18th Century Paintings

Unidentified Austrian Artist (18th Century) "Holy Communion of the Apostles" Medium: Oil on canvas Dimensions (Framed): 133 x 193 cm Dimensions (Canvas): 120 x 179 cm No signatured Provenance: [If available, insert details] This grand 18th-century Austrian religious painting, titled "Holy Communion of the Apostles", presents a dramatic and deeply spiritual interpretation of one of the most sacred moments in Christian tradition. The composition is filled with expressive figures, capturing Christ as He offers communion to His apostles, enveloped in a warm and divine glow. The scene is set in an elaborate architectural background with classical columns, reliefs, and statuary, reinforcing the solemnity and grandeur of the occasion. Executed in the Baroque tradition, the painting showcases rich contrasts of light and shadow, dynamic movement, and intricate detailing. The use of chiaroscuro heightens the emotional depth, while the finely rendered garments, architectural elements, and the presence of cherubs add a theatrical yet reverential atmosphere. The inclusion of background figures engaged in various activities contributes to the narrative complexity, a hallmark of 18th-century Austrian religious art influenced by Italian and Flemish masters. Encased in an elegant gilded frame, this museum-quality work is an exceptional acquisition for collectors of Old Master religious paintings...

La obra se presenta enmarcada con su marco original de la época (el marco presenta faltas y desgastes) El estado de la obra se puede ver, tiene perdidas y de pintura y faltas en la ...

La obra no va firmada Se presenta enmarcada con un marco de principios del siglo xx en madera tallada El estado de la obra se puede ver, presenta craquelaciones y faltas de pintura...

Sin firmar, de autor anónimo Se presenta enmarcada la obra con un marco posterior a la pintura Comentar que la tela está reentelada Medidas obra: 65 x 49 cm. Medidas marco: 82 ...

Violin Player in Tavern 18th century French School oil on canvas canvas: 8 x 11 inches provenance: private collection, France condition: good and sound condition

Sir Henry Raeburn (1756-1823) James Sinclair, 12th Earl of Caithness (1766-1823) Oil on Canvas 30 X 25 inches Unframed 37 X 32 inches framed Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton: works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practised portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, a bust of Dr Wardrop of Torbane Hill, two full-lengths of Adam Rolland of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adam in the National Gallery of Scotland, and that of William Macdonald of St Martin's. Apart from himself, Raeburn painted only two artists, one of whom was Sir Francis Leggatt Chantrey, the most important and famous British sculptor of the first half of the 19th century. It has recently been revealed that Raeburn and Chantrey were close friends and that Raeburn took exceptional care over the execution of his portrait of the sculptor, one of the painter's mature bust-length masterpieces. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the early 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, "You would never take him for a painter till he seizes the brush and palette." In 1812 he was elected president of the Society of Artists in Edinburgh; and in 1814 associate, and in the following year full member, of the Royal Scottish Academy. On 29 August 1822 he was knighted by George IV and appointed His Majesty's limner for Scotland at the Earl of Hopetoun house. He died in Edinburgh. Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Velázquez, the brushwork reminded him constantly of the "square touch" of Raeburn. Scottish physician and writer John Brown wrote that Raeburn "never fails in giving a likeness at once vivid, unmistakable and pleasing. He paints the truth, and he paints it with love". Raeburn has been described as a "famously intuitive"portrait painter. He was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting directly from life; he made no preliminary sketches. This attitude partly explains the often coarse modelling and clashing colour combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the 19th century from romanticism to Impressionism. Sir Henry Raeburn died in St Bernard's House (17 St Bernards Crescent), Stockbridge, Edinburgh. He is buried in St. Cuthbert's churchyard against the east wall (the monument erected by Raeburn in advance) but also has a secondary memorial in the Church of St John the Evangelist, Edinburgh. James Sinclair, 12th Earl of Caithness was born at Barrogill Castle (Castle of Mey) on 31 May 1766. He was the son of Sir John Sinclair of Mey, Baronet who he succeeded in the baronetcy in 1774. He succeeded as 12th earl of Caithness in 1789. He was lord-lieutenant of the county of Caithness and lieutenant-colonel of the Ross-shire militia. He married at Thurso Castle on 2 January 1784 Jane, second daughter of Alexander Campbell...

Follower of Jacob de Wit 1695-1754 Venus and Cupid Oil on panel Image size: 7 ¾ inches x 11 ¾ inches Gilt frame A charming example of trompe-l'œil,...

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

Francis Hayman RA 1708–1776 Self-Portrait Oil on oak panel Image size: 8 x 6¼ inches Contemporary gilt frame This newly discovered work is the earliest known self portrait by Francis Hayman, dated to the mid to late 1720’s. The small scale of the portrait gives it a strong sense of intimacy. Whereas clients would often dress themselves in their best clothes for a sitting, Hayman has portrayed himself in informal attire, with his shirt unbuttoned and a wig cap. Born in 1708 to a respectable Devonshire family, his training began at the tender age of ten under the tutelage of the historical painter Robert Brown, who was probably an uncle. By the 1730’s he is known to have been engaged in painting scenery for the popular theatres on Goodman’s Fields and Drury Lane. He established a studio on St Martin’s Lane, and demonstrated his versatility as one of the most important painters of his time in portraits, illustration and history painting. Indeed, he was one of the first English painters deemed to have the skill and proficiency to rival that of the foreign masters, such as Holbein and Kneller, who were brought in by the court to make up for the perceived shortcomings of the native artists. Led by William Hogarth, Hayman and other artists began to create a new movement in the English art world. Thomas Gainsborough was one of his pupils, whom he is said to have introduced to the more lascivious and debauched underbelly of London life. After mostly making his living as an illustrator, in the 1740’s Hayman was commissioned by the proprietor of the Vauxhall Pleasure Gardens, Jonathan Tyers, to produce a series of four large celebratory canvases depicting British victories from the Seven Years War. His association with Tyers continued, and over the next ten years he produced a number of large decorative paintings...

Oil on panel Image size: 5 1/2 x 8 inches (14 x 2o cm) Contemporary hand made frame A charming scene of an English country lane, featuring a group of travellers resting on their journey. Two maids seem deep in discussion while they wait with a gentleman wearing a tricorn hat and fashionable maroon...

Flemish school 17th or 18th century Circle of Thomas WILLEBOIRTS BOSSCHAERT (Berg-op-Zoom, 1613 - Antwerp, 1654) Oil on canvas 72 x 59 cm (90 x 77 cm with frame) This work has been painted in a style close to the Antwerp school of the middle of the 17th century, to Anton van Dyck especially. We have found in particular several paintings similar to our painting in the works of Thomas Willeboirts Bosschaert. After having studied with Gerard Seghers...

Colonial School, Mexico, XVIII Century "San Francisco Javier" Oil on canvas 18 x 14 in.

This small landscape shows a hunting scene: two riders are chasing a stag with their dogs at the edge of a forest. Signed by Peter von Bemmel, it is typical of the production of this...

This charming large British Old Master pastoral oil painting is by noted artist Francis Wheatley. It was painted in 1797 and depicts five figures, a family and a dog in a woodland s...

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

Portrait of an Aristocratic English Gentleman circle of Thomas Hudson (British (1701-1779) oil on canvas, framed framed: 53.5 x 45 inches painting: 45 x 40 inches provenance: private...

This splendid early 18th-century classical landscape painting depicts an idyllic coastal view with architectural ruins and figures. Inspired by the romanticised visions of Claude Lo...

Oil on canvas Image size: 30 x 25 inches (76 x 63.5 cm) Contemporary hand-carved frame This is a charming 18th century portrait of a young boy, sporting a golden child's two-piece w...

Portrait of Arab Man in Turban French artist, 18th century oil on canvas, framed Framed: 21 x 16.5 inches Canvas : 18.5 x 14 inches Provenance: private collection, France Condition: ...

Landscape with figures is an original oil on canvas realized in the XVIII Century by a Venetian School Master. Original oil painting on Canvas. The painting represents a beautiful...

dans legoût de Joseph Vernet (1714-1789) Huile sur sur panneau Dim sans cadre 28/21 cm Dim avec cadre 38/31 cm Ecole française Cadre doré Cette saisissante scène de tempête rend homm...

The Roman Court French School, circa 1780-1820 period pencil/charcoal/white chalk drawing on artist paper stamped with a name (either a collector or the artist) size: 18 x 24 inches ...

British School Oil on Canvas Image Size: 31 inches x 25 3/4 inches (79 x 65.5 cm) Original gilt frame Gathered along a riverside are two fishermen turned in conversation, one of who...

Francesco Belotto (1721–1780) "Eucharistic Miracle of the Mule and the Heretic Before Saint Anthony of Padua" Framed: 82 x 170 cm Flat: 76 x 161 cm Medium: Oil on canvas This dramat...

Nordic school of the 18th century Oil on panel on wood 27 cm x 33 cm (42 x 51 cm with the frame) Old frame in carved and gilded wood Good condition even ...

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 ...

Still life painting of fruit in a basket Continental, c. 1800 Frame: Height 81cm, width 91cm, depth 7cm Canvas: Height 57cm, width 69cm, ...

Still Life Of A Book Featuring A "Monastic Ode", 18th Century English School - Unique Still Life - Signed W. J. Fine large 18th Century English still life study of an opened book l...

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...

Jacques-Laurent Agasse (1767-1849) A saddled hunter tethered to a stable door, a landscape beyond Oil on canvas Canvas Size - 17 x 21 in Framed Size -25 x 28 1/2 in Provenance with ...

Oil on canvas Image size: 30 x 25 inches (76 x 63.5 cm) Hand carved gilt frame This is a charming 18th century portrait of a young boy, sporting a golden child's two-piece with a fl...

This 18th-century painting, attributed to Christian Wilhelm Ernst Dietrich (1712–1774), depicts a rustic inn interior, a subject frequently explored by Dutch and German genre painter...

Woman Washing Clothes In The River, 17th Century circle of Francesco GUARDI (1712-1793) Fine large Italian Old Master landscape view of figures in a ...

Pietro Longhi (Venice 1701 - Venice 1785) - The Hunter. 60.5 x 50.5 cm without frame, 70.5 x 60.5 cm with frame. Oil on canvas, in a carved and gilded wooden frame (not signed). -...

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...

Baroque painting depicting a young woman, probably an aristocratic monastery student, in a black dress with white lace in an implied interior scene. She is seated at a piano with she...

Large and beautiful Italian grisaille painting with a mythological theme in Renaissance taste, second half of the 18th century. The painting is unsigned. Painted in oil on canvas, to...

Portrait Of A Wet Nurse & Baby, 17th Century Rare & Unusual English School Portrait Large 17th Century English School portrait of a wet nurse and baby breastfeeding, oil on canva...

French school late 18th Century Portrait of a young man oil on metal 10.2 x 7.7 cm Framed under glass : 24.4 x 21.8 cm This small portrait painting, quite original in its technique...

Unknown artist, copy François Boucher (1703–1770) "A Shepherd Teaching a Shepherdess to Play the Flute" Medium: Oil on canvas Dimensions (Framed): 115 x 100 cm Dimensions (Canvas): ...

Venetian master (18th century) - Mask of Pantalone. 161 x 68 cm without frame, 169.5 x 76.5 cm with frame. Antique oil painting on canvas, in a white lacquered wooden frame (not si...

Oil on canvas. cm 60.5 x 2 x 50 Nice Oil painting (Italian School of XIX century) with a rapid sign and intense colors backgrpound. Some color cracking on left margin and top edge, ...

18th Century Italian oil on copper portrait in the style of Raphael. Excellent condition.

Seascape with Ships and Figures Oil on canvas Framed: 58 x 65 cm Canvas: 42 x 30 cm No signatured This elegant 18th-century seascape captures a tranquil yet dynamic maritime scene, ...

Francesco Casanova (London 1727 – Mödling 1803) attributed to - Battle scene on horseback. 22.5 x 17.5 cm. Oil on canvas, unframed (not signed). - Label: “CASANOVA Francesco Giuse...

The Battle Of Sluys (1340), oil on canvas, 16th/17th Century Rare account of the opening engagement of The Hundred Years War (1337-1453) Fine huge antique history painting depictin...

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...

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...

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 du XVIIIe siècle attribué à Pierre Gobert Nous vous présentons un portrait remarquable, daté de la première moitié du XVIIIe siècle, attribué à Pierre Gobert, un peintre fra...

Italian painter (18th century) - Portrait of a gentleman with aphorism. 92 x 68 cm. Antique oil painting on canvas, without frame (not signed). - Inscription: "There are more madm...

George Morland (1763 London - 1804 Brighton). Sheltering from the Storm. Oil on canvas, relined, 37.5 x 29.5 cm (visible size), 53.5 x 45.5 cm (...

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...

A Venetian capriccio view with classical architectural ruins and in the background the church of San Giorgio Maggiore and the Church of Santa Maria della Salute next to the Grand Can...

Late 18th – early 19th century landscape with two young girls, and goat. Signed allegedly low capital R. T. Relined/restored. Oil on canvas. 12.75 x 16.

This is 2 original oil paintings. Both are beautiful pieces. each lined and with craquelure; Meet by the Farmhouse with a chip in the paint along the left edge and an abrasion along ...

Portrait of a Young Girl French Rococo School, 18th century oil on canvas, framed Framed: 24 x 20 inches Canvas : 20 x 16 inches Provenance: private collection, France Condition: ve...

Pendant window pictures attributed to Christian Wilhelm Ernst Dietrich, called Dietricy (1712 Weimer - 1774 Dresden). Typical genre depiction of two pretty young ladies leaning out of arched windows. Both ladies are shown open-hearted with white blouses. One painting shows a lady with a red hair band and red cheeks leaning on a low railing and looking at the observer with a slightly glassy gaze. The window opening is framed with vine tendrils and a Mediterranean potted plant on the left edge of the painting. The other painting shows a young beauty with flowers in her hair, leaning loosely out of a window opening with a relief depiction of putti and the same green vine leaves. A red velvet...

English School, circa 1780’s Circle of George Romney (1734-1802) oil painting on canvas, framed framed: 36 x 30 inches canvas: 30 x 25 inches private collectio...

Nicholas Thomas Dall (1706-1776) Bishopthorpe Palace Yorkshire Oil on Canvas 24 1/4 X 30 1/4 Provenance: Christie's New York: Friday, October 4, 1996 [Lot 00095] Sold for $10,350 ...