18th Century Paintings

The 18th Century French Portrait of a Young Girl and Dog, attributed to Vigée Le Brun, is a captivating and tender representation of the era's portraiture. This exquisite painting sh...

Late 18th - early 19th century River Landscape Oil on canvas, 64 x 96 cm - with frame 77 x 10 cm The canvas in question is an example of Vedutist painting at the turn of the 18th an...

Antique Flemish painting from the 18th century. Framework Oil on panel depicting a bucolic landscape with a shepherd, dog and goats of good pictorial quality. Painting of contained s...

A beautiful Hispanoaméric oil on canvas painting of a Madonna, painted in the 18th century Cusco, Peru. During the almost 3 centuries (from 1542 to 1824) the Spanish had a colony in ...

Pair of exceptional 18th century icons hand-painted on bone depicting various saints, mounted in glazed gilt metal frames. Apparently unsigned. Eac...

Antiochus and Stratonice, circle of Girolamo Brusaferro (c. 1684 - Venice, c. 1760), oil on panel, measures 21x31 cm, with 20th-century frame 31x41 cm, 3 cm thick. On the back of the...

Omori Soun (b. 1704) Chrysanthemums - One Hundred Flowers A Pair of Six-fold Japanese Screens. Ink, color, gofun and gold leaf on paper. Dating ...

18th century stunning extra large oil on Canvas housed in it's original frame by Giovanni Domenico Brugieri (1678–1744). Condition is perfect and has not been restored. Please see i...

H.G. Kingsley (British, XVIII) antique oil painting on canvas depicting a female figure with a child atop a mule accompanied by a hound and chicken amongst an idyllic country landsca...

Oil on canvas painting of a floral arrangement with faintains, birds, pears, cherrys and peaches. Spanish colonial 18th Century

Attributed to the great William Marlow (British, 1740-1813). The ink, graphite and watercolor painting is likely a sketch for a larger work produced by Marlow or someone in his studi...

A set of six of exceptional quality 18th century hand-colored engravings Buchoz, Pierre Joseph. Collection précieuse et enluminée des fleurs les plus belles et les plus curieuses, q...

Antique French painting from 18th century. Oil painting on canvas, depicting landscape with ruins and characters of good pictorial quality. Wood and plaster frame of the 20th century...

Architecture Panini schools XIII century, oil on canvas. ADDITIONAL PHOTOS, INFORMATION OF THE LOT AND QUOTE FOR SHIPPING COST CAN BE REQUEST BY SENDING AN EMAIL. ULTERIORI FOTO, INF...

An early 18th century French 3-panel folding screen, oil-on-canvas, depicting village and maritime scenes in cartouches with other decoration.

Two oils on canvas, 18th century school, representing 2 of the miracles of Saint Vincent Ferrier: the healing of an injured person and the child stricke...

Large oil painting on canvas, Rape of Europe, 18th century, more modern frame. Dimensions: 190x130cm. Good condition - used with small signs of aging & blemishes ADDITIONAL PHOTOS AND INFORMATION CAN BE REQUESTED BY EMAIL. WE SHIP WORLDWIDE, WRITE US AN EMAIL FOR A PRECISE ESTIMATE OF THE TRANSPORT COSTS. Grande dipinto olio su tela, Ratto d'Europa, XVIII secolo, cornice più moderna. Dimensioni:190x130cm. Buone condizioni - usato, con piccoli segni dell'età e macchie. Grande Peinture à l'Huile, Ratto d'Europa, 190cm, 18ème siècle. Gran Óleo, Ratto d'Europa, 190cm, siglo XVIII...

18th century Spanish Colonial School, Cuzco: Angel, oil on tin. Framed, in good condition. Rich colors of red, blue and white. Inscribed in upp...

Oval portrait Miniature on tortoiseshell of a noblewoman, probably Spanish, 17th-early 18th century. In original beautiful bronze moulded frame. Image size: 3 3/4" H x 3" W.

This is a very good Spanish Colonial, Cuzco School (Cuzqueno) painting of the Archangel Michael. The painting appears to have little or no restorations and, as such, is in remarkable condition. We have chosen to leave that painting as found as the patina highlights the depth and character of the painting. We have listed separately two complementary larger paintings of the Virgin Mary and the Archangel Michael acquired from the same estate. The Cuzco school is a Peruvian Spanish Colonial religious artistic tradition in which Incan spirituality was incorporated into Catholic iconography. These Peruvian paintings incorporate artistic forms that distinguish Cuzqueno paintings from other Spanish Colonial artistic traditions. The Jesuit order, arriving in the mid-16th century, was the principal Catholic order whose mission it was to convert the Inca to Christianity and introduce Christian iconography and European type painting techniques to the Inca capital of Cuzco. Cuzco School paintings...

An English oil on canvas hunting dog painting from the late 18th century in carved giltwood frame. Elevate your art collection with this captivating English oil on canvas painting from the late 18th century. Depicting a scene of two hunting dogs gracefully running through the rolling hills, this artwork exudes a sense of energy and movement. The overcast sky adds a touch of drama, enhancing the overall atmosphere of the painting. Presented in a carved giltwood frame, this piece showcases a horizontal format that perfectly complements the composition. The carved details of the frame further enhance the visual appeal of the artwork, adding an element of elegance and sophistication. The painting is wired in the back, making it conveniently ready to be hung in your preferred space. Whether displayed in a living room, study, or gallery, this English hunting dog...

Late 18th-early 19th century charming oil on canvas, naïve Venice scene.

La Sacra Familia 18th Century Title: La Sacra Familia Dolci, School of Florence 92 x 118 cm A truly stunning 18th Century Italian Oil on canvas of the sacred family. Super high ...

A late 18th century French painting depicting a romantic couple in a pastoral setting. Oil on canvas. Unsigned. Original gilded wood frame. Small repair to canvas in the upper left c...

Nice pastel portrait representing a young woman. Wonderful weathered wooden frame and its old glass, France, 18th century. Weathered, small losses.

Spanish colonial oil on panel painting depicting a kneeling saint or bishop being adorned with floral wreath by an angel in the upper left corner....

18th century oil on canvas, St. Joseph with Christ child. The unidentified artist who painted this bucolic scene, dominated by the figure of the sixteenth-century Portuguese monk Sa...

Antique Italian painting from the second half of the 18th century. Artwork oil on canvas depicting a portrait of a young girl, Princess with parrot, of good pictorial quality. Painti...

The crucifixion of Crist Italian school 17th or 18th century. Beautiful detail in the face and hands. The lighting makes the figure of Crist seem to glow. In a good quality later fra...

This painting comes from Polland and is over 200 years old. Oil on canvas with little restorations.: let's not forget that there were two world wars in Europe. A lovely Madonna and ...

A fine 18th century painting depicting the Virgin Mary holding baby Christ above four saints, painted in the artistic centers of Cuzco and the Altiplano re...

Attr. to Pietro Fabris (active in Naples, 1756 - 1792) Convivial scene Oil on canvas, 63 X 75 cm The canvas in question depicts a joyful banquet scene with characters dressed in traditional clothes typical of southern Italy, similar to Pietro Fabris. Much biographical information is lacking on this painter who was active in Naples between 1756 and 1792. It is assumed that he was of English origin, since he himself in many paintings is signed, next to his name, "English painter". Also appreciated in England, Fabris in 1768 exhibited in London at the Free Society and in 1772 at the Society of Artist. His vast known artistic production must therefore be included between the date of 1756, affixed to a Neapolitan scene (London, Trafalgar Galleries: see Spinosa, 1987, p. 162), and that of 1792, execution of the Pilgrimage to the sanctuary of the Madonna dell 'Arco (antiques market, formerly Matthiesen, London, published in Spinosa, 1987, fig. 410). This production includes numerous oils on canvas, gouaches and drawings, inspired by Neapolitan views and landscapes and popular scenes, festivals and costumes of southern Italy. In the initial phase, references to Carlo Bonavia and Gabriele Ricciardelli are marked, later enriched by collusions with the scenographic landscape painting of Antonio Joli...

Set in the original carved gilt frames, these beautiful antique paintings were created in France, circa 1770. The first composition titled "...

PORTRAIT OF D. MARIA BÁRBARA DE BRAGANÇA (1711-1758), QUEEN OF SPAIN Circle of Louis-Michel van Loo (1707-1771) Oil on canvas Her Royal Highness, the Infanta Maria Barbara of Braganza (1711-1758) was the first-born child of King John V of Portugal (1689-1750) and his queen consort Maria Anna of Austria (1683-1754). Born in December 1711, she had the Convent Palace of Mafra built in her honour following a vow made by her royal father. Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne. Daughter of one of the most illustrious monarchs of his time, Maria Barbara was carefully educated to become a fond admirer of the arts, and of music in particular, having had the Italian composer Domenico Scarlatti (1685-1757) as her music teacher. On the 10th January 1723 the young princess was betrothed to the Infante Ferdinand of Spain (1713-1759), eldest son of King Philip V (1683-1746). Six years later, on the 19th January, she entered her new country in a carefully choreographed ceremony that became known to history as the “Exchange of the Princesses”. This unique event took place on a specially built Bridge-Palace, a wooden, luxuriously decorated structure that included various modules and rooms, on both banks of the river Caia, the natural border between the town of Elvas in Portugal and of Badajoz in Spain. Simultaneously, on the same day that the Portuguese Infanta crossed the border to marry the Spanish Crown Prince, her new sister in law, the Infanta Mariana Victoria of Bourbon (1718-1781), her husband’s sister, crossed the same bridge in the opposite direction to marry Prince D. José, the Portuguese heir to the throne. Once married, Maria Barbara would spend 17 years as Princess of Asturias, only becoming Queen of Spain at her husband’s accession following the death of Philip V in 1746. She is portrayed in the 1743 painting by Louis-Michel van Loo (1707-1771) now in the Prado Museum, in which Philip V had himself represented with all his close family. The new Queen would take an important role at court eventually becoming the liaison between her husband and the King of Portugal, particularly throughout the negotiations for the Treaty of Madrid (1746-1750). Maintaining her interest in music, she patronized the Italian castrato singer Farinelli (1705-1782) while remaining close to her old master Scarlatti, having herself composed some sonatas for a large orchestra. She would also commission and fund the building of the Royal Salesians Monastery complex in central Madrid, where both her and Ferdinand VI are buried. The portrait we are presenting for sale shows the Queen in half-length, turning left at three quarters. She is wearing a blue low-cut dress embroidered with flowers and foliage, over a lace cuffed white blouse, and an ermine cloak pined on the left-hand side by a diamond broach. The powdered hair style is held sideways by a seven diamond and black plume headdress and topped by a small gold and pearl crown. The right arm rests on a cushion while the left hand, at chest height, holds a miniature male portrait. The Infanta’s features are analogous to the 1725 portrait by the painter Domenico Duprà (1689-1770), also in the Prado Museum collection. Further similarities can be found in another portrait by Louis-Michel van Loo, in which a seven diamond and black plume headdress is also present. In this work, the cushion supporting Maria Barbara’s right arm has also some obvious similarities to our painting. The same diamond headdress reappears in Van Loo’s above-mentioned portrait of Philip V’s family dated from 1743. It is nevertheless in Lisbon’s Ajuda National Palace that it is possible to find an almost identical depiction of the Infanta holding a miniature portrait of her husband. In it, the future Ferdinand VI is portrayed facing right at three quarters and wearing a curly wig, suit of armour, the golden fleece insignia and a blue band, in a composition that closely resembles an 18th century Spanish school painting that appeared in the art market in January 2016. Another detail common to various portraits of the Portuguese Infanta and Queen of Spain is the small gold and pearl crown on her head. In another Van Loo painting, also from the Prado Museum, in which Maria Barbara is portrayed as Queen, this crown is represented together with a headdress similar to the one previously described. Another two paintings by the same artist, at the Royal Academy of Saint Ferdinand, include the same ornament. We must also refer the paintings by the artist Jean Ranc (1674-1735). In one, dating from 1729 (Prado Museum), the Infanta is depicted outdoors holding a flower bouquet and wearing a yellow silk dress with red cloak, and a set of diamond and ruby jewellery that includes a headdress similar to the one present in our portrait. Another work by the same artist, belonging to the Complutence University of Madrid, depicts the Infanta sumptuously dressed in identical colours to our painting and wearing an elaborate headdress and diadem. These portraits, beyond their iconographical importance as contemporary records of the Infanta and Queen Maria Barbara, are also illustrative of 18th century fashion for jewelled head dressing. Often, flowers were combined with joyful adornments, composing almost theatrical displays that would reinforce the ostentatious nature of the image. The ornamental flowers and the chromatic character of the jewels would complement the luxury of the colourful dresses in blue, crimson, green or other silk shades, in compositions whose sole purpose was to highlight a royal sitter’s wealth and power, becoming an essential statement accessory within the strict court protocols and codes of conduct. Circle of Louis-Michel van Loo (1707-1771) Slowly but steadily, the resolute, tranquil and dignified attitude of Renaissance and Baroque portraiture becomes artificial and presumptuous. Mid 18th century society favours elusive expression and psychological deepness, albeit limited to the face, that, with emphasis on detail, on the rich colour palette and on changing costumes and landscapes, associated to the courtliness of gestures, creates a strongly artificial environment while maintaining a highly poetic intrinsic character. Louis-Michel van Loo followed a dynasty of famous Dutch origin artists that had settled in France. Initially taught by his father, Jean-Baptiste von Loo (1684-1745), the younger van Loo studied in Turin and Rome and frequented the Paris Academy. In Rome he worked with his uncle Charles-André van Loo (1705-1765) and become a painter for the Turin Court. In 1737 he arrived in Spain being summoned by Philip V to succeed Jean Ranc as painter of the king’s chamber. In Madrid, his work covers the numerous Court commissions and the Royal Saint Ferdinand Fine Arts Academy, of which he was a founding member and director for the Painting department in 1752. Is production at court consisted essentially of numerous portrait paintings, often Royal gifts...

Portrait Of A Nobleman 18th century PORTRAIT OF AN 18TH CENTURY NOBLE ELEGANT AND LARGE PAINTING WITH THE PORTRAIT OF AN 18TH CENTURY EUROPEAN ...

Important old-master painting, 18th century. Measurements: With frame: H. 65 W. 57 D. 5 cm Without frame : H. 48 W. 42 cm With frame: H. 25.5 W. 22.4 D. 1.9 in Without frame : H...

Death of Socrates, oil on canvas, Unsigned, 18th century possibly Italy.

18th century continental eglomise painting of St John the Baptist preaching. Eglomise is a method of reverse painting on glass. In a go...

ATTRIBUTED TO JOHN SMITH OF CHICHESTER England, 1717-1764 "The Second Premium Landscape, a copy" oil on canvas unsigned, attributed posthumously verso in pitch "jno Smith of Chich...

Oriental style portrait by Giuseppe Angeli (attr.) - XVIII century This Oriental-style portrait of a man was attributed to the Italian Giuseppe Angeli (Venezia, 1709 – Venezia, 1798...

Pair of two oil paintings on canvas depicting landscapes with figures. Veneto, 18th century Good state of conservation.

David Kleyne (1753- 1805) Dutch painter, oil painting seascape with ships David Kleyne (1753- 1805), Dutch painter, draftsman, pen artist, etcher. A beau...

"An impressive early 18th century Dutch School portrait of Carolina Cornelia De Wille, circa 1714. The oval oil painting is on canvas and feat...

A wonderfully painted oil on canvas by George Morland depicting a moment of life in a cottage on a snowy winter day. Signed lower right. George Morland (26 June 1763 – 29 October 1804) was an English painter. His early work was influenced by Francis Wheatley, but after the 1790s he came into his own style. His best compositions focus on rustic scenes: farms and hunting; smugglers and gypsies; and rich, textured landscapes informed by Dutch Golden Age painting...

An exceptional, museum quality very large 18th century Greek icon of the Pentecost. Egg tempera and gold leaf on wood, primed with gesso. Attributed to Mount Athos...

Piedmontese painter of the second half of the 18th century Two "Still Lifes with composition of flowers, fruits and mushrooms" Measurements: Frames: cm W 63 x H 74 x D 8.5 frames...

Antique painting, Flemish, flowers, Banks after Van Huysum Oil painting on canvas, from the 18th century, depicting a refined floral composition, made by a follower of Van Huysum, B...

Fete Galante Scene from 18th century Piedmont-School. Bamboo inlay collage on canvas in carved antique frame. Net size: 40 x 49 cm Size with frame: 53 x 61.5 cm

Giovanni Domenico Molinari (Caresana, 1721 - Turin, 1793) Lying Female figure Oil on canvas, cm 46 x. 31 - With frame, cm 56 x 42 The present painting is connected by style and treated subject, in this case a young girl lying in an idyllic landscape, to the production of small pictures of pastoral subject of the Piedmontese painter Giovanni Domenico Molinari (Caresana, 1721 - Turin, 1793). Molinare was born in Caresana (Vercelli) on 19 July 1721 but after losing both his parents he moved to Turin. Here he became, from 1736, a pupil of the Academy of Drawing founded by the painter Claudio Francesco Beaumont (Turin, 4 July 1694 - Turin, 21 June 1766) where he remained as a pensioner until December 1755. Molinari was immediately engaged in the translation of the master’s sketches on cardboard used for the Regia manufacture of tapestries. His early success on the Turin art scene is confirmed by the fact that he joined the Compagnia di San Luca in 1756. In 1751 he married Margherita Peiroleri, whose brothers Pietro (engraver) and Nicolò (painter) also attended the school. Remained widower count two other marriages first with Lucrezia Elisabetta Burzio and then in 1770 with Domenica Maria Ferrero. On the death of the master in 1766 Molinari, considered by his contemporaries to be the most faithful interpreter of the master and for his elegant and Arcadian style, which clearly interprets the aesthetic taste of the court, was called to finish the works that remained unfinished, such as the altarpiece for the church of Santa Maria della Scala in Moncalieri depicting the Assumption venerated by Blessed Bernard of Baden and Saint Anthony. Molinari was also well praised by critics and Abbot Lanzi highlighted the quality of the production of historical and mythological subject for the rigorous post-marattesco classicism. In Turin he worked for Vittorio Amedeo III of Savoy as a portrait painter, executing for him eleven canvases (between 1774 and 1775), but, since 1745, he also supplied tapestry cartoons to the local Fabbrica, of which, in 1766, he became director. The production of paintings of sacred subjects is also lively, especially used in the decoration of the churches of the capital as the Assumption for the Hotel of Virtue and San Pietro Regalado and San Benedetto il Moro for Santa Maria degli Angeli ( Torino) He also painted tempera and oil cartoons for the same church, on the occasion of the beatification of Pacifico da San Severino (1787) and, for that of San Francesco di Paola, when Gaspare de Bono...

Antique Italian painting from the 18th century. Artwork oil on canvas depicting a religious subject, The sacrifice, of good pictorial quality. Painting of good size and pleasant furn...

Exquisite antique Arcadia Scene with Shepherds, by flemmish painter Jan Frans Beschey (Antwerp, 1717-1786). Signed bottom left: J. F. Beschey In antique carved wood frame. Net siz...

This magnificent early 18th century painting of an Angel Arcabucero. In eighteenth century Peru, extraordinary depictions of ángeles arcabuceros or an...

Large oil painting on canvas depicting the Madonna with Child and San Giovannino within a carved and gilded wooden frame. The subject is particular as it leaves the classic canons of the representation of Maternity by presenting a Madonna without a halo. Attributable to the School of Giovanni Battista Salvi...

Beautiful oil painting on canvas depicting a winged putto with a tree background, grape branches and fruit. Within a molded frame in gilded wood, typical manufacture attributable to...

Still life with copper crockery, bottle and majolica. Emilian school, 18th century On the top of a table there are some copper crockery for daily use, an excellently painted gl...

This antique stunning portrait of Madonna in Sorrow came out from a Palazzo in Florence and an absolute eye catcher. The colors and details are incredible and very typical for an Ita...

Delightful 18th century Roman school representing a view of Rome fixing the "ponte Rotto". Painted in an architectural style of the best craftsmanship, this charming animated composi...

A rare 18th century painting of Virgin Mary, painted for a Spanish Colonial travellers, most probably in the artistic centers of Cuzco and the ...