18th Century Paintings

St. Peter Italian, 18th century oil on canvas, laid on panel panel: 9.75 x 8 inches Provenance: private collection, Paris Condition: very good condition For more any more informati...

ARTIST: Circle of Michael Dahl (1659-1743) Swedish / English TITLE: "Portrait of Mrs Wyndham" SIGNED: unsigned MEDIUM: oil on canvas laid to board SIZE: oval 75cm x 63cm and frame...

Willem van Kessel (c.1691–1727) – Portrait of a Bewigged Gentleman in Armour, 1713 A highly decorative and striking oil painting depicting a bewigged gentleman clad in a suit of arm...

Follower of Gerard Seghers (1591-1651) Christ at the Column oil on wood panel c. 1700s unframed 19.5 × 14 cm Provenance: Originally in the collection of Dr. Axel Munthe (1857–1949), the renowned Swedish physician and author celebrated for his philanthropic work and for founding Villa San Michele...

The Triumph of Eros over Pan Florentine School, early 1700's period, unsigned oil on canvas, framed framed: 58 x 48.5 inches canvas: 50 x 40 inches Provenance: private collection, Pa...

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...

A beautiful late 18th or very early 19th century English oil on copper portrait of a gentleman with his hound. Excellent quality Georgian period work which is unusually painted on c...

Venetian School 18th century The Martyrdom of Saint Cyprian and Flavian of Carthage? (Sketch) Oil on canvas 30 x 23 cm (39 x 32 cm with frame) Trace of a signature in the lower right...

A fine 18th century Flemish Old Master oil on panel depicting three well dressed gents in a tavern interior. Excellent quality work by an accomplished hand, presented in a fine fra...

This superb British 18th century Old Master portrait oil painting is attributed to Thomas Hudson. Painted circa 1750 it is a three-quarter length standing portrait of a gentleman in ...

Portrait of Mrs Bonne Wilson (nee Boileau 1749 - 1818) English School, late 18th century oil on canvas, framed framed: 22.5 x 18.5 inches canvas : 18 x 14 inches Provenance: private ...

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 inch...

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...

Portrait of a Noble Lady French School, early 1700's period oil painting on copper, unframed copper: 5 x 3 inches condition: very good, minor paint fading and deteriation. provenanc...

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...

18th Century French School Portrait of an Actress Oil on canvas 30 x 23 inches 36 x 30 inches, framed

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

French 18th century old master portrait of a majestic lady dressed "à la Turque" The sitter at the viewer with a kind and enigmatic smile and twinkling eyes. She looks elegant and kind, yet also has an intelligent and determined aura, reflecting the character of someone who is in charge of her own life and destiny. De Silvestre paid great attention to her spectacular outfit, which is striking in its portrayal of the sumptuous fabrics and their decorative richness. She is wearing a luxurious royal blue robe à la...

Elegant Figures in Interior *see notes below Italian School, mid 18th century most likely of Venetian origin oil on canvas, unframed canvas: 10.75 x 11.75 inches provenance: private ...

Portrait of a Lady French artist, Rococo period 18th century oil on canvas, framed framed: 15 x 12.5 inches canvas: 10.5 x 8.5 inches provenance: private collection, France condition...

The Madonna, Christ Child and St. John Italian Old Master, circa 1700's period oil painting on canvas, unframed Canvas: 28.5 x 24 inches conditon: overall very good for its age, a fe...

Follower of Johann Heinrich Tischbein the Elder (1722–1789) Man with Bagpipes oil on oak panel no signature 25 × 19 cm (9.8 × 7.5 in) 31 x 26 cm (12.2 x 10.2 in) This refined 18th...

Thomas Hudson (Devon 1701 - London 1779) Portrait of a senior naval officer, c. 1750s Probably a captain or admiral; half-length, holding a telescope, with a warship beyond Oil on canvas 91.3 x 71.1 cm.; (within frame) 114.3 x 93.8 cm. (Unsigned) Provenance: Christie’s, London, 22 November 1985, lot 105 (as Thomas Hudson); Private collection, United Kingdom; Haynes Fine Art, Broadway, Worcestershire; Where acquired, private collection, United States, 16 August 1988; Neal Auction, New Orleans, 14 September 2025, lot 302 (as Attributed to Thomas Hudson); Where acquired by Haveron Fine Art. Literature: Bridgeman Art Library, The Bridgeman Art Library (London: The Library, 1995), p. 89 Christie’s, London, Important English Pictures (London: Christie’s, 22 November 1985) Archival: Witt Library, Courtauld Institute of Art (no. 061487); Heinz Archive and Library, National Portrait Gallery, 1725-50, Thomas Hudson: Men Authentic (1) (Box) This attractive and quintessential half-length is exemplary of Hudson’s leading portrait practice, produced at the height of his decade-long dominance over the London market beginning in 1749. Typical of Hudson's 1750s output, the portrait was likely made after his five-week visit to Rome and Naples, and bares the stylistic merits of this continental excursion. Indeed, the trip seemed to fortify a gradual refinement of Hudson’s technique: namely the emphasis of directional brushstrokes, which sensitively follow the contours of the facial features. The resulting feathery quality is combined here with a striking chiaroscuro effect, which Hudson borrowed directly from Rembrandt. Amalgamating the rich colouring of the Rococo with a mannered Baroque posing, Hudson renders the senior naval officer with a characteristic presence. Resting one hand assuredly at his hip, the finely worked telescope illustrates the officer’s seniority; the warship sailing on the horizon beyond provides further indication of his commanding rank. The telescope is held by a hand modelled with sculptural poise, and the typically Van Dyck manner (seen elsewhere, e.g. Princess Amelia Sophia Eleonore of Great Britain, YCBA B2001.2.246) further illustrates Hudson's studied grounding. Despite the apparent stylistic placement of the work, an earlier date is possible, since the officer wears civilian clothes and not the naval officer’s uniform first introduced in 1747 (which officers afterwards invariably chose to be shown in). The officer has previously been suggested as Edward Henry Sartorius, of the prominent naval Sartorius family; however, this identification is improbable on biographical and documentary grounds. Hudson was regularly commissioned by leading naval officers, and produced highly satisfactory portraits praised for their great likeness and genteel swagger. He charged 24 guineas for a standard 50 x 40 inch half-length in the 1750s period, and the present work (somewhat smaller in size) would have cost not much less. Comparable works include those of Admirals of the Fleet George Anson, 1st Baron Anson, and Sir John Norris; Admiral Sir George Pocock; Admiral Sir Peter Warren; Vice-Admiral The Honourable John Byng; and Rear-Admiral Richard Tyrrell. The present portrait is particularly similar in composition to Hudson’s Portrait of a Flag Officer of The White Squadron, which similarly employs the narrative device of a telescope held at a dynamic angle across the composition, with a warship to the left side of the officer’s retracted arm. Thomas Hudson (Devon 1701 - London 1799) Thomas Hudson rose to become the leading British portraitist of the mid-18th century, albeit in close competition with his Scottish counterpart Allan Ramsay. Born in Devon, Hudson studied alongside George Knapton under Jonathan Richardson the Elder (marrying his daughter in 1725, expressly against Richardson’s wishes), and inherited a dignified formality jointly derived from Van Loo. His work is first recorded in 1728, and between 1730-40 he practised in Bath and the West Country, where in addition to portrait commissions, he was employed to retouch and reline old pictures. He returned permanently to London thereafter, and devised a series of stock poses to which he would return with variation throughout his career. Beginning in 1745 with the death of Richardson and the departure of Van Loo, Hudson became the city’s most successful portraitist, and embarked on ambitious defining works such as his Portrait of Theodore Jacobsen ‒ not drastically unlike the continental heights of Pompeo Batoni in conception. Profiting from his success, he relocated from Lincoln’s Inn Fields to a house in Great Queen Street previously inhabited by Van Loo, and one door down from Kneller’s old rooms. An exceptionally productive period began in 1749 which lasted until the late 1750s. Among this output were highly praised portraits of the Prince and Princess of Wales, commissions for most of the preeminent aristocrats, and superlative group portraits including Benn’s Club of Aldermen, and those of the Thistlethwayte, Marlborough and Radcliffe families. Hudson relocated to King Street, Covent Garden, operating a prolific studio operation which resulted in some four hundred paintings ‒ of which at least eighty were engraved. A prodigious assembly of young pupils included Sir Joshua Reynolds (1740-3), Joseph Wright of Derby (1751-3, 1756), Richard Cosway, John Hamilton Mortimer, and the drapery painters Joseph and Alexander van Aken (also employed by Ramsay). As one later reviewer expressed: ‘Hudson, his art may well display to sight / Who gave Mankind a Reynolds and a Wright’ (Miles, ‘Introduction’). The ambitious young Reynolds made many drawings from classical statuary under Hudson’s instruction, and wrote home that, ‘While doing this I am the happiest creature Alive (sic.)’ (Sweetser, p.12). However, he was later dismissed from his pupilage some two years prematurely for refusing to carry a painting to Van Aken’s studio in the rain. It was at this point that Reynolds returned to Plymouth (Devonport), and produced some thirty portraits of the local gentry (including one example presently owned by Haveron Fine Art). Hudson was one of a number of artists who congregated in Old Slaughter’s Coffee House, alongside Hogarth, Ramsay, Hayman, and Rysbrack. Together they supported Thomas Coram’s Foundling Hospital, of which they each belonged to the 600 governors (in whom Hudson met many of his future clients), and promoted the building as London’s first public space of artistic exhibition. He visited the Netherlands and France for five weeks in 1748 accompanied by St Martin’s Lane colleagues, and was arrested with Hogarth for making drawings of the Bastille fortifications. He afterwards stayed in Rome and Naples in 1752 with Roubiliac, meeting Reynolds twice on the return journey. He returned to England and bought a house at Cross Deep, Twickenham (upstream from Pope’s villa), and made an effective museum of the space. He lived there with his second wife, a wealthy widow named Mrs Fynes. Having been involved with early attempts to establish a royal academy of the arts, Hudson exhibited at the Society of Arts in 1761 and 1766, although he had effectively retired from painting by the latter date. His last painting was in 1767, and he died at Twickenham in January 1779 aged seventy-eight. Hudson was also exceptional for the extensive collection of artworks which he amassed during his lifetime. The collection was thoroughly impressive in extent, and included outstanding Old Masters: Breughel, Canaletto, van Dyck, Hals, Holbein, Kneller, Lely, Michelangelo, Parmigianino, Poussin, Raphael, Rembrandt, Rubens, Tintoretto, Titian, Vasari, and Velázquez. His earliest recorded purchase was in 1741, and he spent heavily at the sale of his father-in-law, even buying works jointly with Van Aken. Likewise, at the posthumous 1750 sale of Van Aken, Hudson spent £215 on the second day (nearly half that day’s sale total). As a pupil, Reynolds had been sent to bid for Hudson in Lord Oxford’s sale of 1742, and proudly recalled having been greeted with a handshake by Hudson’s friend Pope at another picture sale. Hudson also collected extensively from within his own generation, acquiring works by contemporaries including Gainsborough, Reynolds, Richardson, Rysbrack, Vanderbank, and his predecessor Van Loo. Following his death, the works were dispersed in two sales at Messrs. Langford, with the finer works sold at Christie’s in 1785 after the death of his second wife. However, his connoisseurship was not without flaw ‒ having outbid Benjamin Wilson for a Rembrandt drawing, Wilson etched and printed a new ‘Rembrandt’ plate...

Classical Still Life of Fruit in Basket with other objects Italian artist, 18th century oil on canvas, unframed canvas: 24.5 x 33 inches provenance: private collection, UK condition:...

The Allegorical Winged Nude Lady, adorned with the attributes of Spring French School, 18th century (Rococo period) oil painting on canvas, unframed canvas: 30 x 52 inches provenance...

This lovely British 18th century portrait oil painting, with excellent provenance, is attributed to circle of George Henry Harlow. Painted circa 1760, it is a standing half length po...

Netherlandish School XVIII Century Monogrammed Old Master Oil Painting An intriguing oil painting of early extraction depicting the crucifixion at Calvary outside Jerusalem. I am s...

Portrait of a Noble Lady English artist, mid 18th century circle of Thomas Gainsborough (English 1727-1788) oil on canvas, unframed canvas: 30 x 25 inches provenance: private collect...

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...

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...

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...

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,...

A charming 18th-century Cuzco-style depiction of the 'Santo Niño de Atocha', or 'Holy Child of Atocha', a popular figure in Roman Catholic devotio...

Late 18th Or Early 19th Century European Tradition. La Gamine. Androgynous Charm. Framed Oil On Canvas. Unsigned. Image size 15.6 inches x 11.6 inches ( 39.5cm x 29.5cm ). Frame size...

Portrait of an Aristocratic English Gentleman circle of Thomas Hudson (British (1701-1779) oil on canvas, framed framed: 53.5 x 45 inches painting: 45 x 40 inches provenance: private...

Indian Miniature

Up for sale is a compelling and atmospheric original antique oil painting on canvas, depicting a poignant genre scene. A gentleman dressed in formal black robes—likely a figure of au...

A magnificent large architectural capriccio depicting an imagined ensemble of Roman ruins, animated by figures conversing and resting among the remains. 18th Century. Very good condi...

Artist/ School: Italian Old Master, 18th century Title: Angel and Saints appearing to figures, one dressed in a white ruff collar. Medium: oil on canvas...

18th Century Italian or Spanish School "The Adoration of the Magi" Medium: Oil on canvas Dimensions (Framed): 109 x 197 cm Dimensions (Canvas): 90 x 170 cm No signatured Provenance: ...

This stunning 18th century Dutch Old Master Golden Age floral oil painting is attributed to Simon Pietersz Verelst. Painted circa 1700 it is a still life floral of a mixed flower arr...

Portrait of a Young Girl French Rococo School, 18th century, unsigned oil on canvas, framed Framed: 24 x 20 inches Canvas : 20 x 16 inches Provenance: private collection, France Con...

This superb British 18th century Old Master portrait oil painting is by William Williams of Norwich. It was painted circa 1780, after he had returned to England from in Philadelphia ...

La obra se presenta enmarcada con su marco original de la época (el marco presenta faltas y desgastes) El estado de la obra se puede ver, tiene algunas faltas de pintura y faltas en...

David Morier (c.1705–1770 London) An equestrian portrait of Field Marshal Sir John Ligonier, 1st Earl of Ligonier (1680–1770) Oil on canvas Canvas size - 40 x 50 in Framed size - 48 ...

Artist/ School: English School, circa 1740's Title: Portrait of a Lady, traditionally identified as 'Anne of Chesterfield'. Medium: oil painting on canvas, framed Size: painting: ...

18th Century Military portrait of a young officer in Napoleonic period military dress. The painting is not signed but the subject is Major Alexander Brown. The work is oil on canvas later mounted on board and presented in a fine 'Regence style' carved gilt frame. There are labels to the back referring to the subject, 'Major Brown of Trinity' and a framers trade label from Edinburgh. A magnificent and imposing portrait of a young military officer in the prime of his life. His red uniform adorned with fine buttons, fringed epaulettes and high gilt collar. His ruddy complexion offset by his stylish hair, a quiff and swept forward to the sides as was the fashion at the time. Sir David Wilkie RA (18 November 1785 – 1 June 1841) was a Scottish painter, especially known for his portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. He painted successfully in a wide variety of genres, including historical scenes. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter". He was Principal Painter in Ordinary to King William IV and Queen Victoria. Apart from royal portraits, his best-known painting today is probably The Chelsea Pensioners Reading the Waterloo Dispatch of 1822 in Apsley House. Sir David Wilkie was actually admitted in 1799 (despite only being 14) through the influence of the Earl of Leven...

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

John Vanderbank (London 1694 - London 1739) Portrait of an artistic Gentleman, c. 1720s Three-quarter-length, wearing a turban Oil on canvas 125.5 x 101.7 cm.; (within frame) 145.6...

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

A delightfully elegant 18th-century tondo depicting a lady in pearls. The subject is rendered in exquisite detail and is captured in fine attire, typical of the Georgian period. Beau...

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

A rare and most attractive still life by William Jones of Bath. The sumptuous textures of the peaches, grapes and strawberries contrasting with the dark background. A really handsome...

Artist/ School: 18/19th Century Spanish School Title :Head study of Christ Medium: oil painting on wood panel, period gilt framed panel : 6 x 5 inches Provenance: private collect...

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...

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...

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...

The Birth French Rococo School, mid 18th century sepia ink on paper over board, framed behind glass. framed: 13 x 11 inches painting : 8 x 6 inches Provenance: private collection, B...