18th Century Figurative Paintings

Dipinto antico olio su tela raffigurante ritratto di Maria Giovanna Battista di Savoia Nemours con cornice in legno dorato coeva allo stesso. La nobildonna di alta estrazione social...

In questa “Madonna col Bambino”, Francesco Solimena esprime diversi elementi della sua poetica con una delicatezza pienamente rococò. Il pittore campano, variando i toni del chiaros...

Portrait of a Lady English School, 18th century oil on canvas, unframed canvas : 31 x 25 inches provenance: private collection, UK condition: good and sound condition

Artist/ School: Italian School, early 18th century Title: Mary Magdalene attended by Cherubim Medium: oil painting on canvas laid on board, framed Size: painting: 34cm x 49cm ...

Antique oil on canvas painting depicting the mystical marriage of St. Catherine. The work is rich in iconographic invention and intoned in full-bodied, ringing colors, with effects ...

Antique oil on canvas painting depicting Madonna and Child with gilded and carved wooden frame. Mary is depicted according to classical iconography, holding Jesus in her arms. Jesu...

Portrait of an Aristocratic Gentleman British artist, first half 18th century oil on canvas, unframed canvas: 50 x 40 inches provenance: private collection, Dorset, England condition...

DESCRIPTION OLD MASTER OIL PAINTING 18th CENTURY Scottish School FINE DETAIL GOLD GILT FRAME NEW COLLECTION Of RARE PIECES OF Scottish HISTORY Description ( Late 18th centur...

Portrait of a Clerical Gentleman Italian artist, mid 18th century Circle of Giovanni Battista Carboni (1725-1790) oil on canvas, unframed canvas: 26 x 22 inches provenance: private c...

Stormy Seas English School, 18th century oil on thick wood panel, unframed panel: 25 x 30 inches provenance: private collection, East Anglia, England condition: very good and sound c...

Amazing works of the genre scene, dates to the late 18th century. After the famous French artist Francois Boucher, who was the court painter to King Louis XV. It is in its origina...

Portrait of a Gentleman French School, 18th century oil on canvas, unframed canvas : 25 x 20 inches provenance: private collection, France condition: the painting is in sound conditi...

The Allegorical Winged Nude Lady, adorned with the attributes of Spring French School, 18th century (Rococo period) oil painting on canvas, unframed canvas: 30 x 52 inches provenance...

Oral Expertise by Lisa Greaves. Hendrick Govaerts' work takes place between two centuries: between the end of the 17th and the beginning of the 18th century. Flemish by origin, his ...

Artist/ School: Manner of Guido Reni (1575-1642) Italian Title: The Prophecy of Simeon Medium: oil painting on canvas, unframed Painting: 21.5 ...

Antique oil on canvas painting depicting the mystical marriage of St. Catherine. The scene takes place in the foreground, and the Madonna is seen holding the Child toward St. Cather...

Antique oil on canvas painting depicting The Immaculate Virgin and Jesus "Hunter." Mary Immaculate is depicted with Jesus in her arms killing the serpent with the cross,indicating t...

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 (around 90 cm hig...

Nicolas de LARGILLIERRE (Paris 1656 – 1746) Portrait of a woman, presumed to be Marie-Anne de Bourbon, Princess of Conti (1666-1739) Oil on oval canvas H. 80 cm; L. 61 cm (107 x 91 c...

Antique oil on canvas painting depicting Venus and Adonis. The painting depicts in a sublimated atmosphere the death of Adonis, the young man loved by Venus, who was mortally wounde...

Pair of very decorative Italian Still-life paintings of flowers with vases and classical figures . 18th century, oil on canvas, with original gilt-wood frames. This pair is an exce...

Antique oil on panel painting of the Lombard school depicting Pentecost. This lively 18th-century painting depicts in a very scenic way the Gospel episode of Pentecost, or the Desce...

The Penitent Magdalene French School, 18th century oil painting on canvas, framed canvas: 30.5 x 25 inches framed: 39 x 33 inches condition: exc...

This pair of excellent Italian still life oil on canvas with flowers and fruit with classical ruins on the background and colored drapes create harmony of the composition. Notable ...

Domenico Olivero (Turin, August 1, 1679 - January 13, 1755) Game of bowls Oil on canvas, 43 x 65 cm With frame, 54.5 x 76 Expert opinion Prof. Alberto Crispo The painting shown here depicts peasants playing bowls near a farmhouse, while one of them offers sweets to a little girl. The canvas, in my opinion, can be traced back to the hand of Pietro Domenico Olivero (Turin, August 1, 1679 - January 13, 1755), as revealed by comparisons with other works by the artist, such as the Peasants' Feast already at the Gilberto Zabert Gallery in Turin, where we find an entirely similar layout, with the figures crowded around the building, placed on the left, and some household goods piled up on the right, including a copper cauldron almost identical to the one sketched in our painting. But see also other similar subjects painted by the Turin-based artist, such as the Game of Bowls already at the Cantore Gallery in Modena or the other version on the Genoese market in 2019, which, although radically different compositionally, confirm the painter's interest in playful themes and manifest the same ways in delineating characters, with synthetic and robust brushstrokes. The artist was born in Turin, in the parish of St. Thomas, on August 1, 1679 to Giovanna and Francesco, a carver by profession. He trained at the workshop of the painter and architect Melchiorre Baldassarre Bianco. He was esteemed by Victor Amadeus II of Savoy, who commissioned paintings for the Venaria Reale (1714), the Royal Palace of Turin (1716), and Rivoli Castle (1724), as well as by his ministers Pietro Mellarède and Carlo Vincenzo Ferrero di Roasio marquis of Ormea whose collections counted many of the painter's works. His success on the Turin art scene earned him election as prior of the Accademia di San Luca in Turin (1726). In 1731 he painted the eleven canvases with Stories of Franciscan Saints in the sacristy of the church of St. Thomas in Turin, while in 1734 he made the Marriage at Cana for the sanctuary of Oropa. The Savoy commissions continued with the ten canvases executed for the castle of Agliè (1737), the decoration of the third room of the New Archives in the Royal Palace of Turin (1739-41), and the thirty or so works for the hunting lodge at Stupinigi (1748-51). The painter also measured himself in designing sets for the Teatro Regio in Turin (1745-46). He made his will on November 15, 1754, and died in his hometown on January 13, 1755. Olivero's genre scenes, such as the one commented on here, reveal a focus on Flemish painting, particularly by David Teniers the Younger, Peter Mauritz Bolckman, Theodor Helmbreker, and Cornelis de Wael, as well as Roman bamboozlers such as Pieter van Laer, Michelangelo Cerquozzi, and Jan Miel...

Portrait of an Aristocratic Gentleman in his landscape, circa 1730's Standing, three quarter length, wearing a dark russet coat and holding a book and a cane, circle of Jacopo Amigoni (Italian 1682-1752) oil on canvas, unframed 50 x 40 inches Condition: old lining; retouching, principally towards the edges and in the background; the canvas with slight unevenness where the lining is not secured at upper right. Provenance: private collection, England Jacopo Amigoni (ca. 1685 – September 1752), also named Giacomo Amiconi, was an Italian painter of the late-Baroque or Rococo period, who began his career in Venice, but traveled and was prolific throughout Europe, where his sumptuous portraits were much in demand. He was born in Naples. Amigoni initially painted both mythological and religious scenes; but as the panoply of his patrons expanded northward, he began producing many parlour works depicting gods in sensuous languor or games. His style influenced Giuseppe Nogari. Among his pupils were Charles Joseph Flipart, Michelangelo Morlaiter, Pietro Antonio Novelli, Joseph Wagner, and Antonio Zucchi...

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 frame. Presented by Joseph Dasta Antiques...

Italian School, circa 1700's Classical figures in landscape oil on canvas, framed framed: 36 x 32 inches canvas: 30 x 25 inches provenance: private collection, UK condition: very goo...

Flemish school 17th or 18th century Circle of Thomas WILLEBOIRTS BOSSCHAERT (Berg-op-Zoom, 1613 - Antwerp, 1654) Oil on canvas 72 x 59 cm (90 x 77 cm with frame) This work has been painted in a style close to the Antwerp school of the middle of the 17th century, to Anton van Dyck especially. We have found in particular several paintings similar to our painting in the works of Thomas Willeboirts Bosschaert. After having studied with Gerard Seghers...

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

Amazing works of the genre scene, dates to the late 18th century. After the famous French artist Francois Boucher, who was the court painter to King Louis XV. It is in its origina...

Joseph Highmore (London 1692-1780 Canterbury) Portrait of a young boy holding his pet squirrel Oil on canvas Canvas Size - 30 x 25 in Provenance Sale, Sotheby's New York, Old Master...

Exhibited: London, Royal Academy, 1800, no. 93 What was happening in British history painting in around 1800? In recent discussions of the emergence of a British School of history painting following the foundation of the Royal Academy in 1768, this is a question which is rarely posed and one which is not easily answered. Examination of surviving Royal Academy exhibition catalogues reveals a profusion of artists’ names and titles, few of which remain immediately recognizable, whilst endeavours to explain the impact of exhibition culture on painting - such as the 2001 Courtauld show Art on the Line - have tended to focus on the first and second generation of Royal Academician, rather than young or aspiring artists in the early nineteenth century. This makes the discovery and identification of the work under discussion of exceptional importance in making sense of currents in English painting around 1800. Executed by Edward Dayes...

Oil on canvas Image size: 12 3/4 x 9 1/2 inches (32.5 x 24.25 cm) Here, we see a sleeping putti lying underneath a set of trees, holding a ribbon. The text that can be seen on the scroll is from the Song of Solomon, chapter five, verse two; ' I sleep, but my heart waketh: it is the voice of my beloved that knocketh, saying, Open to me, my sister, my love, my dove, my undefiled: for my head is filled with dew, and my locks with the drops of the night'. This work was created after a well-known painting by the Spanish artist Alonso Cano...

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...

Antique battle scene with horsemen in front of landscape scenery. Oil on canvas. Framed in a black wooden frame with a gold patinated moulding. The canvas with strong craquelure. Siz...

Christian Schildbach was a very talented artist with his own style. Art painter in Plauen, then court painter in Dresden; around 1706 art painter in Vienna, also active in Bamberg (...

English School, 18th/ 19th century Portrait of Sir Wolstan Dixie, 4th Baronet *see notes below on sitter oil painting on canvas, unframed 50 x 40 inches condition: the painting is in very satisfactory condition without any damage, tears or punctures to the canvas. It is very original and would benefit from a clean ideally, slight scuffing to the edges of canvas. provenance: private collection, Leicestershire, England * The sitter is Sir Wolstan Dixie (4th Baronet, born 1700). Although the family came from a yeoman family of Huntingdonshire, his ancestor, also Sir Wolstan, made a fortune in the City as a merchant, and served as Lord Mayor of London in 1585-6, Sir Wolstan (the 1st Baronet) acquired the manor of Market Bosworth in west Leicestershire and in 1592, having no children...

Artist/ School: French School, 18th century Title: Mary and Jesus Medium: oil on canvas, framed Framed: 17 x 14.5 inches Canvas: 16 x 12.75 inches Provenance: private collection...

Artist/ School: French School, 18th century Title: The Garden of Gethsemane Medium: oil painting on wooden panel, unframed. painting: measurem...

Attributed to Jacques DUMONT aka DUMONT LE ROMAIN (Paris 1701 - 1781) Presumed portrait of Louis-Joseph de Formanoir (?-1732) Oil on canvas H. 91.5 cm; ...

Oil on canvas. Italian School. The scene, full of figures, depicts the Holy Family walking towards Egypt, guided by an Angel and assisted by other angels above. The figures are inserted in a typical Italian landscape, they are depicted in a very earthly dimension: the Child, even with a halo, sleeps peacefully in His Mother's hands; Mary, who is wearing an unusual pilgrim's hat, met her husband's Joseph gaze, who is reassuring her with a sweet gesture...

Artist/ School: 18/19th Century Spanish School Title :Head study of Christ Medium: oil painting on wood panel, period gilt framed panel : 6 x 5 inches Provenance: private collect...

Painting oil on glass, depicting a praying Madonna measuring 55 x 45 without frame and 62 x 52 cm with frame by the painter Giuseppe Bernardino Bison (Palmanova 1762 - Milan 1844). ...

The Witch of Endor conjures up the specter of Samuel in front of King Saul is an old master artwork realized by a follower of Georg Andreas Wolfgang I between 18th and 19th century. ...

Oil painting on canvas. Lombard area of the late 18th century. The four canvases show scenes from Orlando Furioso, the famous epic poem written by Ludo...

Oil on canvas Image size: 24 x 18 1/2 inches (61 x 47 cm) Gilded wood framed Provenance Estate of Judge Davis Norton and Florence Edelstein. William Bateman was a British Whig politician who sat in the House of Commons between 1721 and 1734. He was made Knight Companion of the Order of the Bath...

Scandinavian Family Portrait Artist 18th century 18th Century Scandinavian School Signature: Not signed Medium: Miniature Dimensions: Image size diameter 11 cm, frame size 19 x 16 cm

ABOUT THE SUBJECT: In this 18th Century portrait Katherine Read has portrayed Daniel Giles as a child sitting on a rug playing with his drum and his hat beside him. The detail of the ornaments such as the patterned carpet, the folds of the curtain and the child's velvet clothing...

This painting, created during Zuccarelli's stay in England, represents the decisive moment when Macbeth, together with Banquo, meets the three witches who announce that he will be Ki...

Oil on canvas. cm 60.5 x 2 x 50 Nice Oil painting (Italian School of XIX century) with a rapid sign and intense colors backgrpound. Some color cracking on left margin and top edge, ...

Oil painting on canvas. XVIII -XIX century. The sacred theme in this scene takes on a familiar connotation, full of very earthly tenderness and intimacy: in an almost exotic context, which evokes an oasis in the desert...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

Portrait of a nobleman by an unknown artist , titled "Sir" on a London label on verso. A man dressed in dark robes with a white collar looks directly at the viewer. Heavy age toning ...

James Seymour (1702–1752) Feeding Time in the Stables Oil on canvas 32 x 38 inches inc. frame Provenance: Private Collection, Lambourn James Seymour (1702–1752) was an English painter, widely recognized for his equestrian art. Seymour was born in London. His father was an amateur artist and art dealer, whose other business dealings (as a banker, goldsmith, and diamond merchant) afforded young Seymour the leisure time to study art on his own, either his father's or the art at the Virtuosi Club of St. Luke - a gentleman's club his father belonged to, specializing in art. In a short time the boy was a self-taught artist, familiar with many of the prominent artists of the period. Seymour's love of art was matched only by his love of horses. He began spending time at racetracks early on, and before long found himself absorbed in the sport - drawing, painting, owning, breeding, and racing horses. His art proved popular among the prominent sporting families of the day, eventually garnering Seymour patrons in Sir William Jolliffe and Charles Seymour, 6th Duke of Somerset...

Dutch School, 18th Century Merry making at an encampment Oil on canvas 30.1/8 x 46 in. (76.8 x 116.8 cm.)

This small landscape shows a hunting scene: two riders are chasing a stag with their dogs at the edge of a forest. Signed by Peter von Bemmel, it is typical of the production of this...

This portrait is extremely important in the reconstruction of the corpus and of the life of the artist thanks to a significant inscription on the back of the canvas that says “Ritrat...