18th Century and Earlier Paintings

18th century master untitled oil on canvas. Figural religious scene, possibly Mary visiting St. Anne. Frame is in carved giltwood and painted black. Size...

A rare 16th-century Italian painting. An oil on panel painting depicting a refined Madonna with Child, this artwork is of extraordinary pictorial quality. The most popular iconograph...

An exceptional and extremely decorative Continental 18th century oil on canvas painting in its original giltwood frame. The wonderfully executed painting depicts a handsome young man...

Few coach panels survive. This is a striking example with the double headed eagle, gilded armorial and burgundy background. The closest I can find to ar...

Oil on canvas portraying a dozing man, seated, leaning against a rock, his dog looking at the viewer in the foreground. In the background a group sitting at a table under an awning....

The following is a work of art depicting the ``Horai Landscape,'' a land of peach, created by the master artist [Rosetsu Nagasawa] A painter from the late Edo period. There are conf...

Important English School, " Young Gentlemen " 18th century Oil painting on canvas cm. 76.5x64 in gilded frame. Condition: work lined, good condition

Portrait of a Noble Family in the landscape circa 1600 On foreground the nobleman with his family and a table where appear meats and fixtures, showing her ancestry. In background two servants on both sides. Oil on canvas. Antwerp School...

This bucolic representation of the English countryside, animated by a hunting scene in the foreground, is characteristic of the tradition for sporting pictures that developed in Brit...

Giovanni Battista Castello, known as "Il Genovese" (1547-1637) Penitent Magdalene Tempera on parchment, 21 x 17 cm Frame 26 x 22 cm The precious tempera painting on parchment is to be referred to the hand of the painter Giovanni Battista Castello (1547-1637), called “il Genovese” to distinguish him from the homonymous contemporary, architect and painter, called “il Bergamasco”. Older brother of Bernardo, a famous painter of late Ligurian Mannerism, he began his activity in the field of religious goldsmithing, to which he soon joined the art of miniature, an art to which he ended up dedicating himself completely and with greater satisfaction, bringing it back to a success and to a disclosure that he had not known since the Middle Ages and which now found incentive and justification in the spiritual and cultural climate of the Counter-Reformation. In the sources he is cited as self-taught; However, his assiduous frequentation of Luca Cambiaso...

Important Circolo Esteban Murillo "The Virgin and Child" oil on canvas Provenance: Private, Monte Carlo 150cm x 105cm Murillo received several commissions for paintings featuring Vi...

A very attractive Italian early 18th Century Roman oil on canvas, of an architectural theme. The painting is of a central round pavilion amidst ruins accente...

Francesco Lavagna (Italy, Naples 1684-1724) Pair of paintings depicting Still Life composition of flowers and watermelon and garden in the background The paintings, beautifully mad...

Antique 17th-century Italian painting. Oil on canvas artwork depicting the famous biblical story of Lot and his daughters. After the destruction of Sodom and Gomorrah, Lot takes refu...

Children at play in a Chinese palace garden, a favorite subject of Japanese painters. Kano School painting in mineral pigments on mulberry paper with si...

Italian Francesco or Pietro Graziani Neapolitan battle scene, 17th/18th Century This battle scene is attributable to one of the two Graziani ( Francesco or Pietro) battle scene pain...

This neoclassical trompe l'oeil painting is an allegory of summer. It would have been hung with allegories of the other three seasons over the doors of a salon. Ceres, Roman goddess...

Engraving depicting The Children of Charles I (1600-49), After the 1637 portrait by Sir Anthony Van Dyck (1599-1641). 18th century, English ...

A superb quality German 18th century Neo-classical themed oil on canvas by Johann Dominicus Fiorillo. The painting depicts a courtship in the town square with townspeople looking on. The maiden is draped in modest classical dress and the young man in a vibrant red garment, holds her hand. Wonderful execution and detail throughout. Johann Dominicus Fiorillo (Hamburg 1748 - 1821) was a German painter and historian of art. Fiorillo, a son of Italian...

18th Century Framed Oil Painting on Canvas of Nativity ~ Flemish School is an amazingly inspirational work, displaying the influences of the Old Masters in the setting, composition, ...

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...

Italian School "Apostle" 17th Century Oil on oak wood Carved and gilded wooden frame. Small defects. Dim.: 44 x 58 cm good conditions

A superb pair of Italian 18th century Oil on Canvas paintings in their original giltwood frames. The painting on the left depicts large impressive battle ships in the back ground and...

"Abraham repudiating Hagar". Framed miniature. Ater VAN RIJN, Rembrandt (Leinden, 1606-Amsterdam, 1669), 18th century. It shows a story of Genesis. The story tells that Sara accepte...

PULZONE Scipione (1554 - 1598) School "Virgin of Sorrows" 17th Century Oil on canvas marouflaged on canvas "Virgin of Sorrows". Follower of Scipione Pulzone. Italian school. Perio...

A rare pair of antique Japanese Karashishi paintings in a landscape of rocks and peony flowers on gold leaf ground in fine handmade frames, Edo period, early 18th century. The Karash...

Soldiers looting a village XVII century oil on panel Oil on panel: 75 x 110 cm Signed and dated 1650 lower left Sold at Christie's Amsterdam, 11/18/93 For 130,000 DG = 60,827 € - joint purchase invoice for the year 93 About painter dutch painter Utrecht 1586 - 1666 Utrecht Painter of genre scenes, generally of peasants, views and landscapes of villages and towns (including some winter landscapes) and some religious and allegorical subjects (mainly at the beginning of his career). We do not know under whom our painter studied. Seeing the Flemish character of his work, some scholars believe that he could have studied in Flanders, in Antwerp. Droochsloot was a versatile and productive painter. The central museum in his hometown of Utrecht holds 15 of his paintings, showing the diversity of his work, many other museums exhibit his works Our painting represents a scene that took place during the Eighty Years' War. This Dutch War of Independence from Spain was a long, slow war that lasted from 1568 to 1648. The war began with a Protestant uprising in Flanders and Holland against the Spanish...

17th C representation of a peasants couple ,the man partly dressed up as a nobleman.Flemish school,Oil on panel. Oil on panel, 22.7 x 34 cm. The woman is wearing the commoners outfit...

"STILL LIFE" Italian School of the 18th Century Oil on canvas pasted on wood, 18th Century Italian school Small defects. Dim.: 80 x 107.5 cm good conditions

17th Century Italian School "Saint Joseph and the Child" oil painting on canvas 95cm x 67cm measures without frame frame size: 10cm good conditions golden frame Private Italian Colle...

18th Century Portrait of a Nobleman. Beautiful painting purchased in France. Age appropriate wear, see detailed photos or message us with any questions. Inner Frame Dimensions: Hei...

Pietro Bardellino (Italy - Naples, 1732 - 1806), attr., Sacred Heart of the Child Jesus Measurements: with frame, cm L 86 x H 99 x P 8; only the canvas, cm L 78 x H 64 The painting, made in oil on canvas, represents the Sacred Heart of the Child Jesus. Stylistically the work is attributable to Pietro Bardellino (Italy, Naples, 1732 - Naples, 1806), a pupil of Francesco De Mura and considered by critics one of the most gifted and sensitive exponents of the Rococo style in Naples. The canvas represents the Child Jesus, surrounded by flowers in an outdoor setting, while showing the sacred heart. The canvas has a well-balanced color and a strong sweetness of the child’s traits, which with the complicit gesture of the right hand, involves the viewer in the intimate and delicate sharing of the garden in which he sits. The roses, in addition to being a beautiful piece of still life, contribute to enrich the Christological message, being bearers of symbolic meanings. Marian attributes par excellence, are often side by side with Christ, whose thorns foreshadow the Passion. In the canvas, on the top left, two cherubim are observed: among them, according to the Old Testament, is God: the author therefore puts into place an iconographic and iconological hyperbole that amplifies its meaning. The iconographic theme of the Child Jesus with the Sacred Heart in his hand spread between the second half of the eighteenth century and the first of the following century. With the worship of the Sacred Heart of Jesus, the Catholic Church intends to honour the Heart of Jesus Christ, one of the organs symbolizing his humanity, which by intimate union with the Divinity, has the right to worship and love of the Saviour for men, of which His Heart is the symbol. It represents one of the fundamental devotions of Christian life, as it manifests the true face of God, who is prodigal and boundless love. It was the French mystic Saint Margaret Mary Alacoque...

A beautiful Italian Still Life oil painting on old canvas of an urn holding a bouquet of assorted flowers set on a ledge. 17th century....

A handsome and most striking Dutch late 17th/early 18th century Oil on Canvas and Giltwood Vanitas painting, in the manner of Pieter Claesz. This exceptional Old Master still life pa...

Japanese two-panel screen: Gibbons of Folklore, Edo period (17th century) Kano School painting of gibbons in Japanese fables. The left panel represents a Japanese fable of a monkey a...

Venetian school, 18th century Study with the head of a cherub Measures: Oil on canvas, 45.5 x 41 cm - with frame 54.5 x 49.5 cm The present qualifies as a study or preparatory sketch by virtue of the structural and figural layout; by reason of formal and substantial evidence, it can be traced back to the mature neo-Venetian style, which in the eighteenth century had begun to produce figurations of extreme typological pathetism and formal expressionism. The contemporary painting experience of Tiepolo commanded the Venetian art scene, once the lesson of Pier Francesco Mola (1612-1666) was overruled. The delicate putto head offered here, in which a cherub is recognizable due to the happy iconographic solution of the wings placed under the angel's face, is outlined with a vigorous vitalism. A foreshortened point of view illuminates his face in a grazing way, probing his features with strong shadows and with a youthful blush that orange his cheeks. The veristic perfection with which the artist arranges the semblant is of marvelous expressiveness. The eyes are swollen with intensity, and together with the general setting of the head they denounce a conscious reflection on the physiognomy, peculiar within the emerging context of Venetian painting. The painting in question is affected by the large-scale productions, both monumental and perspective, at the time in vogue in the territory of the Serenissima. Conceived through a vision from below, the portrait reveals from the Venetian Rococo that particular predilection for the open and clear, airy ways, denounced in the first instance by Tiepolo. The conscious detachment from the Cortona-style decorativism and from the repeated layout solutions then in vogue allow us to approach the present to the production of Francesco Fontebasso...

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 ...

Historical pair of 18th Century Indo Persian manuscripts hand decorated in gouache depicting cultural events. Presented under glass in gilt wood fra...

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...

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,...

Discover the timeless allure of this captivating miniature portrait, hand-painted directly onto a wooden surface, a true treasure discovered in the heart of Florence, Italy. This exq...

Italian Oil painting on canvas of Jesus Christ with a crown of thorns, 1600s Oil painting on canvas with sacred subject. The painting depicts Jesus Christ sitting and dressed only i...

Oil on canvas scene of a stag hunt with hounds in a wooded lakeside landscape. The canvas has been archival cleaned and craquelure arrested with relining. The canvas is framed in a 1...

"Wedding of Tethys and Peleus". Oil on canvas. School of Madrid, 17th century. Corte, Juan de la (Antwerp, circa 1585 - Madrid, 1662) circle. This work describes the weddings of the Nereid Thetis and the prince Peleo, parents of Achilles. It was celebrated on Mount Pelion, and all the deities came, although Eris, the goddess of discord, was not invited. In revenge, she threw a golden apple in which she said "for the most beautiful", that caused the dispute between Athena, Aphrodite and Hera that led to the Trial of Paris, to finally bring about the Trojan War. The banquet is depicted with a composition worked in depth, located in a rich interior of classical architecture illuminated by the light of Apollo, which is situated at the far end of the viewer. At the head of the table, in the foreground, appears Zeus, accompanied by the eagle and Hera, queen of the gods, to his left. In the lower right corner we see a group of satyrs serving the wine, accompanied by rich metal vessels worked with a detailed and descriptive brushstroke. The rest of the gods appear clearly differentiated, with Athena in the foreground to the right and, following an agile rhythm in zigzag, typically baroque, Aphrodite with Eros, Hermes and the grooms, to the left, and to the right Poseidon. Formally it is a work perfectly framed within the 17th century school of Madrid, developed around the court. Thus, we see a sumptuous, allegorical classicist baroque, where the studies of light and color are especially relevant, revealing the exalted and luminous tone typical of this school's maturity. In particular, we can relate this painting to the circle of Juan de la Corte, painter of Flemish origin. We know nothing of his first formation today, for Palomino's assertion of his birth in Spain was documented, quoting in his testament that he was born in Antwerp. Also conserved documents in which the painter declares his apprenticeship in Flanders, where "it exerted his office by many years". For all this he has been associated with Flemish artists of the time who, due to personal knowledge or the study of his works, strongly influenced the configuration of his personal language. We know of his establishment in Spain at least since 1613. His work at the court encouraged him to ask for the place of royal painter who left vacant Bartolomé González...

18th-Century Richard Wilson Landscape – A Masterpiece of British Old Master Art This 18th-century Richard Wilson landscape, attributed to the circle of Thomas Jones, is a stunning pastoral landscape oil painting that embodies the charm of Georgian-era countryside artwork. As a fine example of British old master landscape art, this piece showcases the elegance and natural beauty of the English countryside, making it a perfect addition to any collection of antique rural landscape art. A Romantic Countryside Painting with Timeless Appeal The composition of this romantic countryside painting is thoughtfully balanced, featuring lush greenery, rolling hills, and a tranquil sky. The English countryside oil painting...

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

Ölgemälde auf Leinwand, doubliert, im Stil der Lombardischen Schule, 18. Jahrhundert Das Gemälde ist betitelt: "Amymon wehrt sich gegen die Annäherungsversuche eines Satyrs". Es ha...

A remarkable and most unique Italian 18th century Baroque st. giltwood and oil on board picture frame/painting of the Louis Philippe family. The picture frame displays a beautiful pi...

Japanese two-panel screen: ink painting of Palm Trees on paper, Edo period (1787) beautiful painting of Japanese windmill palm trees. Ink paint...

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...

A very large, impressive, and beautifully painted Baroque era still life with a colorful parrot and flowers. Oil on canvas in giltwood frame. Italy, late 17th century-early 18th cent...

19th century oil on canvas portrait by Eugenio Lucas. Dimensions with frame: 67 x 47.5 x 7.5cm.

Pair of eighteenth-century paintings -"Saint Joseph with child" oil on canvas of the Roman school 18th century, from 1700 Measurements: 85 x 70 cm -"The Madonna with Child" oil on c...

Wonderful 17th century Italian painting. Oil on canvas artwork depicting Tobias and the angel Raphael, a famous biblical episode from the Book of Tobit. In the story, the young Tobia...

Copy of the French artist Francois Boucher, who was the court painter to King Louis XV, this work dates to the late 18th century. It is in its original carved and gilded wood frame a...

Venetian School painting of four angels, allegorically depicting the variable winds of change and time. Unsigned, believed to be by a follower of Pietro Li...

This 17th-century oil on canvas from Spanish Colonial Peru features a striking depiction of Our Lady of Sorrows. The Virgin is shown with a somber expr...

Love scene oil on board of Flemish origin. Holland, 17th century. Circa 1680

Fine "Highflyer" painting by John N. Sartorius. John Nost Sartorius, was an English painter of horses, horse-racing and hunting scenes, 1759-1828. Measures: Width of the frame 2.25".

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...