Early 18th Century Paintings

An exquisite scene typical of Cradock, the painting captures at the forefront the proud Peacock and Peahens overlooking scattered chicks as the sun comes out with a storm moving into...

Yamaguchi Sekkei, (1644-1732) Geese and reeds Framed panel, ink and gold fleck on paper Dimensions: W. 54 cm x H. 128 cm (21” x 50”) A ...

Yamaguchi Sekkei (1644-1732) Falcon Framed panel, ink and gold fleck on paper Dimensions: W. 54 cm x H. 128 cm (21” x 50”) A framed Jap...

Yamaguchi Sekkei (1644-1732) Spring plum and birds Framed panel, ink and gold fleck on paper Dimensions: W. 54 cm x H. 128 cm (21” x 50”) ...

Paolo Anesi (Rome 1697–1773) a Roman landscape view with figures of the Via Appia and Cecilia Metella tomb in the background. Paolo Anesi (Rome 1697–177...

Kiyono Yozan (fl. 1688-1704) “Views of the Xiao and Xiang” Six-panel screen, ink and gold leaf on paper. Inscription: Yozan Seal: Issei Dimensions: 105 cm x 258 cm (41” x 101.5”) The eight views of the Xiao and Xiang was first developed in Chinese poetry and painting during the eleventh century. It was introduced to Japan in the fourteenth century and became a major theme in Japanese ink painting. Painters of the Kano school took up the motif in the sixteenth century, and retained it in their repertoire through the early 20th century. The eight views depict two rivers that both converge with Lake Dongting in present-day Hunan Province. While the titles of the eight views were standard, their sequence was not, and artists reordered the scenes to suit their intentions and aesthetic needs. Japanese artists in particular tended to follow a seasonal progression. This small six-panel screen by Kiyono Yozan moves from spring through summer. On the right is a temple high on a peak depicted in spring mist. Fishermen are shown in the glow of the early evening pulling in their nets before returning home. The final scene in the distant fishing village is of rain falling on a summers night. The scene is remarkably calm and tranquil, and has the ability to make the heat of summer disappear. Painted with ink on a gold leaf ground, the scenes are well integrated and balanced to offset the compositional weight of the dominant rocks and mountains. The closer hills are outlined in darker ink applied in layers, while the distant peaks are silhouetted in paler wash. There are other areas where the brushwork is more precise. The pagoda, the little figures and boats, as well as certain branches, are picked out sharply against lighter washes. Much of the paper is left to suggest blank space, creating an overall mood of stillness and contemplation. There is a certain narrative interest in the activities of the figures, but they are largely lost in the vast and mysterious space. Kiyono Yozan (fl. 1688-1704). Given name Kiyono Tsunechika. Student of Kano Tsunenobu (1636-1713). Son of Kano Ikko (d.1695), who was a student of Kano Naonobu...

Very decorative pair of two pendant oval grisaille paintings; one depicting four putti (cherubs) in a landscape holding flowers as an allegory for spring, the other with four putti in a landscape...

A fine pair of 18th century or earlier Continental classical landscapes in the manner of Giovanni Paolo Pannnini (b. Piacenza 1691, d. Rome 1765). Elaborate unconfirmed provenance on...