Art by Medium: Oil

What is so wonderful and unusual about this 18th Century portrait is the relatability of the sitter. There is an openness to the world in his gaze, curiosity, a sense of humour, pass...

Enoch Seeman Oil on Canvas Canvas Size: 30 x 25" (76 x 64cm) Outside Framed Size: 37 x 32" (94 x 82cm) He was born in Danzig, now Gdansk, Poland, around 1694. His father, also En...

Francesco Tironi (Venice 1745 - Venice 1797) - Venetian landscape with shepherds and herds. 95 x 130 cm without frame, 107 x 140 cm with frame. Ancient oil painting on canvas, in a...

This charming 18th century Old Master cartouche portrait oil painting is attributed to the circle of Philip Mercier. Painted circa 1740 the composition is a three quarter length portrait of a young girl holding a wicker basket of flowers. She is clothed in a white dress and beautiful blue silk shawl and is situated in a landscape. A very lovely British Old Master portrait oil painting. Provenance. Christies. Condition. Oil on canvas, 30 inches by 25 inches and in good condition. Frame. Housed in an ornate gilt carved 18th century frame, 38 inches by 33 inches and in good condition. Philippe Mercier (also known as Philip Mercier; 1689-1760) was a French painter and etcher, who lived principally and was active in England. He was born in Berlin of French extraction, the son of a Huguenot tapestry-worker. He studied painting at the Akademie der Wissenschaften of Berlin and later under Antoine Pesne, who had arrived in Berlin in 1710. Later, he travelled in Italy and France before arriving in London—"recommended by the Court at Hannover"—probably in 1716. He married in London in 1719 and lived in Leicester Fields. He was appointed principal painter and librarian to the Prince and Princess of Wales at their independent establishment in Leicester Fields, and while he was in favour he painted various portraits of...

A delightful large oil on canvas of a wooded landscape which dates to circa 1830 and is attributed to Irish artist James Arthur O’Connor. A superb painting and an excellent example o...

Felice Boselli (Piacenza 1650 - Parma 1732) - Shepherd with flock and game. 155 x 112 cm without frame, 170 x 126 cm with frame. Oil on canvas, in a faux marble lacquered wooden frame. The painting has stylistic affinities with "Game with children playing with a dog" (Parma, Galleria Nazionale) and with the pair of paintings "Old man and girl...

Oil on layered paper Image size: 10 1/2 x 8 1/4 inches (26.5 x 21 cm) Contemporary swept frame This is an eighteenth century portrait of a...

This stunning Old Master 18th century portrait oil painting has previously been attributed to Sir Peter Paul Rubens. Indeed the sitter, Helena Fourment or Hélène Fourment (11 April 1614 – 15 July 1673) was the second wife of Baroque painter Rubens...

Venetian painter (18th century) - Sketch for Venus and Chronos. 59 x 43 cm without frame, 70 x 54 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden frame...

This compelling portrait, recently studied by Stéphane Pinta of the esteemed Cabinet Turquin in Paris, has been confidently attributed to the Austrian painter Matthäus (Matthias) Lod...

Maid Carrying Roses, 18th Century attributed to Antonio ROTARI (1707-1762) Large 18th Century Italian portrait of a young maid carrying...

Pierre-Antoine Demachy (Paris 1723 - 1807) Architectural capriccio oil painting on canvas 92 x 70 cm Criticism and expertise of Prof. Giancarlo Sestieri (Rome [...] With regard to ...

This stunning 18th century Dutch Old Master Golden Age floral oil painting is attributed to a circle of Simon Pietersz Verelst. Painted circa 1720 it is a still life floral of a mixe...

This exquisite early 18th-century French still life depicts a bouquet of vivid blooms set in an urn-shaped glass vase. It’s reminiscent of flower pieces by the French painter, Charle...

A charming study of a determined looking woman seated on a bench surrounded by woven baskets. One hand propped on her him and another through the handle of her basket, she looks to the right with an intense stare. The artist depicts her on a street lined with tall continental buildings on a summer's day. Painted in a style influenced by 18th century artist...

Como pueden apreciar, la obra no va firmada, es de autor anónimo Se presenta sin enmarcar la pintura El estado de la obra se puede ver, presenta varias faltas de pintura y precisar...

Francesco Zuccarelli (Pitigliano 1702 - Florence 1788), circle of Landscape with river and resting shepherds First half of the 18th century   oil painting on canvas cm. 60 x 93, within a carved and gilded wooden frame cm. 75 x 108 This delightful landscape view animated by a family of shepherds who rest from their daily duties should be compared to the hand of Francesco Zuccarelli (Pitigliano 1702 - Florence 1788); In the landscapes painted by Zuccarelli the world is crystallized, frozen in a moment of idyllic quiet, where the 'Arcadian' sense of the landscape is rendered with that pictorial vivacity, chromatic lightness and compositional grace that we find in its entirety in his painting. By way of comparison we can compare our canvas to other compositions, including: - Landscape with river and resting shepherds, Accademia Carrara, Bergamo - Landscape with bridge and horseman, Accademia Carrara, Bergamo - Landscape with river, village, fisherman and shepherdesses' (Christie's, London May 1960, - Landscape with figures, Accademia Carrara, - Landscape with knight and figures, Accademia Carrara Tuscan by origin, Francesco Zuccarelli trained first in Florence with the landscape architect Paolo Anesi...

William Marlow (1740 - 1815) A bridge over river Oil on canvas  Inscribed, 'William Marlow' to old label verso Provenance: J. Palser & Sons, 27 King Street, London Dimensions: (Fra...

French painter (18th century) - Joseph thrown into the cistern by his brothers. 84 x 105 cm. Old oil painting on canvas, without frame. Condition report: Lined canvas. Good state ...

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...

Coastal view at sunset with fishermen and boats Atelier of Charles François Grenier De Lacroix, called de Marseille (Marseille 1700 - Berlin 1782) Oil on canvas 50 x 62 cm. - in fra...

Portrait of a Small Dog, 17th/18th Century circle of FRANCESCO FIERAVINO (1611-1654) 17th / 18th Century Italian School portrait of a small dog resting on a cushion, oil on canvas....

This superb Old Master 18th century figurative landscape oil painting is by noted French born artist Philip James Loutherbourg. who settled in England in 1771. The painting has good ...

George Smith of Chichester (1714-1776) Landscape with goatherds near a waterfall Oil on canvas Signed 'Geo. Smith' lower left Canvas Size 18 x 25 i...

Circle of Giambattista Piazzetta (Venice 1683 - Venice 1754) - San Tommaso. 62.5 x 52.5 cm without frame, 72.5 x 62.5 cm with frame. Antique oil painting on canvas, in a contempora...

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...

Still Life Of Flowers in a Glass Vase including, Roses Chrysanthemums, Pinks 17th Century Large 18th Century Dutch old Master still life study of various flowers in a vase, oil on canvas. Magnificent study of various flowers including Roses Chrysanthemums, and Pinks in a glass vase beside peaches and grapes in a stone niche...

Follower of Jacob de Wit 1695-1754 Venus and Cupid Oil on panel Image size: 7 ¾ inches x 11 ¾ inches Gilt frame A charming example of trompe-l'œil, this painting is abrim with...

A portrait of a lady three-quarter length, seated in an interior, wearing a red silk gown draped in a pink silk sash with an exotic bird perched on her hand and one arm resting on a stone plinth, her young daughter wearing a green silk gown standing at her side. Oil on canvas, housed in a period 'Lely' giltwood frame. This double portrait was painted at the height of Dahl's career in circa 1715 when Dahl had become firmly established as one of the leading portrait painters in Britain. Although the identities of the sitters are currently unknown, it is a sensitive depiction of a close and affectionate bond between a mother and daughter, with the young girl's hand resting affectionately on her mothers lap. The tamed exotic bird adds a charming decorative element which also serves to convey the high social status of the lady, given only the very wealthy would be able to own such a rare and expensive pet and the lively colouring of the bird's feathers is reflected in the colours of the sitters' silk gowns. Provenance: Private collection, London Michael Dahl (Stockholm 1659-1743 London) was born in Stockholm in Sweden and studied under Martin Hannibal (d 1741) and later with David Klöcker Ehrenstrahl. In 1682 he travelled to London, where he became acquainted with Godfrey Kneller and Henry Tilson, and in 1685 he left for Europe with Tilson, working briefly in Paris before continuing to Venice and Rome, where they stayed for about two years. In Rome Dahl converted to Roman Catholicism and gravitated towards the circle of Christina, former Queen of Sweden, who sat for him (Grimsthorpe Castle, Lincs). He returned to England with Tilson via Frankfurt and arrived in London in 1689, staying in England for the remainder of his career. During Dahl's absence, Kneller had consolidated his supremacy in London as the most fashionable portrait painter, but Dahl rapidly became Kneller’s closest competitor. His patrons probably had roots in the Swedish diplomatic circles, but it expanded as a result of his ability and his agreeable personality. His prices were lower than those of Kneller and he favoured softer, more diffused, colour tones and could respond to his sitters with sincerity and humanity. Politically, Kneller supported the ascendant Whigs while Dahl was a Tory, but they frequently painted the same sitters from both parties, and in spite of fundamental differences in technique and temperament, their work was sometimes similar in appearance. Dahl was prolific but rarely signed his work, and comparatively few of his portraits were engraved in mezzotint, the method used by Kneller to widen his reputation. By 1690 he had painted the aged Duke of Schomberg (engraved by William Faithorne) and Prince George of Denmark (London, Kensington Palace). He was ignored by William III but received commissions from Princess Anne, including one for a portrait of herself (Oakly Park, Ludlow, Salop). He also painted the future Duke and Duchess of Marlborough, and his informal portrait of the Duchess (Althorp House, Northants), formerly attributed to Kneller, is perhaps the most intimate of all images of her. During the 1690s he secured the patronage of Charles Seymour, the ‘Proud’ 6th Duke of Somerset, who ordered a series of seven full-length portraits of notable contemporary beauties from Dahl (1690s; Petworth House, W. Sussex, NT). This was originally a scheme similar to Kneller’s more famous ‘Hampton Court Beauties’, but the portraits were subsequently reduced to three-quarter-length formats. The features of the sitters are not individualized, but they possess a decorative, languorous glamour that recalls Lely rather than Kneller. Somerset gave Dahl further employment over the next 25 years. In 1698, following the death of Klöcker Ehrenstrahl, Dahl was offered the post of court painter at Stockholm, which he apparently refused, preferring to remain in London at his studio in Leicester Fields, near the Swedish legation. In about 1700 he was joined by a young compatriot, Hans Hysing, who worked with him for many years. Dahl seems not to have married until after 1708, He had a son Michael (d. 1741), also a painter, of whose work nothing is known, and two daughters. After the accession of Queen Anne in 1701, she and Prince George sat for a number of official portraits. His royal patronage ceased with Queen Anne’s death, and when Dahl refused to paint the infant Duke of Cumberland in 1722. He was suspected of Jacobite sympathies, and relations had cooled between him and the Swedish legation. However, his practice continued to prosper, and he acquired another important patron in Edward Harley, 2nd Earl of Oxford, who shared his political views and whose circle included the architect James Gibbs and the poets Matthew Prior and Alexander Pope, all of whom Dahl painted. Oxford commissioned several portraits of himself. In the earliest (1719; Welbeck Abbey...

Although we have little bibliographical information on William James, we know that he was trained by Canaletto during the painter's stay in England between 1746 and 1755. Although he may never have been to Venice, William James remained under the influence of his master for a long time and became known for his paintings inspired by Canaletto's artworks. In this painting, William James is inspired by one of the twelve views of the Grand Canal painted by Canaletto for Joseph Smith, or more precisely by the engraving made by Antonio Visentini in 1735 after this painting. He delivers a very personal version, vibrant with colours, in which he brilliantly reproduces the moving surface of the sea, animated by the ever-changing traffic of the gondolas. 1. William James, the English follower...

The Royal Hunt, 18th Century attributed to JOHN CORDREY (1765-1825) Large 18th century English scene of The Royal Hunt, oil on panel attributed to John Cordrey. Excellent quality a...

This lovely Old Master portrait oil painting is attributed to the circle of Michael Dahl. Painted circa 1710 the sitter is Rachel Missing, wife of Roger Hogg of Newliston, near Edinb...

Work on wood Molded frame in plaster and gilded wood 65 x 57 x 8 cm

Oil on Canvas. Central European school of the late 1700s. The large painting depicts a rural landscape, with a peasant dwelling on the left, the shepherdess in the left foreground wa...

Andrea Locatelli (Rome, Italy, 1695 – 1741) Title: Landscape with fisherman Medium: Oil on canvas Dimensions: Without frame 27 x 28.5 cm – with frame 35 x 47.6 x 3.5 cm Expertise b...

Portrait Of Marie Leszczyńska, Queen Of France (1703-1768), 18th Century Circle of JEAN-MARC NATTIER (PARIS 1685-1766) 18th century French School p...

Portrait of a young lady By Henri Millot (Paris, active between 1699 and 1756) Signed "peint par h. millot" and dated 1706 on the entablature Oil on canvas: h. 81 cm, l. 64 cm A Loui...

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

Signed lower right - Julius Caesar Ibbetson (1759 – 1817). The majority of Ibbetson’s Lakeland scenes were painted to order after he had moved away to Yorkshire, and therefore lack the immediacy of the present canvas. This work is painted, with his own, inimitably pleasing style. Antique oil painting on wood panel...

Antique Italian painting from 18th century. Framework oil on canvas, on the first canvas, depicting a view with characters, animals and ruins of good pictorial quality. Large size fr...

Hunting Trophy with Mallard Duck – Circle of Baldassarre de Caro (Naples, 1689–1750) Italy, second half of the 17th century – very early 18th century Oil on canvas, relined Dimension...

Half Length Portrait of Mr. Robertson Sir. Henry Raeburn ( Scottish 1756 - 1823 ) Half Length Portrait of Mr. Robertson 29x 24 Purchased, J Leger & Son,...

Pair of late 18th Century french oil paintings, representing the story of Susanna and the Elders & The Marriage of the Virgin.

Thomas Burford (British, c. 1710-1779) Hare coursing outside a country house Oil on canvas Property of a gentleman From the collection of Peter Roe Dimensions: (Frame) 12.5 in. (H)...

Work on paper mounted on wood 35.5 x 45.5 x 2 cm

Circle of Jan van Huchtenburg Landscape Scene with a Soldiers Camp Oil on Canvas, 41 x 55 cm Soldier Camp Life Scene together with a wonderful golden Frame

Antique Rococo Oil Painting, around 1800, Royal Dance in the Garden Oil on canvas. Canvas relined. Stretcher renewed. Dimensions are without fra...

A superb British Old Master oil painting which is attributed to circle of William Hogarth and was painted circa 1760. This fine oil painting is in ...

Portrait of Johann Quantz (1697-1773), flautist and composer, wearing a blue velvet coat, waistcoat and breeches, standing in a garden landscape with ...

Rare pair of portraits from the second half of the 18th century. Oil on canvas artworks depicting two splendid male figures, a hunter with his dog and a player with a stringed instru...

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...

The painting depicts James (Jacques) Dalbiac, his wife Louise (ne de la Porte) and their five children, James, Charles, Louise, Marianne and Martha in the ornamental gardens of a grand country estate. The extensive gardens extend into the distance with gardeners working in the background and figures strolling through the avenues of trees. A peacock and peahen can be seen on the wall to the left and a potted orange tree to the right. Louise Dalbiac holds an orange taken from the orange tree, aluding to the family's faith and their loyalty to the protestant King William of Orange and their adopted country. The Dalbiacs were wealthy London silk and velvet merchants of French Huguenot origin who had fled France at the end of the 17th century to escape persecution for their protestant faith. England offered safe refuge and their skills and industriousness allowed them to establish one of the most successful businesses in London's Spitalfields which became a new centre of the silk trade, effectively leading to the collapse of the once dominant French silk industry. Both sons, James and Charles followed their father and Uncle into the family business, successfully growing the family's fortune and each going on to own their own country estates. A conversation piece is a genre of painting used to describe group portraits of families and friends, often depicted with their servants and family pets and set within an elegantly furnished interior or the garden of a grand country house. They were a celebration of the intimacy of family relations as well as a sign of status, property and the power of succession. The informality of conversation pieces grew popular in 18th century England, allowing the sitters to present themselves in a more relaxed pose, perhaps engaged in intellectual conversation or showing their talents or interests. In this present portrait, the Dalbiacs are shown richly dressed and and at leisure in a grand country house setting, conveying their success and cultural and social aspirations. Charles Philips (c.1703–1747) was an English artist known for painting a number of portraits and conversation pieces for noble and Royal patrons in the mid-eighteenth century. He was the son of portrait painter Richard Philips...

Self Portrait Of Sir Joshua Reynolds (1723-1792), 18th Century English School Large 18th Century English Self portrait of painter Sir Joshua Reynolds, oil on canvas. Excellent qual...

Jacob Fabris (Venice, 1689 - 1761) Architectural Capriccio with ancient classical ruins Oil on canvas cm. 56 x 112 with frame cm. 77 x 130 Expertise of Prof. Emilio Negro (Bologna) ...

Oil on Canvas. The painting offers a half-length portrait of a young man in deshabillé who is lighting his pipe by drawing fire with a stick from the candle placed in front of him o...

Jan Thomas van Kessel 1677-1741 Flemish A Peasant Country Scene Signed (lower left) Oil on canvas A quintessential example of Flemish genre painting, A Peasant Country Scene refl...

Hyacinthe RIGAUD (Perpignan 1659 - Paris 1743) School of Portrait of a gentleman in armour: Monsieur Jean Francois Raymond de Lasbordes, Regimental Officer of the Landes, as well ...

Original Oil on Canvas, probably of Dutch School, of the mid-18th Century. Wood Lable attributing the work to E. Williams Senior. Small restoration, otherwise very good condition.