Early 1700s Paintings

This charming early 18th-century Dutch oil painting depicts a dappled grey being shod by a blacksmith amid a lively crowd of figures. Wouwerman was a master of composition with every...

An interesting vanitas still life with a statue of Pallas Athena, an arched palace wing, a sheaf of wheat and flowers by Johann Andreas von Düwens (Germany ?-1716). Signed and dated...

Oil on Canvas. Italian School of the 18th century. portrait of noblewoman in rich evening dress, with an ermine cloak draped over her shoulders, indicating high lineage. Retelated, t...

Charles Jervas Possibly Arthur, 6th Viscount Irwin (Temple Newsam) Oil on Canvas Picture Size: 50 x 40" Outside Frame Size: 58 x 48" 1675 – 1739 Charles Jervas, who was born in Cl...

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...

An important Italian Baroque oil on canvas painting of the Madonna, attributed to the Roman old master Carlo Maratta (1625-1713), the painting circa 1700...

Portrait of Thomas Smith Esquire c.1705 Sir Godfrey Kneller Bt. (1646-1723) Inscribed on dog collar ‘Tomas Smith’ This sumptuous large-scale portrait, with its interesting history, was painted by one of the best and most famous English portrait painters, Sir Godfrey Kneller. Kneller completed portraits of all the key figures of the time and was court painter to four sovereigns. He played a key role in the development of British art and influenced countless artists over generations. This portrait is one of his finest Augustan style portraits for which he is now best remembered and it dates from his later middle period when he produced his most distinguished paintings. The sitter is Thomas Smith Esq and inscribed on the dog collar is “Tomas Smith”. It is possible that he is a member of the large Lincolnshire Smith family which included the explorer John Smith (1580-1631) – but it is certain that he had considerable wealth as he commissioned the most fashionable artist in the country. Shown standing in a romantic landscape dressed in a tight-fitting green coat with a cloak drawn across it and a full-bottomed wig, he carries a sword and has a greyhound by his side. Just visible on the dog’s collar is an inscription: ‘Tomas Smith’. Portraits showing sitters walking through romantic landscapes had been made popular in the previous century by the great court portraitist Sir Anthony van Dyck, and Kneller would no doubt have looked to these earlier works as a template for this portrait. The sitter gazes confidently towards the viewer with a greyhound at his side. Kneller has succeeded in capturing the aristocratic confidence that many of his sitters would have wished to display. It is clear to see how Kneller uses the aristocratic gaze and excess of drapery to create portraits that personifies grandeur and extravagance. Its remarkable quality is evidenced by the fact that it was chosen to be exhibited in New York (in 1986) by the prestigious and one of the oldest commercial art galleries in the world, Colnaghi. From there, it was acquired by one of the greatest twentieth century collectors, Ray Livingstone Murphy (New York circa 1930/40). Murphy had travelled extensively throughout Europe building a collection of important books, paintings and porcelain. It is said that the breadth of his collection was only rivalled by the collection of William Beckford in the previous century. Kneller appears to have been an artist Murphy was particularly fond of as he also owned the oil sketch of William III on horseback, now located at the Het Loo Palace in Holland. The notable quality of the present portrait is further demonstrated by its inclusion in J. D. Stewart’s book “Sir Godfrey Kneller and the English Baroque Portrait” (Oxford University Press, 1983 pg. 137, n. 796). Kneller, who was German-born and Dutch trained, studied under Ferdinand Bol, and perhaps Rembrandt himself in the 1660s. He was in Rome and Venice between 1672 and 1675, settling in England in 1676 for life. He was soon employed at Court and became the most successful portraitist of the generation following Lely. He enjoyed the office of Principal Painter, at first jointly with John Riley (d.1691), from shortly after the accession of William and Mary in 1688 until his death. He was knighted in 1692 and became a baronet in 1715. His major works include a series of ten reigning European monarchs, including King Louis XIV of France; over 40 “Kit-cat portraits” of members of the Kit-Cat Club; and ten “beauties” of the court of William III. He was also head of the Kneller Academy of Painting and Drawing 1711-1716 in Great Queen Street, London. Titan Fine Art are pleased to present this striking and sumptuous portrait by the best artist of the period, and at the time he was producing his best works. Presented in a fine quality carved and gilded period frame with inscription on the bottom. Provenance: Private Collection, England Colnaghi, London Ray Livingston Murphy (1923-1953), New York (acquired from the above), and by descent to Dr James Murphy, New York Art Market, Dallas Philip Mould...

Praying Madonna with her face turned towards the sky and little angels. Oil on canvas, 99x75 cm without frame and 134 x 110 cm with frame by the painter Benedetto Luti (Florence 166...

Karel Breydel is known as a painter of battle pieces and cavalry attacks. These paintings are ingeniously composed and painted with the spirit after the manner of Adam Frans van der Meulen, the leading Flemish battle...

Karel Breydel is known as a painter of battle pieces and cavalry attacks. These paintings are ingeniously composed and painted with the spirit after the manner of Adam Frans van der Meulen, the leading Flemish battle...

The sitter in this superb portrait is shown with the grandiloquence characteristic of the work of the Kersebooms (uncle and nephew). The subject has been elegantly portrayed wearing scarlet, the colour of distinction; the flamboyance and penetrating sense of character seems almost eclipsed by the artist's virtuosic handling of paint in the face and the magnificent full-bottomed periwig - the height of fashion when this portrait was painted c.1700. The sitter’s strong sense of character almost lends an air of noble expectancy to the composition. In the late 17th century England’s upper classes entered a new era of prosperity. No longer the preserve of royalty, commissioned portraits - of oneself or one’s ancestors - became a coveted symbol of wealth and status and portraiture in England developed a distinctive ‘Englishness’. 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. Titan Fine Art is pleased to present this striking and sumptuous example, which represents a high-water mark for the painter. This Kersebooms, uncle and nephew, were originally from the Rhineland, and came to England in the early 1680s. Frederick, the elder of the two, had been a pupil of Charles le Brun in Paris, and then, reputedly, of Poussin during a fourteen year stay in Rome. He had intended to make his career as a history painter but, typically of the experience of foreign painters arriving in England, he was to discover little encouragement in that direction, and adapted himself to the predominant fashion for portraiture. His nephew, Johann pursued the same career and had a thriving commercial practise. The work of the two painters is very similar but many consider Johann to be the superior painter whose work often achieves a profound and insightful characterisation. John is said to have been buried in London in 1708. Provenance: Possibly the diplomat Sir Philip Adams...

Old Master Oil on canvas 'Manner of 'Antonio Tempesta' Circa 1700 Depicting Turkish Riders in a Landscape & framed in a very high quality Swept Gilt Frame.,