Paint Paintings

This representation of Saint Michael fighting Satan shows a dynamic composition enriched by the special use of color together with an intense chiaroscuro that serves to give the work a special atmosphere. Areas of intense color are created together with darkness, light and reflections that highlight poses, bodies, as well as flying forms or intense glows. On the central axis that organizes the composition, the triumphant figure of the archangel about to beat a figure, incarnation of evil, stands out. Represented using a sotto in su view, that is, from the bottom up, Miguel's triumphant pose stands out while leaving no doubts about the defeated attitude of the demonic being who appears naked lying on the ground. The formula makes possible to clearly highlight the outcome of the fight, his triumphant figure unfolds occupying a large part of the work, showing a clear attitude of combat, endorsed with the sword that he brandishes in his right, and the shield and armor that cover him. His person is further energized with the great cape that flies, highlighting the pose of his body arched and thrown forward to attack the representatives of Evil. The work, with its color, its chiaroscuro, and its dynamism, is an interesting sample of the neo-Baroque expressions of the 18th Century, the period in which Jacopo Cestaro...

A delightful painting, oil on paper laid on panel, with beautiful Gainsboresque colouring. This is a fine Old Master circa 1770 landscape in the 18th century Romantic landscape tradi...

Outstanding early 18th-century portrait of a seated Spaniel dog in a landscape with an array of fruits. Attributed to the work of Tobias Stranover. ...

This Beautiful British 18th century British Old Master portrait oil painting is by noted artist Joseph Highmore. Painted circa 1740 it is a half length portrait of a young woman, Eli...

Philippe, Duke of Orléans (1674 -1723), Regent of France Workshop of Jean Baptiste Santerre (Magny en Vexin, 1658 - Paris, 1717) French school circa 17...

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 t...

Oil on canvas Image size: 30 1/4 x 25 inches (77 x 63 cm) Original hand carved gilt frame Provenance Private Estate, England This is a very fine example of Kneller's work in the early 18th century. Here, the emphasis is placed directly on the sitter's alluring femininity, with this being enhanced by the falling hair around her shoulder. This looseness of focus is created with a free fluidity of brushstrokes. He has used a Rembrandt-esque technique of subtle tones in the face, and we can see how Kneller often allowed the bluer ground layer to show through when suggesting the darker flesh tones.The painterly technique seen here is an excellent demonstration of Kneller’s style. The bold handling of the flesh tones is Kneller at his most emphatic, while the sizeable areas of dark grey ground we see are indicative of his method of painting quickly, developed by this stage in his career to cope with the many demands of a large circle of patrons. The same effect is used for the shadows in the face: rather than paint darker colours on top of the pink flesh tones, as most artists would have done, Kneller instead painted in the reverse order, using the ground layer for his dark shadows, and then painting the lighter colours on top. Often he worked with an almost dry brush in strong firm strokes. Here the flesh tones have been rapidly, almost roughly painted, with bold areas of impasto giving way to areas where almost no paint has been applied at all, a trick that allowed Kneller to use the blue-grey ground layer to show darker flesh tones. Godfrey Kneller...

Thepainting accompanied by an expertise drawn up by prof Ferdinando Arisi that wrote: This pilgrims' stop is a typical work of Paolo Monaldi active in Rome be...

David Morier (1705-1770) Portrait of a gentleman in red military uniform Oil on canvas Canvas Size - 32 x 24 in Framed Size - 39 1/2 x 31 in Provenance: Sale, Christie's London, 21s...

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 ...

David Gauld RSA (1865-1936), Winter Snow, Dunlop, 39.3 x 49.5 cm (framed 63 x73 cm) , Oil on canvas.

Oil on canvas. In the depicting scene, three cherubs are play-acting: one of them is wearing a smiling mask and is trying to scare his mate, while the last one is dressed up like a p...

Ornamental Flowers in a Classical Still Life Composition Italian School, circa 1780's period oil painting on canvas: 32 x 42 inches antique gilt frame: 38 x 48 inches condition: over...

Bulldogs Hunting A Badger, 18th Century attributed to Charles TOWNE (1763-1840) Large 18th Century English School hunting scene of Bulldogs Hunting a badger, oil on canvas laid to...

Chinese painter (18th century) - Oriental scene. 57 x 73.5 cm without frame, 66.5 x 82 cm with frame. Oil on canvas, in wooden frame. Condition report: Lined canvas. Good conditio...

Roman school late 17th - early 18th century - Follower of Niccolò Codazzi (Naples, 1642 - Genoa, 1693) Pair of fantastic architectural whims with class...

Italian painter (18th century) - Saint with crucifix. 65 x 50 cm without frame, 78 x 64 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. Condition report: ...

The Classical Landscape English School, 18th century oil painting on canvas, unframed canvas: 34.5 x 36.5 inches provenance: private collection condition: very good and sound condi...

This superb British 18th century Old Master portrait oil painting is attributed to Matthew William Peters. Painted circa 1780 it is a fine half length portrait of a woman gazing to her left. She has a lovely blue bow and sash on her dress. The sympathetic detail in her face is sublime. A really wonderful 18th century Old Master portrait. Matthew William Peters was known for his late 18th century portraits which had both the influence of Sir Joshua Reynolds and Thomas Gainsborough. Provenance. Lincolnshire estate. Condition. Oil on canvas 30 inches by 25 inches unframed and in good condition. Has has restoration. Frame. Housed in an ornate gilt carved swept period frame, 40 inches by 35 inches framed and in good condition. Matthew William Peters (1742-1814) was an English portrait and genre painter who later became an Anglican clergyman and chaplain to George IV. He became known as "William" when he started signing his works as "W. Peters". Peters was born in Freshwater, Isle of Wight, the son of Matthew Peters (born at Belfast, 1711), a civil engineer and member of the Royal Dublin Society; by Elizabeth, the eldest daughter of George Younge of Dublin. The family moved from England to Dublin when Peters was young. Peters received his artistic training from Robert West in Dublin; in 1756 and 1758 he received prizes from the first School of Design in Dublin. In 1759, he was sent by the Dublin Society to London to become a student of Thomas Hudson and won a premium from the Society of Arts. The group also paid for him to travel to Italy to study art from 1761 to 1765. On 23 September 1762 he was elected to the Accademia del Disegno in Florence. Peters returned to England in 1765 and exhibited works at the Society of Artists from 1766 to 1769. Beginning in 1769, Peters exhibited works at the Royal Academy. In 1771 he was elected an associate and in 1777 an academician. He returned to Italy in 1771 and stayed until 1775. He also probably traveled to Paris in 1783–84, where he met Léopold Boilly, Antoine Vestier, and was influenced by the work of Jean-Baptiste Greuze. On 27 February 1769, Peters became a freemason, and he was made the grand portrait painter of the Freemasons and the first provincial grand master of Lincolnshire in 1792. In 1785, he exhibited portraits of the Duke of Manchester and Lord Petre as Grand Master at the Royal Academy exhibition. According to Robin Simon's article in the Oxford Dictionary of National Biography, no British contemporary had such an Italian manner of painting as Peters, reflecting the old masters he copied. Many of Peters' works were erotic and although these works did not damage his career, according to Simon, Peters later regretted these when he became an ordained clergyman in 1781. He served as the Royal Academy's chaplain from 1784 to 1788, at which time he resigned to become chaplain to the Prince of Wales. In 1784, Peters was awarded the living of Scalford, Leicestershire by Charles Manners, 4th Duke of Rutland. In 1788, the Dowager Duchess gave him the living at Knipton, at which time he also obtained that at Woolsthorpe. These livings were near to Belvoir Castle...

Follower of Pietro da Cortona (18th-19th century) - Venus appears to Aeneas as a huntress. 50 x 60 cm without frame, 80.5 x 90 cm with frame. Antique oil painting on canvas, in a c...

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...

Classical Figures in Ancient Landscape Italian School, 18th century oil on panel, painting: 9 x 12 inches provenance: private collection, Paris condition: very good and sound condition

This superb Italian Old Master religious portrait oil painting is attributed to circle of Bartolomeo Schedoni. Painted circa 1700 it is a half l...

This fantastic portrait oil painting is attributed to British Old Master Joseph Highmore and was painted in 1770. The half length standing portrait is of a Cleric, dressed in his wig...

This superb late 18th century portrait oil painting is attributed to noted Scottish artist Alexander Nasmyth. Painted circa 1790 the sitter is of the Wagstaff family, either Thomas o...

An interesting 18th century study of the Madonna in oil, painted in the Cuzco School style. Unsigned. On tin.

French painter (18th century) - Portrait of a lady. 43 x 35 cm without frame, 69 x 59 cm with frame. Oil on canvas, in carved and gilded wooden frame. - Inscription on the back. ...

Chinese painter (18th century) - Oriental scene with pagoda. 42 x 73 cm without frame, 52 x 80 cm with frame. Oil on canvas, in wooden frame. Condition report: Lined canvas. Good ...

This simply stunning large Old Master landscape oil painting is attributed to noted Dutch artist Adriaen van Diest. Painted circa 1700 this Mediterranean Italian landscape painting h...

This lovely 18th century Old Master portrait oil painting is by noted British artist Francis Cotes. It was painted circa 1760 when Cotes was preferring oil as a medium and comparison...

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...

Work on canvas

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...

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...

This beautiful 18th century Italian Old Master oil painting is something rather special. Painted circa 1750 the subject matter is Saint John the Baptist as a very young child. He is ...

A finely detailed oil painting on canvas portrait of an unidentified Russian officer, dating to the 18th or 19th century, unsigned, and housed in a spectacular museum quality reprodu...

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...

Portrait Of William Beekman Of New York, 18th Century American School Large 18th Century American School portrait of a William Beekman of New York, oil on canvas. Excellent qualit...

Olio su tela. Scuola centro-europea della fine XVIII secolo. La scena racconta un episodio biblico ampiamente riproposto nell'arte pittorica, tratto dal libro di Ester: la giovane i...

Mythological-themed painting (unframed 35.5 x 28 cm) depicting the episode of Diana and Actaeon from Ovid's Metamorphoses. The goddess is depicted sitting in discreet attire, the bow...

This lovely 18th century Old Master portrait oil painting is attributed to the circle of noted portrait artist Enoch Seeman. Seeman came from Poland to England as a youngster with hi...

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...

Justus Juncker (1703-1763, Germany) Attributed to Scholar Sharpening His Quill Penn Expertise: We would like to thank Dr. Fred G Meijer for his valuab...

This charming British Old Master Regency pastel portrait is attributed to John Russell RA. Painted circa 1790 the composition is a blonde woman in pretty mob cap with a blue ribbon. A really lovely image. Provenance. Oxford estate. Condition. Oil pastel on paper, 23 inches by 19 inches unframed and in good condition but has line in paper in middle. Frame. Housed in a fine frame, 30 inches by 26 inches framed and in good condition. John Russell RA (1745-1806) was an English painter renowned for his portrait work in oils and pastels, and as a writer and teacher of painting techniques. Russell was born in Guildford, Surrey, the son of John Russell Snr., book and print seller and five times mayor of the town; his father was something of an artist, and drew and published two views of Guildford. Russell was educated at the Royal Grammar School, Guildford, and soon showed a strong inclination for art. He trained under Francis Cotes RA (of Cavendish Square, London), one of the pioneers of English pastel painting, and, like Cotes, was an admirer of the pastel drawings of Rosalba Carriera whose methods influenced his technique of "sweetening". At the age of 19 he converted to Methodism, which was the cause of tension with his family and with his teacher; he made no secret of his strong evangelical leanings and would attempt to preach and convert at every opportunity. Russell set up his own studio, in London, in 1767. He made the acquaintance of the notorious Dr. William Dodd, whose portrait he painted in 1768. He was introduced to Selina, Countess of Huntingdon, who unsuccessfully attempted to persuade him to give up painting and attend her Methodist ministers' training college at Trevecca in Wales. On 5 February 1770, he married Hannah Faden, daughter of a Charing Cross print and map seller...

French school of the early 18th century Jean-Baptiste MONNOYER (Entourage de) Lille, 1636 – London, 1699 Oil on canvas laid down on panel 55 x 39 cm (67 x 53 cm with the frame) Very good condition (a few repaints) This is an old canvas , close to Jean-Baptiste Monnoyer art. The good quality and the style indicates probably a date at the end of the 17th century or the beginning of the 18th century. The painting represents a bouquet of tulips, carnations, poppies of Christmas roses. It is an artificial composition and a very symbolic work. The red and white tulip is the symbol of passionate and pure love. The poppy flower is the symbol of dreams and rest. And the Christmas rose is both associated with Christmas and therefore with Incarnate Love. But the latter is also associated with black magic, its botanical name is "black hellebore" and it contains poison that burns. The poppy has been known since ancient times for its soporific, analgesic and narcotic effects. And the red carnation symbolizes pure and ardent love. So this painting has a meaning. It seems to symbolize love and its contradictions between purity, calm, rest, danger and passion ! An entablature and a decorative element on the right (a piece of column...

This lovely British 18th century Old Master portrait oil painting is attributed to the manner of Thomas Beach. The sitter is Silvestra Monypenny when she was about 12. She is the on...

After Hendrick MOMMERS (1623-1693) Haarlem Vegetable Market c1750 An early copy c1750, of an entertaining Dutch vegetable market scene in an Italianate landscape. The original was p...

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...

The Military Encampment French Old Master, circa 1700 oil on canvas, framed framed: 20 x 27 inches canvas: 17.5 x 24 inches provenance: private collection, France condition: very goo...

The Lion of St. Mark Venetian Old Master, mid 18th century circle of Giovanni Battista Tiepolo (Venetian, 1696-1770) ink and watercolour drawing on paper mounted on a card frame, unf...

Portrait of James Stanley (1750 - 1810), circa 1775-1778, full-length, wearing a red coat and breeches and a gold embroidered waistcoat, hold...

Antique late 18th Century Baroque, Netherlandish/Flemish Gilt Wood Triptych Painting, egg tempera on panel, circa 1780, "Saint Tobias and The Angel". The gilt wood case with iron strap hinges and gilded decoration, the central panel painted with an allegory of Saint Tobias. The triptych evidently influenced by the Italian Renaissance work of Verrocchio's altar painting...

Oil on Canvas. Northern European school of the 18th century. The large scene, set in a northern landscape of dense vegetation under blue-blue impervious peaks, depicts the climax of ...

This rather special Italian Old Master religious portrait oil painting is attributed to a follower of Giovanni Battista Salvi, or Sassoferrato as he is better known. Painted circa 17...

Neapolitan painter (18th-19th century) - Penitent Magdalene with two cherubs. 100 x 80 cm without frame, 129.5 x 109.5 cm with frame. Antique oil painting on canvas, in a carved wo...

During his stay in Italy from 1734 to 1752, Joseph Vernet made several trips to Naples between 1737 and 1746, where he painted numerous maritime scenes. The pre...

Portrait of a lady as Flora Robert Le Vrac Tournieres (1667-1752) First half of 18th century French School Oil on oval canvas, Dimensions: h. 27.2 in, w. 21.7 in Magnificent original...

Richard Bankes Harraden (1778-1862) Italian landscape with Monte Socrate (after Jan Both) Signed and dated 1823 on the reverse Oil on canvas Canvas size - 29 x 41 in Framed Size - 37...