18th Century and Earlier Paintings

(Circle of) Jan van Ravesteyn (The Hague 1572 – The Hague 1657), Head of a bearded Man, oil on panel, 31 by 23,5 cm (measurements are of the panel 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 work focused on still life masterpieces. They chose photography as the medium to portray their Fine Taxidermy work interpreted through vanitas still lifes. The collection, ‘Les Peintures des Taxidermistes’, comprises eight works. Vanitas still lifes were enormously popular in the 17th century, often inspired by biblical themes and the saying that “All is vanity...

Spanish Colonial Mother of God and Young Jesus with Lambs Original Oil on Wood Panel Painting XVIII Century DETAILS Original period frame. PAIN...

Highly unusual faience frame with maker mark holds a finely detailed portrait of a woman of importance for the time. Information is listed on back (see p...

Beautiful antique oil painting on canvas portrait of a gentleman with book.. Excellent pictorial quality great attention to detail. Flemish school school of the 17th century. Not signed. Sold with rare 17th century antique wooden frame...

Detailed 18th century style framed pastel bouquet drawing. Intricate burl wood and ebonized wood period frame. Very decorative.

18th Century Dutch genre painting with grandparents seated side by side, an oil on wooden panel miniature interior scene with elderly man and wom...

18th Century antique old master painting of St. Raymond Nonnatus Saint Raymond Nonnatus is the patron for life, for expectant mothers, and...

Antique Italian painting from the 18th century. Work oil on canvas depicting a river landscape with characters and ruins of good pictorial quality. Wooden frame of the 20th century c...

Late 18th Century French Romantic Landscape Painting, oil on Canvas Charming vertical rectangle ideal french landscape painting, painted in oil on canvas depicting a small village at the banks of a river, the forefront showing wooden brigde which is crossed by a peasant and his dog who is heading towards a midieval abbey on the left bank of the river. On the right edge of the painting a large oak tree...

A beautifully executed and rare complementary pair of oil on canvas paintings depicting two of the moist famous and important counter reformation catholic saints St Francis Xavier and St Carlo Borromeo shown in scenes of what the respective saints are mostly famous for. St Francis Xavier for the conversion to Christianity of many S. E Asian countries notably India and St Carlo Borromeo shown asking the Virgin Mary to intercede for the cessation of the terrible plague of 1576. The paintings are presented in refreshed gilded carved wooden frames and are unsigned. St. Francis Xavier was born in Spanish Navarre in 1506 and in 1528, he met St. Ignatius of Loyola. He became one of the seven in 1534 who founded the Society of Jesus (Jesuit Order). In 1536, he left the University of Paris and joined St. Ignatius in Venice. He was ordained in 1537, and in 1540 after the Society was recognized by the Pope, he journeyed to the Far East. Francis Xavier first evangelized the Portuguese colony of Goa in India, then Travancore, Ceylon, Malacca, and the surrounding islands. From there he journeyed to Japan, where he gave Christianity such deep roots that it survived centuries of violent persecution. He died on Sancian Island in 1552, while he was seeking to penetrate into the great forbidden land of China. Despite language problems, lack of funds, resistance from the Europeans as well as the natives, he persevered. St. Francis converted more people in his life than anyone since the Apostle St. Paul. He baptized over 3 million people, converted the entire town of Goa in India, and he labored in India, Pakistan, Bangladesh, Sri Lanka, Malaysia, Indonesia, Singapore, and Japan. He was truly a missionary par excellence. St Carlo Borromeo (1538-1584), was a Cardinal of the Holy Roman Catholic Church and Archbishop of Milan from 1565 to 1583. He was described in the decree for his canonization, as “a man, even while the world smiles on him with the utmost flattery, he lives crucified to the world, spiritually, trampling earthly things, seeking continuously the things of heaven, emulating the life of the Angels on earth, in his thoughts and actions. The plague began in the month of August that year. Milan was celebrating joyfully the arrival of Don John of Austria, on his way to Flanders, where he had been appointed governor. The city authorities were abuzz with excitement in their desire to bestow the highest honours on the Spanish prince, but Charles, who had been Archbishop of the diocese for six years, was following with concern the news coming from Trento, Verona and Mantua, where the plague had begun claiming victims. The first cases exploded in Milan on August 11th, right at the moment when Don John of Austria arrived. The victor of Lepanto, followed by the governor, Antonio de Guzmán y Zuñiga, departed the city, while Carlo Borromeo, who was in Lodi for the Bishop’s funeral, returned in haste. Confusion and fear reigned in Milan and the Archbishop dedicated himself completely to assisting the sick and ordering public and private prayers. Dom Prosper Guéranger sums up his infinite charity in this way: “In the absence of local authorities, he organized the health service, founded or renewed hospitals, sought money and provisions, decreed preventive measures. Most importantly though, he took steps to ensure spiritual help, assistance to the sick and the burial of the dead. Unafraid of being infected, he paid in person, by visiting hospitals, leading penitential processions, being everything to everyone, like a father and true shepherd” St. Carlo was convinced that the epidemic was “a scourge sent by Heaven” as chastisement for the sins of the people and that recourse to spiritual measures was necessary to fight against it: prayer and penitence. He rebuked the civil authorities for having placed their trust in human measures rather than divine ones. “Hadn’t they prohibited all the pious gatherings and processions during the time of the Jubilee? For him, and he was convinced of it, these were the causes of the chastisement. The magistrates who governed the city continued to oppose public ceremonies, out of fear that the large gathering of people would spread contagion, but Charles “who was guided by the Divine Spirit” – recounts another biographer – convinced them by citing various examples, among which was the one regarding St. Gregory the Great who had halted the plague devastating Rome in 590. While the pestilence spread, the Archbishop then ordered three general processions to take place in Milan on the 3rd, 5th and 6th of October, “to placate the wrath of God”. On the first day, the Saint, despite it not being the Lenten season, placed ashes on the heads of the thousands gathered, exhorting them to penitence. Once the ceremony was over, the procession went to the Basilica of St. Ambrose. Charles put himself at the head of the people, dressed in a hooded purple robe, barefoot, penitential cord at his neck and large cross in his hand. The second procession led by the Cardinal headed towards the Basilica of San Lorenzo. The third day the procession from the Duomo headed for the Basilica of Santa Maria at San Celso. St. Carlo carried in his hands a relique of Our Lord’s Holy Nail, which had been given by the Emperor Theodosius to St. Ambrose in the 5th century. The plague didn’t show any signs of waning and Milan appeared depopulated, as a third of its citizens had lost their lives and the others were in quarantine or didn’t dare leave their homes. The Archbishop ordered about twenty stone columns with a cross at the top to be erected in the main squares and city crossroads, allowing the inhabitants from every quarter to take part in the Masses and public prayers - from the windows of their homes. One of Milan’s protectors was St. Sebastian, the martyr the Romans had recourse to during the plague in 672. St. Charles suggested that the magistrates of Milan reconstruct the sanctuary dedicated to him, which was falling into ruins, and to celebrate a solemn feast in his honour for ten years. Finally in July 1577, the plague ceased and in September the founding stone was laid in the civic temple of St. Sebastian, where on January 20th every year, even today a Mass is offered to recall the end of the scourge. St.Carlo Borromeo died on November 3rd 1584 and was buried in the Duomo of Milan. His heart was solemnly translated to Rome, in the Basilica of Saints Ambrose...

An oil painting on canvas representing a harbor with boats, in Marseille, and attributed to the Joseph Vernet School. France 18th century. Joseph Vernet was a prominent 18th-century...

Small Late 18th century oil painting of Greek Orthodox Priest on Board Painting still maintains vibrant colors and is housed in gold tone frame. ...

The painting shows Magdalene with a crucifix. The intimate composition raises the inner contemplation and penitence of the biblical figure to be the subject of the artwork. The oil ...

Beautiful antique Italian oil painting on canvas 17th century. Oval portrait of girl with music score. High artistic quality note the perfection in portray...

17th century Virgin of the Assumption Oil on canvas, 93 x 81 cm Frame, 110 x 97 cm The present Assumption of the Virgin welcomes an innova...

A Beautiful Italian Still Life oil painting on old canvas of a brass urn holding a bouquet of assorted flowers set on a ledge. 18th or ...

Beautiful antique Italian oil painting on canvas 1650s. The painting of excellent pictorial quality represents an animated battle scene. Many horsemen with swords and guns fight fiercely. Painting sold with beautiful 17th century antique wooden frame.

Shipping policy No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Follower of Giovanni Ghisolfi Schol...

Two trumeaux or door tops with ornamentation in gilded wood, with in the center an oil on canvas on canvas illustrating the myth of the Goddess Diana: Diana in the bath surprised by ...

Antique Italian painting from the late 18th century. Artwork oil on canvas depicting a bucolic landscape, View with shepherds and animals of good pictorial quality. Painting in a rom...

Workshop of Jan Frans van Bloemen (Antwerp, 1622 - Rome, 1749) Lazio landscape Oil on canvas, 48.5 x 64.5 cm The painting, to be considered belonging to the vast production...

Wonderful old Italian master painting Madonna Oil on panel Alessandro Filipepi, also known as Sandro Botticelli, is the first artist that come...

Goya oil on canvas from xviii century The canvas is relined. It is from the same time that Goya made the cartons. The painting measures: 135 x 101 cm without frame. The dutch frame measures: 172 x 140 cm -The blind chicken (1789) is one of the cartoons that served as a model for the manufactures of the Royal Tapestry Factory of Santa Bárbara by Francisco de Goya...

This Mughal miniature was painted at one of the princely courts of India. It depicts a raven-haired princess in a gold-trimmed saffron-colored silk sari. Under a glowering evening sky she dawdles on a white marble terrace, with a pet fawn on a leash, before a landscape dotted with buildings nestled amongst trees beyond a river. Her hair, falling loosely about her shoulders, rather than carefully dressed on her head, indicates that she is a maiden. The overall mood is one of expectancy. Perhaps walking a pet and catching an evening breeze is a pretext to escape palace scrutiny for a lovers’ assignation. In Mughal India tender sentiments were a bridge to the erotic – and if this seems contradictory, so too is the balance of realism and caricature, and naturalism with the schematic. Both are hallmarks of miniatures painted in this place and time. The earliest Mughal Indian miniatures date to the 16th century. They were inspired by those painted at the refined Moslem courts of the neighboring Persian empire. They incorporated figures in spite of the Moslem faith’s proscription against depicting the human form. Such was the nature of sophisticated courtly life everywhere that beauty and pleasure trumped systems of morality. This was no less the case at the provincial Indian courts, where our miniature, marked by a charming pictorial naiveté, was most likely painted. Yet the artist was undeniably accomplished. His command of perspective, introduced by Jesuit missionaries in the 17th century, is seen in the landscape, which rolls back to a distant horizon, contrary to the flat two-dimensional ones following Indian-painting traditions. And if Mughal artists were influenced by Western art, the compliment was returned by Rembrandt and Sir Joshua Reynolds, among others, who collected Indian miniatures (as did, perhaps, Giovanni Bellini who painted in Mughal style the famous miniature of a Persian man...

Created in England and attributed to Francis Wheatley (1747-1801), the oil on panel depicts a young shepherdess attending her sheep and lambs in a pastoral landscape. The colorful ar...

Large oil painting from the XVIII-XIX century- it is an oil painting on canvas of large dimensions. The frame is made of plaster. It comes from an old palace in Cordoba-Spain and was...

Rare old master Italian painting, oil on wood, probably Venetian, circa 1500 - 1600 With frame: H. 64 W. 55 D. 5 cm H. 25.1 W. 21.6 D. 1.9 in Wit...

Dutch Landscape, Follower of Jacob van Ruisdael, Indistinctly Signed, Ca. 1720 This large oil on board landscape is painted by a Follower of Jaco...

Rural landscape painting attributed to J.B. Pillement - XVIII century. Rural landscape painting with ancient classical ruins attributed to Jean-Baptiste Pillement – XVIII century This oil-on-canvas painting attributed to French artist Jean-Baptiste Pillement (Lyon 1728-1808) depicts a rural landscape with ancient classical ruins and several characters. Originally part of a foreign private collection, the painting was acquired by the Parisian gallery and auction house Giroux in 1956; a copy of the catalogue page with the picture and the description of the painting can be seen among the lot photographs. The artwork represents a family of farmers resting together with their animals next to the riverbank of a stream at the bottom of massive architectural ruins, among which an elegant naked sculpture...

This painting very much of the period of George Jamieson although with a contintal flavour It is worth considering this artist , He was born in Aberdeen, where his father, Andrew Jamesone, was a stonemason. Jamesone attended the grammar school near his home on Schoolhill and is thought to have gone on to further education at Marischal College.[2] Legend has it that Jamesone once studied under Rubens in Antwerp with Anthony van Dyck.[3] This is, however, yet to be proven as his name does not appear to be noted on the Guild registers of the town.[4] Since Rubens was exempt from registering pupils, the absence of Jamesone's name does not mean that the painter definitely did not study there. Mary Erskine Jamesone certainly did complete an apprenticeship under the supervision of his uncle, John Anderson, who was a popular decorative painter in Edinburgh at the beginning of the seventeenth century.[5] Jamesone finished this training in 1618. He is not recorded as being in Aberdeen again until 1620. If the Scotsman had gone to Antwerp, it would have had to have been between the years of 1618 to 1620. Career Whilst in Aberdeen, Jamesone made a name for himself painting portraits of local academics and scholars from the city's two feuding colleges: King's and Marischal. In 1633, when Charles I made his grand royal visit to Edinburgh, Jamesone rose from local to national fame. For this occasion the painter was asked to decorate a highly elaborate triumphal arch with the portraits of all the past kings of Scotland.[6] He was also given the honour of painting the portrait of Charles himself. It has been said that the king was so pleased with the result that he gave Jamesone a ring off his own finger as a reward.[7] After hearing of the King's approval, many of the Scottish gentry desired to be painted by the now highly reputable George Jamesone.[3] One of his finest examples is that of Mary Erskine which is on display at the National Gallery of Scotland. Jamesone had homes and studios in Aberdeen (on Schoolhill opposite St. Nicholas Kirk) and in Edinburgh (on the Royal Mile right next door to John Knox House). Having two bases allowed him to meet the demands of hundreds of patrons from the north to the south of the country. Jamesone died in Edinburgh in 1644 and was buried in Greyfriars Kirkyard in the centre of the city. The grave is largely illegible but lies on the east wall of the original churchyard.[8] Legacy Lady Janet Stewart Jamesone's pupil, John Michael Wright...

Circle of Domenico Carpinoni (Clusone, 1556 - 1658) San Giovanni Battista and San Rocco Oil on copper, 18 x 14 cm - With frame 25 x 24 cm In this small oil on copper, the two cursiv...

Great Italian painting from the second half of the 17th century. Work oil on canvas depicting a religious subject Madonna with child of good pictorial quality. Painting with a partic...

Miniature portrait of a sleepy eyed man, circle Christian Wilhelm Ernst Dietrich Germany 18th century, inscribed on back, refer to ph...

Antique Flemish painting dated 1715. Oil on canvas artwork depicting a portrait of a clergyman of excellent pictorial quality. Large-scale and impactful painting adorned with a pleas...

Antique Italian painting from the 18th century. Artwork oil on canvas depicting a religious subject Martyrdom of Fidelis from Sigmaringen (Markus Roy) of good pictorial quality. Pain...

Antique Flemish landscape from the first half of the 18th century. Artwork oil on canvas depicting landscape with characters and large tower of good pictorial quality. Beautifully pa...

18th century, Italian still life with flowers by Michele Antonio Rapos (Italy 1733-1819) The canvas, of fine workmanship and under good conditions of maintenance, represents a sti...

San Pietro by Giovanni Battista Piazzetta’s follower – Venice XVIII century The painting is a very-well executed replica of the famous original by Giovan...

Antique mid 18th century Italian late Baroque / Rococo oil on cloth framed ornamental painting with rocaille, flowering roses and vases.

Horses Kano Tanshin Morimasa (1653-1718) Two-panel tea-ceremony Japanese screen or furosaki Ink on gold leaf, late 17th-early 18th century Measures: H 55 cm x W 182 cm The Kano school was closely aligned with the warrior class in Japan. The samurai, who lived in a closed and rigid hierarchical society established by the Shogunate, were drawn to the energy and freedom horses symbolize; Kano school artists commonly depicted the equine creatures as they are here, in unfettered and carefree family groups. China originally introduced horse paintings to Japan; the works typically focused on capturing the essence of horses in their various environments and often involved integrating human figures into the images. Kano Tanshin Morimasa (1653-1718) was the son of Kano Tanyu...

17th century, Nuvolone workshop Annunciation Measures: Oil on canvas, 98.50 x 127.00 cm - with frame 144 x 115 Depicted is a canonical Annunciation which sees Mary on her knees ...

17th century, Emilian school, Pamigianino painter Rest on the flight to Egypt Oil on panel, 46 x 39 cm - with frame 55.5 x 48.5 cm The wor...

French 18th century painted engraving in the Rococo style, after François Boucher (1703-1770). Painted engraving set in its original gilt fra...

Antique Italian painting from the 17th century. Artwork oil on canvas depicting a particular religious subject, the Parable of the unfaithful farmer. Once upon a time there was a far...

Oil tempera on canvas "The Annunciation" Period: 17th century This beautiful canvas fits into the pure Emilia-Bolognese iconographic tradition of the seventeenth century, captiva...

Oriental style portrait by Giuseppe Angeli (attr.) - XVIII century This Oriental-style portrait of a man was attributed to the Italian Giuseppe Angeli (Venezia, 1709 – Venezia, 1798...

18th Century Wooden Venetian Carriage Side Hand-Painted with War Scenes

Gilt framed oil painting portrait of 18th century man in a blue coat.

Detailed 18th century style framed pastel bouquet drawing. Intricate burlwood and ebonized wood period frame. Very decorative.

Antique Italian painting from the 18th century. Artwork oil on canvas (glued on a board) depicting a pleasant caprice, seen with architectures and characters of good pictorial qualit...

Antique Italian painting from the 18th century. Artwork oil on canvas depicting pastoral scene, bucolic landscape with animals and popular characters of good pictorial quality. Paint...

Ferrara school, 17th century Holy Family with San Giovannino Oil on copper, 27 x 22 cm - with frame, 39.5 x 33.5 cm The genuine amazement of the Child, who extends from the Moth...

17th century Italian old master painting Madonna and Child with St. Anne and St. John the Baptist. Important Tuscan School Old Master painting in oil on a hand shaved wood panel. ...

17th century Christ in chains Oil on canvas, 95 x 71 cm Frame 110 x 84 cm The figurative tradition representing Christ with chained hands can be traced back to the early Middle Ages, when an iconography of His pains spread widely. The need to translate the Passion into images aimed to raise awareness of the forgiveness that has occurred for all men, consequent to the Crucifixion. This painting depicts the moment before the audience before Pilate. Christ has not yet been cruelly mocked by the soldiers, despite the fact that he is already wearing the crown of thorns and the purple...

Antique Italian painting from the 17th century. Framework oil on canvas depicting a religious subject Madonna of good pictorial quality. Beautifully sized and pleasantly furnished fr...

Antique Italian painting from the 17th century. Artwork oil on canvas depicting a religious subject, Martyrdom of St. Bartholomew of good pictorial quality. Small artwork, full of ch...

Portrait of a Young Child by E. Shulz Oil paint on board.