18th Century Landscape Paintings

Stunning old master oil on canvas of a French landscape with an aquaduct in the foreground and a medieval village in the distance. Possibly ‎⁨Les Causses du Minervois⁩. Oval canvas,...

Figures & Animals in Classical Landscape circle of Jans Frans Van Bloemen (Orizzonte 1662 - 1749), unsigned oil on canvas, framed framed: 28.5 x 42.5 inches canvas: 19 x 34 inches P...

Figures Animals in Classical Landscape circle of Jans Frans Van Bloemen (Orizzonte 1662 - 1749), unsigned oil on canvas, framed framed: 28.5 x 42.5 inches canvas: 19 x 34 inch...

Giacomo Guardi (Venice, 1764 – Venice, 1835) follower View of Venice with the Basilica della Salute and the Punta della Dogana oil on canvas Dimensions: 40 x 52 cm. framed 48...

Gerard Thomas (Antwerp 1663-1720) Attributed to The Artist's Studio Oil on canvas (99 x 115 cm - in frame 70 x 86 cm) This fascinating painting, depicting the interior of an ar...

This rare 1790 oil painting depicts a village landscape in the Old Masters genre tradition. The composition shows peasants gathered near a cottage su...

A large pair of 18th century veduta capriccio scenes with temple ruins after Gennaro Greco from the circle of Pietro Cappelli. The paintings are presented in more modern carved gilt ...

The Merchants Port Italian School, 18th century oil painting on canvas, framed framed: 37 x 58 inches canvas: 32 x 52 inches provenance: private collection, UK condition: very good a...

The Arcadian Landscape Italian School, 18th century oil painting on canvas, unframed canvas size: 32 x 40 inches condition: excellent condition for its age, fully restored. provenance: from a private collection in Paris, France. Large scale classical 18th century Italian Old Master...

View of Riva degli Schiavoni is an original old master artwork realized in the late 18th century by a follower of the School of the italian painter Canaletto. Oil on canvas. An imp...

View of St. Mark Square is an original old master artwork realized in the late 18th century by artist of the School of Giovanni Antonio Canal (C...

Indian Miniature

This enchanting 18th-century French fête galante captures the elegance and joy of aristocratic leisure, set amidst a lush garden adorned with flowers. A scene of refined celebration,...

Work on canvas Black wooden frame 51 x 73 x 5 cm

Peter Monamy (London 1681-1749) Colliers lying in the Thames at Deptford and unloading their cargoes for the London market signed 'P: Monamy: Pinx' lower left Oil on canvas Canvas Si...

Jean Jacques Spoede (Antwerp 1680 - Paris 1757) Triumph of Bacchus Oil on canvas 66 x 83 cm. - In frame 84 x 101 cm. In this fascinating painting, attributed to Jean Jacque...

A fine, large 18th century veduta capriccio scene with temple ruins after Gennaro Greco from the circle of Pietro Cappelli. The painting is presented in a more modern carved gilt woo...

Italianate landscape garden with classical ornament, including Giambologna's Sabine women and a classical urn, view to a bay beyond Coplestone War...

Giuseppe Zais (Forno di Canale 1709 - Treviso 1784) - Landscapes with Washerwomen. 41 x 56 cm unframed, 49.5 x 64.5 cm with frame. Oil on canvas, in a carved and gilded wooden fram...

John Nost Sartorius (London 1759-1828) A bay horse in a wooded landscape Signed 'J.N.Sartorius' lower right Oil on canvas Canvas Size - 12 x 14 in Framed Size - 19 x 21 in John Nost...

Fighting Dogs French Provincial School, 18th century, unsigned oil on canvas, framed in period antique wooden frame (walnut?) Framed: 26 x 51 inches Canv...

French or Italian school of the 18th century Animated landscape with a ruin Oil on canvas 27 x 33 cm (34 x 40 cm with the frame) Signed and dated lower right "1772 / Contencin? / fec...

George Smith of Chichester (Chichester 1714-1776) Landscape with figures resting by a river; River landscape with figures outside a thatched cottag...

Giacomo Ceruti, known as Il Pitocchetto (1698-1767) – “Turnip” Medium: Oil on canvas Dimensions: 204 x 124 cm (unframed) Provenance: Private collection This remarkable painting, “T...

Shipping in Calm Waters Dutch School, 18th century oil painting on wood panel panel: 10 x 12.75 inches framed: 14 x 17 inches condition: very good, minor evidenc...

Pastoral Landscape Dutch Old Master, 18th century oil on canvas, unframed canvas: 12 x 10 inches provenance: private collection, UK condition: good a...

Military Camp Scene and Battle. Pietro Graziani (XVII/XVIII century), entourage. A pair ( two) of small paintings. Antique XIX century frames in gilt wood.  In good condition. Oi...

Charles-André van Loo (Nice 1705 - Paris 1765) workshop of - Allegory of the Divine Comedy. 54 x 83 cm unframed, 70.5 x 99.5 cm framed. Old oil painting on canvas, in a carved and ...

Venetian painter (18th century) - Venus and Chronos (preparatory sketch). 59 x 43 cm unframed, 70 x 54 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden ...

Italian painter (18th century) - Arcadian landscape with flock and shepherds. 56 x 70 cm without frame, 63.5 x 79 cm with frame. Antique oil painting on canvas, in a wooden frame (...

Antonio Diziani (Venice 1737 - Venice 1797) - Bucolic landscape with characters and wagon. 45 x 101.5 cm without frame, 55.5 x 111.5 cm with frame. Ancient oil painting on canvas, ...

Roman painter (18th century) - Landscape with Wayfarers. 43.5 x 34.5 cm unframed, 58.5 x 49.5 cm with frame. Ancient oil painting on canvas, in a carved and gilded wooden frame (no...

Venetian painter (18th century) - Turkish nobles with parrot and musician. 43.5 x 63.5 cm without frame, 50 x 70 cm with frame. Antique oil painting...

Oil on canvas 20 x 37 ¼ inches; 50.8 x 94.6 cm Framed dimensions: 67.5 x 110.5 cm Not signed c.1744-1745 Collections: Possibly John Charles Middleton (1757-1793); Revd Frederick M...

This superb British Old Master marine oil painting is attributed to Peter Monamy. Painted circa 1730 it depicts Morning Gun - A morning gun is a gun fired at the first note of revei...

Francesco Albani (1578 - 1660) Copy from The Dance of the Cupids Oil on panel 94 x 118 cm in a fine gilded and carved wooden frame 101 x 123 We see a festive dance of cher...

Monogrammed lower left: Johan Philip Korn (1728 - 1796), was a Swedish painter. A beautiful landscape, with a backwater in which carefree ducks swim, hunters and their dogs in passion, in the background you can see a city with a bell tower. Old masters have been depicting animals in their paintings since the Renaissance. In those days, hunting scenes were popular - there is always a share of emotional participation in them. Here it is necessary to understand that in previous centuries people looked at hunting as a means of obtaining food, therefore naturalism dominates in the painting of the old masters. Old oil painting on wooden panel, in a non-original frame of the 19th century. Size app.: 49 x 64 cm (roughly 19.3 x 25.2 in) and nice golden gesso frame ca 65.5 x 81.5 cm (roughly 25.8 x 32.1 in). Very Good condition, age wear, cracks on a wooden board, minor losses, retouches, cleared and conserved. Please study good resolution images for overall cosmetic condition. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Weight of app. 6.4 kg is going to measure some 10 kg volume weight packed for shipment. Johan Philip Korn first began his career as a decorative painter. He was a student of artist Johan Sevenbom (1721-1784). After further studies he changed to landscape painting in the Rococo style of French artist François Boucher (1703–1770) and often after Dutch copper engravings. In 1759, Korn became master of the Stockholm...

Francesco Battaglioli (Modena c. 1710 - Venice post-1796) - Architectural Capriccio with Figures. 83.5 x 114.5 cm unframed, 98 x 130 cm with fra...

French Rococo painter (18th century) - Gallant scene in a landscape. 63.5 x 76 cm without frame, 91 x 102.5 cm with frame. Antique oil painting on canvas, in a carved and gilded wo...

Work on paper mounted on wood 35.5 x 45.5 x 2 cm

The Artist and his Model French School, 18th century oil on canvas, framed Framed: 14 x 17 inches Board: 11 x 14 inches Provenance: private collection, France Condition: very good co...

This early 18th-century Dutch oil painting, produced around 1720, reflects the enduring influence of the Amsterdam school and carries forward one of the Dutch Republic’s most cherish...

18th-19th century landscape painter Panoramic view of Florence Oil on canvas 32 x 51 cm In gilded frame 42 x 63 cm Hampel: Paintings 19th/20th Jahrhundert, 21.02.2024, lot 99...

French painter (18th century) - Flute player and dog. 43.5 x 35 cm without frame, 54 x 45 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden frame (not si...

This exquisite early 19th-century English portrait of a gun dog or foxhound by Thomas Weaver is a masterpiece of sporting art that offers both historical...

Ancient monuments is an original painting realized by Vinzenz Fischer (1729-1810) in the late 18th century. Mixed colored oil painting on canvas. This beautiful artwork represents ...

US buyers pay no import tariffs on this item. This splendid mid-18th-century oil painting depicts a marine scene with numerous British and Dutch vessels, including two impressive ‘Men-O’-War’. It’s comparable to the oeuvre of Anglo-French painter, Dominic Serres RA (c.1722-1793). The rich British tradition of marine painting is representative of Britain’s naval power during the 18th century. Such was the dominance of Britain’s navy that paintings such as this were in high demand by patrons, particularly by the landed gentry. These drama-filled ensembles were influenced by the earlier Dutch painters such as Ludolf Backhuysen...

‘St. James’ Day’ by Richard Morton Paye (1750-1820). This very large and fine 18th century oil on canvas depicts a diverse crowd of Londoners at an oyster stand on a summer’s evening...

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...

FINE ORIGINAL ANTIQUE 18th CENTURY BRITISH OLD MASTER OIL PAINTING MAN O WAR IN HARBOUR Description Good Condition canvas but very old with some browning in places (see picture). C...

Francesco Zuccarelli (Pitigliano 1702 - Florence 1788), circle of Landscape with river and resting shepherds First half of the 18th century   oil painting on canvas cm. 60 x 93, wit...

Francesco Casanova (London 1727 – Mödling 1803) - Knightly Battle. 26.5 x 34.5 cm unframed, 36 x 43 cm framed. Oil on canvas, in a gilded wooden frame (not signed). - The painting...

Tableau ancien – Paysage nocturne animé Attribué au cercle de Christian Wilhelm Ernst Dietrich (1712–1774) Huile sur toile – Dimensions : 63 x 48 cm Cadre en bois doré d’époque, rich...

Artist/ School: Italian School, early 18th century The painting is almost certainly from the circle of the Italian Baroque painter known as 'Rosa da Napoli', Jacob Roos (Rome 1682-Na...

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...

Alessio de Marchis (Naples 1684 - Perugia or Urbino 1752) circle of - Arcadian Landscape with Shepherds and Flock. 60 x 72 cm unframed, 74 x 86 cm with frame. Ancient oil painting ...

‘The British Fleet with a Vice-Admiral of the Red off Dover’ by Dominic Serres R.A. (1722-1793). Academy Fine Paintings is fully conversant with the legal...

A man leads a donkey and a dog along a track in this attractive landscape scene. Well presented in a distressed gilt-effect frame. Unsigned. Framer's label to verso. On canvas on str...

Pietro Antoniani (Milan circa 1740-1805) A view of Paesteum with Grand Tourists in the foreground Oil on canvas Painting Size 13 x 19 1/2 in Framed Size 17 x 24 in Provenance Sale,...

Francesco Tironi (Venice, circa 1745 - 1797) View of Venice with the entrance to Cannaregio oil on canvas 59 x 75 cm with frame 72 x 88 cm Work accompanied by a descriptive n...