Early 18th Century Animal Paintings

This fine early 18th-century half-length portrait depicts a young lady wearing a silk wrapping gown in chartreuse over a white linen smock. She’s presented in a feigned oval. Probab...

This charming early 18th-century Dutch oil painting depicts a dappled grey being shod by a blacksmith amid a lively crowd of figures. Wouwerman was a master of composition with every...

The Dutch Market Early 1700's Dutch School Oil on canvas: 43" x 57.5" (109.2 x 146.1cm) in ornate gilt frame condition: very good for its age, relined canvas and ready to enjoy. pro...

Attributed to Thomas Murray (1663 - 1735) Scottish-born Murray moved to London and studied with a member of the De Critz family before becoming a pupil of eminent portraitist John R...

18th century follower of Rosa da Tivoli ( German artist active in Rome and Tivoli in the second half of XVII century). Shepherd with dog and animals. Oil painting on canvas. Re...

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, i...

‘Scene on the Thames - Moonlight’ by John Berney Crome (1794-1842). The painting – which depicts Windsor Castle and the River Thames under a harvest moon – is signed by the artist and was exhibited at the Royal Society of British Artists in 1837. All our paintings are sold in the finest condition they can be for their age having been professionally cleaned, conserved and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. John Berney Crome was taught by his father, the important early English landscape artist and a founder of the Norwich School, John Crome (1868-1821). John Berney Crome specialised in moonlit landscapes of England, France, Holland, and Italy. Between 1811 and 1843 John Berney Crome exhibited seven works at the Royal Academy, fifty-five at the Society of British Artists, and thirty-five at the British Institution. The work being sold here was directly inspired by Abraham Pether...

Attributed to Charles D’Agar (1669-1723). Portrait of a young boy, full-length, standing in a landscape, wearing a red coat with silver buttons, a silver waistcoat and breeches, whit...

The Shepherdess Italian School, circa 1700's oil painting on canvas, unframed canvas size: 25 x 31 inches condition: relined and former restoration, very presentable and in good cond...

A portrait of Elizabeth Bellenden, three-quarter length, wearing an ivory silk gown, the bodice trimmed with jewels, her hair dressed with pearls, standing on a classical terrace of a country estate (quite possibly the family owned Pontrilas family estate in Herefordshire) her outstretched hand about to pat the head of her spaniel seated beside her on a red velvet cushion on a plinth. Signed lower right 'Vanderbank Fecit'. Circa 1735. Stencil mark on the stretcher on the reverse. Oil on canvas in a carved wood and gesso frame. Provenance: Christie's London, British Pictures, 24 November, 1998, lot 16 Elizabeth Bellenden was the daughter of James Bellenden, the son of John, the 2nd Lord Bellenden and so directly related to the Dukes and Earls of Roxburghe. She was married to John Jackson who was the Governor Elect of Bengal but who sadly died in 1748 before taking up his new position. They had two daughters, Mary (known as Molly) and Elizabeth. Her second husband was Edward Kelly of Dublin. This charming composition follows in the tradition of celebrating beloved canine companions by featuring them in portraits alongside their owners. From the 17th century, the popularity of the spaniel had grown in England amongst the wealthy and upper classes and in art the pet dog was often used to symbolise the traits of loyalty and fidelity in marriage. As Elizabeth is seen here wearing white, with rings on her fingers, this may have been a portrait commissioned to celebrate her recent engagement or marriage to John Jackson. . John Vanderbank (1694-1739) was born in London, the eldest son of John Vanderbank Senior who was the owner of the Soho Tapestry Manufactory. He was one of the first students at Godfrey Kneller's academy, later taken over by Sir James Thornhill. In 1720 Vanderbank opened his own academy with Louis Chéron, holding life classes with both male and female models, but in 1724 fled to France to avoid debtors prison. George Vertue ( Vertue, notebooks, 3.98) noted that 'he liv'd very extravagantly, keeping a chariot horses a mistress drinking and country house a purpose for her'. In Vertue's opinion, ( Vertue, notebooks, 5.98) after Kneller's death, Vanderbank could have been the leading portrait painter of his day had he not lived so extravagantly. Vanderbank's portraits are distinguished by his rich use of colour, particularly in the flesh tones. His sitters included Sir Isaac Newton...

An early 18th century painting of an animated scene of various birds, ornamental fowl and ducks who are alarmed by the seemingly nonchalant bird of prey flying overhead. Oil on canvas in a period giltwood frame. Provenance: Private collection Suffolk, UK With art dealers Joan and Ivor Weiss Marmaduke Cradock (Somerset 1660-London 1716) was an English painter of birds and other animals. Horace Walpole wrote that 'I have seen some pieces by his hand which he painted with a freedom and a fire that entitles them to more distinction'. According to Walpole, Cradock deliberately shunned aristocratic patronage. 'He worked in general by the day, and for dealers who retailed his works; possessing that conscious dignity of talent which made him hate to be employed by men whose birth and fortune confined his fancy, and restrained his freedom'. His work was heavily influenced by other painters of birds such as Melchior d'Hondecoeter, Pieter Casteels and Jacob Bogdani...

18' century Still-life oil on canvas with Fruit and Flowers in a white and blu plate with monkey and rabbit, background with landscape by Felice Rubbiani . Parcel- gilt and ivory ...