Art on Sale

Carlo Ceresa (San Giovanni Bianco 1609 - Bergamo 1679) attributable Full-length portrait of Giacomo Pesenti Oil on canvas (206 x 121 cm - in frame 212 x 133 cm.) This fascinating portrait, portraying a full-length gentleman and datable to the 17th century, illustrates the stylistic and compositional details typical of the pictorial production of the Lombardy area, Bergamo in particular. This reference is reflected in elements such as the natural light, the sober and austere setting and, above all, the subtle psychological characterisation of the face. We are inclined to identify the hand of portrait painter Carlo Ceresa, one of the most illustrious Bergamasque figure painters of the 17th century, capable of developing a style of intense realism and acute psychological investigation. In his works, and our portrait perfectly reflects his canons, an extraordinary naturalistic imprint, great realism and remarkable essentiality are evident. Those traits of severity, moral rigour and austerity typical of his portraiture find a perfect balance here: never courtly or rhetorical, his portraits are profoundly linked to the concept of counter-reform. Immortalising the main personalities of the time, he established himself as a point of reference for the Bergamasque aristocracy, from the Vertova to the Pesenti to the Secco Suardo. The subject of the portrait is Giacomo Pesenti, here immortalised life-size in a rigorous black suit, his left hand resting on a table, on which is placed the necessities for writing and a manuscript, and his right hand, with a sealed ring on his little finger, abandoned along his side while he holds his gloves. He wears a suit of incredible rigour, dressed as befits a man of his high social standing, while the sharp light focuses on his face, with an intensity that seems to be accentuated by the reflection of the white collar, with its sharp profile. For Ceresa, it is not the richness of the garment that gives value to the person portrayed, it is the need to give feeling and bring out the character of the person, and this he succeeds in marvellously, aided by his ability to capture the essence of the person and return it to us in painting through the face and light used as a strong expressive element. In fact, the image highlights that 'counter-reformed' composure typical of the portraiture of painters active in this area and era, adhering to a verism...

Balthasar Denner (1685 Hamburg - 1749 Rostock). Mary Magdalene. Oil on copper, 37 × 32 cm (visible size), 45 x 40 cm (frame), signed and indistinctly dated "Denner 17(...)" at centre...

Birds Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Giuseppe Aloja in the 18th Century. Signed on the plate. Good conditions. The etching belongs to ...

'Master of the parrot' (a painter active in Antwerp in the early 16th century, whose name refers to the parrot who always occurs in his paintings) - follower of Madonna on the throne with child (With the coat of arms of the client family in the upper part of the composition) Oil on the table 101 x 62 cm. - In frame 114 x 76 cm. The beautiful proposed work explains the typical iconographic characters of the painter called 'Master of the parrot', a conventional name used by critics to define an anonymous Dutch author of the 16th century. More precisely, it is a painter of the southern Netherlands, active in Antwerp around 1530-50, so defined for the unmistakable parrot who often appears in his works of him. In religious iconography the parrot has often been used as a Marian symbol, as it was widespread that its most common verse was "Ave", that is, the greeting of the Archangel Gabriele to Mary at the time of the Annunciation. Today the idea according to which the name 'master of the parrot' has not referred to a single painter, but rather a group that, based on the stylistic characters, carried out their training at the workshop of Pieter Coecke Van Aelst (Aalst (Aalst is widespread. 1502 - Brussels 1550), creating devotion paintings intended for a bourgeois client and concentrating their activity on a specific topic particularly requested by the contemporary market. By way of example we can mention the Virgin with the San Diego Museum of Art child where the figures, like our own, are in line, With the mannerist taste for the elegant body proportions that exceed reality, with elements such as tapered finger, wide face and thin nose. These characters also betray the influence of active artists in the region such as Joos Van Cleve...

18th century Dutch school (circa 1700.) - Circle of Pieter van Bredael (Antwerp 1629 - 1719) A village square with a market scene oil on canvas, 78 x 108 cm., Framed 94 x 121 cm. Questa affascinante scena popolare con un brulicante mercato nella main piazza è un opera di un artist fiammingo attivo intorno al 1700: si tratta di un interesting spaccato di vita dailyiana di un piccolo villaggio dell’Olanda del Secolo d´Oro. Nella piazza brulicante di gente con sullo sfondo delle tipiche case ed una grande fontana zampillante, possiamo assistere al trambusto che ruota attorno al giorno di mercato, con figure di ogni estrazione sociale indaffarate nelle proprie attività. Anche is difficult to ricondurre la tela alla mano di un autore in particolare, data la predilezione di molti autori a questo genere di ricche composizioni, possiamo però avvicinarne l'esecuzione alla cerchia del pittore di Anversa Pieter van Bredael (Anversa 1629–1719). Van Bredael, che faceva parte di una grande famiglia di pittori, è registrato come allievo nella bottega di David Ryckaert III nel 1640. Dopo viaggi di studio nei Paesi Bassi e in Spagna divenne maestro della Gilda di San Luca ad Anversa nel 1651. Lavorò anche in Italia, soprattutto in Roma, dove venne strongly influenzato dallo stile compositivo del gruppo dei Bamboccianti. Era ben noto per le sue scene di mercato altamente fantasiose che illustravano lo spettro diversificato della vita dailyiana della città. I suoi dipinti di paesaggi sono caratterizzati da accenti di colori vivaci, spesso popolati da molte figure che non possono che evocare lo stile di Jan Brueghel il Vecchio. Vi mostriamo di seguito alcune operates dell’autore, con cui è agevole ravvisare stilistiche analogy e compositiva con il nostro dipinto. - Dorotheum, Vienne, Alte Meister...

Hunting Cupid from "Antiquities of Herculaneum" is an etching on paper realized by Roccus Pozzi in the 18th Century. Signed on the plate. Good conditions. The etching belongs to ...

Rhetoric In The Roman Empire from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Vanni in the 18th Century. Signed on the plate. Good conditions with some f...

Oil Lamp With Decoration is an Etching realized by Carlo Pignatari (18th century). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le A...

Roman Rite and Landscape from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Vanni in the 18th Century. Signed in the plate. Good conditions with some foldi...

Oil Lamp With Animals Head from "Antiquities of Herculaneum" is an etching on paper realized by Giovanni Guerra in the 18th Century. Monogrammed on...

Animals Pompeian Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Aniello Cataneo in the 18th Century. Signed on the plate. Good conditions. The etching...

Black and white etching on wire rod paper, representing the myth of Telephus and his healing. Plate with fresh impression, from the volume “Le Temple des Muses...

GIOVANNI BATTISTA PIRANESI (Italian 1720-1778) VEDUTA DEGLI AVANZI De’MAUSOLEI E DELLE FABBRICHE…c 1756 (Hind 83; Focillon 20.A.293; Giesecke 116; Wilton-E...

Madonna with Sleeping Child Follower of Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) Roman painter 18th century Oil on canvas Measurements: canvas 64 x 50 cm, in frame 76 x 62 cm. This delicate depiction of the Madonna in adoration of the Child exhibits all the human dimension and sweetness of the maternal atmosphere: Mary clasps the sleeping child to her in a tender embrace, which touches her cheek, enveloped and protected by the mantle and even a flap of the mother's veil. The pictorial style and composition recall the ambit of Giovan Battista Salvi, the Sassoferrato, who distinguished himself expressly for this subject, with the Virgin immortalised in a humble and strongly earthly pose, depicted with simple white, red and blue colours and delicate plays of nuances on the faces and hands. This iconographic prototype was so successful that it became the painting for countless works destined for devotion during the 17th and 18th centuries, particularly appreciated for private commissions due to its marked gentleness and formal perfection, particularly of the faces. Born in Marchigiano, Salvi developed his activity in Rome, following the dictates of the classicist sacred painting of the Bolognese school of Reni, Carracci and Domenichino, but succeeding in having an autonomous and therefore clearly distinguishable style.  In very good overall condition, there are some small scattered restorations and some unravelling of the painted surface. Framed in a beautiful gilded frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda...

Ancient Roman Scene from the series "Antiquities of Herculaneum", is an etching on paper realized by Raffaele Barone in the 18th Century. Signed on the plate. Good conditions. The...

Guido Cagnacci (Romagna, 1601 - Vienna, 1663) workshop / attributable Quality work depicting David with the head of Goliath (or the Triumph of David) oil painting on canvas Dimensio...

Outstanding Mid 19th century old master "Susanna and the Elders" after Martinelli Brilliant old master painting of Susanna and the Elders. Original oil on canvas. Dimensions 26.5" ...

Carraccesque school of the late sixteenth century Francesco Brizio (Bologna, 1574 - Bologna 1623) attributed Mystical marriage of Saint Catherine of Alexandria Oil painting on canvas cm. 124 x 97 - in a fine antique frame cm.158 x 132 Catherine, the erudite princess of Alexandria who lived in the third century, is depicted here in the best known episode about her, or her "Mystical Marriage", symbolized by the wedding ring that Christ Child is about to place in the her hand. It is an iconography that was born in the fifteenth century and in many cases preferred over the more bloody martyrdom of the Saint with the wheel, and which served for a long time to visually translate the spiritual union of the faithful with God into a delicate allegory. The status of the bride of Jesus is testified by the sumptuous dress and the magnificence of the jewels worn, including a crown that collects the hairstyle, emblem of her royal dignity, a necklace that surrounds her neck and a precious brooch placed on the neckline. of the dress. Two sumptuous winged angels attend the scene who enliven the scene with their instruments, a lute and a cello, while a curious little cherub watches in flight from above, supporting a cloth of clear Veronesian ancestry. With regard to the stylistic canons of this beautiful composition, it is essential to point out that we are dealing with a work executed between the second half of the sixteenth century and the early seventeenth century, in which there are deep-rooted relationships with the pictorial examples of the Carraccis; the warm colors, the chromatic range is soft, the confident and detailed brushstrokes, are elements that, combined with the reminiscences of the Bolognese culture, lead us to place this valuable painting...

Painter active in Lombardy, in Milan, in the seventeenth century Circle of Camillo Procaccini (Bologna 1561 - 1629 Milan) St. Matthew and the Angel ...

Wonderful 18th century English gouache on paper of a 18th century English scene of a groom with a horse in a landscape. One of a set of five all framed in Hogarth frames. L.Green ...

Pierre Mignard, known as Le Romain (Troyes 1612 - Paris 1695), attributed Portrait of 'Louise Renée de Penancoët de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734) as MADDALENA Oil on canvas 97 x 88 cm In an important gilded frame 132 x 122 cm. Provenance: Private collection, Naples The young and attractive noblewoman portrayed in this painting is Louis Renée de Penancoet de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734), known to have been King Charles II's favourite mistress for over fifteen years, from whose relationship Charles Lennox, 1st Duke of Richmond, was born, but above all to have gone down in history as one of Louis XIV's French informants at the English court. The duchess was a very influential figure at court, promoting French interests and often acting as an intermediary between the king, his ministers and French ambassadors. After the death of Charles II this influence quickly came to an end, forcing her to hastily leave London and renounce all her possessions to return to her homeland, between Aubigny-sur-Nère and Paris, where she died in 1734, always remaining in the sovereign's good graces. The peculiarity of the portrait, probably executed after her return to her homeland, is that the noblewoman takes the form of a charming Mary Magdalene, depicted here following her renunciation of earthly possessions, her rich robes and jewellery, in order to aspire to heavenly riches; We see her immortalised with her long hair loose on one breast, her intriguing but serene gaze directed at the observer, as she rests her crossed hands, as if in prayer, on the ampulla of perfumed ointments and the open book, both iconographic symbols. The custom of being portrayed in the guise of Magdalene was in vogue for powerful women of the great European courts as early as the 16th century, as it represented the most appropriate image to justify the union of female power and virtue. It must be said that court culture exalted only the positive characteristics of her personality, glossing over or downplaying all references to her sinful past and dissolute life. The work, whose style fits perfectly into 17th century French portraiture, suggests the pertinent attribution to the Baroque painter Pierre Mignard (Troyes, 1612 - Paris, 1695), whose works were highly praised and earned him a great reputation as a portrait painter for the demanding Parisian aristocracy at the time of Louis XIV, and who portrayed the Duchess de Kérouaille on numerous occasions. His first important artistic training took place in Simon Vouet's studio, and he then moved to Italy for over twenty years before returning to Paris, blending his own with the influence of Roman classicism. The elegant looseness of touch and sensual refinement typical of Mignard, combined with a very accurate chiaroscuro rendering, inherited from his artistic training in Rome (which he looked up to the examples of Ferdinad Voet), and the exceptional sweetness of the drawing, the floridity of the complexion and the almost enamelled surfaces, and finally, the peculiar pose of the figure portrayed (the beauty of the two intertwined hands...

Goddess from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen in the 18th Century. Signed on the plate. Good conditions with some foxing and folding ...

Ancient painting depicting Jesus with the Commissioner's son (Alternative reading: St. Joseph with the Child, or the 'Paternity') Giovan Battista Salvi known as "the Sassoferrato" (1609 - 1685) circle / follower Oil painting on canvas 76 x 59 cm. -With frame in the shape of a small temple, not coeval 99 x 84 cm. The interesting canvas that we are pleased to offer you recalls the iconographic model of classic paternity, which traditionally sees Saint Joseph holding the sleeping baby Jesus...

Decoration With Animals is an Etching realized by Niccolò Vanni (1750-1770). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antich...

Cupids from the series "Antiquities of Herculaneum", is an original etching on paper realized by Filippo de Grado in the 18th Century. Signed on the plate. Good conditions with som...

Pair of angels with floral garland and cartouche with family motto 'Pulchriora latent' Workshop of Carlo Maratta (Camerano, 1625 - Rome, 1713) Dated on parchment, right: 1697 oil on the table (94 x 84cm./ in frame 105 x 95 cm.) This magnificent composition, depicting two little fluttering cupids intent on holding up a garland of flowers, can be traced back, both for the stylistic characteristics and for the compositional taste, to a master active in the fervid seventeenth-century Baroque Rome. One of the two cupids is about to grab the bow of the garland with his head facing downwards, while with the other hand he shows a parchment which bears, in addition to the date of execution, the Latin expression "Pulchriora latent" ("The the most beautiful things...

Ancient Still Life from the series "Antiquities of Herculaneum", is an etching on paper realized by Vincenzo Campana in the 18th Century. Signed on plate. Good conditions except fo...

Oil Lamp is an Etching realized by Vincenzo Campana (1730-1806). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antichità di Ercola...

This early 19th century framed 35" x 31" engraving by artist Amand-Durand depcits an etching of 'Jesus and the Woman at the Well,' after the Dutch master, Rembrandt van Rijn. This poignant Biblical story is depicted by Arman-Durand in Rembrandt style...

Spanish School of the 19th Century Santa Justa and Santa Rufina Oil on canvas 40 x 27 cm In quite good condition, the paint surface presents numerous crack...

Diana and Young Shepherd Endymion from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Billy in the 18th Century. Signed on the plate. Good conditions with s...

Basilica e Monasterio di S.Paolo Fuori le Mura is an etching on paper of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions ...

Landscapes With Monuments is an Etching realized by Luigi Aloja (1783-1837). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antich...

Ancient Roman Artifacts from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Giomignani in the 18th Centu...

Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen in the 18th Century. Signed on the plate. Good conditions with foxing, due to the time. ...

Henry Pether, late 18th-century Moonlight lake Landscape. Born into a family of artists, Henry was the son of Abraham Pether (1756-1812), a talented la...

Ancient Roman Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Vanni in the 18th Century. Signed on the plate. Good conditions with foxing, due to...

Goddess Flora with Garland from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen in the 18th Century. Signed on the plate...

A fine painting of sheep in a landscape setting follower of the talented Belgium painter of animals Eugene Verboeckhoven. Housed in a 19th century gilt frame. The size overall being 55 cm x 48 cm whilst the painting is 38 x 29 cm. The sheep have been beautifully captured especially their faces. An oil on board study ready to hang Eugene Joseph Verboeckhoven...

Claude Vignon (Tours, 1593 - Paris, 1670) The Fortune Teller Oil painting on canvas (65 x 84 cm. - In frame 94 x 113 cm.) The work is accompanied by a critical study drawn up by prof. Emilio Negro (Bologna) The subject immortalized in this intriguing painting, called 'Good luck', is a scene of everyday life that we would have seen frequently in the crowded streets of central Rome at the time. The protagonists of the canvas are a young fortune teller and a well-dressed nobleman who lets himself be predicted by reading the hand. The gentleman, who listens curiously to the response and with a hint of malice holds his gold necklace in his hands, is in the meantime robbed by an accomplice of the woman, intent on taking the purse out of his pocket. Although this type of paintings were intended for the decoration of the residences of the Roman aristocrats, who with a hint of self-irony saw themselves in the figure of the unfortunate grullo, were actually harbingers of moralizing messages. Among the many proposals there was certainly the warning towards the desire to know one's destiny without respecting the priority of the divine will that determines it, relying for this on cunning charlatans. It must be said that, although more than four centuries have passed and certain dynamics have naturally changed, this subject appears extremely current. Clearly inspired by the Buona Ventura painted by Caravaggio, the painting is part of that line of scenes taken from the painter's favorite street life and which, given the collector's fortune already at the time, were often reworked by many artists, considered a stimulating theme and full of psychological implications. In particular, the work in question is attributed to the French painter Claude Vignon (Tours 1593 - Paris 1670), presumably to be placed during his years spent in Rome, before his return to Paris, showing the artist's masterful interpretation of the work conceived by Caravaggio. After his training in Paris by Jacob Bunel, one of the most famous masters of the reign of Henry IV, he moved to Rome around 1609-1610, being part of that large community of French painters, including Simon Vouet and Valentin de Boulogne...

Guardian Angel from "Antiquities of Herculaneum" is an etching on paper realized by Ferdinando Campana in the 18th Century. Signed on the plate. Good conditions with foxing, due to...

Scipione Pulzone, called Il Gaetano (Gaeta 1544 - Rome 1598) - workshop of Portrait of Bianca Cappello (Venice, 1548 - 1587) Grand Duchess of Tuscany, second wife of Francesco I de 'Medici Second half of the 16th century oil on canvas, cm. 70 x 56 cm., Framed 103 x 87 cm. The proposed painting illustrates the portrait of Bianca Cappello (Venice, 1548 - 1587), a noblewoman of Venetian origins, second wife of the Grand Duke of Tuscany Francesco I de 'Medici, whose expressive power is wisely highlighted by the composite cut of light three quarters, with the head and gaze directed at the observer. The beam of light coming from her right brings out the volumes of her face plastically and lingers on her features, highlighted by the large white lace ruff that surrounds his neck and by the details of her precious clothing. Bianca wears a dark red dress, perhaps a zimarra, embroidered in gold with a plunging neckline and a raised collar of the shirt curled in a ruff and also edged with precious lace, embroidered with the motif of the Florentine lily.   The favorite jewels of the noblewoman were pearls: we see them on a choker that adorns the neckline, in the earrings and again in the hairstyle, which sees the hair gathered at the nape of the neck and adorned with a string of small black pearls and embellished with a clasp. It is a high-quality painting that can be confined to the workshop of the painter Scipione Pulzone called Gaetano, representing at best a pictorial genre, that of portraiture, in which the master excelled. This attribution would be confirmed by comparisons with the numerous portraits that Pulzone dedicated to the Medici family. Our painting, in particular, could represent one of the versions that the workshop has replicated, at the request of the numerous art collectors who wish to have a portrait of one of the most influential personalities of the Florentine scene. The characters drawn by Pulzone were icons of incomparable elegance: noblewomen, knights and religious lent their faces to the eye of the artist who was able to grasp every meticulous detail with his superb technique. A photographic wealth and surprising material attention that trace the pictorial prototypes of Flemish inspiration, in particular of Antonis Mor...

Giacomo Stella (Brescia 1545 - Rome 1630) Allegory of Wisdom (or prudence) Oil painting on canvas 193 x 75 cm., In frame 199 x 82 cm. The work is accompanied by critical study drawn...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Oratij in the 18th Century. Signed on the plate. Good conditions. ...

Hunting the Bear is an old master artwork realized by Jean Jaques Flipart (1709 - 1782) in the late 18th Century Sheet dimensions 37.5 x 52 cm Title printed on plate.

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Oratij in the 18th Century. Signed on the plate. Good conditions. The e...

A 19th century oil on canvas, portrait of a young woman.This portrait is believed to be of Queen Mary II taken from an engraving of the painting, Halswell Park Sale, 1948, lot no.1323, Housed in a decorative gilt frame.Size overall being 70 x 86 cm high (27.5 x 33¾ inches approx) size of painting 54 x 68 cm (21 x 26 inches approx) To the rear of the portrait is a newspaper cutting of the engraving ,also a typed note regarding the provenance of the painting (see photo) Condition overall is very good, the Canvas has been relined, under UV there are areas of overpaint to bosom.Frame overall very good some minor self coloured losses Mary II (30 April 1662 – 28 December 1694) Mary, born at St James's Palace in London on 30 April 1662,eldest daughter of James, Duke of York (the future James II & VII) , and his first wife, Anne Hyde. Mary's uncle was King Charles II, her maternal grandfather, Edward Hyde, 1st Earl of Clarendon, served for a lengthy period as Charles's chief adviser. Mary married William of Orange. Willem Wissing, known in England as William Wissing...

Ancient Roman Fresco "Antiquities of Herculaneum Exposed", is an etching realized by Filippo de Grado in the late 18th century. Signed on The plate Good conditions. The etching be...

Basilica di S.Paolo e Monestero de Monici Casinensi is a vintage offset print realized in the early 20th Century after Giuseppe Vasi. Good conditions. Giuseppe Vasi (Corleone,1710...

Ancient Roman Scene from Herculaneum is an etching on paper realized by Nicola Vanni in the 18th Century. Signed on the plate. Good conditions. The etching belongs to the prin...

Ancient RomanFresco "Antiquities of Herculaneum Exposed", is an etching realized by Filippo de Grado in the late 18th century. Signed on The plate Good conditions. The etching bel...

Ancient RomanFresco "Antiquities of Herculaneum Exposed", is an etching realized by Filippo de Grado in the late 18th century. Signed on The plate Good conditions. The etching bel...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Francesco Cepparoli in the 18th Century. Signed on the plate. Good condi...

Ancient Roman Fresco from Herculaneum , is an etching on paper realized by Vincenzo Campana in the 18th Century. Signed on the plate. Good conditions. The etching belongs...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Morghen in the 18th Century. Signed on the plate. Good conditions. T...

Ancient Roman Scene from the series "Antiquities of Herculaneum", is anetching on paper realized by Giuseppe Aloja in the 18th Century. Signed on the plate. Good conditions. ...

Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Fernando Strina in the 18th century. Signed on the plate on the lower...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Ortij in the 18th Century. Signed on the plate. Good conditions ex...