18th Century Paintings

French painter (18th century) - Joseph thrown into the cistern by his brothers. 84 x 105 cm. Old oil painting on canvas, without frame (not signed). Condition report: Lined canvas...

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...

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

Baroque capriccio with architectural ruins and figures, an early 18th century Italian painting showing an imaginary landscape with Roman ruins and figures, an early Italian oil-on-ca...

Thomas Smith of Derby (1720-1767) View of Matlock High Tor, Derbyshire Oil on canvas Canvas Size 25 x 30 in Framed Size 32 x 37 in Provenance Private Collection, London Thomas Smit...

Enchanting 18th century Indo Persian gouache painting on paper from a manuscript of a rare and possibly extinct bird with description. Presented under glass in a painted wood frame.

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...

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

Oil Painting by Gaspare Landi representing the popular story of Muzio Scevola trying to kill the Ertuscan king Porsenna. Very good conditions. Gaspare ...

Early naturalistic wildlife rendering by the English artist Peter Paillou. The work features a delicately rendered depiction of a possible capuchin monke...

A pair of old master paintings by August Querfurt (1696-1761). Oil on panel, one signed with initials in the lower left. Two scenes depicting hawking parties from the 18th century. I...

Portrait Of Sir James Hamlyn (1735-1811), MP for Carmarthen, Sheriff of Devon, 18th Century follower of Sir Joshua REYNOLDS (1723-1792) Large 18th Century portrait of Sir James Ham...

Painting oil on canvas with dimensions of 110 x 125 without frame and 120 x 135 cm with frame depicting a landscape en plen air case and characters immersed in the nature of the seco...

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...

Bartolomeo Pedon (1665-1732) – Fantasy Landscape Medium: Oil on canvas Dimensions: 84 x 121 cm (unframed), 98 x 132 cm (framed) Provenance: Private collection This captivating oil ...

This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...

Thomas Hudson (Devon 1701 - London 1799) Portrait of a Notable in his Study Oil on canvas 124 x 102 cm. In antique frame 142 x 120 cm. This fascinating portrait is a valuable te...

Domenico Parodi (Genoa, 1672 - 1742) Portrait of Anne Marie d'Orléans (Château de Saint-Cloud, 27 August 1669 - Turin, 26 August 1728), first queen consort of Sardinia and maternal g...

Saint John the Evangelist French school of the eighteenth century Oil painting on canvas 82 x 64 cm. - in frame 102 x 84 cm. In this pleasant painting we see the portrait of the evangelist John, holding a pen in his hand while writing the pages of the Gospel, while behind him it is possible to recognize the profile of an eagle, his typical iconographic attribute. The graceful face, which still reveals the devout attitude, which gives the painting a more intimate and delicate, not excessive religiosity, is one of the typical characteristics for works intended for domestic devotion, as in the case of this Saint John. From the representation of the Saint the freshness of his features immediately stands out, he is in fact portrayed as young and handsome: and it is precisely this iconographic peculiarity that makes the work fascinating and very pleasant, probably commissioned for a private room. The painting presents the peculiarities of eighteenth-century French portraiture, characterized by a soft drawing and a wise use of light. The rather marked chiaroscuro and well-calibrated shades produce an excellent result thanks to the play of light on the face, highlighted by the dark background of the scene. The painting has been relined and is in an excellent state of conservation with the colors still bright and a very healthy pictorial layer. The painting is sold together with a nice golden frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We take care and organize 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 Riva del Garda...

This painting titled "Mme de Noirmont" is an oil on canvas work from the studio of Nicolas de Largilliere, one of the most prolific and esteemed French portrait painters of the 18th ...

This mid-18th-century half-length German portrait depicts a middle-aged aristocrat wearing armour and a wig. Despite his heavily-clad appearance, it’s likely that this rather noncha...

Vedutist painter of the 18th century View of Venice with the Grand Canal, the Punta della Dogana with the Basilica of Santa Maria della Salute on the left, the Palazzo Della Zecca wi...

Abraham Pether (1756-1812) 'Landscape near Chichester' and 'Drovers in a landscape' A pair, Oil on canvas One signed and inscribed 'Chichester' Canvas size - 16 x 20 5/8 in Framed si...

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...

HUGE OLD MASTER LATE 18th CENTURY CIRCLE of SIR JOSHUA REYNOLDS OIL PAINTING Fine OIL PAINTING Old Master 18th Century R.A artist in a Large ...

Oil on Canvas. Inside a 'tavern, which seems almost carved out of a cave, open to a rather barren countryside, some men eat, drink and relax at the table by the fire, while a woman s...

Oil on Canvas. The painting refers in pictorial manner and subject matter to the production of Giacomo Francesco Cipper known as the Todeschini, an artist of Austrian origin but esta...

Coastal view at sunset with fishermen and boats Atelier of Charles François Grenier De Lacroix, called de Marseille (Marseille 1700 - Berlin 1782) Oil on canvas 50 x 62 cm. - in fra...

Oil on Canvas. Second half 18th century. On the back is a handwritten cartouche, dated May 1835 and indicating several important families (Castelbarchi, Fraganeschi, Castelbarco Litt...

A very fine portrait of a British military officer signed and dated Thomas Beach 1774 in the lower left. This oil on canvas is presented in a period gilt frame and is ready to hang. ...

Outstanding early 18th century English portrait of James Bellevue. The portrait was always believed to be the work of Sir Godfrey Kneller who was known to have painted James Bellevu...

Benjamin Herring Snr (British, 1830-1871) Saddled bay hunter 1863 Oil on canvas With old Christie's stencil verso Property of a gentleman From the collection of Peter Roe Dimension...

Inscribed, upper left: “Miss Laura Keppel” Provenance: Commissioned from the artist and by descent in the Keppel family estate, Lexham Hall, Norfolk, to: Major Bertram William Arnol...

Francesco Solimena (Canale di Serino 1657 - Barra 1747) workshop/circle The Allegory of Europe oil on canvas 102 x 76 cm. - with frame: 119 x 92 cm. The work, which can be placed ...

18th-century Neapolitan master Pair of paintings ‘Hagar and the Angel’ and ’The Sacrifice of Isaac’ Pair of oils on oval canvas 75 x 60 cm. - In frame 84 x 69 cm. The proposed pair...

"Oil On Canvas Self Portrait After Sir Anthony Van Dyck" Follower of Sir Anthony van Dyck (Flemish painter, 1599-1641), Self portrait Oil on canvas (doubled), Probably end 18th centu...

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...

James Shaw (fl.1769-1784) Still life of fruit and nuts Oil on canvas Canvas Size - 13 1/2 x 17 3/4 in Framed Size - 16 1/4 x 20 1/2 in Born in Sedgley in Staffordshire, it is unclea...

Hercules and Omphale is an original painting realized in France between the end of the 18th and the beginning of the 19th Century. Original oil painting on canvas. Dimensions: 73 x...

This beautiful Italian 18th Century old masters oil painting on oval canvas with giltwood frame is attributed to Solimena and features a religious scene. In this splendid oval-shaped painting are depicted Saint Dominic...

Hercules At The Funeral Pyre at Mount Oeta, 18th Century follower of GUIDO RENI (BOLOGNA 1575-1642) 18th Century Italian Old Master depiction of Hercules at his funeral pyre, Moun...

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

A portrait of a lady three-quarter length, seated in an interior, wearing a red silk gown draped in a pink silk sash with an exotic bird perched on her hand and one arm resting on a stone plinth, her young daughter wearing a green silk gown standing at her side. Oil on canvas, housed in a period 'Lely' giltwood frame. This double portrait was painted at the height of Dahl's career in circa 1715 when Dahl had become firmly established as one of the leading portrait painters in Britain. Although the identities of the sitters are currently unknown, it is a sensitive depiction of a close and affectionate bond between a mother and daughter, with the young girl's hand resting affectionately on her mothers lap. The tamed exotic bird adds a charming decorative element which also serves to convey the high social status of the lady, given only the very wealthy would be able to own such a rare and expensive pet and the lively colouring of the bird's feathers is reflected in the colours of the sitters' silk gowns. Provenance: Private collection, London Michael Dahl (Stockholm 1659-1743 London) was born in Stockholm in Sweden and studied under Martin Hannibal (d 1741) and later with David Klöcker Ehrenstrahl. In 1682 he travelled to London, where he became acquainted with Godfrey Kneller and Henry Tilson, and in 1685 he left for Europe with Tilson, working briefly in Paris before continuing to Venice and Rome, where they stayed for about two years. In Rome Dahl converted to Roman Catholicism and gravitated towards the circle of Christina, former Queen of Sweden, who sat for him (Grimsthorpe Castle, Lincs). He returned to England with Tilson via Frankfurt and arrived in London in 1689, staying in England for the remainder of his career. During Dahl's absence, Kneller had consolidated his supremacy in London as the most fashionable portrait painter, but Dahl rapidly became Kneller’s closest competitor. His patrons probably had roots in the Swedish diplomatic circles, but it expanded as a result of his ability and his agreeable personality. His prices were lower than those of Kneller and he favoured softer, more diffused, colour tones and could respond to his sitters with sincerity and humanity. Politically, Kneller supported the ascendant Whigs while Dahl was a Tory, but they frequently painted the same sitters from both parties, and in spite of fundamental differences in technique and temperament, their work was sometimes similar in appearance. Dahl was prolific but rarely signed his work, and comparatively few of his portraits were engraved in mezzotint, the method used by Kneller to widen his reputation. By 1690 he had painted the aged Duke of Schomberg (engraved by William Faithorne) and Prince George of Denmark (London, Kensington Palace). He was ignored by William III but received commissions from Princess Anne, including one for a portrait of herself (Oakly Park, Ludlow, Salop). He also painted the future Duke and Duchess of Marlborough, and his informal portrait of the Duchess (Althorp House, Northants), formerly attributed to Kneller, is perhaps the most intimate of all images of her. During the 1690s he secured the patronage of Charles Seymour, the ‘Proud’ 6th Duke of Somerset, who ordered a series of seven full-length portraits of notable contemporary beauties from Dahl (1690s; Petworth House, W. Sussex, NT). This was originally a scheme similar to Kneller’s more famous ‘Hampton Court Beauties’, but the portraits were subsequently reduced to three-quarter-length formats. The features of the sitters are not individualized, but they possess a decorative, languorous glamour that recalls Lely rather than Kneller. Somerset gave Dahl further employment over the next 25 years. In 1698, following the death of Klöcker Ehrenstrahl, Dahl was offered the post of court painter at Stockholm, which he apparently refused, preferring to remain in London at his studio in Leicester Fields, near the Swedish legation. In about 1700 he was joined by a young compatriot, Hans Hysing, who worked with him for many years. Dahl seems not to have married until after 1708, He had a son Michael (d. 1741), also a painter, of whose work nothing is known, and two daughters. After the accession of Queen Anne in 1701, she and Prince George sat for a number of official portraits. His royal patronage ceased with Queen Anne’s death, and when Dahl refused to paint the infant Duke of Cumberland in 1722. He was suspected of Jacobite sympathies, and relations had cooled between him and the Swedish legation. However, his practice continued to prosper, and he acquired another important patron in Edward Harley, 2nd Earl of Oxford, who shared his political views and whose circle included the architect James Gibbs and the poets Matthew Prior and Alexander Pope, all of whom Dahl painted. Oxford commissioned several portraits of himself. In the earliest (1719; Welbeck Abbey...

A pair of Italian landscapes, depicting the Castell Sforzesco and Ponte di Pavia, attributed to Giuseppe Pietro Bagetti. The paintings are in mint condition. Worldwide shipping is in...

Francesco Tironi (Venice 1745 - Venice 1797) - Venetian landscape with shepherds and herds. 95 x 130 cm without frame, 107 x 140 cm with frame. Antique oil painting on canvas, in a...

Oil on oak panel Image size: 25 1/2 x 19 inches (37.5 x 27 inches) 18th Century Auricular gilt frame Provenance New York private collection This portrait of the King Edward VI depicts the boy-king standing in a black and gold embroidered doublet, wearing a jewelled cap. King Edward holds a staff with a globus cruciger set on the table beside him. No expense has been spared in the making of this piece, with gold leaf being applied in many areas to give the effect of the costume's gold embroidery, chain of office and other metal accessories. As the precious male heir to the Tudor dynasty...

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...

VERY IMPORTANT DRAWING BY JACQUES DUMONT called « LE ROMAIN" (Paris 1701-1781) Preparations for the fireworks display held in Piazza Navona in Rome on November 30, 1729, for the bi...

Late 18th or early 19th century oil on canvas Rococo idylic pastoral scene. Though not signed the painting is of very fine quality and is presented in a plain gilt wood frame. This...

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...

Antonio Diziani (Venice 1737 - Venice 1797) - Bucolic landscape with characters and wagon. 45 x 101.5 cm without frame, 55.5 x 111.5 cm with frame. Ancient oil painting on canvas, ...

Beautiful couple of Roman Landscape by J. F. Van Bloemen, in very good conditions and with later wooden frames. Bibliography and Exhibitions: Old Master Exhibition, H.Terry-Engell, ...

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...

Giambattista Piazzetta (Venice 1683 - Venice 1754) circle of - Six Half-Length Apostles. 62.5 x 52.5 cm unframed, 72.5 x 62.5 cm with frames. Group of six oil paintings on canvas, ...

Olio su tela. La scena raffigura la Sacra Famiglia accompagnata da San Giovannino ed un altro santo inginocchiati davanti al Bambin Gesù, che conversa con loro seduto in grembo alla ...

French School, Portrait of Queen Marie Antoinette of France, Pastel /oil Pastel on Paper, Rococo, 18th Century. The Pastel is made in the style...

Skull with Sacred Writings and Tablets of the Law is a superb and colorful tempera on cardboard, realized in 1766 by an anonymous artist of ...

Matteo Bonechi (Florence, Italy, 1669 - 1756) Title: Triumph Medium: Oil on canvas Dimensions: without frame 65 x 80 cm - with frame 85 x 100 cm Expertise by Professor Sandro Belles...

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 the right with an intense stare. The artist depicts her on a street lined with tall continental buildings on a summer's day. Painted in a style influenced by 18th century artist...

Nacimiento del Niño Jesús. Escuela Italiana del Siglo XVIII. Importante pintura cargada de detallismo, excelente calidad. El óleo esta re-entelado y va con un marco macizo de cerezo ...