Late 18th Century Paintings

A watercolour on paper portrait off a very tall thin gentleman wearing Georgian dress. In the distance is a large estate. Condition is very good, with light foxing and some toning. ...

Rare 18th century Spanish Colonial folk retablo on tin panel of "Antonia De Padua" colonial Mexico. In early gilt wood frame.

Antique Italian painting from the 18th century. Framework oil on canvas depicting a landscape with ruins of good pictorial quality. Small framework, it can be easily placed in differ...

Rare pair of gouache paper paintings depicting the Danish manor house 'Bratskov', early 19th century. Presented in the original frames in ebonized wood with silver leaf finish. With frame: 41 x 63 cm. - without frame: 35 x 56...

Three landscapes painted in oli on cavans attributed to Gaetano Vetturali Scool Lucca late 18th century Gaetano Vetturali 1701-1783 Was an Italian painter. In the period of the Gran ...

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...

A Thangka of Tsongkhapa, Tibet, 18th-19th century Intricately painted in fine detail with gouache and gold on linen. The thangka is a representation of Je Tsongkhapa, a very revered...

A highly decorative 18th century Hatchment of extra large proportions, the lozenged oil on canvas depicts a crest with the latin motto "In Portu Quies" (In the quiet harbour). By repute the hatchment was housed in Fawsley Hall Northamptonshire England, an estate owned by the Knightley family. The contents were auctioned off in 1914 after the death of Louisa Knightley in 1913. The hatchment shows...

A rather decorative collection of six wallpaper sections, gouache on paper laid on hessian, unknown maker likely Canton, China circa 1750-1800 Deco...

An extremely rare and complete set of all thirteen engravings of the old testament frescoes painted by Raphael in a loggia at the Vatican only two years before he died in 1520. Raphael undertook a monumental commission for Pope Leo X: a vaulted arcade within the private apartments of the Vatican. Inspired by recent excavations in Pompeii and the Campagna, Raphael covered the Loggia’s walls and ceilings with painted ornament in the antique style. Like Leonardo and Michelangelo, Raphael was inspired by the rebirth of classical art and learning that characterized the Renaissance. For the Loggia, he created a fascinating mixture of formal and “grotesque” elements (“Grotteschi” were subterranean grottos which the Romans painted as their fancy dictated: shells entwined with beasts, history combined with mythology). The Loggia became known as “Raphael’s Bible,” not only for its Biblical paintings but also for its decorative invention. The engravings of Raphael’s Loggia were published in three bound volumes two and a half centuries later in Rome (1772-1777). There were 13 engravings in Volume I ( issued in 1772) and fourteen engravings in Volumes II and IIi ( issued in (1772-1777) . This collection represents Volume I. One of the most luxurious engraved projects of the 18th century, Le Loggie di Raffaello was the first to reproduce the great frescoes by Raphael and his pupils in the Vatican. It was the result of a collaboration between the painter Gaetano Savorelli, the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato, all of whom took active interest in preserving for posterity and making available to contemporaries the splendors of the Vatican. Under the patronage of Pope Clement XIV, this gifted team of artists set out to copy not merely Raphael’s biblical pictures but their wonderful ornamental surrounds, rich in pattern and groteschi. The magnificent engravings that resulted from their collaboration are extraordinarily faithful to Raphael’s originals, even more so because they were hand-colored using gouache, a thicker and more opaque pigment than the more common watercolor that was used to color prints. Vivid and sumptuous, these large-scale works are among the most magnificent engravings to have originated in the 18th century. Beyond their purpose as records of Raphael’s frescoes, these splendid engravings served as inspiration for generations of Neo-Classical artists and designers. Please note that due to Image number restrictions, it was not possible to show all of the engravings and respective close ups. Each of the engravings depicts an important episode found in the Old Testament. The episodes consist of: The Dreams Interpreted,” Bay VII Scene 1, Copperplate Engraving with Gouache, 1770. The seventh bay represents the adventurous life of Joseph. In “The Dreams Interpreted,” Joseph describes his childhood vision to his bothers, who then decide to sell him as a slave to a caravan of merchants. The remaining scenes in the bay are “Joseph Sold by His Brothers,” “Joseph “ “God Appears to Isaac,” Bay V Scene 1, Copperplate Engraving with Gouache, 1770. The story of Isaac is the main subject in the fifth bay. “God Appears to Isaac” is the first scene, in which God assures Isaac that he will indeed have descendants. The rest of the scenes in this bay include “Isaac and Rebekah Spied on by Abimelech,” “Isaac Blesses Jacob,” and finally “Isaac and Esau.” The Judgment of Solomon,” Bay XII Scene 2, Copperplate Engraving with Gouache, 1770. The twelfth bay shows the story of Solomon, a peaceful and wise king. The bay begins with “The Consecration of Solomon,” which is followed by “The Judgement of Solomon.” This scene illustrates the link between inherent justice and his kingship. The bay concludes with “The Building of the Temple,” and “Solomon and the Queen of Sheba.” “Jacob’s Dream...

A large Folk Art watercolor on paper depicting life along the Mongolian trade routes known as the silk road. The scene includes Mongolian yurts, horsemen, nobles in carriages, farmin...