18th Century Figurative Paintings

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 (...

Sin firmar, de autor anónimo Se presenta enmarcada la obra con un marco de la época de la obra en madera policromada (el marco presenta faltas) Medidas obra: 84 x 65 cm. Medidas...

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...

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

Circle of Thomas Hudson (1701-1779) British. 18th Century Bust Portrait of a Lady, Oil on Canvas, Inscribed on a label verso, canvas: 30" x 25" (76.2 x 63.5cm). frame: 30 x 25 in...

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...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

Unidentified Bolognese Artist, 18th Century – "Baptism of Christ" Medium: Oil on canvas Dimensions: 119 x 151 cm (unframed), 133 x 168 cm (framed) Provenance: Private collection No...

The Military Encampment Circle of Carel van Falens (1683-1733, Flemish) oil on canvas, unframed canvas: 8 x 10.5 inches provenance: private collection, UK condition: very good and so...

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...

'Providenza' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inche...

No sentimentality on the loose here. Not with the expressions on the mother and her three children all engaged in various forms of 18th-century drudgery on this late summer’s eve. An...

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...

Italian painter (18th century) - Saint Monica in prayer. 56 x 32 cm. Antique oil painting on canvas, without frame (not signed). Condition report: Good state of conservation of th...

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...

Marianne Loir (Paris 1705 – Paris 1783) Presumed Portrait of Jean-Jacques-Blaise Baloin de Belvèse, Baron de Vennac (?-1781) Oil on oval canvas H. 54.5 cm; W. 46 cm Unsigned Grandda...

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...

A superb British Old Master oil painting which is attributed to circle of William Hogarth and was painted circa 1760. This fine oil painting is in ...

Jacques-Francois Delyen (1684-1761), Court Painter of King Louis XV. A Magnificent Pair of Palatial "French Royal" Allegorical Paintings "Aurora and Diana" "Night and Day" A truly ...

‘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...

Italian painter (18th-19th century) - Female nude. 44 x 54 cm unframed, 54 x 64 cm with frame. Ancient oil painting on canvas mounted on a panel, in a carved and gilded wooden fram...

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...

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 18th-century painting, attributed to Christian Wilhelm Ernst Dietrich (1712–1774), depicts a rustic inn interior, a subject frequently explored by Dutch and German genre painter...

Beautiful 18th Century oil on canvas Holy Family with Sleeping Child, Cuzco School. Good condition overall. Unsigned.

The Close of Day Italian School, early 18th century oil on canvas, unframed canvas: 17 x 22.5 inches provenance: private collection, France condition: very good and sound condition

Italian painter (18th century) - Chrono. 90.5 x 106 cm. Antique oil painting on canvas, without frame (not signed). Condition report: Lined canvas. Good state of conservation of t...

'Africa' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches co...

William H. Kinnicutt (American, 1865-1934) Soft Shadows Oil on canvas Signed lower right 16 x 20 inches 20.5 x 24.5 inches, framed See condition in photos William H. Kinnicutt was a...

Very good condition with original canvas, stretcher and frame.

An important 18th century Italian Old Master tempera on copper panel Baroque painting, "The Road to Emmaus", circa 1700. The painting represents the early resurrection biblical story...

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...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

Portrait of a Noble Lady European School, 18th century oil on canvas, framed framed: 37.5 inches canvas: 30 x 24.5 inches provenance: private collection, France condition: very good ...

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 ...

Revelry in a Classical Landscape Italian School, early 18th century (circa 1700) oil painting on canvas, laid on board, unframed board: 20 x 36 inches provenan...

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 ...

James Seymour (1702-1752) & Thomas Spencer (1700-1753) An elegant lady and gentleman hare coursing in an extensive landscape Oil on canvas Canvas Size - 33 x 50 in Framed Size - 41 x...

Portrait of a Gentleman French School, 18th century oil on canvas, unframed canvas : 25 x 20 inches provenance: private collection, France condition: the painting is in sound conditi...

French School, Rococo period original Likely to be a preparatory sketch for a larger piece. oil painting on canvas laid on board, framed framed: 1...

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...

Copy of artwork by Adriaen van der Werff "The Expulsion of Hagar and Ishmael" Artist: Unidentified (18th Century) Date: Circa 1760–1770 Medium: Oil on canvas Dimensions: Framed: 124...

Italian Madonna, early 18th Century, probably Genovese. Beautiful color palette. Not signed.

Giovanni Giacomo Van Lint (Rome 1723 - 1790) Attributed View of Rome with Piazza Navona flooded Oil on canvas 50 x 62 cm - framed 61 x 74 cm The work belongs to a series of t...

Escuela Española siglo XVIII Se trata de un óleo sobre tela representando a San Juan Bautista Se presenta sin enmarcar la obra Medidas: 104 x 83 cm. El estado se puede ver, pres...

18th Century Italian Portrait Credited to Maria Giovanna Battista Clementi The painting probably depicts a young nobleman of Savoy court ...

Antique Italian painting from 18th century. Framework oil on canvas, on the first canvas, depicting a view with characters, animals and ruins of good pictorial quality. Large size fr...

Oil on Canvas. Tuscan school of the 18th century. The grand scene tells the tragic story of Apollo and Daphne, recounted in Ovid's Metamorphoses. According to the myth, the god Apoll...

Enoch Seeman - 1894 - 1744 An excellent example of Seeman's work. It is typically unsigned as was the case of many portraits of that time. A three quarter length portrait showing a r...

Portrait of a young boy, full-length in a blue velvet coat and breeches, standing on a stone terrace in a garden landscape, playing with a spinning top. Signed and dated ' Phil. Merc...

Guido Reni (Bologna 1575 - Bologna 1642), follower of - Madonna and Child. 91.5 x 108 cm unframed, 134.5 x 150.5 cm with frame. Ancient oil painting on canvas, in a 19th-century ca...

Provenance: Private Collection, Argentina; there acquired by Mr. and Mrs. Ernest T. Harper, New York, by 1960; by descent to: Mr. and Mrs. Alan Harper, New York, until 2024. This extraordinary mirrored frame is an exuberant and nearly perfectly preserved example of Andean 18th-century decorative art. Pierced mirrored rosettes surrounding floral motifs are set against mirrored surrounds along a broad frieze bordered within and without by elaborate raised moldings, inlaid by small, shaped mirrors. Repeating ornamental motifs reflecting both Spanish and indigenous designs surround both the inside panel and the exterior perimeter, the four corners of which are punctuated by mirrored rosettes. Glass mirrors were unknown to the indigenous population of the Americas prior to the arrival of Europeans (obsidian mirrors...

Classical Figures in Ancient Landscape Italian School, 18th century oil on panel, painting: 9 x 12 inches provenance: private collection, Paris condition: very good and sound condition

The Pseudo-Guardi was an unidentified Venetian painter from the 18th or early 19th century who closely imitated the style of Francesco Guardi (1712–1793), one of the great Venetian v...

The Madonna, Christ Child and St. John Italian School, 18th century oil on wood, framed in period gilt antique frame framed: 16 x 14.5 inches wood: 9 x 6.5 inches provenance: private...

Provenance: Fernandez Jimenez, Spain; part a family collection for over 80 years. Prints transported to the New World for use in missionary work and religious instruction often serv...

Portrait of a Noble Lady French, circa 1730-1750 period Circle of Philippe Mercier (French, 1689-1760) unsigned oil on canvas, framed framed: 38 x 30 inches canvas: 36 x 28 inches P...

Artist/ School: French School, 18th century Title: The Garden of Gethsemane Medium: oil painting on wooden panel, unframed. painting: measurem...

As we gaze upon at this artwork, our eyes are immediately drawn to the foreground where a comical spectacle unfolds before us. A carriage, stubbornly stuck in the midst of a ford, se...

A captivating 18th-century oil painting portraying a gentleman in prayer before Saint Peter, who appears celestial in the clouds above. In the distance, a quaint church nestles withi...