18th Century and Earlier Paintings

Circle of Pietro Cavallini (Rome, 1250–1330)
 St. Bartholomew
 Fresco transferred onto canvas Umbria, 14th century
66.5 x 40 cm Provenance: Collection of Raymond Van Marle (The Hagu...

Italian 17th Century Oil on Canvas of Saint Matthew of Agrigento This striking oil on canvas, executed in Italy in the 17th century, depicts San Matteo di Agrigento (St. Matthew of A...

Emilian school, 18th century Madonna and Child Oil on panel, 45 x 24.5 cm Framed, 62 x 44 cm This Madonnai Enthroned with Child fits into the context of the 16th-century Emilian...

18th Century Oil on Canvas Heraldic Funerary Hatchment Painting, Memento Mori Painting, Vanitas Skull Painting, Vanitas Painting. A large high quality 1...

Set of 4, Italian, circa 1750, original strike, hand-colored avian engravings from the Natural History of Birds by Saverio Manetti. Printed on laid paper, with self-matting, in later...

Flemish school, 16th century St. Anne, the Virgin and Child Oil on copper, 21 x 16 cm With period frame, 65 x 56 cm The painting depicts three central figures: the Madonna, Baby ...

Lovely 18th century Italian painted panel featuring chinoiserie images. Vibrant colors of blue, pink, green and gold. Such an interesting piece ...

Italian Baroque religious panel painting. Style of Giovan Battista Langetti, depicting St. Jerome, the revered early Christian scholar best known for translating the Bible into Lati...

A pair of Italian baroque paintings of Jesus Christ: - An 18th Century painting that depicts the Holy Family, Child Jesus, the Virgin Mary and the elderly Saint Joseph, with the An...

[Jujin Miyao] 1912-1997. Born in Kasaoka City, Okayama Prefecture. His real name is Juji. He studied under Takekyo Ono. He was selected for the 8th Nitten Exhibition in 1954, and his...

FLEMISH SCHOOL OF THE 17TH Century "Virgin of the Milk" Oil on canvas 45x36.5cm. Gilt wood frame good conditions.

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

18th Century Portrait Miniature - Style of William Wood (1768 -1809) , A young girl, bust length, with long curling brown hair and wearing a white dress, sky background. Watercolour....

Francesco Chiarottini (1748-1796) Roman Architectural Capriccio Oil on glass, cm 52 x 67 without frame, 63.5 x 79cm with frame The valuable painting, attributed to the Italian p...

18th Century oil on canvas painting depicting Saint Catherine of Siena bearing lilies and a book in her left hand and a crucifix in her right ...

Portrait of a scholar, standing, in indoor attire, his hand resting on a large book (with a title that seems to be written in Hebrew?) Oil on canvas from the 18th century, probably ...

An extremely charming Italian 18th century Neo-Classical oil on canvas painting. The circular painting retains its original giltwood frame with a beautiful mottled designs and finely...

Roman school of the 17th century Jesus among the Doctors 103X71 cm good conditions Jesus among the doctors is a fresco (200x185 cm) by Giotto, dating back to around 1303-1305 and pa...

Antico dipinto ad olio francese del secolo XVII,cornice originale dell'epoca.L'autore si ispira alle opere di Francois Boucher,dimostrando una buona capacita' esecutiva ,in questo ca...

Painting with probably biblical Italian school characters End of the 17th beginning of the 18th century unsigned carrying a Carlo Maratta cartouche of in...

This exquisite early 18th-century Spanish Colonial oil painting, originating from Bolivia, portrays “Mary, Queen of Heaven.” With meticulous craftsmanship, it illustrates the Coronat...

In the style or School of the Important Old Master Guido Reni (Italian, 1575-1642). A stunning Old Master 18th or possibly 17th century Italian Baroque School religious portrait painting...

17th century, Flemish School Adoration of the Magi Oil on copper, diam. 19.5 cm Framed 35.3 x 35.3 cm Engraved on the back in seventeenth-century calligraphy "Fiamingo" Vivid wo...

Antique 17th-century Spanish painting. Oil on canvas artwork depicting a religious subject, from the Gospel of John, Jesus Healing the Blind Man. A small, horizontal painting, the de...

Pair of grand scale oil on canvas Capriccios by a Follower of Viviano Codazzi. Mid to late 17th century of ruins and figures. Neoclassical landscape. Beautifully imagined arches with...

Old master sketch, Attributed to Ippolito Andreasi (Italian, 1548-1608)Angel with Arms Raised black chalk on paper 7 x 4 5/8 inches. Bilbao type marb...

Original oil on canvas, a pair of portraits of a young woman with pearl necklace and a young man in a golden embroidered red cape. Unsigned. Condition: The canvas is relined. Retouc...

An antique 18th century Indian miniature depicting the Indian Mughal princess Nadira Banu Begum, who lived from 1618 to 1659. On the back, on the frame, there is an inscription: Nadira crosses the desert of Rajasthan. This lightful image belongs to the Rajput school, 16th to 19th centuries, spread in Central India and Rajasthan on the territory of the Rajput principalities. Its main centers are Bundi, Mewar, Marwar, Malwa, Kishangarh. Antique Indian Miniature, Illustration, Vintage Oriental Art...

Portrait of Françoise-Marie d'Orléans, Duchess of Orleans, 18th-century French school Oil on canvas depicting Françoise-Marie d'Orléans (1677–1749), the legitimized daughter of King...

A striking and wonderfully detailed pair of Italian 17th century Oil on Canvas paintings, by Claude Lorrain. These wonderful paintings are set within rectangular Giltwood frames with an inner berried foliate band and mottled outer edges. Each painting depicts a classical landscape of ruins with the Athenian Acropolis in the background. The left painting displays an impressive altar to 'Athena of Velletri' with classical figures paying tribute aside a smoldering urn. Athena's companion Hermes can be seen flying above the crowds of people and overseeing the occasion. The painting to the right displays a classical ruin with the Acropolis in the distance. The Bill of Sale...

Gold Background, Coronation of the Virgin. 14th century. Venetian work, point of polyptych, tempera and gold on reinforced poplar panel,.Surroundings of Lorenzo Veneziano (1336_1379)...

Original oil on canvas portrait of a lady with hat and riding crop. Unknown artist, circa 1700's. Major wear, craquelure throughout. Stains, paint loss, scratches. Typical age relate...

Follower of Jacopo Da Ponte, called Jacopo Bassano (Bassano del Grappa, circa 1510 - Bassano del Grappa, 13 February 1592), 17th century Allegory of the Spring Measures: With frame: ...

A very attractive set of three late 18th Century Dutch landscape paintings. Oil on canvas, mounted to boards and set in to later frames. Circa 1790.

Oil on canvas ''the Descent from the Cross'' or "La Descente de la Croix" in the style of Peter Paul Rubens the Descent from the Cross has been called a Baroque masterpiece — perhaps due to its monumentality — but it is also considered to be the first work of Rubens' “Classicist” period, which characterized his style from about 1612 to 1620. Highly sought after original copy of the masterpiece that Rubens painted, it shows it's age well, some repairs but when it hangs on the wall it is an impressive antique canvas...

Immaculate Conception, large-format, Spanish School, oil on canvas, 19th century Splendid oil on canvas depicting the Immaculate Conception, large-format (121 × 87 cm), painted arou...

French Louis XVI (18th Cent) oil painting portrait of a lady in a blue dress with lace trim & flowers in her hair holding a book seated next to a large urn in a stripped carved frame...

Sst of 20 Renaissance (17th century) engraved, hand-colored etchings for Johann Bayer's book 'Uranometria', a star atlas, in wooden frames with white mat....

Lombard School, 17th century Still Life with Flowers Oil on canvas, 52 x 60 cm Framed, 67 x 76 cm The oil on canvas under consideration, depicting a floral jubilation emerging f...

Oil on canvas portraying the visit of Venus to the forges of Vulcan. French school of the 2nd half of the 18th century. Undoubtedly executed by a pupil of François BOUCHER; who died...

A fully restored small northern Italian Baroque painting on canvas that may have been painted as a study, (or what is referred to as a bozzet...

18th Century Portrait Miniature Attributed to Christian Friedrich Zincke (1683 - 1767) A young girl, possibly a relative to Charlote Tilson, Lady Deane (b 1918), half length, her ha...

This is a delightful antique Spanish oil on canvas painting after Bartolome' Esteban Murillo, depicting two peasant boys eating grapes and melon, Circa 1780 in date.  It features a ...

SPANISH SCHOOL FROM THE LATE 17TH CENTURY. "Saint Michael the Archangel" Oil on canvas. 104x82 cm. Relined. Frame in molded and gilded wood. good condition

A beautiful large scale Italian 18th century oil on canvas painting in a giltwood frame. The painting depicts the lovely Italian countryside with charming personages dressed in class...

Bolognese School of the 16th Century Mummy of Saint Catherine of Bologna
Oil on Panel 20,5 x 7 x 0,8 cm This rare painting depicts Saint Catherine of Bologna as a mummy, housed in a ...

Portrait of a German Princess with a Sash and Insignia of a Knightly Order European School, 18th Century " German Princess " Large-format oil on canvas depicting a German princess,...

Our still life depicting a metal brazier on ledge is a rare painting by Baudouin Yvart (French, 1611-1690).  Stretcher measures 15 1/4 by 19 inches.  It has an extraordinary ebonized sgraffito frame, 24 by 28 by 1 3/4 inches, with inlaid mother of pearl and pewter mounts.  Professionally relined and mounted on keyed stretcher. Provenance: Private Collection, Paris, by 1974; Anonymous sale; Boisgirard et Associés, Paris, June 26, 1985, lot 26; Jocelyn Fielding Fine Art Ltd., London; Mr. and Mrs. John H. Gutfreund, CEO Salomon Brothers, New York. Literature: Michel Faré, Le grand siecle de la nature morte...

Giovanni Paolo Castelli, known as "Lo Spadino" (Rome 1659 – around 1730) Still Life with a Composition of Fruit Dimensions: frame cm L 76.5 x H 61 x D 6.5. Canvas cm L 55.5 x H 40 Th...

Rare 18th-Century Spanish Colonial Painting – Nun in Memento Mori Iconography An exceptional 18th-century Spanish Colonial oil painting on canvas, depicting a veiled nun in a strikin...

These Indian miniature paintings showcases an elegantly dressed Indian man and a lady, the lady elegantly dressed in a traditional sari and adorned with int...

AURELIANO MILANI (attributed) (Bologna, 1675 - Rome, 1749) "The Repentance of Saint Peter" Oil on canvas, 75x58.5 cm without frame 85cm x 68.5cm with frame Aureliano Milani (Bologna,...

Circle of ALESSANDRO ALLORI Portrait Of a Young Man Wearing A Ruff Wall Art , possibly portrait of a young Nobleman Oil on Wood Panel , unsigned . signs of restoration , normal wood panel cracks due to centuries and elements as seen in the pictures but overall great piece of Art. Alessandro di Cristofano di Lorenzo del Bronzino Allori (Florence, 31 May 1535 – 22 September 1607) was an Italian painter of the late Mannerist Florentine school. In 1540, after the death of his father, Allori was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. This incredible Artwork painting would be beautiful addition to collectors or to decorate a law office a library , Hallway , Living room a man's room or as a great elegant gift idea for an office space and house warming . Antique dealer West Hollywood Melrose Ave La Cienega Blvd . On top of a dresser a semainier a secretaire or in the background of your desk , this outstanding painting with the hand carved wood gilt frame will be the touch of old world adding the charm history and elegance to your decore . This beautiful portrait of a gentleman is very versatile and can go with any design, rustic farm , elegant space , formal setting , modern or old world European charm . overall good shape, recanvassing so many of the wonderful Art In the prime of his career, Allori headed one of the "two most important workshops in Florence in the second half of the 16th century" (the other being headed by Santi di Tito...

Allegorical scenes with ebonized frames.

A beautiful Italian 18th century Louis XVI period Gouache in its original giltwood frame. The wonderfully executed painting depicts a stunning Italian structure with grand stairs lea...

7 English Georgian (18th Cent) hand-colored copper plate engravings of coat of arms in blue with gold trimmed frames (by Joseph Edmondson, 1770) (PRICED EACH)

Pair of English Nobel figural oil on canvas oval portraits of male posing with hunting canine companions and female sitting in garden posing with flowers and lamb. Paintings have bee...

Our Lady of Valvanera, oil on copper. Spain, 17th century. Height: 20 cm - Width: 14.4 cm. Certificate of Govaert, 1986. Our Lady of Valvanera The Virgin of Valvanera is a Marian devotion from the Sierra de la Demanda, in La Rioja (Spain), a community of which she is the patron saint and one of the patron saints of the autonomous communities of Spain. The current image is a carving considered to be early Romanesque, from the end of the 11th century AD or beginning of the 12th century AD. The Catholic Church commemorates the feast of the devotion on September 8. The appearance of the image is recounted in the Historia Latina, written in 1419 by Rodrigo de...

Oil tempera on canvas "The Annunciation" Period: 17th century This beautiful canvas fits into the pure Emilia-Bolognese iconographic tradition of the seventeenth century, captiva...

18th Century French Revolutionary Hand Colored Engraving During The Revolution. Very Ornate Gilt wood Frame. Beautiful piece purchased in France. Age appropriate wear, see detailed p...