18th Century and Earlier Paintings

Refined portrait of the Venetian noblewoman "Mariana Peltier" wife of the "C.G. DOTR. Nicolò Piazza", as stated on the back of the painting. It is a classic oil painting on canvas, w...

Important portrait of nobleman in parade dress taken in three-quarter view with flower in hand from the late 1600s. Work attributable in quality, age, and style to the great Genoese-born portraitist Giovanni Maria delle Piane known as “Il Mulinaretto”. The flower in the hand, is surely an allegorical allusion; it could be a portrait of a nobleman about to be married offered as a wedding gift to the bride's family. Technique oil on canvas. This painting, never before on the market, comes from a private collection and is beautified by an impressive antique frame in gilded wood. Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. Giovanni Maria delle Piane (1660 – 28 June 1745) was an aristocratic Genovese who served as primary court painter for over 60 years in the late-Baroque period. He is also known as "il Molinaretto". Giovanni Maria was born in Genoa, Italy, the son of Giovanni Battista delle Piane, from the noble house Delle Piane. He was nicknamed the "Molinaretto" as his grandparents, renown land owners from Polcevera, had watermills (from Italian molino, watermill). From the age of 10 till 16 years, he apprenticed with Giovanni Battista Merano, then he transferred to Rome to work under the famed fresco painter, Giovanni Battista Gaulli (il Baciccio), who held him like a son. The Genoese painter Enrico Vaymer was a fellow student and lifelong friend. In the Roman studio of Gaulli, Piane copied the works of great masters like Giulio Romano, Guido Reni, Annibale Carracci and Domenichino. These copies brought him acclaim. At Gaulli's studio, he also painted portraits. In 1684, he returned to Genoa, where the main portrait artist in the city, Giovanni Battista Carlone, had just died. He gained the a loyalty from other peer aristocratic families, noting he adapted to the new sensitivity, with attention to the fashion of his subjects, styling them with "majestic and elegant drapes taking them in certain new and witty movements". In 1695, by invitation of Count Morando, he completed a first journey to Parma, the city where his former master G.B. Merano was recently active. He found clients in the Farnesian cities and also in Genoa. He moved frequently among the cities of Emilia and Liguria, also painting sacred subjects. In 1705 the Cardinal Alberoni, sent by the Duke Francesco Farnese, assigned the artist, who seemed to be residing in Piacenza at that moment, to portray the Duke of Vendôme, commander of the Franco-Spanish troops. In 1706 the artist was again in Parma, commissioned to portray Duke Francesco, the Duchess Dorotea Sophia and the young Princess Elisabetta Farnese, Princess of Parma. Two years after he made the portrait of Elisabeth Christine of Brunswick-Wolfenbüttel. He also traveled a few times to Milan. In 1709 he portrays Prince Antonio Farnese and the same year, he was nominated Court Painter in Parma from where, he returned to Genoa. On April 21, 1711, Piane became the personal painter of Princess Elisabeth, receiving a stipend, including food and accommodation. He still held that commission in 1737. Between 1714 and 1715 he portrayed Princess Elisabeth when she married King Philip V of Spain, from 1715 until 1737, he mainly resided with the royal family in Piacenza. In 1719 he was invited to go to Spain, probably by Princess Elisabeth, as she considered him as a trustable portraitist, but the journey was never undertaken. Though already elder in 1737, he relocated to Naples, where he was retained for some years as court painter for the young king Charles III of Spain, already duke of Parma and his wife Maria Amalia...

18th century French school representing the portrait of a gentleman. This fine quality oil on canvas depicts an aristocrat in a velvet waistcoat cover...

Beautiful oil painting on canvas in carved golden frame depicting the justice that triumphs over political power. Typical manufacture of a veneto master of the mid-700s probable bott...

18th century oil on canvas Italian Portrait of a young Aristocrat Man in Armor. Antique, possibly French, portrait of the first half of the 18th century d...

A late 18th century French Louis XV style trumeau mirror. Fine oil painting depicting a courting couple in a garden setting with a country cottage in the background. Giltwood frame w...

Louis XV styled firs place screen with an oil painting on stretched canvas mounted on a wood frame.

Extraordinary 18th century French 6-panel screen, or paravent, painted canvas. Divided into two sets of three. One set having scenes or couples and bound with tacks, the back painted rust, the other having a single individual per panel and no tacks, the reverse painted indigo blue. All of similar rich Prussian blues, the scenes surrounded by an amber painted...

French painting, school of Jean Baptiste Monnoyer, depicting a vase with flowers, of such beauty and precision that it could seem to have been made by Monnoyer himself. Coeval frame...

Pietro Bardellino (Naples, 1728-Naples, 1806) was an Italian painter. Pair of works: Christ and the adulteress / Christ and the woman of Samaria. Oi...

18th century court portrait of Louis XV as a young man. Louis in battle armor. Original condition, not relined and in original, period Regence gil...

Small picture of Flemish school, Classic scene of tavern life, excellent hand of the painter, the painting is signed in the lower right corner, for the moment we have no attribution,...