Late 18th Century Interior Paintings

Dutch painter (18th century) - Interior of a tavern with a player. 35 x 28 cm without frame, 52 x 46 cm with frame. Antique oil painting on wood, in wooden frame. Condition report...

Italian painter (18th-19th century) - Ecce Homo. 36 x 31 cm without frame, 62.5 x 57.5 cm with frame. Oil on canvas, in carved and gilded wooden tabernacle frame. Condition report...

French artist, late 18th century oil painting on wooden board, framed framed: 15 x 17 inches board: 9.5 x 11 inches provenance: private collection, France condition: overall very good

Portrait of a Gentleman depicted three-quarter-length, in a white waistcoat and green coat, a book in his left hand, with a dog (Spaniel?), in a library/ study interior circle of Ralph Earl...

This atypical and terrifying painting by Jean-Frédéric Schall depicts the torture of a vestal virgin, condemned to be buried alive for having broken her vows. Dressed in a contemporary manner, our vestal provides a link between the gallant painting...

This atypical and terrifying painting by Jean-Frédéric Schall depicts the torture of a vestal virgin, condemned to be buried alive for having broken her vows. Dressed in a contemporary manner, our vestal provides a link between the gallant painting...

Charles Caïus RENOUX (Paris 1795 - Paris 1846) The Astrologer Oil on canvas H. 125 cm; W. 149 cm Signed lower right and dated 1841 Provenance : Private collection, Bordeaux Exhibition : Salon of 1841 A talented landscaper, Caïus Renoux belonged to the cenacle of “antiquarians” who, in the 1820s, rediscovered the medieval heritage of France . Many of the paintings he exhibited regularly at the Salon from 1822 depict interiors of churches or cloisters, often dramatically lit and animated by mines or pilgrims. He collaborated with Baron Taylor for his work on Brittany, and the seven paintings he showed at the Salon of 1824 had all been acquired by M. du Sommerard, founder of the Cluny museum. Finally, he frequented two other specialists in the genre, Daguerre and Bouton, who also devoted themselves to painting ruined churches, and with whom he participated in the famous enterprise of the Daguerre diorama. During the reign of Louis-Philippe, Renoux received several orders of historical subjects for the museum of Versailles. Leaving the pure register of architecture, Caüs Renoux has sometimes delivered scenes in period costumes in a medieval setting, which place him in the last phase of the “troubadour” current. It is moreover by its pictorial treatment more than by the choice of medieval subjects, that it relates to the movement illustrated under the First Empire by a Pierre Revoil or a Fleury Richard. In 1842, he exhibited at the Salon Albert Dürer...

Portrait of Anne, Duchess of Cumberland and Strathearn (1743-1808), three-quarter length, seated on a classical terrace in a white gown and headdress with yellow doeskin gloves. Circa 1795. Oil on canvas in a giltwood frame. Dimensions: 141 x 114cm (in frame) Provenance: Edmund de Rothschild (1916-2009), Exbury House, Hampshire, UK Sotheby's London, 4 September 1997, lot 35 Sotheby's London, 14 March 1990, lot 68 Old Hall Gallery Ltd, Iden, Rye, Sussex (according to label on reverse) Anne (née Luttrell; first married name Horton] Duchess of Cumberland and Strathearn (1743–1808), was born in Marylebone on 24 January 1743, the daughter of Simon Luttrell, Baron Irnham (1713–1787), and his wife, Judith Maria Lawes (d. 1798). Anne Luttrell's first husband was Christopher Horton (bap. 1741), the son of Christopher Horton and his wife, Frances, of Catton Hall, Derbyshire. They married on 4 August 1765, but Horton died on 5 August 1769. Anne then married Henry Frederick, Prince, Duke of Cumberland and Strathearn, brother of George III on 2 October 1771, whom she had met at his Garter investiture ceremony at Windsor earlier that year. The Duke broke the news to George III on 2 November by presenting him with a letter announcing the marriage; the couple then departed for Calais. The marriage horrified George III, not only because of the Duchess's politically controversial family, but also because a marriage between a prince and a commoner was unequal in imperial law, barring any children from inheriting the electorate of Hanover. In Britain: Cumberland refused to disavow the marriage and in consequence was barred from the king's presence. His mother, who was by now terminally ill, also refused to see him and they remained unreconciled at her death. Cumberland's failure to seek the King's permission for his marriage led to the King's forcing the Royal Marriages Act through parliament. It stipulated that no descendant of George II, other than the descendants of princesses who married into foreign families, could marry without the sovereign's consent. Horace Walpole described the Duchess to Sir Horace Mann as 'Coquette beyond measure, artful as Cleopatra, and completely mistress of all her passions and projects' (Walpole, Corr., 23.345). It was probably her determination to be recognized as a princess that drove the couple forward, whereas the Duke was more relaxed about his social status. Excluded from the court of George III, the Cumberlands established a rival centre at Cumberland House in Pall Mall, which Cumberland acquired from the duke of Gloucester in 1772. They staged lavish entertainments, patronized musicians, had a succession of portraits painted, and travelled conspicuously in their state coach. Cumberland was still living on his original financial settlement and, beset by debts, the couple spent the period from summer 1773 to summer 1774 travelling in France and Italy. To the frustration of British diplomats attempting to execute George III's instructions that the Cumberlands should be allowed no precedence, the Duchess's claims to royal status were enhanced when she was received privately by Empress Maria Theresa at Vienna. On their return to Britain the Duke and Duchess renewed their attempt to provide a livelier alternative to the court of George III. In 1775 Cumberland became patron of a boat club, the Cumberland Fleet, giving the Duke and Duchess the opportunity to sail down the Thames in a barge flying the royal standard at the centre of a well-attended social occasion. The society...

18th century French painter - Gallant scene with ladies and suitors. 46 x 67.5 cm without frame, 48 x 69.5 cm with frame. Oil on canvas, in wooden frame. The author draws inspirat...

Venetian master of the 18th century - Holy Family with St. Joseph and St. John, with the Child who offers the orange to the Virgin. 44.5 x 35 cm without frame, 53.5 x 43.5 cm with f...

18th to 19th Century Oil Painting on Wooden Panel A lady receives a letter Original oil painting Dimensions 17.5" wide x 21" high No visible signature The wooden panel shows spl...

Well painted Dutch Still life of fruit on a ledge, dating from the late 18th century. A very pretty and well painted late 18th-century Dutch piece, monogrammed C.C or C.G, alas the artist is unknown. The piece came from a private collection in the Uk where it was dirty and unrestored. We had the painting cleaned and reframed using a Dutch-style black and gold frame. Upon cleaning the piece the real quality and skill of the artist became apparent. The observation of how the artist has painted the fruit is first class. The piece is very much in the Dutch Old master style...