Europe

Al Dolo is an original Artwork realized by Giovanni Antonio Canal, commonly known as Canaletto (Venice, 1697 - 1768). Original Etching on Laid paper...

Le Leopard is an etching realized by Jean Charles Baquoy in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Ro...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

Dutch painter (18th-19th century) - The spanking. 60 x 99 cm without frame, 67 x 106 cm with frame. Antique oil painting on panel, without frame. Condition report: Wooden support ...

Elegant 18th-century reliquary in solid silver, finely hand-engraved, with ornamental decoration typical of Baroque religious art. Its oval shape features floral and symbolic details...

This is a rare fireplace bellows in carved and lacquered wood with polychrome decorations of flowers on a light green background. It has original leather details and the bronze spout...

A rare, incredible and large antique Chinese carved mother of pearl mounted tea caddy with armorial for MacPherson and dating from circa...

Sharing with you this very nice example of 18th century Mandarin ware. Dating to around 1740-1750. Absolutely top quality scene Very richly decorated. The inside wall with floral d...

Landscape is an etching realized by Adam Pérelle in 18th Century. Good conditions. Signed on Plate. The artwork is depicted through confident strokes.

Antique map titled 'Carte de Tartarie'. Detailed map of Tartary, consisting of the Eastern part of Russia, Central Asia, China and Korea, first published by Guillaume De L'Isle in 1706. The map extends from the Peninsula of Korea in the east to the Caspian and Black Seas. The Great Wall of China...

Amazing 18th century original painted pine housekeepers cupboard with a clock. Wonderful colour to both the exterior and interior with good provenance. 1780. Code: 8859 Dimensions...

French school of the 18th century After Charles de LA FOSSE (1636 - 1716) The Virgin of the Annunciation Oil on canvas 46 x 37.5 cm (59 x 51 cm with the frame) Beautiful oval frame i...

Como pueden apreciar, la obra no va firmada, es de autor anónimo Se presenta enmarcada la obra con un marco bastante actual El estado de la obra es aceptable, solo comentar que la ...

Antique Asian Carved Stone Buddha Head – 17/18th Century Southeast Asia A finely carved antique Buddha head in hard sandstone, featuring a calm a...

Original Walnut Chest of Drawers with Inlaid Top – Restored & Hand-Polished 1740-1750 Beautiful antique walnut chest of drawers featuring an inlaid top with two decorative panels. B...

A handsome 18th century French Provincial buffet, or sideboard, in mellow and beautifully aged walnut. Opening with a central frieze drawer and two large, lockable cupboard...

This charming mid-18th-century oil painting depicts a veritable array of revellers holding a feast by a tavern. It’s after a work by Flemish artist, David Teniers the Younger (1610-1...

Oil on Canvas. This is an early copy of the work by Giovanni Battista Salvi, known as Sassoferrato (1609 -1685), now housed in the National Gallery of Umbria (Palazzo dei Priori), wh...

This Georgian pendant has been handcrafted out of 14K yellow and rose gold towards the end of the 18th century. It is designed as a stylized flower with twelve flower petals. Each pe...

Italian painter (18th century) - Saint John Nepomuk 65 x 50 cm without frame, 78 x 64 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. Condition report: Li...

Great looking and patina antique Gothic trunk, made of solid elmwood. This impressive looking and practical size chest shows a number of deep and...

Late 18th century Swiss stone pine chest H. 88 cm – L. 145 cm – D. 69 cm Beautiful chest in pine wood, built at the end of the eighteenth century. On the front there are three...

This 18th-century Danish Baroque cabinet is a striking piece of craftsmanship. Made from solid oak and painted in a deep black finish, it exudes an air of elegance and mystery. Intri...

This is an antique secretaire cabinet. An English, mahogany chest of drawers with drop front writing desk, dating to the Georgian period, ci...

Magnificient and exceptional centrepiece in white majolica with polychromes flowers and branches produced around 1740 - 1770 by the ancient Pasquale Antonibon Manufacture based in N...

Fine antique George lll all original longcase clock signed Charles Shuckburgh of London having a brass arched dial, silvered chapter ring, subsidiary dial, original hands, 8 day move...

A Pair of 18th Century Italian painted and Gilt Wooden Candlesticks, Candle Holders CIRCA 1750'S, Set upon Lion Paw Tri Feet with ornate carvings and decorated stems these beautfully...

Elegant Figures in Interior *see notes below Italian School, mid 18th century most likely of Venetian origin oil on canvas, unframed canvas: 10.75 x 11.75 inches provenance: private ...

Mother & Child British artist, late 18th century after the painting by Sir Anthony van Dyke oil on canvas, unframed canvas : 20 x 18 inches provenance: private collection, Berkshire,...

An attractive late Georgian over mantel mirror dating circa 1790. The hand painted frieze still vibrant and intact and very much in the manner of Angelika Kaufman. Four bold columns,...

Description George II sterling silver tankard, Joseph Jackson, Dublin, 1749. Slightly flared body with circular base and a wavy, chiseled decoration along the underside. Domed, hinge...

18th Century French Gothic Period andirons made of wrought iron. The andirons have a natural brown patina. The condition is good.

Rococo console crafted from pine, meticulously stripped by a conservator to reveal its original, beautiful gray-marbled finish with natural patina. The console is topped with its or...

Outstanding Italian 18' century walnut, parquetry bureau cabinet fruitwood inlaid with scrolling foliage, The upper section with a shaped carved cresting centered by a cartouche-sha...

Beautiful 18th century French Louis XIV period fireback with a coat of arms. The date of production, 1732, is also cast in the fireback. The fireback is made of cast iron and has a ...

A magnificent 18th century French Louis XV Epoque serpentine fruitwood commode chest of four drawers, standing on elegantly carved feet. Distributed over three rows, each moulded dra...

circa 1800 Large 19thC French Provincial Bleached Oak Armoire sku 1595 W144 x D45 x H190 cm

Manifattura San Carlo della Real Fabbrica di Caserta - Serving dish in Moustiers style with scalloped edge decorated in ocher and green monochrome with a medallion in the center of t...

A long panel of Antique Silk French Empire and dating from 18th century Beautiful, hard to find Dark Olive Green colourway Antique gently time worn condition with general signs ...

Glorious Icon on Oak board dating to the 18th century and depicting the Resurrection of Christ, this Icon was originally from Mount Athos a mountain on th...

These sugar bowls are a little collection of interesting Italian porcelain pieces coming from the historical Richard Ginori factory, Doccia, Italy One of them, has the tulip decor, ...

18th Century French Pine Louis XV armoire.This rustic but authentic piece features its original key, hinges and escutcheons. Details such as the paneled doors and touches of carved d...

Circle of Carlo Labruzzi A view of Lake Nemi Oil on canvas Canvas Size 26 3/8 x 40 1/2 in Framed Size 35 x 49 in Carlo Labruzzi was an Italian painter, draftsman, and engraver, best...

This 18 Kt gold and silver ring features an authentic neoclassical grey agate 1790's engraved with a depiction of a heron. The legend of the mythical Phoenix is said to originate ...

This pendant of Christ on the cross was cast in Italy in the last quarter of the 18th century. The cross is marked with Italian hallmarks engraved and embellished with oriental pear...

Good 18th century English painted three drawer oak dresser base. 1740. Code: 8852 Dimensions: W: 77" (195.6 cm) H: 31" (78.7 cm) D: 19.5" (49.5 cm)

Le Chat Sauvage is an etching realized in 1771 by Louis Legrand (1723-1807). The Artwork is depicted through confident strokes in aa well balanced composition. Good conditions.

A late 18th century white layered agate on a light gray ground, set in a gold frame. Male head with short hair, possibly the Roman orator, politician, writer and philosopher Cicero, ...

Beautiful marble-top Louis XVI console table. Wonderful carvings and great patina. Original marble top. France, circa 1770-1889. Weathered and small losses. More photo's are availab...

18th Century miniature bronze gilt cabinet with underglass paintings 18th Century gilt Bronze Miniature, Gold Sewing tools Cabinet A 18th Century bronze gilded miniature cabinet, se...

A charming pair of late 18th century blue and white ceramic Delft vases, recently mounted as lamps. The vases are beautifully decorated with floral ornaments in the typical Delft st...

Plate XII: 'Chirurgie'. (Surgery.) This plate shows a sick man and child to be operated on. This print originates from 'Encyclopédie (..)' by D. Diderot. Published, circa 1760.

Giovanni Ottaviani (Italy, 1735-1808) Title: Scene from Cloister Vaults in the Raphael Loggias, Vatican Large, exquisitely hand-coloured etching from the series Loggie di Rafaele ne...

Antique 18th Century Diptych Sundial and Compass a portable wooden boxwood sundial with compass, of German origin, by David Beringer, Nuremberg, dating back to the 1790 circa, in good age related condition, with signs of wear consistent with age and use. David Beringer (1756 – 1821) was a German scientific instrument maker and craftsman active in Nuremberg and famous for his cubic wooden sundials visible in Metropolitan Museum of Art di New York. A portable sundial...

Venetian school of the mid-18th century. Oil on canvas painting depicting an invented landscape composition of remarkable pictorial quality. On the right is a ruined building, probab...

17th century quality oak bible box having a quality oak bible box with original carved decoration to the front with an iron lock plate working key and lock, lift up top opening to re...

Beautiful carved giltwood baroque mirror, Italy, circa 1750. Weathered, small losses and old repairs.

This is a beautifully hand painted Chinese Export porcelain plate or bowl from the Qing, Kangxi period, 1662-1722, fully marked to the base with the Kangxi period Artemisia Leaf mark within a double blue ring. The plate is of dinner plate size, finely potted with a carefully cut base rim and a lovely rich glassy, white glaze with a light blue tinge. The plate is carefully hand painted in a free flowing style, characteristic of the period, in varying shades of a clear cobalt blue, iron red and gold. The central well is decorated in the Imari style with flowering peonies, asters and other flowers and grasses, with a small insect flying above the flowers, all within two sets of concentric blue circles. The outer rim is richly decorated with flower sprigs and leaves, all within an outer blue circle. The base of the plate has a recognized and documented hand painted Kangxi symbol of an Artemisia Leaf, within a double blue ring. See Page 168 of "How to Identify Old Chinese Porcelain" by Willoughby Hodgson and published by Forgotten Books. A Kangxi plate...

Antique map Switzerland titled 'Territorium Reipublicae liberae Helveticae Scaphusiensis (..)'. Regional map of Switzerland. Artists and En...

This is a beautifully hand painted Chinese Export porcelain Plate or Bowl from the Qing, Kangxi period, 1662-1722, fully marked to the base with the Kang...