18th Century Paintings

Importante conjunto litúrgico de concha de nácar pintada, con escena religiosa. Va con marco de plata trabajada y flores, es un trabajo de orfebrería muy detallado y de calidad. El...

La pintura representa a la Virgen María por su iconografía tradicional. Viste un manto azul verdoso que cubre su cabeza y hombros, y una túnica rosada con detalles en tonos claros. S...

Giovanni Giacomo Van Lint (Rome 1723 - 1790) View of the Roman Forum Oil on canvas 53.5 x 68 cm in frame 60 x 75 cm Attribution certificate by Prof. Giancarlo Sestieri (Rome ...

A stunning pair of antique Italian trompe l'oeil still lifes, a pair of 18th-century oil-on-canvas visual pranks, fake still lifes known as paintings of deception by an Italian-born ...

Pieter Casteels III (Antwerp 1684 - 1749 Richmond) circle Floral still life Signed lower left, on the stone: P Casteels About 1730 Oil painting on...

Olio su tela. La scena raffigura la Sacra Famiglia accompagnata da San Giovannino ed un altro santo inginocchiati davanti al Bambin Gesù, che conversa con loro seduto in grembo alla ...

18th-Century Still Life Painting – Classical Fruit Composition Artist: Unidentified Period: 18th Century Medium: Oil on Canvas Dimensions: Framed: 54 x 74 cm Artwork: 35 x 54 cm Sty...

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...

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...

Giovanni Antonio Guardi (Vienna 1699 - Venice 1760) - Allegory of Good Government. 48.5 x 37.5 cm unframed, 82 x 66 cm with frame. Oil on paper, in an antique carved and lacquered ...

This painting titled "Mme de Noirmont" is an oil on canvas work from the studio of Nicolas de Largilliere, one of the most prolific and esteemed French portrait painters of the 18th ...

18 Century Cuzco School oil on canvas of the Annunciation. Good condition. Unsigned.

Venetian Master (18th century) - Mask of Columbine. 161 x 68 cm unframed, 169.5 x 76.5 cm with frame. Antique oil painting on canvas, in a white lacquered wooden frame (not signed)...

Richard WILSON Circa 1780 Canvas Size: 28 x 38" (71 x 97cm) Outside Frame Size: 42 x 52" (107 x 132cm) Free Shipping A chance to acquire a rare piece by Richard Wilson. This impos...

The Witch of Endor conjures up the specter of Samuel in front of King Saul is an old master artwork realized by a follower of Georg Andreas Wolfgang I between 18th and 19th century. Mixed colored oil painting on canvas. On the back probable signature of the author traced by brush "P. So [mita] rt [...] Fac. ". The subject of this painting, the witch of Endor, a necromancer mentioned in the Bible whose power was to evoke the spirit of the dead, is a very rare theme in painting and there are few artists who represented it. In Italy it was especially Salvator Rosa (1615-1673) who had a deep interest in necromantic subjects and, in particular, he produced many paintings of this kind when he stayed in Florence in the 1840s. Rosa's inventions were exported throughout Europe and, in particular, in the German cities of Stuttgart, Nuremberg and Augusta through the works of Johann Heinnrich Schonfeld (Stuttgart, 1627 - Habsburg, 1684), an artist who worked in Naples and who remained sensitive to figure of Salvator Rosa. In this context, in addition to Schonfeld, the Swiss Joseph Werner II (Berne, 1637-1710) was also responsible for the diffusion of this pictorial genre, introducing Rosa's works on witchcraft among his knowledge of Augsburg. He was also the inventor of the scene represented here from whose drawing (Bern, Kunstmuseum, inv. A1196), executed in 1677, the engraving made immediately after by Georg Andreas Wolfgang the Elder (1631–1716) and by which derives precisely the work examined here. The engraving, which was part of a series of biblical images, was dedicated by Wolfgang to Leonhard Weiss, probably a municipal employee of Augsburg or tis mayor. Reference bibliography: - Susan Broomhall, Gender and emotions in medieval and early modern Europe...

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...

Allegorical Scene is a superb original oil painting on canvas, realized by an anonymous artist during Neoclassicism's years. This old master's artwork offers us un unprecedented ap...

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...

This is 2 original oil paintings. Both are beautiful pieces. each lined and with craquelure; Meet by the Farmhouse with a chip in the paint along the left edge and an abrasion along ...

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...

Early naturalistic wildlife rendering by the English artist Peter Paillou. The work features a delicately rendered depiction of a possible capuchin monke...

"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...

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

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...

Study for a Male figure with Turbant. Interesting Oil painting characterized by a new Manneristic elegance and an elaborate movement. These elements collocate the composition in the...

Flower garland with a portrait of the Virgin Francesco Trevisani (Capodistria 1656 - Rome 1746) and Niccolò Stanchi (Rome 1623 - 1690), attributable Oil on canvas 66 x 49 cm. - In f...

Jean-Marc Nattier (Paris, 1685 - 1766) and his workshop Portrait of Charlotte de Hesse-Rheinfels Oil on canvas : h. 44.09 in, w. 38.19 in 18th century carved giltwood framed Fra...

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...

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...

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...

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 ...

Oil on Canvas. The 'work is an unsigned replica of one executed by Pierre Mignard and given to Louis XIV, preserved today in the Louvre Museum in Paris. The dramatic scene is set jus...

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...

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

Circle of Sir Godfrey Kneller Dutch, (1646-1723) Portrait of a Lady in an Ermine Trimmed Cloak Oil on canvas Image size: 26.5 inches x 22.5 inches Size including frame: 33.5 inches x 29.5 inches A well-executed half-length portrait of a lady painted in a feigned oval, circle of Sir Godfrey Kneller. The use of a feigned oval was a device used in portraiture to give a sense of depth and add an intimacy to the painting, drawing your attention to the sitter. The subject, posed without her wig in the undressed fashion of the day, wears a blue ermine trimmed blue cloak over a white silk robe...

This superb large early 18th century Old Master Italian marine oil painting is attributed to a follower of Dutch artist Abraham Storck. Painted circa 1700, the composition is an Ital...

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...

We are grateful to Prof. Daniele Sanguineti for suggesting the attribution to Domenico Parodi (1672 - 1742). He dates the painting into the period between 1730 and 1740. Domenico Par...

La scena raffigura una festa all’interno di un parco cintato da mura con varchi ad arco che si aprono sulla campagna, e ornato sulla destra con un’anfora su colonnina e al centro, dietro le figure, con una fontana zampillante, con statue di putti e conchiglie. Due coppie di dame e gentiluomini riccamente vestiti si intrattengono galantemente, circondati dalla servitù; uno degli uomini sta suonando il violino, accovacciato davanti alla sua dama che, affiancata dalla damigella, segue la melodia sullo spartito retto dal moretto al suo fianco, mentre due musicanti accompagnano la suonata con il flauto e un mandolino; l’altra coppia, in atteggiamento di dialogo intimo, ascolta sulla sinistra, mentre sulla destra anche il cacciatore che rientra dalla caccia osserva la scena. Nella scena spicca in particolare il ricco abito della dama al centro, caratterizzato dalle ampie pieghe posteriori ricadenti dalle spalle a creare un mantello. Tale abito corrisponde a quello che veniva chiamato “robe à la Watteau”, dal nome del pittore francese Antoine Watteau che per primo ritrasse signore indossanti questo modello. Antoine Watteau (1684 -1721), pittore francese considerato uno dei più influenti esponenti francesi della pittura rococò, fu il precursore del genere pittorico delle scene galanti, genere sviluppatosi in Francia dalla fine del ‘600 e protrattosi per tutto il secolo successivo. Le scene galanti si potevano considerare come la versione aristocratica della scene di genere: caratterizzate da musica, danze, piacevoli conversazioni fra dame e gentiluomini attorniati dalla servitù, tendevano a esaltare i costumi, gli abiti alla moda, gli ambienti della classe elevata, trasmettendo una sorta di distacco dai tempi e i luoghi reali, proiettando lo spettatore in una atmosfera quasi teatrale, fatta di gesti, sguardi, colori e luci da palcoscenico. Peraltro Watteau, insieme ai cicli delle Fêtes galantes, si distinse anche per quelli ispirati al teatro, assorbendo la passione per le scene e i personaggi di tale ambiente da Claude Gillot...

A rich merchant is an original old master artwork realized in the 18th Century. Mixed colored oil painting on canvas depicting a merchant looking at a coin in his left hand. Provena...

Oil on panel 13 ⅜ x 9 ⅞ inches; 34 x 25 cm Framed dimensions: 43.4 x 34.3 cm Not signed c. 1730s Collections: James Brydges, Duke of Chandos; Chandos sale, Christopher Cock, Lond...

Giovanni Crivelli, known as Il Crivellino (Milan? Italy, 1680/90 - Parma, Italy, 1760) Title: Still life with dog and game in a rural landscape Medium: Oil on canvas Dimensions: with...

Cuzco School oil on canvas laid on panel. 18th Century. Unsigned.

Madonna & Sleeping Infant Christ, 18th Century Italian School Large 18th century Italian Old Master devotional scene of the Madonna & Child, oil on canvas. Excellent quality and co...

Jean François Marie Bellier (Paris 1745 – Paris 1836) Portrait of a Man Oil on oval canvas laid flat H. 45 cm; W. 55 cm Signed on the left Circa 1790 Jean François Marie Bellier occ...

Olio su tela. Paesaggio di campagna in cui scorre un piccolo corso d'acqua, su cui navigano barchette ed è costeggiato da piccoli aggregati di abitazioni rurali. In primo piano tran...

Antonio Joli (Modena 1700 - Naples 1777) - Architectural Capriccio with Ruins and Figures. 54 x 69 cm unframed, 74 x 89 cm with frame. Ancient oil painting on canvas, in a carved w...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

Oil on canvas, Dutch school, Gerrit Hendrik Göbell (1786–1833). This charming painting takes us into a peaceful, verdant landscape bathed in the soft light of evening. In the foregr...

French School, late 18th century, circle of Jean-Baptiste Greuze (1725–1805) Young Girl with a Basket of Fruit Oil on canvas, preparatory work, Unsigned 39 x 31 cm Provenance: Pri...

Richard Wilson (Montgomeryshire, UK, 1714 - Denbigshire, UK, 1782) Title: Landscape Medium: Oil on canvas Dimensions: without frame 33 × 42,5 cm Painting without frame Not signed Ex...

Oil Painting Pair circle of by George Romney "Portraits of a Lady and Gentleman" 1734 - 1802 Romney was a leadway society portrait painter of the Georgian ear...

Portrait Of Elizabeth Plumer (nee Byde) & Daughter, circa 1735 by ENOCH SEEMAN (1694-1744) Large 1735 portrait of Elizabeth Plumer & her daughter holding a rattle, oil on canvas by...

Francesco Solimena (Canale di Serino 1657 - Barra 1747) workshop/circle The Allegory of Europe oil on canvas 102 x 76 cm. - with frame: 119 x 92 cm. The work, which can be placed ...

Spanish School (18th Century), A Rare Portrait of Juan Procopio de Bassecourt, count of Santa Clara, governor of the island of Cuba between December 1796 and May 1799. The lighthouse...

This intimate oil portrait captures an elderly peasant woman dressed in red and white. The subject's weathered face and simple attire suggest a life of hard labour. The work is beaut...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

Portrait Of 1st Baron Hawkstone, Sir Rowland Hill, Tory MP for Lichfield (1705-1783) by Charles JERVAS (1675-1739) Large 18th Century portrait of Baron Hawkstone, Sir Rowland Hill,...

This exquisite painting, resembling a precious jewel, serves as an exceptional illustration of the devotional cabinet paintings created by Giuseppe Maria Crespi, a highly original Bolognese artist during the late 17th and early 18th centuries. Crespi's distinctiveness extended beyond his unique style and technique to the subjects he chose to portray. While his portraits and genre paintings often displayed a light-hearted and even irreverent tone, his treatment of religious themes resonated with deep emotion, even in its most inventive forms. This recently uncovered work by Crespi is a typical representation, invoking the tender connection between mother and child, and the Child's destiny, all within a compact and intimate format. Executed on a small scale, the painting showcases Crespi's remarkable sensitivity and mastery of paint, especially evident in the expressive brushwork of the drapery. The restrained and focused composition of the Holy Family allows for contemplation of the figures. Mary cradles the Christ child gently, seemingly presenting him to the viewer, her gaze knowing as the infant holds a diminutive cross, symbolizing his future crucifixion. Joseph appears in the background, emerging from the left side of the frame, gazing upward with folded hands in prayer. Individual motifs from this painting reappear in other works by Crespi, suggesting a synthesis of familiar elements into a vibrant composition. The artist's revisitation of designs throughout his career is evident, and this painting on copper likely belongs to a later period, reflecting stylistic ties to other works and Crespi's increased production of smaller devotional pieces. Distinguished by its cool palette, bold coloration, and the expressive force of the artist's hand, this Holy Family painting...

L. Franssen Mother and child with a rose Oil on wood, 44,5 x 33,5 cm signed The artist of this outstanding painting is completely unknown so far. There is no entry under "L. Franssen" in any encyclopaedia or reference work. There was a Dutch artist, Jan Fransen (1604/5 - ca. 1646), who was mainly based in Amsterdam. According to Thieme/Becker, he created numerous paintings with biblical depictions, study heads and still lifes. However, it could also have been Jan Franssen or Frantzen, who was not born until 1644 but was also active in Amsterdam. However, no confirmed works by either artist are known. Just as interesting as the attribution is the depiction: a young woman holds her child on her lap while she prepares a meal on a hob. At the same time she holds a rose in her hand. Most likely, Mary is depicted here with the young Jesus...