18th Century and Earlier Landscape Paintings

The English Hunt English, 18th century Circle of James Seymour (British, 1702–1752) Framed: 34 x 53.5 inches Canvas: 29 x 50 inches Medium: Oil on canvas, framed. Provenance: from a ...

Bonaventura Peeters the Elder (1614–1652) attr., Stormy Coastal Scene with Merchant Vessels, Galliot, and Dolphins Framed by rugged cliffs and illuminated under a dark, swirling sk...

Shipping on Rough Seas by Jacob Adriaensz Bellevois (1621-1675, Dutch), unsigned oil painting on wood panel, framed panel: 23.25 x 32.75 inches framed: 29 x 38 inches. condition: s...

18th Century Stag Hunt with Huntsmen, Hounds and Riders in a Woodland Landscape English School, 18th century unsigned Oil on canvas, framed Framed: 13 x 39 inches Canvas: 11 x 36 inc...

John Nost Sartorius (London 1759-1828) A gentleman on horseback, 16 miles to London Signed and dated 1796 Oil on canvas Canvas Size - 25 x 30 in Framed Size - 32 x 37 in John Nost ...

17th-century Tuscan painter The Last Supper After Pieter de Witte (c. 1548 – 1628) oil on canvas (89 x 134 cm – framed 100 x 145 cm) This delightful painting, depicting th...

Figures in an Italianate Landscape Flemish, late 17th century oil on canvas, 11.5 x 18 inches condition: the painting, for its age is in very good and decorative condition. Obvious a...

Johann c. van der Hagen (1676-c.1745) A British Man O’War in distress on a rocky coast in a storm Signed 'J. vanderhagen' lower right Oil on canvas Canvas size - 38 1/2 x 51 in Framed size - 46 x 59 in Provenance The Collection the Most Hon. Marquis of Headfort at Headfort, Kells, Co. Meath; His sale, Christie's, Important Old Master Paintings, 29 November 1968, Lot 28; Private Collection, Oxfordshire Johann C. van der Hagen was a Dutch-born marine and landscape painter whose atmospheric depictions of ships, storms, and coastal scenes earned him recognition in Britain and Ireland during the first half of the eighteenth century. Although relatively obscure today, he was among the group of continental artists who helped shape the development of maritime painting outside the Netherlands during the late Baroque period. Born in The Hague in May 1676, van der Hagen trained within the strong Dutch tradition of marine painting that had flourished during the seventeenth century. Dutch artists of this era were internationally admired for their technical understanding of ships, changing weather conditions, and the dramatic effects of light upon water. Van der Hagen absorbed these influences early in his career, producing works characterised by animated seas, carefully observed rigging, and a keen sense of atmosphere. At some point in the late seventeenth or early eighteenth century, he moved to London, then one of Europe’s most important centres for maritime commerce and naval power. There he entered an artistic environment already shaped by celebrated Dutch émigré painters such as Willem van de Velde the Younger and his circle. Van der Hagen’s paintings reveal the influence of this Anglo-Dutch marine tradition, especially in his treatment of naval vessels and storm-driven seas. Contemporary records also suggest that his family became connected with artistic circles in London; one source notes that his daughter Bernada married the marine painter Cornelis van de Velde in 1699. Van der Hagen later settled in Ireland, where he appears to have been active from the 1720s onward. Dublin became his principal base, though he travelled widely and worked in several parts of the country, particularly in the south. During this period he established a reputation as a painter of landscapes and especially sea-pieces, which were admired by patrons for their lively handling and dramatic composition. Irish sources describe him as talented but somewhat eccentric and indolent, producing work irregularly and often only when financial necessity compelled him to paint. Among his documented activities was his employment in 1728 by the tapestry manufacturer Robert Baillie...

Figures in Classical Landscape Dutch School, 17th century unsigned, as is typical of the period oil on canvas, framed inscribed verso to label framed: 23 x 27 inches canvas : 20 x 24...

Figures in Landscape Dutch School, 17th century oil on wood panel, framed in antique wooden frame framed: 14.5 x 17 inches panel : 10 x 12 inches Provenance: private collection, Engl...

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...

Tobias & The Angel Flemish Baroque Old Master, circa 1600 circle of Paul Brill (Flemish 1554-1626) oil painting on canvas, 43.5 x 59.25 inches condition: very good, restored and read...

Gian Domenico Tiepolo Follower Period Italian Painting A beautiful and important painting fan-shaped on parchment produced by an 18th century Venetian artist from the circle of Gian ...

English Primitive School, c.1790 Grazing horses Oil on canvas Painting size 17 1/8 x 22 1/4 in Framed size 23 1/2 x 28 1/2 in Painted around 1790, this charming provincial portrait ...

Portrait of a Lady English School, 18th century oil on canvas, unframed canvas : 31 x 25 inches provenance: private collection, UK condition: good and sound condition

Studio of Francis Barlow, English, late 17th century Birds on a Pond with Waterfowl and Birds in Flight Oil on canvas Un-signed Presented in an antique English carved wood frame A f...

18th century oil on canvas chinoiserie scene painted 'en Camaïeu Bleu'. Originally part of a decorative scheme in a dining room as an overdoor set into panelling. Provenance: From ...

The Rape of the Sabine Women Vincent Malò (Cambrai, c. 1595/1600 – Rome, 1649) attributed Oil on canvas 110 x 193 cm. In frame 122 x 206 cm. The ...

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...

A large Dutch painting from the mid-17th century. This oil-on-canvas painting depicts a sweeping harbor landscape teeming with merchants, fishermen, and sailing ships. It is attribut...

A follower of Abraham Brueghel (Antwerp, 1631 – Naples, 1697) Still Life with Flowers and Citrus Fruits Oil on canvas 70 x 52 cm. - Framed 85 x 67 cm. The composition depict...

Magnificent Italian painting from the first half of the 18th century. This oil on canvas artwork depicts the biblical episode of Moses driving the shepherds from the well of Midian. ...

Francesco Fontebasso (Venice 1709 – Venice 1769) Alexander the Great Shows Mercy to the Persians Oil on canvas 108 x 153 cm. - Framed 120 x 164 cm. Highly captivating due to ...

Abraham Begeyn (1637–1697), Italianate Landscape with Ruins and Herdsmen This atmospheric and finely balanced landscape by Abraham Begeyn presents a sunlit ruin beside tranquil wate...

An important Italian painting from the mid-18th century. Oil on canvas artwork depicting a charming landscape animated by peasant figures and animals by a stream. A painting of remar...

An important Italian painting from the second half of the 18th century. This oil on panel painting depicts the famous biblical episode of the crossing of the Jordan with the Ark of t...

Berger with Animals in Classical Landscape 17th Century Italian Old Master, we cannot see a signature oil painting on canvas, unframed 23 x 27 inches condition: very old reline, mino...

Jesus at the House of Mary & Martha Italian artist, 1600's oil on canvas, unframed Canvas: 32.5 x 56.5 inches Provenance: Private collection, England Condition: for a work of such mo...

French school painting, second half of the 18th century. Oil on canvas artwork depicting a highly refined pastoral scene. In the foreground, a young shepherd rests seated next to a l...

Peter Monamy (London 1681-1749) A Calm with a Man of War firing a Salute Oil on canvas Canvas Size 14 1/4 x 17 1/4 in Framed Size 20 x 24 in Peter Monamy was an acclaimed British marine painter of the late 17th and early 18th centuries, renowned for his evocative depictions of seascapes and naval scenes. Born in 1681 on Guernsey, one of the Channel Islands, Monamy displayed an early affinity for art, which was shaped by the maritime culture of his homeland. His works vividly capture the drama and grandeur of the sea, marking him as one of the prominent marine artists of his time. At a young age, Monamy moved to London, where he likely apprenticed with a sign painter. His artistic skills flourished during this period, influenced by Dutch marine painters such as Willem van de Velde the Younger...

This simply stunning large Old Master landscape oil painting is attributed to noted Dutch artist Adriaen van Diest. Painted circa 1700 this Mediterranean Italian landscape painting has everything; A really interesting landscape with land, river, sea and mountains, interesting figures and cattle and a wonderful sky with fading light. The details and the capturing of the light make this a really fantastic Dutch Old Master country house Grand Tour oil painting. Irresistible. Provenance. Dorset estate. Condition. Oil on canvas, 42 inches by 20 inches and in good condition. Frame. Housed in an English carved giltwood frame, 50 inches by 28 inches framed and in good condition. Adriaen van Diest (1655-1704) was born in the Hague in the Netherlands. Like his father and his brother, he pursued a career as a marine painter, that is, a painter of seascapes and sailing ships. In 1673, attracted by the thriving English market for portraits and marine paintings, he joined the exodus of Dutch artists leaving to work in England. It is thought that his master was Willem van de Velde the Younger...

Antonio Molinari (Venice, 1655-1704) attributable Madonna and Child with Saint John the Baptist Oil on copper (24 x 20 cm - In frame 36 x 31 cm) This exquisite copper paint...

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...

The Cavalry Skirmish Flemish School, 17th century circle of Pieter Wouvermans, unsigned oil on canvas, framed framed: 12 x 14 inches canvas: 9.5 x 11.5 inches Provenance: private col...

Hendrick Corneliszoon van Vliet (Delft, 1612 – Delft, 1675) Interior of a Flemish Church Oil on canvas 75 x 89 cm. - In frame 103 x 89 cm. This gem of Flemish painting immer...

This stunning British Old Master landscape oil painting, with excellent provenance, is by George Lambert. Lambert was a pioneer of British landscape in art for its own sake. Painted in 1744, the painting is entitled View of a Manor House and Cottages in Elizabeth Einberg's 63rd volume of the Walpole Society 2001 and is described as follows: In the foreground a road emerges from a wood to cross a ford and then leads up the hill to the right, towards a manor house seemingly built into the remains of a medieval or Tudor edifice. The main track, crowded with sheep and rustic figures, passes the massive square gateposts lower down the hill on the left. Further to the left is a thatched cottage with smoke coming out the chimney. In the distance is a wide coastal view. The main buildings, which are in the dead centre of the composition, represent almost certainly an as yet unidentified English view. The colouring and detail in the trees and foliage are superb. This is an excellent Old Master oil painting by one of the all time great British landscape artists with extensive provenance. Signed and dated 1744 lower left on rock in black. Provenance. Elizabeth Einberg, “Catalogue Raisonnè of the works of George Lambert” The Annual Volume of the Walpole Society, 2001 Vol. 63, page 149 no P1744, fig.71. Antonacci Efrati Antichità Rome Gallery. Burden sale, Parke Bernet, New York, 20-21, April 1938 (376 repr.) Robert E. Peters, Sotheby Parke Bernet, New York, March 1975 (41 repr.) Lit. Schnackenburg 1995, pp 83-84, cat. no.14 fig 13. Condition. Oil on canvas, 54 inches by 52 inches and in good condition. Frame. Housed in an ornate gilt frame, 64 inches by 62 inches and in good condition. George Lambert (1700-1765) was an English landscape artist and theatre scene painter. With Richard Wilson he is recognised as a pioneer of British landscape in art, for its own sake. Lambert was born in Kent and studied art under Warner Hassells and John Wootton, soon attracting attention by the quality of his landscape painting. He painted many large and fine landscapes in the style of Gaspar Poussin and Salvator Rosa. Many of his landscapes were finely engraved by François Vivares, James Mason (1710–1785), and others, including a set of views of Plymouth and Mount Edgcumbe (painted conjointly with Samuel Scott), a view of Saltwood Castle in Kent, another of Dover, and a landscape presented to the Foundling Hospital in London. Lambert also obtained a great reputation as a scene-painter, working at first for the Lincoln's Inn Fields Theatre, in London, under John Rich. When Rich moved to Covent Garden Theatre, Lambert secured the assistance of Amigoni, and together they produced scenery of far higher quality than any previously executed. Lambert was a man of jovial temperament and shrewd wit, and frequently spent his evenings at work in his painting-loft at Covent Garden Theatre, to which men of note in the fashionable or theatrical world resorted to share his supper of a beef-steak, freshly cooked on the spot. Out of these meetings arose the well-known "Beefsteak Club" which long maintained a high social reputation. Most of Lambert's scene-paintings unfortunately perished when Covent Garden Theatre was destroyed by fire in 1808. Lambert was a friend of William Hogarth and a member of the jovial society that met at 'Old Slaughter's' Tavern in St Martin's Lane. In 1755 he was one of the committee of artists who proposed a royal academy of arts in London. He was a member of the Society of Artists of Great Britain, exhibited with them in 1761 and the three following years, and during the same period contributed to the Academy exhibitions. In 1765 he and other members seceded and formed the Incorporated Society of Artists of Great Britain, of which he was elected the first president. In conjunction with Samuel Scott, Lambert painted a series of Indian views for the old East India House in Leadenhall Street. He also etched two prints after Salvator Rosa. Lambert was associated in 1735 with George Vertue, Hogarth, and John Pine (engraver, 1660–1756) in obtaining a bill from parliament securing artists a copyright on their works. Lambert's portraits were painted by Thomas Hudson, John Vanderbank (engraved in mezzotint by John Faber the younger in 1727, and in line by H. Robinson and others), and Hogarth. Lambert's most famous painting is "A view of Box Hill, Surrey" (1733) which depicts a well-known beauty spot south of London. Hogarth considered Lambert a rival to the famous French landscape painter Claude Lorrain (1600–1682) with respect to his use of soft light to unify the scene in this painting. Though he never visited Italy he was inspired by the classical tradition of landscape painting. Lambert died on 30 November 1765 at his home on the Piazza in Covent Garden. His pupils included John Inigo Richards...

"A Coastal Landscape with Figures and Ruins" Medium: Oil on canvas Dimensions (Framed): 75 x 100 cm Dimensions (Canvas): 48 x 74 cm No signatured This striking 18th-century oil paint...

Pier Francesco Garola (Turin 1638 - Rome 1716) Architectural capriccio with coastal view Oil on canvas 74 x 99 cm With frame 87 x 112 cm Reference bibliography: G. Sestieri,...

Giuseppe Zais (Forno di Canale 1709 - Treviso 1784) - Landscape with Shepherds, Cattle and a Ruined Bridge. 79.5 x 108.5 cm (without frame) - 96 x 125 cm (with frame). Oil on canva...

This evocative Veronese School painting captures the moment in the Garden of Gethsemane when Christ, overwhelmed with sorrow, prays to God before his arrest and crucifixion. Supporte...

Edmund Garvey (Kilkenny 1740-1813) A view of Bath Oil on canvas Canvas Size 20 x 28 in Framed Size 26 x 33 in Edmund Garvey (1740 – 28 May 1813) was an Irish landscape painter whose...

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...

The Vegetable Seller Circle of Joachim Beuckelaer (Flemish 1534-1574) Oil on cradled oak panel Framed: 35 x 47 inches Canvas: 29 x 41 inches Provenance: Private collection, France. C...

French painter (18th century) - Flute Player and Dog. 43.5 x 35 cm (without frame), 54 x 45 cm (with frame). Oil on canvas, in a carved and gilded wooden frame. The scene depicts ...

This superb Dutch 17th century Golden Age Old Master cityscape oil painting of Amsterdam is by noted artist Jacobus Storck. Painted circa 1670, ...

A late 18th Century oil on canvas laid on board of a young beauty in period costume carrying a basket of flowers on her head. Presented in a very fine gilt, period 'Directoire' frame...

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 ...

This mid-17th-century Dutch landscape painting, executed in oil on canvas, depicts travellers moving through a broad river valley beneath dramatic mountainous peaks. Set within an ex...

Follower of Nicolas Lancret (Paris 1690 - Paris 1743) - Gallant scene in a landscape. 63.5 x 76 cm (without frame) - 91 x 102.5 cm (with frame). Oil on canvas, in carved and gilded...

Oil on canvas from the Venetian school, dating from the first half of the 18th century. The landscape is reminiscent of the painterly style of Bartolomeo Pedon, one of the most famou...

Italian painter (18th century) - The Fruit Seller. 70.5 x 58.5 cm (without frame) - 88.5 x 75.5 cm (with frame). Oil on canvas, in a carved wood frame (not signed). The painting d...

Matthieu Van Plattenberg (Antwerp 1608 - Paris 1660) workshop of Stormy sea with ships Oil on canvas 90 x 120 cm - In antique frame 103 x 133 cm This evocative coastal view...

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...

Vincenzo di Antonio Frediani (Lucca 1481 - 1504) - Predella panel with the beheading of a female saint. 38 x 56 cm (without frame) - 50.5 x 67.5 cm (with frame). Oil on panel, in a...

Dutch School, circle of Ruysdal Late 17th – early 18th century Mountainous landscape with travellers (111 × 75 cm with frame; 103 × 65 cm without frame) The painting develops a land...

Bolognese School, end 17th/ beginning 18th century Tancred and Clorinda (The Baptism of Clorinda) Oil on canvas 46 x 54 cm (54 x 62 cm with frame) Not signed Very fine 18th century ...

Oil on Canvas. Large and scenic landscape pervaded with romantic atmosphere for 'sunset setting. On the left an architectural whimsy, on the right a placid and vast river flows; nume...

initialed 'G.M.' in the lower right corner Provenance Christies, New York, Sporting Art, December 6, 2000, lot 29 Measurements Image size: each 10 3/4 by 14 1/2 inches, overall each ...

Maarten de Vos (Antwerp, 1532–1603) workshop Christ Expelled from the Temple in Jerusalem (Or The Stoning of Christ) Oil on canvas 109 x 86 cm. Framed: 121 x 97 cm. Anyone pa...

18th-century school Pastoral landscape with a river Oil on paper 17.5 x 24 cm (22.5 x 29.5 cm with frame)