18th Century Art

Several figures load firewood onto horses in a snow-covered landscape. Beautifully presented in an ornate gilt-effect frame. Unsigned. On canvas on stretchers.

Obelisco Egizio (The Egyptian Obelisk in the Piazza di S. Giovanni), erected by Pope Sixtus V, is a wonderful black and white etching on fine laid and watermarked paper (with a lily inside a double circle, watermark n. 3 according to Hind) realized by Giovanni Battista Piranesi. Signed on plate on the lower right margin "Piranesi Architetto fec." and with the address and price at lower left. Hind 53, second state of five. A lifetime Roman impression, before the Paris editions. Excellent condition, with central fold, as issued, visible only on the left margin. From one of the most important series of etchings by G.B. Piranesi, Views of Rome drawn and etched by Giambattista Piranesi...

Giovanni Domenico Gambone (1720 - 1793) Title: Pair of Capricci Medium: Oil on canvas Dimensions: without frame 85 x 112 cm - with frame 97 x 124 cm Not signed The price is intended for the couple of paintings. Expertise by Professor Giancarlo Sestieri, art historian This pair of paintings by Giovanni Domenico Gambone (1720 – 1793) depicts an architectural capriccio with archaeological ruins and people who interact with each other. In one of the two artworks we can easily see a man on a horse...

The painting captures a serene moment on the foothill plateau, just as the day is beginning to wake up. The mountains are still wrapped in a soft blanket of morning fog, giving the s...

This captivating seascape presents a masterful coastal harbor scene from the 18th century, attributed to an unknown master of marine art. The composition is built around 2 watchtower...

Nicolas de LARGILLIERRE (Paris 1656 – 1746) Portrait of a woman, presumed to be Marie-Anne de Bourbon, Princess of Conti (1666-1739) Oil on oval canvas H. 8...

A wonderful selection of hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand- made parcel-gilt, ebonised and decalcomania frames. Joha...

Oil on canvas, unsigned Image size: 22 x 20 inches (22.75 x 51 cm) Pierced gilt carved frame Provenance Commissioned by James Lenox Dutton (1713-1777) Sherborne House, Dorset Family descent This half-length portrait shows the sitter with her head and eyes looking over her shoulder, to the right. She is dressed in a delicate blue dress and blue shawl with her hair tied up away from her face. The composition of the painting is simple but effective; the woman stands out and is the undeniable focus of the viewer's attention. George Romney's artistic style is characterised by its focus on the beauty and elegance of human forms. Here, one can appreciate his ability to capture the delicacy of facial features and the soft textures of clothing. In addition, Romney has used a soft and diffuse brushstroke technique that creates a light and soft effect in the work. The dark and diffused background highlights the young woman's figure even more, creating an effect of depth and realism. The sitter of this painting is likely Anne Dutton, the daughter of James Lenox Dutton and Jane Bond. Anne Dutton (1743-1821) was the 13 x great great granddaughter of King Edward III, and married politician Samuel Blackwell. Anne sat for portraits by Francis Cotes which bear a striking resemblance to this portrait, and her father was a known patron of Romney. George Romney Romney was a fashionable portrait painter of late 18th-century English society. In his portraits Romney avoided delving into the character or sensibilities of the sitter. His great success with his society patrons depended largely on just this ability for dispassionate flattery. Line rather than colour dominates; the flowing rhythms and easy poses of Roman classical sculpture underlie the smooth patterns of his compositions. From 1755 to 1757 Romney was the pupil of Christopher Steele, an itinerant portrait and genre painter. Romney’s career began when he toured the northern English counties painting portraits for a few guineas each. In 1762 he went to London. His history painting The Death of General Wolfe won him an award from the Society of Arts; nonetheless he turned almost immediately to portrait painting. In 1764 he paid his first visit to Paris, where he was befriended by Joseph Vernet. Romney especially admired the work of Nicolas Le Sueur, whose use of the antique strongly appealed to him. In 1773 he went to Italy for two years, where he studied Raphael’s Stanze frescoes in Rome, Titian’s paintings...

Very rare view of Ponza Island from the part of the Molo. This is a very rare and fine work of art because until 1900 it was not usual to choose Ponza as a tourist destination or as...

Georgian or early Victorian Marine Oil on Panel of busy shipping scene with figures on Harbour, possibly the Isle of Wight A rare gem of a painting, a Georgian era oil painting sho...

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

18th century English painter William Hogarth (London 1697 - 1764) School of Hudibras Triomphante (from the poem by Samuel Butler) Circa 1740, England Oil on canvas (62 x 50 cm. - F...

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Thorsby House in the County of Nottingham" (Vol. 1, Plate 91) Portfolio: Vitruvius Britannicus; or The British Architect, Contain...

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - La Medee ou Le Mariage de Jason (B112), Year: 1878 (of original 1648), Medium: Heliogravure, Size: 9.5 x 7 in. (24....

Excellent condition. Cuzco School 18th Century oil on canvas of the Visitation. Unsigned.

This beautiful 18th century Italian Old Master oil painting is something rather special. Painted circa 1750 the subject matter is Saint John the Baptist as a very young child. He is ...

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - The Jewish Bride, Fig B 341, Year: of Original: 1635, Medium: Etching, Size: 13 in. x 10 in. (33.02 cm x 25.4 cm), P...

Anatomy Studies is an etching realized by Nicholas Cochin in 1755. Good conditions with foxing and folding. The artwork is depicted through confident strokes. The etching was realized for the anatomy study “JOMBERT, Charles-Antoine (1712-1784) - Méthode pour apprendre le dessein, ou l'on donne les regles générales de ce grand Art.. enrichie de cent planches representant differentes parties du Corps Humain.. et quelques etudes d`Animaux & de Paysage. Paris: C.A. Jombert, 1755” The plates of this important study were mainly dedicated to anatomical studies, physiognomy and proportions, many taken from works by famous artists such as Raphael, Guido Reni and Titian, as well as classical works including the Farnese Hercules and the Medici Venus.

Edward Williams "A College Scene" After Thomas Rowlandson Color Engraving C.1787 Late 18th century hand colored engraving after Thomas Rowlandson A scene of a young student asking ...

A pair of old master paintings by August Querfurt (1696-1761). Oil on panel, one signed with initials in the lower left. Two scenes depicting hawking parties from the 18th century. I...

View Of Kinnungam is an original print realized in the beginning of the XVIII century by Pieter van der Aa. Hand-watercolored etching. Includes frame 42 x 52.5 cm. Original title,...

"Oil On Canvas Self Portrait After Sir Anthony Van Dyck" Follower of Sir Anthony van Dyck (Flemish painter, 1599-1641), Self portrait Oil on canvas (doubled), Probably end 18th centu...

Pair of lithographs of The Temple of Portunus in Rome (Italian: Tempio di Portuno) facade and floor plan by Antoine Desgodetz (French, 1653-1728). These pag...

Le Loup is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved low...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand- made parcel-gilt, ebonised and decalcomania frame. So...

"Ni asi la Distingue" is an original aquatint realized by Francisco Goya in 1799, from Los Caprichos series, Plate 7, first edition. Rare and in ...

Letter T is an etching realized by Luigi Vanvitelli artist of 18th century. Good condtions.    The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original...

Ancient Roman statue of a horse, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carlo Nolli in the 18th ce...

Birds is an etching realized in 1771 by Louis Legrand. The Artwork is depicted through confident strokes in aa well balanced composition. Good conditions.

Le Raton is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artis...

Aries is an original etching on paper realized by Charles De la Haye after Andrea Stech, in the 18th century. Signed in the plate on the lower. Good conditio...

La Panthere  Male  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 Cabin...

Anatomy Studies is an etching realized by Nicholas Cochin in 1755. Good conditions with foxing and folding. Signed in the plate. The artwork is depicted through confident strokes....

Ancient Roman Bust, original etching from the end of the 18th century, made by Various Old Masters. Good condition. Units of measurements typical of the period in the lower center...

Le Rhinoceros is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good c...

Eagle Oil Lamp from "Antiquities of Herculaneum" is an etching on paper realized by Giovanni Guerra in the 18th Century. Signed on the plate. Good c...

Hercule is an etching realized by Jean François Poletnich in 18th Century. Good conditions. The artwork is depicted through confident strokes.

Anatomy Studies is an etching realized by Nicholas Cochin in 1755. Good conditions with foxing and folding. Signed in the plate. The artwork is depicted through confident strokes....

Anatomy Studies is an etching realized by Nicholas Cochin in 1755. Good conditions with slight folding and foxing. Signed in the plate. The artwork is depicted through confident s...

Anatomy of Animals is an etching realized in 1771 by Louis Legrand (1723-1807). It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet ...

L'Axis Male 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 R...

La Manière de se Bien Preparer à La Mort is an etching by Romeyn de Hooghe from the Suite by Chertablon de la Vigne, La manière de se bien preparer à la mort. Antwerp: Gallet 1700. ...

A fine 18th Century etching by John Murphy after the original painting by Pietro Da Cortona. The scene shows Jesus appearing to Mary in the garden after his crucifixion. There is an ...

Pair of very decorative Italian Still-life paintings of flowers with vases and classical figures . 18th century, oil on canvas, with original gilt-wood frames. This pair is an exce...

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

Esta usted… pues.. eh!como digo… cuidado from Los Caprichos is an original artwork realized by the artist Francisco Goya and published for the first time in 1799. Etching and aquati...

L'elephant is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature ...

Tempio in Caffarella is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions. Giuseppe Vasi (Corleone...

Ancient Roman Relief, from the series "Antiquities of Herculaneum", is an original etching on paper realized by an anonymous artist in the 18th Ce...

La Lampe Polonoise Aquatint, 1771 Signed and dated in the plate lower left Condition: Yellowing to the sheet Image size: 6 1/8 x 8 1/8 inches Reference: Hedou 147 ii/II Provenance: C...

A finely detailed oil painting on canvas portrait of an unidentified Russian officer, dating to the 18th or 19th century, unsigned, and housed in a spe...

OIL PAINTING By ? Beautiful lady of Nobility in a Neoclassical Frame FINE Portrait OIL PAINTING Old Master Early 19th Century French artist ...

Monastero e Chiesa di S. Apollonia is an original black and white etching of the Late 18th century realized by Giuseppe Vasi. The beautiful etching represents a glimpse of Rome. Si...

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.

Composition with Angels is an etching realized in 1771 by Louis Legrand (1723-1807). The Artwork is depicted through confident strokes in aa well balanced composition. Good conditi...

Le Moufflon 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 R...

Gathering is an etching realized in 1771 by Louis Legrand (1723-1807). Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la desc...

After Simon Johannes van Douw (Antwerp c. 1630 - c. 1677) The stop of a traveler on horseback near a post station Oil painting on canvas 45 x 55 cm In frame cm. 55 x 65 In this pleasant painting, depicting a knight parked near a post station, the Flemish tradition is based on a strong Italianizing sensitivity, especially by observing the setting and its peculiar brightness. The mixture of genres and the particular style of execution make it easy to trace the authorship back to a Nordic author but active in Rome, or strongly influenced by the style in vogue in the Eternal city, between the seventeenth and eighteenth centuries: we are referring, in in particular, to a follower of the Antwerp Simon Johannes van Douw. The chromatic elegance and refinement with which he outlines the figures are typical aspects of his painting. The scene takes place outside a cottage, probably a post office for travelers, where a modest family divides the tasks by assisting the knights. We see a young boy who hands water to the horse before he sets off again, the father is preparing to feed him with straw and the mother who instead takes care of the little son. The Italian reminiscences, evident in our painting, have been absorbed by many Northern European authors such as Nicolaes Berchem, Philips Wouwerman or Johannes Lingelbach, all inspired by the leader Pieter van Laer...

Camera sepolcrale Etching 1743 Signed in the bottom left corner From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s Condition: Excellent Image size: 14 5/8 x 9 3/4 inches Reference: Robison 20 iii/V Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

Composition with Animals is an etching realized in 1771 by Louis Legrand (1723-1807). The Artwork is depicted through confident strokes in aa well balanced composition. Good condit...