18th Century Paintings

This superb large three quarter length British Old Master portrait in a landscape oil painting is attributed to circle of John Vanderbank the Younger. Painted circa 1738 the sitter is Mrs James Hoste of South Wootton and Sandringham, nee Hammond. She was the daughter of Anthony Hamond and Susan Walpole, daughter of Robert Walpole, and was sister to Robert, 1st Earl of Oxford. She married Major James Hoste of Sandringham, Norfolk, and they had two daughters. The sheen of her blue satin dress against her gold cloak is stunning. A really lovely 18th century portrait with excellent provenance. Inscribed with sitter details lower left. Provenance. By descent within the family of the sitter at West Acre High House, Norfolk; Cheffins, Cambridge, 'West Acre High House' sale, 24 November 2010, Lot 519; Wood Hall, Arkesden, Essex. Literature: 'Portraits in Norfolk Houses', Prince Duleep Singh, 1927, No. 36. Sitter's details on two labels verso. Condition. Oil on canvas, image size is 50 inches by 40 inches and in good condition. Frame. Housed in an ornate gilt frame, 58 inches by 48 inches framed and in good condition. John Vanderbank (1694-1739) was an English portraitist and book illustrator, who enjoyed a high reputation for a short while during the reign of King George...

Shipping in Calm Waters Dutch School, 18th century oil painting on wood panel panel: 10 x 12.75 inches framed: 14 x 17 inches condition: very good, minor evidenc...

This simply stunning German 18th century Old Master oil painting is by noted artist C.L. Braun, signed lower right on the table edge. It was painted circa 1780 and has the look of a...

A romantic oil study depicting a couple resting on a woodland floor feeding each other fruit. The scene appears to be a play on the Four Seasons series by François Boucher where the...

This stunning British Old Master landscape oil painting, with excellent provenance, is by George Lambert. Lambert was a pioneer of British landscape in art for its own sake. Painted in 1744, the painting is entitled View of a Manor House and Cottages in Elizabeth Einberg's 63rd volume of the Walpole Society 2001 and is described as follows: In the foreground a road emerges from a wood to cross a ford and then leads up the hill to the right, towards a manor house seemingly built into the remains of a medieval or Tudor edifice. The main track, crowded with sheep and rustic figures, passes the massive square gateposts lower down the hill on the left. Further to the left is a thatched cottage with smoke coming out the chimney. In the distance is a wide coastal view. The main buildings, which are in the dead centre of the composition, represent almost certainly an as yet unidentified English view. The colouring and detail in the trees and foliage are superb. This is an excellent Old Master oil painting by one of the all time great British landscape artists with extensive provenance. Signed and dated 1744 lower left on rock in black. Provenance. Elizabeth Einberg, “Catalogue Raisonnè of the works of George Lambert” The Annual Volume of the Walpole Society, 2001 Vol. 63, page 149 no P1744, fig.71. Antonacci Efrati Antichità Rome Gallery. Burden sale, Parke Bernet, New York, 20-21, April 1938 (376 repr.) Robert E. Peters, Sotheby Parke Bernet, New York, March 1975 (41 repr.) Lit. Schnackenburg 1995, pp 83-84, cat. no.14 fig 13. Condition. Oil on canvas, 54 inches by 52 inches and in good condition. Frame. Housed in an ornate gilt frame, 64 inches by 62 inches and in good condition. George Lambert (1700-1765) was an English landscape artist and theatre scene painter. With Richard Wilson he is recognised as a pioneer of British landscape in art, for its own sake. Lambert was born in Kent and studied art under Warner Hassells and John Wootton, soon attracting attention by the quality of his landscape painting. He painted many large and fine landscapes in the style of Gaspar Poussin and Salvator Rosa. Many of his landscapes were finely engraved by François Vivares, James Mason (1710–1785), and others, including a set of views of Plymouth and Mount Edgcumbe (painted conjointly with Samuel Scott), a view of Saltwood Castle in Kent, another of Dover, and a landscape presented to the Foundling Hospital in London. Lambert also obtained a great reputation as a scene-painter, working at first for the Lincoln's Inn Fields Theatre, in London, under John Rich. When Rich moved to Covent Garden Theatre, Lambert secured the assistance of Amigoni, and together they produced scenery of far higher quality than any previously executed. Lambert was a man of jovial temperament and shrewd wit, and frequently spent his evenings at work in his painting-loft at Covent Garden Theatre, to which men of note in the fashionable or theatrical world resorted to share his supper of a beef-steak, freshly cooked on the spot. Out of these meetings arose the well-known "Beefsteak Club" which long maintained a high social reputation. Most of Lambert's scene-paintings unfortunately perished when Covent Garden Theatre was destroyed by fire in 1808. Lambert was a friend of William Hogarth and a member of the jovial society that met at 'Old Slaughter's' Tavern in St Martin's Lane. In 1755 he was one of the committee of artists who proposed a royal academy of arts in London. He was a member of the Society of Artists of Great Britain, exhibited with them in 1761 and the three following years, and during the same period contributed to the Academy exhibitions. In 1765 he and other members seceded and formed the Incorporated Society of Artists of Great Britain, of which he was elected the first president. In conjunction with Samuel Scott, Lambert painted a series of Indian views for the old East India House in Leadenhall Street. He also etched two prints after Salvator Rosa. Lambert was associated in 1735 with George Vertue, Hogarth, and John Pine (engraver, 1660–1756) in obtaining a bill from parliament securing artists a copyright on their works. Lambert's portraits were painted by Thomas Hudson, John Vanderbank (engraved in mezzotint by John Faber the younger in 1727, and in line by H. Robinson and others), and Hogarth. Lambert's most famous painting is "A view of Box Hill, Surrey" (1733) which depicts a well-known beauty spot south of London. Hogarth considered Lambert a rival to the famous French landscape painter Claude Lorrain (1600–1682) with respect to his use of soft light to unify the scene in this painting. Though he never visited Italy he was inspired by the classical tradition of landscape painting. Lambert died on 30 November 1765 at his home on the Piazza in Covent Garden. His pupils included John Inigo Richards...

18th century portrait painting of a clergyman Pieter Van Bleeck (follower) A fine late 18th century/early 19th century portrait oil on canvas three quarter length study of a clergyman The artist has managed to capture the gentle demeanour of the sitter. housed in a gilt frame by a follower of Pieter Van Bleeck the size being 58 x 69 cm approx whilst overall the picture is 76 x 90 cm In very good condition having been cleaned and relined at some point. Pieter Van Bleeck Petrus Johannes (Pieter) van Bleeck (baptized 25 June 1697 in The Hague – 20 July 1764 in London) was an 18th century Dutch portrait painter and mezzotint engraver active in London, where he moved in 1723. Van Bleeck is especially known for theatrical subjects such as Owen Swiny, Kitty Clive...

The sitter in this superb portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the eighteenth-century French school of painting. The young nobleman has been portrayed wearing an ingeniously embellished French ceremonial armour, a mauve cloak, and an abundance of cascading curls falling below his shoulders. Our portrait proclaims to every onlooker that this is a superior being. The manner in which portraits were painted was set out by the terms of the commission and usually marked significant life events such as a betrothal, a death, elevation of rank… but they almost always emphasised the wealth and importance of the sitter. This type of portrait had become a standard format for aristocratic portraiture in Europe during the last quarter of the seventeenth century up to the middle of eighteenth century. Incorporated into the background was often a raging battlefield or a military encampment; our portrait is free from these trappings and contains a dramatic moody sky ensures the viewer focuses mainly on the subject. The features of the sitter’s face have been captured with great sensitivity, his confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The flamboyance and penetrating sense of character, lending an air of noble expectancy to the composition, seems almost eclipsed by the artist's virtuosic handling of paint. It is not hard to understand why many wealthy sitters commissioned the artist to paint their portraits. Such fine and ornate armour was not actually used on a battlefield and thus its portrayal in portraiture was largely symbolic of a sitter’s wealth and status as well as a claim of succession to a chivalrous tradition. The style of hair and neckcloth were fashionable circa 1740. Held in an exquisite eighteenth century carved and gilded frame - a fine work of art in itself. Louis Tocqué was a very successful French portrait painter active during the Rococo period of art. His work was known for its attention to detail, its portrayal of the character of the sitter, the refined postures, and the delicacy of the rendered draperies. He created both realistic and expressive portraits. Tocqué was born in Paris in 1696 and trained with the famous portrait painters Hyacinthe Rigaud, Nicolas Bertin, and Jean Marc Nattier whose daughter he later married. He entered the Academy in 1731 and became a full member in 1734 with his portraits of Galloche and the sculptor Jean Louis Lemoine, and he pursued a brilliant career as a portrait painter, receiving numerous commissions from members of the French aristocracy and royalty. His works were highly sought after by collectors of the time, and his reputation earned him the appointment of official portrait painter to the court of France in 1746 – in fact he stayed at most of the courts in northern Europe. From 1737 to 1759 he exhibited a large number of works at the Salon. Tocqué's paintings can be found in museums and private collections around the world. Recent sales...

This lovely Italian Old Master portrait oil painting is by Domenico Maria Sani. Painted circa 1732 the sitter is of Maria Anna Vittoria (1718 - 1788), daughter of Philip V and Elisabetta Farnese, who in 1729 married Joseph prince of Brazil and king of Portugal...

This fine French Old Master portrait oil painting on canvas dates to circa 1770 and is attributed to the circle of Elizabeth Vigee Le Brun. The sitter is Madam van Robais. The van R...

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...

This superb Dutch Old Master floral still life oil painting is attributed to circle of Simon Pietersz Verelst. Painted circa 1700 the compositio...

Ecole française du XVIIIe siècle Portrait présumé du duc d'Anjou Philippe-Louis de France en cuirasse. Philippe-Louis de France, duc d'Anjou, né le 30 août 1730 à Versailles et mort ...

This superb Old Master later 17th/early 18th century oil painting is attributed to Baroque painter and German born animal artist Philipp Peter Roos. He was active in and near Rome fr...

Revelry in a Classical Landscape Italian School, early 18th century (circa 1700) oil painting on canvas, laid on board, unframed board: 20 x 36 inches provenan...

Ecole Française du XVIIIème siècle - Très beau Portrait de gentilhomme, huile sur toile, H.81 L.65

This superb exhibited British 18th century Old Master Italian landscape oil painting is by noted artist Thomas Barker of Bath. Painted in 1794 and exhibited at the Royal Academy in 1...

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...

This charming British 18th century Old Master portrait oil painting is attributed to noted portrait artist Thomas Hudson. Hudson was most prolific between 1740 and 1760 and, from 174...

Portrait of a Noble Lady European School, 18th century oil on canvas, framed framed: 37.5 inches canvas: 30 x 24.5 inches provenance: private collection, France condition: very good ...

This superb British 18th century Old Master oil painting is attributed to circle of noted landscape artist Richard Wilson. Painted circa 1750 it is a stunning light, bright and airy expansive panoramic landscape. There is a river in the foreground and mountains in the background. On the left of the river stands some ruins and on the right, figures are resting under the trees. The palette of blues, greens and very varied and rich with some lovely pinky brown tones for the land on the right. The brushwork is also delicate but confidently executed. A superb example of a British Old Master landscape oil painting, finished off in a carved and gilt wood English Rococo frame with name plate. Provenance. The Asbjorn Lunde Foundation, Inc. Throughout his long life, Mr. Lunde supported more than forty museums in his native New York, across the United States, and in Europe with loans, gifts, and funding. Mr. Lunde was a proud New Yorker with roots in Norway. He was keenly interested in nineteenth-century Scandinavian and Swiss landscape painting, Old Master painting, and Asian decorative arts. According to an old label to the reverse, the present painting was once owned by James Northcote (1746-1831) who gave it to William Hillman on 25th May 183(0?) Property of the Bacot family. Christies stamps verso. Watson Gallery London. Remains of label verso. Condition. Oil on canvas, 26 inches by 18 inches and in good condition. Frame. Housed In a carved and gilt wood English Rococo frame bearing Richard Wilson name plate, 33 inches by 25 inches and in good condition. Richard Wilson RA...

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...

The Close of Day Italian School, early 18th century oil on canvas, unframed canvas: 17 x 22.5 inches provenance: private collection, France condition: very good and sound condition

Landscape with hunters by a lake. 18th century. Oil painting on canvas, from the French or Northern Italian school, Louis XV period. Probably part of the door decoration in an interi...

Giovanni Battista Cipriani, RA, Italian 1727-1785 Sketch of a mother with three children; black and red chalk on laid paper with watermark '© TAYLOR', 22.4 x 17.5 cm. Provenanc...

This stunning Old Master 18th century portrait oil painting has previously been attributed to Sir Peter Paul Rubens. Indeed the sitter, Helena Fourment or Hélène Fourment (11 April 1...

Portrait of boy aged 12-14 painted in late 18th century presumably by RA John Opie, 1761 – 1807 (or his studio, circle), English historical and portrait painter. He painted many grea...

English painter (early 19th century) - Boats in the moonlight on the Thames. 30.5 x 41.5 cm without frame, 49 x 59 cm with frame. Antique oil painting on canvas, in carved and gild...

Work on wood Brown wooden frame 49 x 58 x 4 cm

Italian painter (18th-19th century) - Mythological scene. 100 x 100 cm without frame, 131.5 x 131.5 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden fra...

Portrait of a Gentleman English School, late 18th century oil on canvas, framed framed: 29 x 23.5 inches canvas: 26 x 19.5 inches provenance: private collection, England condition: ...

École Française du XVIIIe. « Portrait d’un gentilhomme en uniforme ». Cadre rond en bois doré à d’époque Restauration à motifs de perles. Hors tout H.54 L.50.

German painter (18th century) - The cauldron. 84 x 105cm. Antique oil painting on canvas, without frame. Condition report: Lined canvas. Good state of conservation of the pictoria...

A superb British Old Master oil painting which is attributed to circle of William Hogarth and was painted circa 1760. This fine oil painting is in good clean condition and depicts a ...

Oil on Canvas. Of flavor bucolic and serene, the scene set in the countryside on the edge of the hamlet that can be glimpsed on the left shows a woman and her son standing near a st...

This stunning 18th century Dutch Old Master Golden Age floral oil painting is attributed to a circle of Simon Pietersz Verelst. Painted circa 1720 it is a still life floral of a mixe...

This superb Dutch 18th century Old Master floral oil painting is ascribed verso to noted female artist Margaretha Haverman, only pupil of Jan van Huysum and has excellent provenance....

This lovely British 18th century landscape oil painting is attributed to circle of Hubert Robert or Robert of the Ruins as he was better known. The work depicts an extensive landscap...

Architectural whimsy with Roman ruins, column and ancient arches. Year 1718. Oil on Canvas. Original canvas. Roman school of the early 18th century. The painting is part of the seri...

Roman painter (18th century) - Landscape with wayfarers. 43.5 x 34.5 cm without frame, 58.5 x 49.5 cm with frame. Antique oil painting on canvas, in carved and gilded wooden frame....

This beautiful portrait was painted circa 1725 and is a fine example of the English eighteenth century portrait style. The artist has chosen to depict the lady in a simple blue silk dress and without jewelry or a background, thus allowing the viewer to concentrate solely on the beauty of the sitter. The effect of this restrained manner creates a sense of understated elegance. The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. With the rich colouring and lyrical characterisation, these works are representative of the archetypal English portrait and is are very appealing examples of British portraiture...

Attributed to Pietro Antonio Rotari (1707 - 1762), Italian painter of the Rococo era. His portraits, mostly of women, are renowned for being beautiful and realistic. The details and ...

Follower of Enoch Seeman the Younger German, (1694-1744) Portrait of Gilbert Sympkin Oil on canvas Image size: 29.25 inches x 24.5 inches Size including frame: 38 inches x 33.25 inches A fine three quarter length portrait of a gentleman traditionally identified as Gilbert Simpkin (Sympkin), follower of Enoch Seeman the younger, C1720. The portrait is set in a feigned sculptured oval cartouche, a device used to give a sense of depth. The sitter is depicted wearing a fashionable blue jacket and matching waistcoat with a white chemise and lace jabot. He wears a powdered wig in the fashionable style of the day and is posed holding his hat under his left arm with the fingers of his right hand stretched out. At court, long fingers signified wealth, culture and intelligence. The painting has clearly been executed by an artist of great ability who has been influenced by Enoch Seeman the younger. Gilbert Simpkin (Sympkin) was born in London on 24 August 1683, the son of John Simpkin and Susannah Butler. His grandfather was also called Gilbert Simpkin. He entered Oxford University in 1700 where he studied at St John’s College. In 1702, he became a student of Middle Temple, which at the time was one of the world’s most important centres of legal education. He later settled in Plymouth and then Bristol. He died in Bristol on 15 May, 1744 and was buried at Bristol Cathedral. He remained unmarried and the portrait may well have been commissioned to commemorate when he was first Called to the Bar or perhaps had established his own practice. Enoch Seeman or Seemann the younger was born in Danzig, Germany now Gdansk, Poland in 1694. His father was Enoch Seeman Senior, an artist of Flemish origin and his brothers Isaac, Noah and Abraham also became artists. He came to London with his father and brothers around 1704 and established himself as a portrait artist. From 1717 he became painter to the Royal court painting...

Portrait of Mary Anne Ward (1725-1754) In Riding Attire, 18th Century School of Henry Pickering (1720-1770) Large 18th English portrait of Mary Anne Ward ...

These two royal portraits are a major historical testimony to the stay of the Comte d'Artois (the future Charles X) and his family in Edinburgh in 1796-1797. Given by the sitters to Lord Adam Gordon, the Governor of Edinburgh, and kept by family descent to this day, these two portraits provide us with a vivid and spontaneous image of the Duc d’Angoulême and his brother the Duc de Berry. Danloux, who had emigrated to London a few years before, demonstrate his full assimilation of the art of British portrait painters in the brilliant execution of these portraits. 1. Henri-Pierre Danloux, a portraitist in the revolutionary turmoil Born in Paris in 1753, Henri-Pierre Danloux was first a pupil of the painter Nicolas-Bernard Lépicié (1735 - 1784) and then, in 1773, of Joseph-Marie Vien (1716 - 1809), whom he followed to Rome when, at the end of 1775, Vien became Director of the Académie de France. In Rome he became friends with the painter Jacques-Louis David (1748 - 1825). Returning to France around 1782, he settled in Lyon for a few years before returning to Paris in 1785. One of his first portraits was commissioned by the Baroness d'Etigny, the widow of the former Intendant of the Provinces of Gascony, Bearn and Navarre Antoine Mégret d'Etigny (1719 – 1767). He then became close to his two sons, Mégret de Sérilly and Mégret d'Etigny, who in turn became his patrons. In 1787, this close relationship with the d'Etigny family was further strengthened by his marriage to Antoinette de Saint-Redan, a relative of Madame d'Etigny. After his marriage, he left for Rome and did not return to France until 1789. It was during the winter of 1790-1791 that he painted one of his masterpieces, the portrait of Baron de Besenval. Set in a twilight atmosphere, this portrait of an aristocrat who knows that his death is imminent symbolizes the disappearance of an erudite and refined society which would be swept away by the French Revolution. The Jacobin excesses led Danloux to emigrate to England in 1792; many members of his family-in-law who remained in France were guillotined on 10 May 1794. Danloux enjoyed great success as a portrait painter in England before returning to France in 1801. During his stay in England, Danloux was deeply under the influence of English portraitists: his colors became warmer (as shown by the portrait of the Duc d'Angoulême that we are presenting), and his execution broader. 2. Description of the two portraits and biographical details of the sitters The Duc d'Angoulême (1775-1844) was the eldest son of the Comte d'Artois, the younger brother of King Louis XVI (the future King Charles X), and his wife Marie-Thérèse of Savoie. He is shown here, in the freshness of his youth, wearing the uniform of colonel-general of the "Angoulême-Dragons" regiment. He is wearing the blue cordon of the Order of the Holy Spirit, which was awarded to him in 1787, and two decorations: the Cross of Saint-Louis and the Maltese Cross, as he was also Grand Prior of the Order of Malta. Born on 16 August 1775 in Versailles, Louis-Antoine d'Artois followed his parents into emigration on 16 July 1789. In 1792, he joined the émigrés’ army led by the Prince de Condé. After his stay in Edinburgh (which will be further discussed), he went to the court of the future King Louis XVIII, who was in exile at the time, and in 1799 married his first cousin Marie-Thérèse Charlotte of France, the daughter of Louis XVI and the sole survivor of the royal family. The couple had no descendants. He became Dauphin of France in 1824, upon the accession to the throne of his father but played only a minor political role, preferring his military position as Grand Admiral. Enlisted in Spain on the side of Ferdinand VII, he returned home crowned with glory after his victory at Trocadero in 1823. He reigned for a very short time at the abdication of Charles X in 1830, before relinquishing his rights in favor of his nephew Henri d'Artois, the Duc de Bordeaux. He then followed his father into exile and died on 3 June 1844 in Gorizia (now in Italy). His younger brother, the Duc de Berry, is shown in the uniform of the noble cavalry of the émigrés’ Army. He is wearing the blue cordon of the Order of the Holy Spirit, awarded to him in May 1789, and the Cross of Saint-Louis (partly hidden by his blue cordon). Born on 24 January 1778 in Versailles, Charles-Ferdinand d'Artois also followed his parents into emigration and joined the émigrés’ army in 1792. After his stay in Edinburgh, he remained in Great Britain, where he had an affair with Amy Brown...

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...

Pair of Italian 18' century paintings , oil on canvas with Venetian Palace gardens , antiques sculptures and various figures . Measurements with frame cm 75 x101

Work on canvas Empire plaster frame and gilded wood 42 x 38 x 5 cm

This superb 18th century Old Master floral still life oil painting is attributed to Flemish artist Pieter Casteels III. Painted circa 1730 it is a garland or swag of flowers, somethi...

Marc Baets (Flemish 1720 - 1785), follower of Pastoral Scene oil painting on canvas, framed framed: 23 x 29 inches canvas : 17 x 23 inches provenance: private collection, England c...

Important 18th century German portrait by the female master painter Anna Rosina de Gasc depicting Sophie of Brunswick-Wolfenbüttel Anna Rosina was born in 1713 into a family of painters of Polish noble origin in Berlin. Her mother was Maria Elizabeth Kahl from Pomerania. Her father, Georg Lisiewski (1674–1751), taught painting to Rosina and her siblings Anna Dorothea (1721–1782) and Christoph Friedrich (1725–1794). She later studied with the painter Antoine Pesne...

Work on wood Empire plaster frame and gilded wood 42 x 36.5 x 6 cm

Giuseppe Tassone (Rome 1653 - Naples 1737) Shepherd's Caravan Oil on canvas, 130 x 155 cm Expert opinion Prof. Alberto Crispo The manner of outlining the people and animals with...

Work on canvas Black wooden frame 51 x 73 x 5 cm

'Fame' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches cond...

Pierre Gobert (Fontainebleau 1662 - Paris 1744) Atelier of Pair of fine portraits Louis XV, King of France and his wife, Maria Leszczyńska oils on canvas (2), 41 x 32 cm., in frame ...

Attributed Charles François Grenier de Lacroix or Charles - François Lacroix de Marseille (1700 - 1782) as signed lower left on the stone “Lacroix”. The scene of the departure of nobles on a ship, somewhere among the Mediterranean landscapes at sunrise. Lacroix's sense of color and attention to detail are particularly impressive: the sea is calm, the sun is rising and as a soft pink hue begins to emerge in the clouds, the morning haze has not yet cleared and the air is clear and clean, large ship...

Follower of Nicolas Lancret (Paris 1690 - Paris 1743) - Gallant scene in a landscape. 63.5 x 76 cm without frame, 91 x 102.5 cm with frame. Antique oil painting on canvas, in carve...

Angela Maria Pittetti known as Palanca (Palancato, 1690 - Turin, 1763) Hunting rest Camp scene (2) Oil on canvas, 85 x 66 cm - with frame 90 x 71 x 4 cm A work of Piedmontese sco...