18th Century Paintings

James Northcote Portrait of a Gentleman Commoner at Oxford Oil on canvas Image size: 30 x 25 inches (76 x 63.5 cm) Original gilt frame This painting is a comparatively rare example ...

Antique Italian painting from the 18th century. Framework oil on canvas depicting a landscape with figures of good pictorial quality. Nice sized and pleasantly decorated paintinf wit...

Vincenzo Re (Parma, Italy, 1695 - Naples, Italy, 1762) Title: Christ Healing a Paralytic Medium: Oil on canvas Dimensions: without frame 50 x 62 cm - with frame 70 x 92 cm Not signed...

École Française du XVIIIè. « Nature morte au vase de fleurs, à la coupe de fruits et aux oiseaux ». Huile sur toile. Belles dimensions H.90 L.110.

Francesco Belotto (1721–1780) "Eucharistic Miracle of the Mule and the Heretic Before Saint Anthony of Padua" Framed: 82 x 170 cm Flat: 76 x 161 cm Medium: Oil on canvas This dramat...

Italian, hand painted, oil on canvas landscape with hand painted border. See other painting in separate listing that creates a pair.

Francesco Lavagna (active in Naples in the mid-18th century) Title: Pair of Flower Vases Medium: Oil on canvas Dimensions: without frame 98 x 36 cm each - with frame 112 x 50 cm each...

Violin Player in Tavern 18th century French School oil on canvas canvas: 8 x 11 inches provenance: private collection, France condition: good and sound condition

Giuseppe Antonio Pianca (Agnona di Borgosesia, Italy, 1703 - Milan, Italy, 1762) Title: Shepherd with Goat and River Medium: Oil on canvas Dimensions: without frame 49 x 57 cm - wit...

The painting is signed. Description: George Henry Boughton: A Master of Narrative and Natural Beauty George Henry Boughton, a distinguished Anglo-American artist of the 19th centur...

An early eighteenth-century, Italian baroque figural oil showing a group of cherubs or Amorini grouped together before red velvet drapes, one reclining on a wooden cross and wearing ...

Francesco Salvatore Fontebasso (Venice, Italy, 1707 - 1769) Title: Allegory of Vanity Medium: Oil on canvas Dimensions: without frame 74.5 x 98 cm - with frame 95 x 119 cm With a "cassetta" frame in gilded and carved wood Not signed Expertise by Professor Egidio Martini, art historian Publications: G. M. Guidetti, in From Sacro to Profano. The Giorgio Baratti...

James Stark (1794-1859) Herding cattle through a wooded river landscape Oil on canvas Canvas Size 18 x 24 in Framed Size 23 x 29 in James Stark (1794-1859): A Pioneer in Landscape P...

Sir John Wynn, 5th Baronet Canvas Size: 50 x 40" (127 x 102cm) Outside Frame Size: 58 x 48" (147 x 122cm) Sir John Wynn, 5th Baronet (1628 – 11 January ...

As Florence Ingersoll-Smouse wrote in 1921 in her book devoted to Jean-Baptiste Pater, "a painter of the Fête galante, Pater is interesting both by his intimacy with Watteau, to whom many of his works are still attributed, and by his own value as an artist.” This sanguine, full of life and spontaneity, is typical of the preparatory studies made by the painter to be used later in the composition of his paintings. 1. Jean-Baptiste Pater, pupil and disciple of Antoine Watteau Antoine Pater, Jean-Baptiste's father, belonged to the petty bourgeoisie of Valenciennes where he worked as a merchant-sculptor. His brother Jacques was a local painter who was probably involved in his nephew's training. Born on December 29, 1695, Jean-Baptiste Pater was first trained with Jean-Baptiste Guider, a local painter whose death in 1711 was probably the reason for Jean-Baptiste’s departure alongside Watteau, who was visiting Valenciennes. Watteau's difficult character led to their separation in 1713. Back in Valenciennes, Jean-Baptiste Pater encountered difficulties with the powerful Corporation of Saint-Luke (to which he refused to belong) which forced him to return to Paris in 1718. He reconciled with Watteau shortly before his death (on July 18th 1721), inherited the commissions that Watteau had been unable to fulfil and completed some of his paintings. Pater was accepted by the Académie Royale in 1725 but did not produce his reception painting The soldier’s revels until three years later. Throughout his brief career (he died at the age of forty on July 25th 1736), he mainly had a clientele of amateurs and received only one royal commission, shortly before his death. 2. Description of the drawing and related artworks Pater had adopted his master Watteau's method of composition. His study drawings were carefully glued in a notebook and were used to animate his compositions. His paintings sometimes suffer from a somewhat artificial composition, since the figures seem to be pasted one next to the other. This point has also been made about Watteau’s. The theme of military scenes (which was at the time included in the genre of Fêtes galantes!) was one of Pater’s favourite subjects. Together with the Bathing Women...

Benedetto Luti (Florence, Italy, 1666 - Rome, Italy, 1724) Title: Head of a Girl Medium: Oil pastel on canvas Dimensions: without frame 28 x 23.5 cm - with frame 38.5 x 33.5 cm Origi...

Still life painting of fruit in a basket Continental, c. 1800 Frame: Height 81cm, width 91cm, depth 7cm Canvas: Height 57cm, width 69cm, ...

Attributed to, Alessandro Longhi 1733-1813, was a prominent Venetian portrait painter, printmaker, and biographer. The son of the famous genre painter Pietro Longhi, he is known for his detailed oil portraits of the Venetian aristocracy and his valuable book on contemporary Venetian painters. Longhi early life and training Born: Alessandro Longhi was born on June 12, 1733, in Venice. He received his initial training from his father, Pietro Longhi. He later studied under Giuseppe Nogari, a respected portraitist in Venice during the 18th century, and was elected to the Venetian Academy in 1759. Longhi specialized in portraiture, primarily depicting the nobles and officials of the Republic of Venice. His paintings are a valuable record of the social and political structure of 18th-century Venice. Rococo aesthetic: Working in the Rococo style, he was adept at capturing the elegance and social status of his subjects. He paid meticulous attention to the elaborate robes, wigs, and emblems of office that signified his subjects' power. While his official state portraits could be stiff and formal, his portraits of less noble patrons demonstrated a greater sense of realism and psychological insight. Longhi was also an accomplished printmaker, particularly in etching. His etching technique showed an awareness of Rembrandt's work, and he used this skill to reproduce his and his father's paintings. In 1762, he published Compendio delle vite de' pittori veneziani istorici più rinomati del presente secolo, a biographical dictionary of contemporary Venetian painters that is still an important resource for art historians. Longhi illustrated the book with etched portraits of the artists. The portrait of Carlo Goldoni: One of his most celebrated paintings is his portrait of the Venetian playwright and librettist Carlo Goldoni. For his election to the Venetian Academy, he painted this allegory, which features a personified figure of Painting. His known portraits include Portrait of a Lady (Uffizi Gallery, Florence), Portrait of a Musician, and various portraits of Venetian nobles and officials. I have included further albeit identical biographies of Alessandro Longhi. Alessandro Longhi (born June 12, 1733, Venice—died 1813, Venice) was a painter, etcher, and biographer of Venetian artists, and was the most important Venetian portrait painter of his day. The son of the painter Pietro Longhi, he was given his first training by his father, who quite soon put him to study under the portrait painter Giuseppe Nogari. In 1759 he was elected a member of the Venetian academy, for which he painted one of his rare allegorical pictures, “Painting and Merit.” In 1762 Longhi issued his book Compendio delle Vite de’ Pittori Veneziani Istorici piu rinomati del presente secolo con sui ritratti dal naturale delineati ed indisi, one of the most important source books for the history of Venetian 18th-century painting. Both portraits and text were printed from plates he etched. Longhi’s facilely rendered portraits are largely generalized likenesses lacking any acuity of character observation. He mainly portrayed the leading Venetian luminaries and dignitaries of his day in a style that drew upon his father’s Rococo manner and 16th-century traditions of Venetian Renaissance portraiture. The personal details available for the painter Alessandro Longhi are limited, but his biography is intertwined with that of his family and the city of Venice. He was the son of a successful painter, which set his artistic path, and is known for creating sensitive and realistic portraits that captured the social atmosphere of 18th-century Venice. Alessandro was born in Venice in 1733 to the celebrated genre painter Pietro Longhi. He received his early training from his father before studying under another prominent portraitist, Giuseppe Nogari. A contrast to his father: While his father was known for painting scenes of everyday Venetian life, Alessandro focused almost exclusively on portraiture. His skill enabled him to capture the intimate psychology and character of his subjects, a quality especially evident in his portraits of less noble patrons. Election to the academy: In 1759, Alessandro was elected to the Accademia dei Pittori, the Venetian Academy of Painting. His election solidified his reputation as a master of the Rococo style. Beyond painting, Longhi was an accomplished printmaker, primarily producing etchings that reproduced his own works and those of his father. In 1762, he published the Compendio delle vite de' pittori veneziani, a collection of biographies of contemporary Venetian painters, which is an important historical resource. He became a prominent portraitist for Venice's upper class, including nobles and state officials. His official state portraits featured grand, full-length depictions of his subjects in their elaborate robes and emblems of office. Emphasis on realism: In contrast to the stylized nature of official portraits, Alessandro was praised for the "reality" he captured in works featuring common people. For example, his 1760 portrait of an innkeeper was celebrated for its realistic subject matter and "nuova maniera" (new manner). The art historian Olimpia Theodoli noted that Longhi's etching technique showed he had a firsthand knowledge of Rembrandt's work. Among his more famous works are a sensitive portrait of playwright Carlo Goldoni and the painting Portrait of a Wine Butler. He also produced religious and allegorical works, including paintings of the "Apostles" for the church of San Pantalon in Venice. This painting has been carefully conserved and the frame also, the frame looks to be original to the picture but we have no way of confirming this but we believe it to be so. 18th Century Italian portraits...

Late 18th – early 19th century landscape with two young girls, and goat. Signed allegedly low capital R. T. Relined/restored. Oil on canvas. 12.75 x 16.

Charming tavern scene depicting drunken peasants enjoying dancing and drinking in front a farmhouse/ tavern in a landscape. Painted in great detail in vivid colors on a hand cut oak ...

Figures Resting By A Fountain, Roman Capriccio, 18th Century circle of GIOVANNI PAOLO PANINI (1691-1765) - one of a set of 6 Capriccios Huge 18th Century Italian Capriccio of figur...

Mythological Scene is a mixed colored painting on board realized by Anonymous artist in the XVIII century. The artwork represents a mythological scene with women and cherubs. Inclu...

'Mgnaminia' 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...

This eighteenth-century Dutch painting presents a gently animated rural scene, combining landscape, village life, and everyday activity in a manner that reflects the enduring legacy ...

Work on canvas Plaster and gilded wood frame 89.5 x 105 x 7 cm

18th-Century Pastoral Scene Dutch School, 18th century oil on canvas, framed Framed: 22 x 25.5 inches Canvas : 18.5 x 22 inches Provenance: private collection, France Condition: very...

18th Century Flemish School Lively Landscape with a Herd of Cows Oil on wood panel 19.5 x 24.5 cm (27 x 32 cm with frame) Beautiful antique giltwood frame Beautiful small landscap...

Giuseppe Maria Crespi, known as Lo Spagnoletto (Bologna 1665 - Bologna 1747) - Pair of Children. 74 x 50 cm unframed, 86 x 62 cm with frame. Oil on canvas, in carved and gilded woo...

Sin firmar, de autor anónimo Se presenta enmarcada la obra con un marco posterior a la pintura Comentar que la tela está reentelada Medidas obra: 65 x 49 cm. Medidas marco: 82 ...

'Napoli' 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...

Nacimiento del Niño Jesús. Escuela Italiana del Siglo XVIII. Importante pintura cargada de detallismo, excelente calidad. El óleo esta re-entelado y va con un marco macizo de cerezo ...

This dramatic landscape painting depicts John the Baptist and a lamb to symbolise his recognition of Jesus as the Son of God. The Saint and lamb are captured in a richly detailed for...

J.Strebele oil on canvas signed lower left 110 x 98 cm The raising of Lazarus is one of the best-known and most significant miracle stories in the New Testament. Source: It is...

Work on wood Brown wooden frame 49 x 58 x 4 cm

Siglo XVIII - Escuela española. Como pueden apreciar, la obra no va firmada, es de autor anónimo Se presenta enmarcada la obra con un marco bastante actual El estado de la obra es ...

Francesco Tironi (Venice, circa 1745 - 1797) View of Venice with the Church of S. Geremia and the Ponte delle Guglie oil on canvas 59 x 75 cm. - with frame 72 x 88 cm. Work a...

Oil on canvas, signed and dated 'Art Devis/fe 1755' lower left Image size: 29 1/2 x 24 1/4 inches (75 x 62 cm) Original ornate gilt wood frame Provenance: Ian Douglas Leonard Cochra...

Giovanni Crivelli, known as Il Crivellino (Milan? Italy, 1680/90 - Parma, Italy, 1760) Title: Still life with game in a rural landscape Medium: Oil on canvas Dimensions: without fram...

Jean-Louis PREVOST (attributed to) (Nointel, 1745 – Paris, 1827) Flowers in a Glass, Resting on a Book Gouache on paper H. 38.5 cm; W. 30.5 cm Unsigned The biography of Jean-Louis P...

George Knapton 1698-1778 Portrait of a Girl Oil on canvas Image size: 20 x 18 inches Original giltwood frame This beautiful half length portrait  of a young woman, turned to left, gazing at the spectator, wearing a pink, white lace-embroidered, dress, in her hair a pink bonnet trimmed with lace to match her dress. The depiction of a young girl epitomises child portraiture of the late eighteenth century, in which painters such as William Beechey, Joshua Reynolds, Thomas Gainsborough had begun to discover and express the true character of children, in contrast to the stiff, miniature-adults of previous generations. The Artist Knapton was born in Lymington, one of four sons of James Knapton. He was apprenticed to Jonathan Richardson from 1715 to 1722, and in 1720 was a founding subscriber to the academy of St. Martin's Lane established by Louis Chéron...

Work on canvas Black wooden frame 71 x 91 x 3 cm

Title: Portrait of Democritus Médium: oil on canvas laid on wooden panel Signature: signed under right Provenance: private collection France Dimensions canvas: 49 cm x 49 cm Dimensio...

Countryside Scenes with Horses and Card Players, Rome circa 1740 Pair of Paintings: Countryside Halt with Horses & Card Game in the Countryside Paolo Monaldi (post 1710 - post 1779),...

Landscape with figures and herd is an original oil on canvas realized in the 18th Century by a School Master of Central Italian School. Original oil painting on Canvas. The painti...

Pietro Fancelli (Italian 1764 - 1850) bio details attached to the frame 'St. Anne & The Virgin' ink with watercolor wash on paper, framed framed: 22 x 16 inches image: 11 x 6.5 inche...

A delightful 18th-century oil after the Dutch Golden Age artist Paulus Potter (1625–1654). The artwork depicts a herd of animals resting beside a tree in golden light. Potter was a p...

Escuela Española siglo XVIII. "San Simón". Titulado a mano en la parte superior. Óleo sobre tela. Medidas: 82 cm. x 68 cm.; 86cm. x 72 xm. (marco). Se trata de un óleo sobre tela rep...

Duomo of Milan with peasants is a modern artwork realized by an Italian Artist in 18th century. Mixed colored oil on canvas 40x33cm with frame included. Good conditions.

John Ferneley Snr (1782-1860 Melton Mowbray) Sir Richard Sutton's foxhounds signed J. Ferneley lower right Oil on canvas Canvas Size 16 1/8 x 20 1/2 in Framed Size 21 x 25 in Proven...

Oil on canvas, 18th century, Flemish School, in the manner of Jan van Bloemen (1662–1749), an Antwerp painter who settled in Rome and was renowned for his idealized landscapes of the...

Portrait of a Groom, Horse Dog in an English Landscape by Francis Sartorius (English, 1734-1804) signed and dated 1762 oil painting on canvas, antique gilt frame canvas: 25 x 3...

Portrait of a Bay Hunter Horse with Groom, in an English Landscape by Francis Sartorius (English, 1734-1804) signed and dated 1762 oil painting on canvas, correct period antique gilt...

Portrait of Mrs Mary Anne Hicks (1769-1852) English School, late 18th century pastel on paper, gilt framed behind glass framed overall size: 16.5 x 14 inches image size: 10 x 8 inche...

Portrait of Mrs Henrietta Danvers (1765-1836) English School, late 18th century pastel on paper, gilt framed behind glass overall framed size: 16 x 14 inches actual image: 10 x 8 inc...

Se trata de un Óleo sobre cobre del siglo xviiii La obra no va firmada, es de autor anónimo Se presenta enmarcada la obra con un marco en madera policromada (el marco presenta algu...

A refined pair of antique paintings from the first half of the 18th century. Oil on canvas artworks depicting splendid romantic scenes, a banquet with gentlemen, and a dance scene du...

La obra no va firmada Se presenta enmarcada la obra con un marco bastante actual (de hecho la obra va pegada en el plafon del marco) Medidas obra: 14 x 20 cm. Medidas marco: 28 x ...

La obra no va firmada Se presenta enmarcada la obra con un marco en madera dorada del siglo xix (el marco presenta algunas ligeras faltas sin importancia) Medidas obra: 20 x 17 cm....

Giacomo Francesco Cipper, known as Todeschini (Feldkirch 1664 - Milan 1736), circle of - Interior of a Tavern. 76 x 61 cm. Oil on canvas, unframed (not signed). Condition report: ...

Giacomo Francesco Cipper, known as Todeschini (Feldkirch 1664 - Milan 1736), circle of - Interior of a Tavern. 76 x 61 cm. Oil on canvas, unframed (not signed). Condition report: ...