Mid-18th Century Paintings

This superb 18th century Old Master floral still life oil painting is attributed to Flemish artist Pieter Casteels III. Painted circa 1730 it is a garland or swag of flowers, somethi...

Signed 'BDandridge/ pinxit' lower left Provenance By descent through the sitter's family to The Collection of R. W. Vivian-Neal of Poundisford Park, Somerset, from whom acquired by With Lane Fine Art, UK, where purchased by the present owners in 1996 Literature 'Poundisford Park, Somerset' in Country Life, 22 December 1934, ill. A.W. and C.M. Vivian-Neal, Poundisford Park, Somerset: A catalogue of pictures and furniture, Taunton 1939, cat. nos. 11 and 13 This is a portrait of Ann Austen, nee Grey, three-quarter-length seated in a landscape with her dog. Painted in a superb white satin dress, she holds horn spectacles and a spectacle case...

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...

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...

Giuseppe Zais (Forno di Canale 1709 - Treviso 1784) - Landscape with Resting Horsemen. 55.5 x 85.5 cm unframed, 78 x 98.5 cm with frame. Oil on canvas, in a carved and gilded woode...

Giuseppe Zais (Forno di Canale 1709 - Treviso 1784) - Landscape with shepherds and spinner. 48 x 63.5 cm without frame, 59 x 74.5 cm with frame. Oil on canvas, in a carved and gild...

Attributed to Pietro Antonio Rotari (1707 - 1762), Italian painter of the Rococo era. His portraits, mostly of women, are renowned for being beautiful and realistic. The details and ...

La obra no va firmada Se presenta sin enmarcar la pintura El estado de la obra se puede ver, es aceptable ya que en su momento se acondicionó debidamente Medidas de la obra: 38 x ...

VERY IMPORTANT DRAWING BY JACQUES DUMONT called « LE ROMAIN" (Paris 1701-1781) Preparations for the fireworks display held in Piazza Navona in Rome on November 30, 1729, for the bi...

Jacopo Amigoni (Venice 1682 - Madrid 1752) - Madonna and Child. 82 x 62 cm unframed, 104.5 x 66.5 cm with frame. Oil on canvas, in a carved and gilded wooden frame (not signed). -...

Literature: cf. 'Catalogue of Paintings in the Wellington Museum Apsley House' by C.M. Kauffman, revised by Susan Jenkins, English Heritage in association with Paul Holberton publish...

A refined 18th-century Italian painting. This artwork oil on canvas depicts a splendid Madonna and Child with a cherub, crafted with exquisite skill. The composition dates stylistica...

A rare 18th-century Italian painting. Oil on panel artwork depicting a captivating mythological subject, Mercury delivers the infant Bacchus to the Nymphs of Mount Nysa. According to...

Antonio Stom (Venice 1688 - Venice 1734) - Architectural Capriccio with Classical Ruins and Heraldic Lion. 70.5 x 99.5 cm unframed, 90.5 x 119 cm framed. Oil on canvas, in a carved...

Gaspare Diziani (Belluno 1689 – Venice 1767) - Madonna and Child. 74 x 58 cm unframed, 88.5 x 69.5 cm with frame. Ancient oil painting on canvas, in a carved and gilded wooden fram...

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 ...

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...

This portrait, attributed to the American painter Ralph Earl, captures Benedict Arnold, one of the most controversial figures of the American Revolutionary War. Ralph Earl, known for...

This superb British 18th century Old Master oil painting is attributed to circle of noted landscape artist Richard Wilson. Painted circa 1750 it is a stunning light, bright and airy expansive panoramic landscape. There is a river in the foreground and mountains in the background. On the left of the river stands some ruins and on the right, figures are resting under the trees. The palette of blues, greens and very varied and rich with some lovely pinky brown tones for the land on the right. The brushwork is also delicate but confidently executed. A superb example of a British Old Master landscape oil painting, finished off in a carved and gilt wood English Rococo frame with name plate. Provenance. The Asbjorn Lunde Foundation, Inc. Throughout his long life, Mr. Lunde supported more than forty museums in his native New York, across the United States, and in Europe with loans, gifts, and funding. Mr. Lunde was a proud New Yorker with roots in Norway. He was keenly interested in nineteenth-century Scandinavian and Swiss landscape painting, Old Master painting, and Asian decorative arts. According to an old label to the reverse, the present painting was once owned by James Northcote (1746-1831) who gave it to William Hillman on 25th May 183(0?) Property of the Bacot family. Christies stamps verso. Watson Gallery London. Remains of label verso. Condition. Oil on canvas, 26 inches by 18 inches and in good condition. Frame. Housed In a carved and gilt wood English Rococo frame bearing Richard Wilson name plate, 33 inches by 25 inches and in good condition. Richard Wilson RA...

An important & large oil on canvas Baroque painting by the Bohemian Old Master artist, Franz Xaver Karl Palko (1724-1767), an allegory of architecture, circa 1750. The painting depic...

This brilliant study sheet, of which we present here a counterproof, is a souvenir of Fragonard's return journey from Italy. Between April and September 1761, he accompanied the abbot of Saint-Non on his way back to France. Three studies after the masters taken from the Pitti Palace’s gallery in Florence are gathered on this sheet. Although The Ecstasy of Saint Margaret...

Giuseppe Zais (Forno di Canale 1709 - Treviso 1784) - Landscape with Shepherds and Ruined Bridge. 79.5 x 108.5 cm (31.5 x 42.5 in) unframed, 96 x 125 cm (38.5 x 49.5 in) with frame....

We would like to thank Mr. Nicolas Lesur for confirming the autograph nature of the entire composition after a direct examination of the painting on November 27, 2024. This painting...

Nicholas Thomas Dall (1706-1776) Bishopthorpe Palace Yorkshire Oil on Canvas 24 1/4 X 30 1/4 Provenance: Christie's New York: Friday, October 4, 1996 [Lot 00095] Sold for $10,350 ...

Italian painter (18th century) - Street theater. 74.5 x 62.5 cm without frame, 86 x 73.5 cm with frame. Antique oil painting on canvas, in a gilded wooden frame (not signed). Cond...

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

Giovanni Maria DELLE PIANE, known as IL MULINARETTO (Genoa, 1660 – Monticelli d'Ongina, 1745) Portrait of a man Oil on oval canvas H. 108 cm; L. 83 cm Provenance: Nino Ferrari Colle...

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 The price is intended for the couple of paintings. Expertise by Professor Giancarlo Sestieri. 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...

Titre : Portrait de jeune femme à la coiffe noire Artiste : Entourage de Charles-André Van Loo (1705–1765) École : Française, XVIIIe siècle Technique : Huile sur panneau Dimensio...

Evangelista Schiano (attr.) (active in the 18th century) Title: Saint Gennaro Medium: Oil on canvas Dimensions: without frame 102 x 74 cm - with frame 126.5 x 100 cm 19th century car...

A fine pair of huge Italian 18' century Capriccio with Classical ruins, tempera oil on canvas . Atr.Pietro Paltronieri, il Mirandolese (Mirandola 1673-1741 Bologna). Measurements ...

James Fellowes Flourished 1719 - 1750 Portrait of William Henry Kerr, Earl of Ancram, 4th Marquess of Lothian Oil on canvas, signed & dated 1747 Image size: 29 1/2 x 24 1/2 inches (75 x 62 cm) Original gilt wood frame William Henry Kerr was born a member of the Scottish peerage to William, third Marquess of Lothian, and his first wife Margaret, daughter of Sir Thomas Nicholson of Kemnay, first Baronet. William was styled Master Jedburgh until 1722, when his father was elevated to a Marquessate, after which he was referred to as Lord Jedburgh until 1735. Following his father’s military footsteps, on 20 June 1735 Ancram was commissioned as a cornet to the regiment (11th Dragoons) of his grand-uncle, Lord Mark Kerr. Ancram married Lady Caroline...

Colonel Mellish's Spaniels, Mother & Puppies, 18th Century attributed to HENRY BERNARD CHALON (1770-1849) Large 18th Century portrait of Colonel Mellish's hunting spaniels, mother ...

French School Portrait of a young woman in Louis XV period dress Pastel on paper mounted on oval canvas H. 68 cm; W. 54 cm (Frame: H. 102 cm; W. 71 cm) 18th century frame, anti-refle...

Oil on canvas Image size: 20 x 24 inches (51 x 61 cm) Period gilt frame This is a half-length portrait of a gentleman wearing a emerald coat and intricately designed waistcoat, dat...

Antique Italian painting from 18th century. Oil artwork on canvas depicting biblical subject Joseph and and Potiphar's Wife of good pictorial hand. Beautiful measure and pleasant fur...

In the mid-18th century, Bénard was famous for his genre paintings, portraits and landscapes. Drawing on Jean-Antoine Watteau’s sense of poetry and Jean –Honoré Fragonard’s use of b...

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...

Flemish Baroque painting. Romantic scene. Signed and dated. J. HOREMANS 1760. This 100% authentic painting captivates with its powerful colors. A real eye-catcher. Dimensions witho...

Italian School Italian, 18th Century Venetian Ruins Oil on canvas 20 by 26 in, w/ frame 24 by 30 in

We would like to thank Madame Beck-Saiello for confirming the autograph nature of this drawing after an in-person examination. It was probably during an excursion in the countryside near Avignon that Claude-Joseph Vernet executed this drawing, enhanced with pen and brown ink, depicting a mansion on a hilltop overlooking a small village with geometric shapes. 1. Joseph Vernet, a painter influenced by Italy Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron. As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard...

Early 18th century museum quality Nature Morte still life Dutch or French oil painting. This Nature Morte painting has all the Classic attributes or a masterpiece showing various ga...

Striking, beautifully composed, c. 1740, Italian, oil-on-canvas painting of three hounds in a mountainous landscape. Soulful, slightly naive and richly detailed. Held in an antique, ...

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...

Giuseppe Bonito (Castellammare di Stabia, Italy, 1707 - Naples, Italy, 1789) Title: The Painter's Studio or Allegory of Painting Medium: Oil on canvas ...

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 ...

Painting oil on canvas measuring 70 x 90 cm without frame and 82 x 102 cm with frame depicting View of the Grand Canal with the Rialto Bridge. The work under examination depicting a...

Provenance By descent through the sitter's family to The Collection of R. W. Vivian-Neal of Poundisford Park, Somerset, from whom acquired by With Lane Fine Art, UK, where purchased by the present owners in 1996 Literature 'Poundisford Park, Somerset' in Country Life, 22 December 1934, ill. A.W. and C.M. Vivian-Neal, Poundisford Park, Somerset: A catalogue of pictures and furniture, Taunton 1939, cat. nos. 11 and 13 This is a three-quarter-length portrait of Ralph William Grey in a mole-coloured velvet coat and a long waistcoat of green satin, heavily embroidered in gold. Under his left right hand is a black chapeau bras. He has white doe-skin gauntlet gloves. Son of William and Ann Grey of Backworth: born 19 December 1707. He married Mary the daughter of William Rawstorne of Newall in 1741 and died 5 November 1786. He was educated at Eaton and Trinity College, Oxford. Within a year of his birth Mrs Grey died and, according to the Country Life article 'From that time forward all Mr Grey's faculties were concentrated on the well-being of his son. The possession of an heir gave zest to his efforts to build up the family fortune: he was successful in most of his ventures. Years later his interest in life was centred in the home of his daughter-in-law and grandchildren'. Grey's right hand is depicted in the present portrait resting on Locke's Essays and the Country Life article also records that there are constant references to John Locke...

Painting oil on canvas depicting a soldier handing the crown to Saint Joseph, measuring 76 x 61 cm without frame and 95 x 80 cm with frame by an Italian School of the second half of ...

Chinese painter (18th century) - Oriental scene with a boat on a river. 42.5 x 72.5 cm unframed, 52 x 80 cm framed. Oil on canvas, in a wooden frame (not signed). Condition report...

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),...

Johannes JANSON (Attributed to) Amboyna (Moluccan Islands), 1729 - Leyden, 1784 Oil on canvas 47 x 57 cm (62 x 72 cm with frame) Trace of signature lower right Monogrammed and dated on the back "1755"Inscription on the recto « Johannes Janson » Very beautiful frame of the 18th century in gilded wood Good condition (just a bit of thinness, a repair and a few repaints, well restored) As for the painting by Johannes Janson exhibited in the Louvre museum, our painting is also a "typical example of retrospective pastiche - much appreciated in the 18th century. – of recognized masters of the Golden Age, the specialists in Dutch rustic landscape Potter, Adriaen van de Velde or Dujardin. Recognizable in our painting is the way Janson represents trees, and animals (the horse in particular on the left is recognizable). And also the silhouettes of his small characters painted in bright colors. This village fair is a rich composition with many characters, musicians, drummers, peasant men and women, children. The scene is very cheerful and it has the charm of the festive atmosphere of the Dutch countryside with many picturesque details represented such as the dancers with a glass or a pitcher in their hands, the dishes or baskets which circulate filled with food, the child playing with a dog or the musician with the violin who animates the assembly. The vivid colors are characteristic of Dutch 17th century genre...

An exquisite 18th-century scagliola panel on a slate support. The artwork belongs to the genre of inlaid scagliola with an engraved effect, which enjoyed great success thanks to the ...

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...

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...

Charming 18th Century illustrated manuscript of an elephant with passengers executed in gouache on paper on the front and exposed manuscript on the back. Presented in a gold tone woo...

Chinese painter (18th century) - Oriental scene with pagoda. 54.5 x 72.5 cm unframed, 73 x 82 cm with frame. Oil on canvas, in a wooden frame (not signed). Condition report: Lined...

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...

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 ...

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 ...