Art on Sale

Prize Bulls, Farmer & Owner, 18th Century Early French School Oil On Panel Fine 18th century French School prize bull scene with the farmer and owner, oil on panel. Very early prize bull scene with a pair of bulls accompanied by their owner and the farmer. Excellent detail with influences of Paulus Potter...

18th century hand-colored engraving on laid paper by M.R. veuve Tardieu (1732-1826) of "L'Hippotame Jeune" by French illustrater Jacques de Seve (fl. 1...

Portrait of the daughter of Francois Boucher, Marie-Emilie Baudouin, holding a basket of flowers. Pastel on Parchment. The work is related to an oval portrait painting...

Profile of Ancient Roman Bust, from the series "Antiquities of Herculaneum" is an original etching on paper realized by Francesco Cepparoli. Signed on the plate, on the lower right....

Oil painting on canvas. Venetian school of the eighteenth century. The portrait proposes the figure of a young woman wearing an everyday dress, but embellished with spotted fur...

GIOVANNI BATTISTA PIRANESI (Italian 1720-1778) VEDUTA del SEPOLCRO della Famiglia PLAUZIA per la strada che Conduce da Roma a Tivoli vicino a Ponte Lugan...

Wonderful 18th century English gouache on paper of a 18th century English scene of a man on his horse with his dog in a landscape One of a set of five all framed in Hogarth frames. ...

The deposition is an original etching on ivory-colored paper realized in 1791 by Thomas Holloway d'apres Heinrich Fuseli Signed on the plate on the lower. Titled on the lower cente...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Ferdinando Campana. Signed on the plate, on the lower right. Good cond...

Ancient Roman statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carlo Nolli in the 18th century. Signed on the plate, on the lower ri...

An Allegory Of Marriage, 18th Century English School Large 18th Century English School allegory of marriage, oil on canvas. Rare allegory of life scene with two married couples on...

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

Oil on canvas. Central European School. The scene is set in the shop of a barber, who is intent on cutting a man's hair under the watchful eye of other customers and, above all, of s...

The White Horse by George Morland (1763- 1804) Oil on Canvas. Total size including painting and frame: 81cm x 94cm x 7cm Housed in an ornate contemporary heavy gilt frame. Clearly ...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carlo Nolli in the 18th century. Signed on the plate, on the lower righ...

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

Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an etching on paper realized by Morghen in the 18th century. Signed on the plate, on the lower right. Good co...

Pieter Casteels III (Antwerp 1684 - 1749 Richmond) circle Floral still life Signed lower left, on the stone: P Casteels About 1730 Oil painting on...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Pietro Campana. Signed on the plate, on the lower right. Good conditio...

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

Outstanding early 18th century English portrait of James Bellevue. The portrait was always believed to be the work of Sir Godfrey Kneller who was known to have painted James Bellevu...

Ancient Roman statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized in the 18th century. Signed on the ...

The Lamentation Of The Death Of Christ, 17th Century after Pier Francesco Mazzucchelli (1573-1626) Fine huge 17th Century Italian Old Master depiction of the Lamentation at the Dea...

Profile of Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparoli. Signed on the plate, on the lower right....

THOMAS BEACH (1738-1806) Two Children Oil on canvas Canvas size : 50 x 40 inches (127 x 102 cms) Framed size : 57 x 47 inches (145 x 120 cms) Frame : Early 20th century carved ...

Profile of Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Pietro Campana. Signed on the plate, on the lower right. Go...

Francesco Cepparuli, Ancient Roman Fresco, original etching hand watercolored. Mid-18th Century. original etching from the end of the 18th century, realized by Francesco Cepparuli. ...

Sir Henry Raeburn (1756-1823) James Sinclair, 12th Earl of Caithness (1766-1823) Oil on Canvas 30 X 25 inches Unframed 37 X 32 inches framed Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton: works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practised portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, a bust of Dr Wardrop of Torbane Hill, two full-lengths of Adam Rolland of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adam in the National Gallery of Scotland, and that of William Macdonald of St Martin's. Apart from himself, Raeburn painted only two artists, one of whom was Sir Francis Leggatt Chantrey, the most important and famous British sculptor of the first half of the 19th century. It has recently been revealed that Raeburn and Chantrey were close friends and that Raeburn took exceptional care over the execution of his portrait of the sculptor, one of the painter's mature bust-length masterpieces. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the early 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, "You would never take him for a painter till he seizes the brush and palette." In 1812 he was elected president of the Society of Artists in Edinburgh; and in 1814 associate, and in the following year full member, of the Royal Scottish Academy. On 29 August 1822 he was knighted by George IV and appointed His Majesty's limner for Scotland at the Earl of Hopetoun house. He died in Edinburgh. Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Velázquez, the brushwork reminded him constantly of the "square touch" of Raeburn. Scottish physician and writer John Brown wrote that Raeburn "never fails in giving a likeness at once vivid, unmistakable and pleasing. He paints the truth, and he paints it with love". Raeburn has been described as a "famously intuitive"portrait painter. He was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting directly from life; he made no preliminary sketches. This attitude partly explains the often coarse modelling and clashing colour combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the 19th century from romanticism to Impressionism. Sir Henry Raeburn died in St Bernard's House (17 St Bernards Crescent), Stockbridge, Edinburgh. He is buried in St. Cuthbert's churchyard against the east wall (the monument erected by Raeburn in advance) but also has a secondary memorial in the Church of St John the Evangelist, Edinburgh. James Sinclair, 12th Earl of Caithness was born at Barrogill Castle (Castle of Mey) on 31 May 1766. He was the son of Sir John Sinclair of Mey, Baronet who he succeeded in the baronetcy in 1774. He succeeded as 12th earl of Caithness in 1789. He was lord-lieutenant of the county of Caithness and lieutenant-colonel of the Ross-shire militia. He married at Thurso Castle on 2 January 1784 Jane, second daughter of Alexander Campbell...

A study in red chalk of a girl sitting and reading a book. Red chalk on paper under glass in a giltwood and gesso frame. This small drawing has a sense of intimacy in the capturing of a moment where the sitter is seemingly unaware of being observed, unlike the feeling of formailty and self-awareness in a staged portrait sitting Provenance: Private collection, Somerset With J. Davey & Sons Ltd, Liverpool William Hoare...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Nicola Billy. Signed on the plate, on the lower right. Very Good condit...

Profile of Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Nicola Billy. Signed on the plate, on the lower right. Good...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparoli. Signed on the plate, on the lower right. Very Good...

Profile of Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparoli. Signed on the plate, on the lower right....

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Ferdinando Campana. Signed on the plate, on the lower right. Good con...

Profile of Anticient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparoli. Signed on the plate, on the lower righ...

Profile of Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Ferdinando Campana. Signed on the plate, on the lower right....

18th Century European Portrait of a Child Saint John the Baptist Oil on Canvas 19 x 14 1/4 inches This lovely and sensitively painting has been examined by a professional restorer w...

Ink Drawing of a Man Courting A Woman Signed by B. Koller dated 1796. This 18th Century Ink Drawing of a Man Courting A Woman is Signed by the Swiss artist B. Koller and dated 1796. This is an oval shaped drawing of a couple in a landscape. This antique ink drawing...

Roman landscape painter of the eighteenth century - Entourage by Paolo Anesi (Rome 1697 - 1773) River landscape of the Lazio countryside, with the Tiber fl...

Ancient Roman Statues, from the series "Antiquities of Herculaneum", is an original etching on paper realized in the 18th century. Signed on the plate, on the lower left: Vanni Rom....

Print by Giovanni Giardini (1646-1721) for Disegni Diversi [Various Designs]. Originally published in 1714 in Prague and later reissued in 1750 in Ro...

A Tavern Interior - 18th Century Old Master, Figurative Oil Painting by Schaak Little is known about the artist J.S.C. Schaak. He was active in England as a portraitist between 1760-1770. His name indicates his German or Dutch origin. Especially portraits of generals...

From publication The Birds of Great Britain, Systematically Arranged, Accurately Engraved, and Painted from Nature. Published 1793-1801 in London. Markings Watermark: 1794 J.Whatma...

In 2001 the German art historian Art historian and Raphael Expert, Prof. Jürg Meyer zur Capellen, published the painting "Die Heilige Familie" in a monographic article, ascribing the present work to the Venetian painter Giovanni Battista Pittoni (1687 -Venice - 1767). (Newspaper "Weltkunst", October 2001, No 12, p. 1850 f. ill.) He describes it as a typical work by this artist. Pittoni was one of the most influential and successful artists of the Venetian Settecento. He was a pupil of the Veronese Master Giovanni Balestra (1666-1740). His style is influenced by Sebastiano Ricci (1659-1734) and Giambattista Tiepolo (1696-1770). Giovanni Battista Pittoni was already successful at a young age and soon lead his own workshop. He created large-scale hitoria paintings, as well as large, religious altarpieces. In addition to Venetian and Upper Italian patrons, Pittoni also had many interested parties from Europe. His work is accordingly scattered in many different museums and private collections today. Pittoni - like other painter colleagues of his time - repeated his own compositions both by hand and with the help of his workshop. He repeatedly incorporated details into other pictures and contexts. Prof. Meyer zur Capellen noted the very good condition of the present work and the high quality of the paint with fine graduations and the vivid brushstrokes. Provenance: The panting has not been on the art market for at least 300 years. In the year 2000 the work was donated by the Münster-based, Noble Family Ketteler zu Harkotten to a private collection in Westphalia. Most probably the canon Nikolaus Hermann von Ketteler zu Harkotten bought the piece in Venice in 1750 together with the altarpiece of the Clemens Church in Münster. On the reverse of the work is a fideicommissum number by Ketteler zu Harkotten. As it belonged to the family commission, the painting was inalienable until 1919, when the corresponding law was repealed, and after that time it remained in the family's possession without interruption. Pittoni's only direct relationship to Münster is the commission for the high altar painting of the Baroque St. Clemens Church. It can be assumed that then canon von Ketteler saw this painting in the artist's workshop during his stay in Venice and acquired it for himself. This would also explain the discrepancy in dating. (ca. 1735/1750). However, it is also possible that the painting originated in the possession of Ferdinand von Plettenberg...

Ancient Roman Frescoes, from the series "Antiquities of Herculaneum", is an original etching on paper realized after a design by Nicolò Vanni in the 18th century. Signed on the plat...

From publication The Birds of Great Britain, Systematically Arranged, Accurately Engraved, and Painted from Nature. Published 1793-1801 in London. Markings Watermark: 1794 J.Whatma...

From publication The Birds of Great Britain, Systematically Arranged, Accurately Engraved, and Painted from Nature. Published 1793-1801 in London. Markings Watermark: 1794 J.Whatma...

From publication The Birds of Great Britain, Systematically Arranged, Accurately Engraved, and Painted from Nature. Published 1793-1801 in London. Markings Watermark: 1794 J.Whatma...

Still Life Of Flowers in a Glass Vase including, Roses Chrysanthemums, Pinks 17th Century Large 18th Century Dutch old Master still life study of various flowers in a vase, oil on canvas. Magnificent study of various flowers including Roses Chrysanthemums, and Pinks in a glass vase beside peaches and grapes in a stone niche...

Legionnaire with the horse, Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparoli in the 18th century. ...

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

Hand-colored mezzotint engraving printed in color and finished by hand on laid paper from "Phytanthoza Iconographia." Edited by Johann Wihelm Weinmann (1683-1741) with drawings by Ge...

The Landscape of Roman Countryside is an original etching artwork realized after Charles Coleman (1807, Yorkshire - 1874, Roma) in 1992. Signed on the plate, the rare edition of onl...

Portrait of Sculptor John Michael Rysbrack, from John Vanderbank is an original mezzotint artwork realized in 1734 by John Faber II (L'Aia 1684 ca. - Londra 1756). Signed and dated ...

First edition of this rare and important work by the spanish Abbot Vincente Requeno (1743-1811) on the importance of hand signs and positions in communications. Dedication of the Ed...

Dionysus, Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Ferdinando Campana in the 18th Century. Signed on the plate...

Phallus fascinum in ancient Roman religion, from the series "Antiquities of Herculaneum", is an original etching on paper realized in the 18th century...

French School, circa 1720's circle of Nicolas Lancret (1690-1743) oil painting on canvas 15 x 23 inches provenance: private collection, UK Fine depic...