Fabric Paintings

Portrait Of Monsieur De Cotte, circa 1710 circle of Hyacinthe RIGAUD (1659-1743) - one of a pair Large circa 1710 French portrait of Monsieur De Cot...

Artist/ School: English School, circa 1740's Title: Portrait of a Lady, traditionally identified as 'Anne of Chesterfield'. Medium: oil painting on canvas, framed Size: painting: ...

Oil on canvas Image size: 30 x 25 inches (76 x 63.5 cm) Original gilt swept frame After the death of Sir Joshua Reynolds in 1792, Hoppner was considered by his contemporaries to be England’s most important portrait painter. Having entered the Royal Academy Schools in 1775, by 1785 Hoppner had risen meteorically from painting the gentry to exhibiting portraits of...

Portrait Of Madame De Cotte, circa 1710 circle of Hyacinthe RIGAUD (1659-1743) - one of a pair Large circa 1710 French portrait of Madame De Cotte, ...

Portrait Of Gertrude Durnford, Lady Alston (1731-1807), 18th Century Studio of Sir Joshua Reynolds (1723-1792) Large 18th Century English portrait ...

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

Portrait Of Edme Mongin Bishop Of Bazas (1668-1746), circa 1730 French School Large 18th Century French School portrait of Edme Mongin Bishop Of Bazas (1668-1746), oil on canvas. G...

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 ...

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...

Evangelista Schiano (attr.) (active in the 18th century) Saint Gennaro Oil on canvas, cm. 102 x 74 - with frame 126,5 x 100 cm. 19th century carved, sculpted and gilded wooden frame ...

Portrait Of Richard Ripley, Royal Navy, circa 1755 by Dominicus Van Der SMISSEN (1704-1760) Large 18th Century English portrait of Richard Ripley esq, by Dominicus Van Der Smissen,...

Portrait Of John Parker, 1st Lord Boringdon (1735-1788), 18th century School of Joshua Reynolds (1723-1792) Large 18th portrait of John Parker, 1st Lord Boringdon, oil on canvas. E...

The Consecrated Madonna, circa 1700 Eastern European School Large 17th 18th Century European School depiction of the Consecrated Madonna, oi...

Cain & The Death Of Abel, 18th Century School of William Blake (1757-1827) Circa 1790 English School depiction of Cain and the Death Of Abel, oil on canvas. Rare biblical depiction...

Portrait of a lady wearing a white gown with a red cloak, pearls in her hair and draped over one shoullder, standing beside a classical urn with a basket of flowers, c.1765. The portrait is believed to be a companion portrait of a John (1741-1816) or James (1751-1807) Durno which is housed in an identical frame. The sitter is possibly either the wife of John who was Janes Byres of Stonywood or John and James's sister Elizabeth. (James never married). The Durno family were based around the Aberdeen area of Scotland and John was an advocate in the area and then later a customs official in Jamaica. James was a successful timber merchant, spending time in the Baltic before being made His Majesty's Consul in Memel, Prussia. The portrait is likely to have been painted before Tilly travelled to India in 1768, when John, Jane and Elizabeth would have been in their twenties. We are gtrateful to Mark Beattie for sharing his family knowlege and research on the portrait. Provenance: With W. C. Beattie in the mid 19th century, and by descent through the family Private collection, Kent With thanks to Hugh Belsey who has confirmed this to be the work of Tilly Kettle from photographs. Tilly Kettle (1735-1786) was born in London, the third of six children by Henry Kettle (c.1704-c.1773), a coach painter, and his wife Ann. He attended William Shipley...

Oil on canvas Image size: 17 x 23 1/2 inches (43 x 60 cm) Contemporary William Kent hand made frame

Gaspare Diziani (Belluno, 1689 - Venice, 17 August 1767) Gilded, carved and sculpted wooden cassetta frame Expertise: Ugo Ruggeri The narration of our...

Circle of Sir Godfrey Kneller Dutch, (1646-1723) Portrait of a Lady in an Ermine Trimmed Cloak Oil on canvas Image size: 26.5 inches x 22.5 inches Size including frame: 33.5 inches x 29.5 inches A well-executed half-length portrait of a lady painted in a feigned oval, circle of Sir Godfrey Kneller. The use of a feigned oval was a device used in portraiture to give a sense of depth and add an intimacy to the painting, drawing your attention to the sitter. The subject, posed without her wig in the undressed fashion of the day, wears a blue ermine trimmed blue cloak over a white silk robe...

The Roman Gods In An Allegory Of Love, 18th Century Italian School Large 18th Century Italian School "Allegory of Love" in a panorama of Roman Gods, o...

PORTRAIT OF COURT MUSICIAN JOSEF LEMBERGER (1667-1740) Hungarian School Large 18th Century Hungarian Portrait of court musician Josef Lemberger, oil on canvas. Superb quality and e...

Portrait Of Lady Maynard, circa 1745 English School Large 18th Century English portrait of Lady Maynard, oil on canvas. Excellent quality and condition portrait of the young woman ...

Portrait Of CLAUDE-LOUISE DE LORY (1706-1742), 18th Century French School Large 18th Century French portrait of a lady identified as Claude-Louise De Lory. Excellent quality and c...

Portrait Of A Lady Holding A Flue, 18th Century French School Large 18th century French School portrait of a lady holding a flute, oil on canvas. Magnificent and unusual portrait ...

George Knapton 1698-1778 Portrait of a Girl Oil on canvas Image size: 20 x 18 inches Original giltwood frame This beautiful half length portrait  of a young woman, turned to left, gazing at the spectator, wearing a pink, white lace-embroidered, dress, in her hair a pink bonnet trimmed with lace to match her dress. The depiction of a young girl epitomises child portraiture of the late eighteenth century, in which painters such as William Beechey, Joshua Reynolds, Thomas Gainsborough had begun to discover and express the true character of children, in contrast to the stiff, miniature-adults of previous generations. The Artist Knapton was born in Lymington, one of four sons of James Knapton. He was apprenticed to Jonathan Richardson from 1715 to 1722, and in 1720 was a founding subscriber to the academy of St. Martin's Lane established by Louis Chéron...

William Henry Haines (1812 – 1884), Ca’ d’Oro in Venice Oil on canvas cm 61 x 101 signed (W Henry) and dated (unreadable) lower left. On the back, labels tha...

An oil painting by Adolf Friedrich Harper from 1799. A rare antique painting from the romanticism era. Framed in ornate gold wood frame, signed in lower left corner. Artist: Adol...

Thomas Spencer was a leading sporting and equestrian artist of the period of John Wootton and James Seymour; his art shows a considerable to debt to tha...

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

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...

Attributed to Arthur Pond British, (1701-1758) Portrait of a Lady Oil on canvas Image size: 50.75 inches x 41.5 inches Size including frame: 58.5 inches x...

Giuseppe Antonio Pianca (Agnona di Borgosesia/VC, 1703 - after 1757) oil on canvas, cm. 49 x 57 - with frame cm. 67 x 77 Antique shaped wooden cassetta frame, ebony and gold decora...

British Royal Navy In A Fishery, 18th Century attributed to Richard WRIGHT OF LIVERPOOL (1735-c.1774) Large 18th Century view from the shore of a Royal Navy ship sailing through a ...

Portrait Of A Zampogna Player, 18th Century Circa 1770 Italian School Oil On Canvas Fine Large 18th Century Italian School portrait of a young gentleman holding a Zampogna, oil o...

Portrait Of Thomas Paget, Governor Of Minorca, Marquess Of Anglesey, 18th Century English School Large 18th Century portrait of Thomas Paget, Governor of Minorca, Marquess of Anglesey, oil on canvas. Excellent quality and condition portrait of the young Marquess and Governor in red robes and a big wig who was a prominent military officer serving under the Duke Of Marlborough and serving the 7th Dragoons Guards as well as the 22nd Regiment of The Foot. He also served as an MP of Ilchester. We have reframed but the portrait comes as he was found and is untouched by us. Provenance: From a deceased estate, Paris, France. We have replaced the old frame that had degraded but retained the plaque. The previous owner had purchased the portrait from a London dealer...

Antonio Mercurio Amorosi (Comunanza 1660 - 1738) Portrait of a little girl with cat Oil on canvas, cm. 42 x 31.5 – with frame cm. 56 x 44 Shaped, carved and gilded wooden cassetta fr...

French 18th century old master portrait of a majestic and elegant lady. The aristocratic lady gazes at the viewer with a kind and enigmatic smile and twinkling eyes. In comparison w...

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...

Hawk Attacking A Duck, 17th/18th Century circle of Adriaen DE GRYEFF (1657-1722) Fine huge 17th Century Dutch Old Master scene of a hawk attacking...

Collections: Robert Gallon (1845-1925); Private Collection, UK. Oil on canvas laid down on panel Framed dimensions: 11.5 x 10 inches This highly engaging, previously unpublished portrait by Johan...

French School, Portrait of a Young Lady, perhaps an actress Oval Louis XIV sculpted and gilded frame French Art, Roccoco Art The oval portrait of a young woman measures 61 by 50,5 cm canvas sight size and its 18th century oak carved and gilded frame...

Matteo Bonechi (Florence 1669 - Florence 1756) Presentation of Jesus Oil on canvas, cm. 75 x 49 – with frame cm. 89,5 x 65 Shaped, carved and gilded wooden box frame Expertise: Sandro Bellesi Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti (From the Giorgio Baratti Collection) curated by Anna Orlando, Agnese Marengo and Annalisa Scarpa, Genova, 2022, pp. 20, 21. The present painting is a very interesting testimony of the creative process of Matteo Bonechi, one of the leading artists on the Tuscan art scene in the early 18th century. The canvas in question is in fact the last preparatory model made by Bonechi before he executed an altarpiece for the church of San Filippo Neri in Cortona in 1716. The scene presented here is that of the Presentation of Jesus, when, forty days after his birth, the child is ransomed through an offering in the temple and placed in the hands of Simeon, who prophesies his future: the coming of the Messiah...

River Landscape with Bystanders is an original old master artwork realized by Artist of 18th Century. Mixed colored oil painting on canvas. The painting is approachable to traditio...

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...

Circle of Robert Byng British, (1666-1720) Portrait of a Boy Oil on canvas Image size: 28.5 inches x 23.5 inches Size including frame: 34.5 inches x 29.5 inches A fine half-length ...

Portrait of Marie Camille (nee de Beer), Countess de Lalaing and her dog, 18th Century - married to Charles II Joseph, count de Lalaing, 11th Viscount of Audenaerde and Count of Thildoncq school of Alexander ROSLIN...

Family Portrait Of Mrs Spencer & Children, 18th Century circle of William BEECHEY (1753-1839) Huge 18th Century English School portrait of a lady trad...

Portrait Of A Piedmont Nobleman & Military Officer, House Of Savoy, early 18th century Italian School Fine large 18th Century portrait of a Piedmont ...

Giuseppe Bonito (Castellammare di Stabia, 1707 - Naples 1789) The Painter's Studio or Allegory of Painting Oil on canvas, cm.40,5 x 64 - with frame cm....

James Thornhill (1674-1735) Oil on canvas 12 x 14 inches; 16 ½ x 18 ½ in. Inc. frame The subject matter and inclusion of herms on both sides shows the influence of Louis...

Claude-Joseph Vernet (French, 1714 – 1789) Fisherman by a cascade in a gorge Oil on canvas 22.1/4 x 25.1/2 in. (56.5 x 64.7 cm.) Provenance: The estate of the late Betty, Lady Grantchester Du Catalogue Collection #39 Christie's London, 3 Dec 1997, Lot 52 (£41,000) Claude-Joseph Vernet was the leading French landscape painter (with Hubert Robert) of the later 18th century. He achieved great celebrity with his topographical paintings and serene landscapes. He was also one of the century's most accomplished painters of tempests and moonlight scenes...

The Penitent Magdalene, 18th Century Studio of Pompeo Girolamo Batoni (1708-1787) Huge 18th Century Italian Old Master depiction of the Penit...

Pietro Bardellino (Naples, 1731 – Naples, 1806) Mary Magdalene Oil on canvas, cm. 75 x 60 – with frame cm. 97 x 82 Antique shaped and carved wooden frame Publications: unpublished T...

The sitter, seated in a yellow silk gown trimmed with a pink bow playing the cello, is believed to be the artist Balthazar Denner's eldest daughter Catharina (1715-1744), after his marriage to Esther Winter in Hamburg in 1712. She is also recognisable in another portrait of the Denner family in the Hamburg Kunsthalle, painted circa 1740 by the artist's son, Jacob Denner (1722-1765). Oil on canvas in a period giltwood frame. Provenance: Private collection, Northern Germany Professor Helmut Borsch-Supan, Berlin, confirmed the authenticity of the painting after examining it in 2013. The painting will also be included in the forthcoming catalogue raisonnée of the artist, by Ute Mannhardt. Balthasar Denner...

Prize Bulls, Farmer & Owner, 18th Century Early French School Oil On Panel Fine 18th century French School prize bull scene with the farmer and owner, oil on panel. Very early prize bull scene with a pair of bulls accompanied by their owner and the farmer. Excellent detail with influences of Paulus Potter...

Giustino Menescardi (Milan, c. 1720 - Venice, after 1779) Ascent of Calvary Oil on canvas, cm. 47 x 36 - with frame cm. 57x43 Shaped and gilded wooden cassetta frame Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti...

Willem Muys was a Dutch, 18th-century painter of history pieces, portraits and cabinet pieces. Above all, he appears to have been active as a painter of ‘wallpaper’. Until the mid-18th century, ‘wallpaper’ was not painted on paper but on coarsely woven linen. Wealthy citizens had their mansions or country estates adorned with ‘wallpaper’ with landscapes, exotic birds or chinoiseries. Willem Muys mainly painted ‘wallpaper’, which means that few of his works have been preserved. They are hardly represented in public collections. The works of his sons, Nicolaas en Robbert, both painters, are a little less rare. The painting with Rebecca and Eliezer...

Pair Of 18th Century Cherubs Playing With Bow And Arrow oil paintings. After Francois Boucher (1703-1770) Boucher is known for his idyllic and voluptuou...

The Arcadian Landscape Italian School, 18th century oil painting on canvas, unframed canvas size: 32 x 40 inches condition: excellent condition for its age, fully restored. provenance: from a private collection in Paris, France. Large scale classical 18th century Italian Old Master...