to a foldable frame, while the two outer panels are detached. When all...

This 17th century Italian Baroque painting, executed in oil on copper, depicts the Crucifixion of Christ with remarkable depth and dramatic composition. Christ is shown on the cross...

Italian painting from the second half of the 17th century. The painting, oil on canvas, is an interesting ancient replica of a very famous composition by Guido Reni depicting Saint J...

A monumental and captivating 18th-century Spanish Colonial oil on canvas depicting Saint Raphael the Archangel, rendered in grand scale with overall dimensions of 167 cm height by 11...

A beautiful and important painting fan-shaped on parchment produced by an 18th century Venetian artist from the circle of Gian Domenico Tiepolo. It depicts with rare skill and refine...

In good condition From a private collection Free international shipping 17th Century Old Master Crucifixion of Christ

An exquisite Spanish Colonial oil painting from the 18th century, depicting Saint Mary Magdalene in a richly detailed composition. This piece showcases the characteristic Cuzco Schoo...

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...

A circa 1725 oil on canvas portrait of Louis George Simpert, as Hereditary Prince, the future Margrave of Baden-Baden (Deutsch: Ludwig Georg Simpert, Markgraf von Baden-Baden) portrayed one-quarter length in powdered wig and wearing ceremonial armor and crimson sash newly fitted in a period molded giltwood frame with bead-and-reel inner border from the Eli Wilner collection. Canvas measures 24.5" x 19.25". A related, but later portrait of circa 1735, attributed to the same unknown painter, is held in the collection of Lichtenthal Abbey, Baden-Baden. Biography: Louis George or Ludwig Georg Simpert, Margrave of Baden-Baden, born June 7, 1702 at Ettlingen Palace was the son of Louis William, Margrave of Baden-Baden and his wife, Princess Sibylle of Saxe-Lauenburg. Hereditary Prince of Baden-Baden from birth, at the death of his father in 1707, he succeeded as Margrave of Baden-Baden at the age of four. As such, his mother was regent of Baden-Baden until he reached his majority on 22 October 1727 at the age of 25. He married Maria Anna of Schwarzenberg April 8, 1721 at Český Krumlov Castle. The couple were the parents of four children, of whom only one survived infancy. After the death of the first Maria Anna in 1755, he married the Princess Maria Anna Josepha of Bavaria on July 10, 1755; the daughter of Charles VII, Holy Roman Emperor and his Austrian wife Archduchess Maria Amalia. The second marriage remained childless. Due to his passion for hunting instead of military service, he became known as "Jägerlouis", "hunter Louis", a play on his father's nickname of Türkenlouis ("Turk Louis") due to his famous heroics against the Turkish army at the Siege of Vienna...

A fine matching pair of hanging scrolls ink on paper mounted in green brocade borders circa Edo period (17-18th century). The Kano school painting depicts wild geese in the reeds by the margin of water, a popular subject borrowed from the Chinese tradition. Both painting were signed as Tanyu with a red seal of Morinobu, his birth name. The storage box is also present and was inscribed with the title Painting of Geese and Reeds and Kano Tanyu...

We offer you the rare opportunity to acquire an authentic piece of French religious history: a large 18th-century painting depicting Saint Eligius, created in 1790 in Grand Cléry. Th...

In a giltwood frame. Gentleman standing with red jacket. Frost And Reed label on reverse giving Maubert attribution. Maubert was born and trained in Dublin.

Julius Caesar Ibbetson 1759-1817 old master painting English, 18th century This English school painting by Julius Caesar Ibbetson (1759-1817) depicts a countryside farm house off of a road with a horse drawn wagon...