18th Century Paintings

Naval Shipping in Stormy Seas English School, 18th century circle of Charles Brooking, (1723-1759) oil painting on canvas: 16.5 x 21.5 inches Morland ...

18th century Flemish School After David TENIERS Le Jeune Oil on canvas 72 x 53 cm (87 x 67.5 cm with the frame) Beautiful 19th century frame in black wo...

The Lute Player, the Flute Player and Singers making Music • 18thC Oil on iron sheet, ca. 32 x 26.5 cm • Later Frame, ca. 40 x 34 cm Here we have a...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

Oil on canvas. French portraits.

Oil on canvas Image size: 29 1/2 x 24 inches (75 x 61 cm) Period gilt frame This is a notable half length portrait of a navel officer, holding a telescope. He stands wearing a blue ...

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...

St. George Defeats the Dragon Follower of Raphael Sanzio (Urbino, 1483 - Rome, 1520), 17th-18th century Oil on oval canvas 124 x 95 cm./ in frame 148 x 118 cm. The painting evocati...

A fine 18th century French pastel portrait on paper of an aristocrat wearing the order of St Louis, inferring that the sitter had been in the military serving the King. The pastel is unsigned but to the the back is a piece of the original backing paper with a notation to the Baronne de Minck. The paper has been backed with a type of vellum, It is presented in a plain gilt wood frame on a period stretcher under 18th century glass. The artist has used the pastel to create a wonderful soft velvety texture so characteristic of this medium which became so popular for portraits in the 18th century. A charming rendition of a typical 18th century nobleman...

Boy & His Dog, 19th Century by Jules BRETON (1827-1906) sales to $1,500,000 Large 19th Century French country portrait of a Boy and his Dog, oil on canvas by Jules Breton. Large 19th century portrait...

The beautiful portrait proposed, which represents a Genoese woman of high social origin and dressed in a sumptuous and elegant manner, illustrates the typical stylistic characteristics of the great Genoese portrait painter Giovanni Maria Delle Piane, called the Mulinaretto. Giovanni Maria delle Piane dit Mulinaretto (Genoa 1670 - Monticelli d´Ongina 1745), attributed Portrait of a noble Genoese nobleman Beginning of the 18th century Oil on canvas, 79 x 65 cm, In a beautiful carved and gilded wooden frame cm. 106 x 89 The noble lady displays a stern and proud expression, a smile which has just been mentioned but full of determination; the well-erected and authoritative pose is softened by the habit of the red ribbon woven in the hair, reminiscent of the brocade of clothes, according to an interpretive taste typical of Delle Piane. In the painting we appreciate the meticulous detail of the lace of the sleeves and fabrics on the neckline, the rich drapery of the dress, the contrast of colors between the golden threads of the embroidery and the iridescent red of the fabric that envelops the figure and that emerges from the the dark background. Finally, the pleasant conduction which characterizes the refined line is appreciated in the capacity to make the light glide on the clothes and the complexion of the woman. The artist, pupil of Giovanni Battista Gaulli...

Pair of Battle Scenes is an oil painting realized by an italian artist in 18th century. 110x85 cm each. Framed. Good conditions.

After the Hunt Jan Josef Horemans the Younger Antwerp 1714 – 1790 Flemish School Signature: Attributed to Jan Josef the Younger Horemans Medium: Oil on canvas Dimensions: Size incl...

Master active in Piedmont (dated 1782) - Tavern "Al Gambero Bon Vino". 133 x 133 cm without frame, 139 x 139 cm with frame. Oil on canvas, in a giltwood frame. - Indistinctly sig...

This portrait depicts us the trusted confidant of the Conflans d'Armentières family. More precisely, Julien Prieur was the fiscal procurator of the Marquisate of Armentières, playing the role of representative of the "public ministry", safeguarding the interests of his lord. His role, one can imagine, was crucial at the death of Michel de Conflans (in 1717) since the latter left an heir, Louis, aged only 6, and a widow, Diane Gabrielle de Jussac, whom some memoirs describe as "a very clever grande dame" . Prieur ensured the smooth running of the family's affairs and it is probably to thank him for his services that Diane Gabrielle had his portrait painted, most probably by a painter close to Jean-Baptiste Oudry. Julien Prieur appears as he is, middle-aged, with a benevolent look, in his hunting suit. Only his knotted wig links him to the nobility. Above all, he is depicted as a hunter, a passion that he shared with the Marquis of Armentières. His very young master, Louis, became a first-rate hunter, hunting in the King's entourage, in whose cabinet he died of apoplexy in January 1774. As for the his son, he was one of Louis XVI's closest hunting companions, as numerous souvenirs attest . 1. Some biographical information about the model and the commissioner While the identity of many 18th century portraits is uncertain, an old label stuck on the reverse of the canvas gives us some precise information on the identity of the model: "Mr. Julien Prieur, homme d’affaires de Mr. le Marquis d'Armentières - Commune of Brécy - Aisne". The label also suggests that it could be his son Louis Prieur living in Rocourt (probably Rocourt-Saint-Martin, a neighbouring municipality of Brécy), born on 30 September 1745, who died on 8 July 1826, but this hypothesis must be rejected in view of the model's clothing. This label probably gives us an indication on the previous owner the owner of this painting; we will see later why it seems likely that this label was affixed between 1826 and 1832. Brécy is now a municipality in the Aisne County (Hauts-de-France) located between Soissons and Château-Thierry, slightly north of the Paris-Reims axis. It borders the municipalities of Armentières-sur-Ourcq and Rocourt-Saint-Martin. According to Louis Prieur's death certificate, he was in fact born in 1743 and not in 1745 . The age of the model in the painting and the dating of this painting would indicate that Julien Prieur, was probably born at the very end of the 17th century. In Louise-Marthe de Conflans-Coigny, chatelaine de Brécy , we read that "the Conflans were a family of ancient nobility, which genealogists trace back to the 12th century, when it was said to have come from the house of Brienne. In the 16th and 17th centuries, this family had several illustrations in the profession of arms. [...] Michel de Conflans, [...] belonged to a younger branch of the family, of which Saint-Simon wrote, with his acid soaked pen, that "poor and obscure, they had never left their village, where their house resembled a hut" and elsewhere that they "lived on their rifles and cabbages". Fortunately for Michel de Conflans, the last representative of the elder branch, Henriette d'Armentières, made him her heir on her death in 1712. It was through her that the land of Armentières and its 14th century castle became part of the estate of this branch, as well as, not far from there, the land of Brécy and the castle of Le Buisson, where the family lived. In the early years of the 18th century, Michel de Conflans was able to push himself into the entourage of the Duke of Orleans, becoming his first gentleman of the chamber. However it was above all his son Louis who restored the family status through his military career. Born on 23 February 1711, Louis de Conflans, Marquis d'Armentières died of apoplexy on 18 January 1774, in the King's cabinet at Versailles. Appointed lieutenant general in 1746, he received his Marshal of France’s stick in 1768. The Dictionary of French Biography writes of him that "without ever achieving a high command, he appeared with honour in all the wars of his time". The estates of Armentières and Le Buisson were sequestered during the French Revolution, declared national property and sold at auction (in 1794 and 1795 respectively) after the Marquise d'Armentières, the Marshal's second wife, was beheaded in 1794. The Château du Buisson (where Michel de Conflans died in 1717) was bought by a granddaughter of the Marshal de Conflans, the Marquise de Coigny, in 1816 and remained in her family after her death in 1832 until the sale of the 1,054 hectares estate in 1866. The bayonet blows that probably pierced the canvas in three places may well have a revolutionary origin and it is conceivable that the painting, acquired by the Marquise de Coigny from Louis Prieur, Julien's son, after the latter's death, was then restored and given the label specifying the name of the model. 2. Description of the portrait The painting presents a man in his thirties in his hunting costume. Pictured at mid-body, his face is marked by his life in the open air and characterised by a look of great bonhomie. Holding a rifle under his elbow, he is soberly dressed in a large caramel-coloured jacket, decorated with silver buttons. Presented in a three-quarter view, the model holds a partridge in his right hand. The jacket opens onto a vermilion waistcoat. A green shoulder strap probably holds a powder flask hidden under his arm while a satchel is visible on his belt. The model is wearing a grey wig, tied at the back with a black ribbon that seems to fly in the wind. This ornament anchors Julien Prieur in his time. "The new King of France, Louis XV, [imposed] a style of smaller wigs for men and the rigorous white or preferably greyish powdering. From the middle of the century men also used a ponytail on the back of the neck, tied with a ribbon, a style that became very popular in all courts." He stands out against a dark, purplish sky at the end of an autumn day in a soberly sketched forest landscape. The treatment of the sky recalls the influence of Largillière, Oudry's first master. 3. Jean-Baptiste Oudry Jean-Baptiste Oudry was born on 17 March 1686 in Paris, rue de la Ferronnerie. He began his apprenticeship around 1705-1707 with Nicolas de Largillière, with whom he stayed for five years. In 1713 Oudry established his "livre de raison" in which he reproduced all his early works in wash drawings up until 1718. During this first period which lasted about 7 years, Oudry produced works of great diversity, both in the genres that the artist tackled and in the artists which influenced him. It has been estimated that he painted about 150 pictures during this period: mainly portraits, but also still lifes and some religious paintings and landscapes. Of the hundred or so portraits that Oudry is said to have painted during this period, only fifteen have been identified today. A number of those lost portraits are probably still confused with works by Largillière. First admitted to the Académie de Saint-Luc in 1708, he was then allowed to join the Académie Royale in 1717, and subsequently admitted as a history painter in 1719. This year marks a turning point from which Oudry will assert himself as an animal painter. In 1723 he met Louis Fagon, Intendant of Finances, and the Marquis de Beringhen, the King's first equerry, who became both friends and patrons of the artist, giving him access to royal commissions and enabling him to be appointed as painter of the Royal Tapestry Factory of Beauvais in 1726. From 1728 onwards, the creation of tapestries became the core of his work, even though at the same time Oudry developed his skill as an illustrator, first for Scarron's Roman Comique and then for La Fontaine’s Fables. Between 1726 and 1731, Oudry created the decoration of a large drawing room at the château de Condé-en-Brie, about twenty kilometres from Brécy, which has remained in place to this day. This important commission, about which few details are known, is said to have originated with the Countess de Verrüe, a great lady of the French Regency who often stayed at Condé with her friend Jean-François Leriget, Marquis de la Faye, then owner of Condé. A prolific artist, Oudry fulfilled numerous commissions in parallel with his regular contributions to the Salons, to which he regularly took part until 1753. He suffered a stroke in 1754 and died the following year. It seems almost certain, in view of the importance of his work, that Oudry supervised a workshop in which several artists were involved, but this point is very poorly documented. Given the geographical proximity of Brécy and Condé-en-Brie, the links between the Armentières family and the Condé patrons, and finally based upon the quality of our portrait, we propose the hypothesis that it was painted by one of the painters who worked with Oudry at Condé. 4. Related artworks: comparison with some other portraits of hunters by Jean-Baptiste Oudry While Oudry gradually abandoned portraiture from 1720 onwards to devote himself to animal paintings, he seems to have made an exception for hunter portraits, which were often depicted in the company of their hunting dogs. Two examples seem particularly evocative and suggest a dating for our painting around 1730. We will see in a second part why this dating proposal seems relevant. The first portrait worth mentioning is the presumed portrait of Lieutenant Claude-André Courtin de Crouey, lord of Quatre Fils and Cormeilles-en-Parisis made in 1723, reproduced below. Also presented in a very tight frame, it is interesting for the similarities in the representation of the rifle, and in particular the two metal rivets that are almost identical in our painting. The painting that seems closest to ours is the presumed portrait of Monsieur...

18th century Dutch school (circa 1700.) - Circle of Pieter van Bredael (Antwerp 1629 - 1719) A village square with a market scene oil on canvas, 78 x 108 cm., Framed 94 x 121 cm. Questa affascinante scena popolare con un brulicante mercato nella main piazza è un opera di un artist fiammingo attivo intorno al 1700: si tratta di un interesting spaccato di vita dailyiana di un piccolo villaggio dell’Olanda del Secolo d´Oro. Nella piazza brulicante di gente con sullo sfondo delle tipiche case ed una grande fontana zampillante, possiamo assistere al trambusto che ruota attorno al giorno di mercato, con figure di ogni estrazione sociale indaffarate nelle proprie attività. Anche is difficult to ricondurre la tela alla mano di un autore in particolare, data la predilezione di molti autori a questo genere di ricche composizioni, possiamo però avvicinarne l'esecuzione alla cerchia del pittore di Anversa Pieter van Bredael (Anversa 1629–1719). Van Bredael, che faceva parte di una grande famiglia di pittori, è registrato come allievo nella bottega di David Ryckaert III nel 1640. Dopo viaggi di studio nei Paesi Bassi e in Spagna divenne maestro della Gilda di San Luca ad Anversa nel 1651. Lavorò anche in Italia, soprattutto in Roma, dove venne strongly influenzato dallo stile compositivo del gruppo dei Bamboccianti. Era ben noto per le sue scene di mercato altamente fantasiose che illustravano lo spettro diversificato della vita dailyiana della città. I suoi dipinti di paesaggi sono caratterizzati da accenti di colori vivaci, spesso popolati da molte figure che non possono che evocare lo stile di Jan Brueghel il Vecchio. Vi mostriamo di seguito alcune operates dell’autore, con cui è agevole ravvisare stilistiche analogy e compositiva con il nostro dipinto. - Dorotheum, Vienne, Alte Meister...

Benjamin Barker of Bath (Pontypool 1776-1838) A wooded river landscape with drovers Signed and dated 'B.Barker pinxt/ 1807' lower right Oil on canvas 46 x 68 3/4 in (116.8 x 174.5 cm...

Workshop/Circle of François de Troy (Toulouse 1645 – Paris 1730) Portrait of a young lady (probably Marianne de Cogny, epouse de Philippe-Emmanuel de Beaufort...

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...

Charles François Grenier De Lacroix, known as de Marseille (Marseille 1700 - Berlin 1782) atelier Mediterranean coastal view with figures and fishermen at sunset Oil painting on can...

Pair of Gallant scenes is a pair of artworks realized by the French School in 18th Century. Oil on canvas. It Includes 2 ancient gilded frames. Scen...

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...

Ships Sailing Off The Coast, circa 1800 Thomas LUNY (1759-1837) - one of a pair Huge 18th/19th century English shipping scene of various vessels off the coast with figures looking ...

This large wash drawing is a slightly enlarged version of a composition executed by Hubert Robert in 1761, at the end of his stay in Rome. This composition is a marvellous synthesis of the painter's art: the clatter of the waterfall, in a grandiose setting inspired by antiquity, is opposed to the intimacy of a genre scene, made up of a few peasant women performing some agricultural work. 1. The stay in Italy, an important founding stage in Hubert Robert's carrier Hubert Robert came from a privileged family of Lorraine origin, linked to the Choiseul-Stainville family, where his father was an intendant. The protection of this powerful aristocratic family enabled him to study classical art at the Collège de Navarre (between 1745 and 1751). After a first apprenticeship in the workshop of the sculptor Slodtz (1705 - 1764), he was invited by Etienne-François de Choiseul-Beaupré-Stainville (the future Duke of Choiseul, then Count of Stainville) to join him in Rome when the latter had just been appointed ambassador. Hubert Robert arrived in Rome on 4 November 1754, aged twenty-one, and remained there until 24 July 1765. Thanks to his patron, he obtained a place as a pensioneer at the Académie de France without having won the prestigious Prix de Rome. On his arrival in Rome, he frequented the studio of the painter Giovanni Paolo Panini (1691 - 1765), the inventor of the ruins painting, and also benefited from the proximity of Giovanni Battista Piranesi’s studio (1720 - 1778). During his eleven-year stay in Rome, Hubert Robert studied the great Italian masters and drew many of the great archaeological sites, multiplying the sketches which he would use throughout his career, becoming one of the masters of the "ruin landscape". Back in Paris in 1765, he was very successful. He was accepted and admitted to the Royal Academy of Painting and Sculpture on the same day, July 26th 1766, which was very unusual. He was appointed draughtsman of the king's gardens in 1784, then guard of the Royal Museum from 1784 to 1792. Arrested in 1793 and detained in the prisons of Sainte Pélagie and Saint-Lazare, he was released in 1794 after the fall of Robespierre and undertook a second trip to Italy. In 1800, Hubert Robert was appointed curator of the new Central Museum and died at his home in Paris in 1808. 2. Description of the artwork This composition, formerly called "La Cascade du Belvédère Pamphile" , is undoubtedly inspired by the water theatres of the Frascati villas. Hubert Robert presents a hemicycle of columns with rustic bossages at the foot of which is a cascade of water falls into a basin. The hemicycle is flanked by two high walls, pierced by window wells topped with antique masks...

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...

Benjamin Killingbeck (act. 1769-1783) A dark bay racehorse held by his trainer on a racecourse Oil on canvas Canvas Size - 40 x 50 in Framed Size ...

Not only in the 17th century, but also in the 18th century, genre painting, where people are portrayed in their daily life, was successful. The theme of the milkmaid, which we all kn...

Italianate landscape garden with classical ornament, including Giambologna's Sabine women and a classical urn, view to a bay beyond Coplestone War...

Portrait of Johann Theodor of Bavaria (1703-1763) by Joseph Vivien Johann Theodor of Bavaria (* September 3, 1703 in Munich; † January 27, 1763 in Lièg...

Oil painting on canvas. The large pastoral scene presents a broad landscape that pushes the gaze to the distant sea coast; on it the sky is gradually opening up, revealing flashes of blue on the left, while on the right, among the darker clouds left over from the storm, a large rainbow is revealed. In the foreground, a group of shepherds and shepherdesses enjoy amorous games, discrete and festive, in the midst of their herds, which rest and drink from the nearby stream. The whole scene is animated by a dimension of joyful relaxation and refreshment, as if the rainbow had restored serenity to the environment, bringing light and with it serenity to the world. it is a copy after a famous painting by Sir Peter Paul Rubens...

18th/19th Century School 'A scene of Christ entering Jerusalem' Medium: oil on canvas, framed Size of painting: 21.5" x 18.25" inches condition: overa...

Portrait Of A lady Identified As Frances Thomasine, Countess Talbot, Wife of the 2nd Earl Talbot (1778–1819) attributed to SIR WILLIAM BEECHEY (BRITISH 1753-1839) Large early 19th Century Portrait of a lady identified as Frances Thomasine, Countess Talbot, oil on canvas attributed to Sir William Beechey. Magnificent large three quarter length seated interior portrait of the lady wearing one glove, her hair up and an empire line dress...

Portrait Of Gilbert Talbot 7th Earl of Shrewsbury (1552-1616), 16th Century Circle of George Gower (c.1540–1596) Huge 16th Century Portrait Of Gil...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

Portrait of a young lady. wearing an ivory silk gown with gold brocade trim and a blue silk cloak, painted c. 1747. Circle of Thomas Hudson (1701-1779). Oval oil on canvas laid on to board in a giltwood frame. Provenance: Frost & Reed Ltd, June 1958 Private collection, Somerset UK The beautifully painted silk gown worn by the sitter bears the characteristics of the talented drapery painter Joseph Van Aken (c.1699-1749). Artists such as Thomas Hudson, Allan Ramsay, Henry Pickering, George Knapton and Joseph Highmore all used Aken’s exceptional talents in painting the silk clothes...

Balthasar Denner (1685 Hamburg - 1749 Rostock). Mary Magdalene. Oil on copper, 37 × 32 cm (visible size), 45 x 40 cm (frame), signed and indistinctly dated "Denner 17(...)" at centre...

Oil on canvas Image size: 19 1/2 x 15 1/2 inches (49 x 39.5 cm) Original frame This is a a wonderful marine scene depicting a flotilla of battleships, warships and Admiralty yachts....

Up for sale is an unusual unique antique 18-century original oil painting on board depicting a figure of a gentleman wearing a white wig and dressed in a red jacket and white jabot, typical of the period. His face is almost comical in its expression and exaggerated features. Possibly part of a larger composition. Attributed to THOMAS PATCH...

Francesco Zuccarelli (Pitigliano 1702 - Florence 1788) - River landscape with shepherds and herds. 31 x 46 cm without frame, 47.5 x 57 cm with frame. Tempera on paper, in giltwood ...

Portrait of a lady, three-quarter length, wearing a blue silk gown, seated in a classical interior, with her daughter in a pink gown standing beside her holding a sprig of blossom. T...

An early 18th century portrait of a young lady, half length, wearing a blue silk gown with white chemise and gold trimmed cloak draped across her arm and shoulders. Her sensitively observed soft expression and skilfully painted youthful 'dewy' complexion are reminiscent of the portrait style of John Closterman whose work Murray would have been familiar with, being a close colleague of Murray's teacher, John Riley. An old label on the reverse identifies the sitter as a young Princess Charlotte...

Bust Portrait of a wigged man in a Brown Coat Circle of Gilbert Stuart (1755 - 1828) Irish oil on canvas, unframed size: 30 x 25 inches condition: ver...

PRICE IS FOR EACH FRAMED PRINT "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origina...

Scuola Fiorentina Santa Maria d'Antiochia olio su tela Secolo XVIII cm 85,5X63,3; con cornice cm 105X64X7.

This charming 17th Century half length portrait by Charles Jervas is believed to be of Henrietta Pelham–Holes, Duchess of Newcastle. The sitter is wearing a blue silk gown. Circa 1700 Oil on Canvas 27 x 19 1/2 inches 68.5 x 49.5 cm In a fine gilded carved wood frame. ABOUT THE SUBJECT: The sitter of svelte poise depicts grace and style. Stylistically taking the fancy of the moment with clearness and brilliancy in his flesh tints. Jervas work follows the English eighteen century tradition of portrait painting, epitomized by the likes of Kneller and Dahl. Henrietta "Harriet" Pelham-Holles, Duchess of Newcastle upon Tyne, was the wife of British statesman and prime minister Thomas Pelham-Holles, 1st Duke of Newcastle. She was the daughter of Francis Godolphin, 2nd Earl of Godolphin, and Henrietta Churchill, 2nd Duchess of Marlborough. She was also the granddaughter of Sidney Godolphin, 1st Earl of Godolphin, as well as John Churchill, 1st Duke of Marlborough, and Sarah Churchill...

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 (...

18th century Bust portrait of a gentleman in a blue coat with gold buttons (Said to be Edmund Hoyle, inventor of Whist) circle of James Latham. Housed in a gilt frame the size overall is 71 x 84 cm (28 x 33 inches approx) whilst the painting is 56 x 69 cm ( 22 x 27 inches approx) The overall condition is very good having had some restoration. The painting has been relined, cleaned and re varnished. There has been some strengthening/overpainting. There is a Rectangular patch repair along lower edge, centre, reverse approximately 5 x 7cm with associated retouching to front,all essentially done sympathetically. some fine stable craquelure throughout. Some minor self coloured losses to frame. None of the above detracting from a very attractive portrait. Edmond Hoyle Edmond Hoyle English card game authority, "the Father of whist" Born 1672 England Died 29 August 1769 (aged 96–97) London, England Edmond Hoyle (1672 – 29 August 1769)[1] was a writer best known for his works on the rules and play of card games. The phrase "according to Hoyle" came into the language as a reflection of his generally perceived authority on the subject James Latham James Latham was born in Thurles, County Tipperary, Ireland and possibly related to the family of Lathams of Meldrum and Ballysheehan. After some practice of his art, Latham studied for an academic year in Antwerp (1724–25) where he became a Master of the Guild of St Luke. He returned to Dublin by 1725, and may have visited England in the 1740s, as the influence of Joseph Highmore, as well as Charles Jervas and William Hogarth, is evident in his work of this period. Anthony Pasquin memorably dubbed Latham "Ireland's Van Dyck". Latham died in Dublin on 26 January 1747. Several of James Latham's portraits are in the National Gallery of Ireland collection in Dublin; one is of the famous MP Charles Tottenham (1694–1758) of New Ross, Co. Wexford, "Tottenham in his Boots" (Cat. No.411) and a second is a portrait of Bishop...

Wonderful 18th century English gouache on paper of a 18th century English scene of a groom with a horse in a landscape. One of a set of five all framed in Hogarth frames. L.Green ...

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 (...

Oil on canvas Image size: 24 x 28 1/2 inches (61 x 73 cm) Contemporary style hand made frame This is an incredibly carefully executed work. On what appears to be a wooden ledge we see a plate of freshwater fish, possibly a roach, a copper pot, a larger terracota pot...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

This landscape, masterfully executed in pen and wash by Louis-Jean Desprez around 1779, probably represents a view of the Roman countryside. The treatment of the trees is very similar to that of two engravings which Desprez executed in Rome, The Island of Cythera and The Temple of Love. 1. Louis-Jean Desprez, a cosmopolitan life between Italy and Sweden Born in Auxerre in 1743, Louis-Jean Desprez probably began his apprenticeship with the engraver Charles-Nicolas Cochin...

On the cardboard applied on the frame there is an annotation, belonging to some of the old owners, reporting the names of the portrayed in Kurrent handwriting: "Urgroßvater Ludwig Fr(ei)h(e)r(r) von Keller" "Urgroßmutter Fr(ei)h(e)r(rin) von Keller geb(oren) von Niebecker". So we can deduce that the models were Ludwig Friedrich Heinrich Ferdinand Baron of Keller (1760-1835), a German politician who was the director of the district of Prussia, and his wife Auguste Johanne Henriette Baroness of Niebecker (1760-1832). Their high class provenience is highlighted by the not contained expressive liveliness, by the proud pose imitating movement and by the elegance of the clothes which fabric seems palpable (especially sincere is the evanescent depiction of the pleated veil of the gorget and the adorned with arabesques decoration of the sleeves and the vest). The two pieces can be attributed to John Singleton Copley...

Madonna with Sleeping Child Follower of Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) Roman painter 18th century Oil on canvas Measurements: canvas 64 x 50 cm, in frame 76 x 62 cm. This delicate depiction of the Madonna in adoration of the Child exhibits all the human dimension and sweetness of the maternal atmosphere: Mary clasps the sleeping child to her in a tender embrace, which touches her cheek, enveloped and protected by the mantle and even a flap of the mother's veil. The pictorial style and composition recall the ambit of Giovan Battista Salvi, the Sassoferrato, who distinguished himself expressly for this subject, with the Virgin immortalised in a humble and strongly earthly pose, depicted with simple white, red and blue colours and delicate plays of nuances on the faces and hands. This iconographic prototype was so successful that it became the painting for countless works destined for devotion during the 17th and 18th centuries, particularly appreciated for private commissions due to its marked gentleness and formal perfection, particularly of the faces. Born in Marchigiano, Salvi developed his activity in Rome, following the dictates of the classicist sacred painting of the Bolognese school of Reni, Carracci and Domenichino, but succeeding in having an autonomous and therefore clearly distinguishable style.  In very good overall condition, there are some small scattered restorations and some unravelling of the painted surface. Framed in a beautiful gilded frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda...

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...

Set of four large 18th century Italian Rococo paintings of the Four Seasons Italian, 18th Century Frames: height 98cm, width 201.5cm, depth 5cm...

Oil Painting Pair circle of by George Romney "Portraits of a Lady and Gentleman" 1734 - 1802 Romney was a leadway society portrait painter of the Georgian ear...

After Jean-Baptiste Van Loo, A Portrait of King Louis XV of France (1710-1774) A magnificent quality three-quarter length portrait of King Louis XV of France and Navarre, painted in the 18th century after Jean-Baptiste Van Loo. Oil on canvas, in the original carved and gilt wood frame. Canvas: 40" high x 32" wide Frame: 46.5" high x 39" wide Very good condition, ready to hang. No damages noted. The present composition follows a portrait of Louis XV painted by Jean-Baptiste Van Loo in 1726-1727, today in Versailles. (Oil on canvas. 198.5 by 143 cm. Inv. no. MV 6942.) There were several full-length portraits painted by Van Loo of the young Louis XV, and all were executed in the years of or after his majority, 1723, when he took full control of government, wresting power from the Régent, his great-uncle Philippe, Duc d'Orléans. A slightly larger version (205 by 171 cm), in which the pose and surrounding paraphernalia mirrors that of the present work, is in the Château de Versailles, while another, in which Louis stands more front-on, his pointing right index-finger now tucked in, and with a different background arrangement, is also in Versailles. Further versions of this latter are in Nice, Musée Chéret and the Musée de Perpignan. The composition of all of these full-lengths would appear to derive from Van Loo's large equestrian portrait of Louis XV, painted in collaboration with Charles Parrocel, which was commissioned in 1723 by the Surintendance for Charles de Lorraine. Louis is depicted in similar armour and costume, astride his horse, similarly turned three-quarters to the left and his right arm outstretched. Most subsequent depictions of Louis followed this original design, including, for example, Carle Van...