Early 18th Century Paintings

Felice Boselli (Piacenza 1650 - Parma 1732) - Shepherd with flock and game. 155 x 112 cm without frame, 170 x 126 cm with frame. Oil on canvas, in a faux marble lacquered wooden frame. The painting has stylistic affinities with "Game with children playing with a dog" (Parma, Galleria Nazionale) and with the pair of paintings "Old man and girl...

Jean-Baptiste Oudry (Paris 1686 - Beauvais 1755) circle of - Hunting scene with greyhounds. 21 x 27 cm without frame, 26 x 32 cm with frame. Antique oil painting on panel, in a car...

Portrait of John Hervey, 1st Earl of Bristol (1665-1751). Early 18th-century near-life-size portrait of a noble man richly dressed in a long wig. Circle of...

Portrait The Honourable Mrs Elizabeth Tufton (Wilbraham), circa 1710 Sir Godfrey Kneller (1646-1723) Large circa 1710 portrait of The Honourable Mrs E...

Baroque "Arcadian Fantasy Landscape" – Oil on Canvas (circa 1700) A mesmerizing early 18th-century Baroque landscape, capturing an idealized Arcadian vision of nature, architecture, ...

Portrait of a young lady By Henri Millot (Paris, active between 1699 and 1756) Signed "peint par h. millot" and dated 1706 on the entablature Oil on canvas: h. 81 cm, l. 64 cm A Loui...

Portrait of Henrietta Pelham-Holles (née Godolphin) (1701-1776), Duchess of Newcastle, standing in a wooded landscape with a river beyond, three-quarter length wearing an ivory silk ...

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...

Jean-Baptiste SANTERRE (Magny-en-Vexin, 1658- Paris, 1717) The cabbage cutter Oil on canvas H. 86 cm; L. 70 cm Jean-Baptiste Santerre began his apprent...

Flemish or South German, c. 1700-1720 Hunting trophy with a deer and game, adorned with the accoutrements of the chase Oil on canvas In a period style moulded pine and ebony veneer...

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...

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...

18th century French School François de Troy (1645 – 1730), Paris, circa 1725 Portrait of a Woman as the Goddess Ceres Oil on canvas: h. 39 in, w. 31.3 in Regen...

This large double portrait depicts the sisters Lady Catherine and Lady Jane Brydges, the daughters of John Brydges, the Marquess of Carnarvon (1703-1727). They are seated on a stone...

Bucolic Scene is a majestic oil painting on canvas attributed to the painter Michelangelo Ricciolini. Includes a frame: 142 x 173 cm. Good conditions, except for little loss of color on the canvas. The beautiful painting represents a bucolic scene where shepherds, women, and children are conversing in a resting moment. The scene is set in an open space, probably a wood. Michelangelo Ricciolini (1654 – 1715) was an Italian painter of the Baroque period. He first studied in Rome under Angelo Canini; he then joined the large studio of Carlo Maratta. He painted various works in Rome, including the dome of Santa Rita...

The Military Encampment Circle of Carel van Falens (1683-1733, Flemish) oil on canvas, unframed canvas: 8 x 10.5 inches provenance: private collection, UK condition: very good and so...

Early 18th Century still life, very close to Pedro de Camprobín.

Cerchia di Marco Ricci (Belluno 1676 – Venezia 1730) – River landscape with characters. 34 x 26 cm without frame, 43 x 35 cm with frame. Oil on canvas, in carved and gilded wooden ...

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...

A fine study after Thomas Gainsborough's original painting of two peasant children Hobbinol and Ganderetta. The original was one of Gainsborough's last exhibited pieces in his lifeti...

Felice Boselli (Piacenza 1650 - Parma 1732) - Shepherd with flock and game. 155 x 112 cm without frame, 170 x 126 cm with frame. Oil on canvas, in a faux marble lacquered wooden frame. The painting has stylistic affinities with "Game with children playing with a dog" (Parma, Galleria Nazionale) and with the pair of paintings "Old man and girl...

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...

This lovely Old Master portrait oil painting is attributed to the circle of Michael Dahl. Painted circa 1710 the sitter is Rachel Missing, wife of Roger Hogg of Newliston, near Edinb...

Portrait of a Lady as Venus ATTRIBUTED TO PIERRE GOBERT (1662-1744) FRENCH SCHOOL AROUND 1720 OIL ON CANVAS: H. 55.51 in, W. 42.91 in. IMPORTANT 18TH CENTURY GILTWOOD FRAME (RE-GILT)...

Carel VAN FALENS (Attributed to) Antwerp, 1683 – Paris, 1733 Oil on canvas 12.7 x 20.3 cm (17.8 x 25.4 cm with frame) Trace of signature in the center above the horse's head "V F." (...

The painting depicts James (Jacques) Dalbiac, his wife Louise (ne de la Porte) and their five children, James, Charles, Louise, Marianne and Martha in the ornamental gardens of a grand country estate. The extensive gardens extend into the distance with gardeners working in the background and figures strolling through the avenues of trees. A peacock and peahen can be seen on the wall to the left and a potted orange tree to the right. Louise Dalbiac holds an orange taken from the orange tree, aluding to the family's faith and their loyalty to the protestant King William of Orange and their adopted country. The Dalbiacs were wealthy London silk and velvet merchants of French Huguenot origin who had fled France at the end of the 17th century to escape persecution for their protestant faith. England offered safe refuge and their skills and industriousness allowed them to establish one of the most successful businesses in London's Spitalfields which became a new centre of the silk trade, effectively leading to the collapse of the once dominant French silk industry. Both sons, James and Charles followed their father and Uncle into the family business, successfully growing the family's fortune and each going on to own their own country estates. A conversation piece is a genre of painting used to describe group portraits of families and friends, often depicted with their servants and family pets and set within an elegantly furnished interior or the garden of a grand country house. They were a celebration of the intimacy of family relations as well as a sign of status, property and the power of succession. The informality of conversation pieces grew popular in 18th century England, allowing the sitters to present themselves in a more relaxed pose, perhaps engaged in intellectual conversation or showing their talents or interests. In this present portrait, the Dalbiacs are shown richly dressed and and at leisure in a grand country house setting, conveying their success and cultural and social aspirations. Charles Philips (c.1703–1747) was an English artist known for painting a number of portraits and conversation pieces for noble and Royal patrons in the mid-eighteenth century. He was the son of portrait painter Richard Philips...

Artist/ School: French School, 18th century Title: Classical figures within an interior. Medium: chalk on paper, mounted. Size: drawing: 11.5 x 13.5 inches Provenance:...

Benedetto Luti (17 November 1666 – 17 June 1724) was an Italian painter of the late Baroque period, recognized for his contributions to the Roman and Florentine art scenes. Born in F...

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, ...

Transport yourself to the lush landscapes of Germany through this captivating artwork. Painted during the artist's stay in Germany, the painting beautifully captures the verdant scen...

Jan van Gool (Dutch, 1685-1763/65) Pastoral Scene, 1719 Oil on panel, 15 x 21 3/4 inches FRAMED: 23 x 29 1/2 (Approx.) Signed and dated at lower left: "J V G...

Antonio Stom (Venice, Italy, c. 1688 - 1734) Title: Architectural Capriccio Medium: Oil on canvas Dimensions: without frame 88 x 113 cm - with frame 106 x 132 cm Carved, sculpted and...

Hunting Trophy with Mallard Duck – Circle of Baldassarre de Caro (Naples, 1689–1750) Italy, second half of the 17th century – very early 18th century Oil on canvas, relined Dimension...

Provenance : Arnold S. Kirkeby (1901-1962) Donated by Arnold S. Kirkeby to the Los Angeles County Museum of Art in 1955, where it remained until its sale at Sotheby's, New York on Ja...

An early eighteenth-century, Italian baroque figural oil showing a group of cherubs or Amorini grouped together before red velvet drapes, one reclining on a wooden cross and wearing ...

Painting oil on panel measuring 40 x 30 cm without frame and 48 x 38 with frame representing a great bishop of the Venetian school from the first half of the 18th century. Very curi...

Portrait of a Noble Lady French School, early 1700's period oil painting on copper, unframed copper: 5 x 3 inches condition: very good, minor paint fading and deteriation. provenanc...

James Thornhill (1674-1735) Oil on canvas 12 x 14 inches; 16 ½ x 18 ½ in. Inc. frame The subject matter and inclusion of herms on both sides shows the influence of Louis...

Oil on canvas Image size: 30 1/4 x 25 inches (77 x 63 cm) Original hand carved gilt frame Provenance Private Estate, England This is a very fine example of Kneller's work in the early 18th century. Here, the emphasis is placed directly on the sitter's alluring femininity, with this being enhanced by the falling hair around her shoulder. This looseness of focus is created with a free fluidity of brushstrokes. He has used a Rembrandt-esque technique of subtle tones in the face, and we can see how Kneller often allowed the bluer ground layer to show through when suggesting the darker flesh tones.The painterly technique seen here is an excellent demonstration of Kneller’s style. The bold handling of the flesh tones is Kneller at his most emphatic, while the sizeable areas of dark grey ground we see are indicative of his method of painting quickly, developed by this stage in his career to cope with the many demands of a large circle of patrons. The same effect is used for the shadows in the face: rather than paint darker colours on top of the pink flesh tones, as most artists would have done, Kneller instead painted in the reverse order, using the ground layer for his dark shadows, and then painting the lighter colours on top. Often he worked with an almost dry brush in strong firm strokes. Here the flesh tones have been rapidly, almost roughly painted, with bold areas of impasto giving way to areas where almost no paint has been applied at all, a trick that allowed Kneller to use the blue-grey ground layer to show darker flesh tones. Godfrey Kneller...

Salmon On The Riverbank, 19th Century by JOHN BUCKNELL RUSSELL (1819-1893) sales to $20,000 Large 19th Century English study of salmon on the riverbank, oil on canvas by John Bickn...

Gerard ter Borch (II) (1617-1681), copy after, around 1700 'Boy Fleas a Dog' Oil on canvas Professionally restored (cleaned and relined) In modern frame in 17th century style Dimensions excl. frame: 33 x 27,5 cm. Dimensions incl. frame: approx. 50 x 45,5 cm. Depcited is a boy busy fleaing a dog. The boy sits on a chair with the dog on his lap. On a table on the right there is a book and a pen. On a wooden bench lies the boy's hat. What is unique about this painting by Ter Borch, is the relationship that is depicted between human and animal. Mostly animals like dogs where depicted as an attribute in paintings in the 17th century, and sometimes used to symbolize certain character traits. This boy is lovingly caring for his dog, which he is giving his full attention. Another interesting detail is that Ter Borch's brother Moses, was probably the model for this painting. Ter borch often used family members as models for his paintings. Moses was also a very talented painter and draughtsman. Several copies of this work by Ter Borch are known. One of these copies is in the collection of the Dutch Rijksmuseum (Image included in the image gallery (last image)). The original painting is in the collection of the Alte Pinakothek museum in Munich, Germany. Gerard ter Borch, also known as Gerard Terburg, was a Dutch genre painter who lived in the Dutch Golden Age. He influenced fellow Dutch painters Gabriel Metsu...

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...

In 2001 the German art historian Art historian and Raphael Expert, Prof. Jürg Meyer zur Capellen, published the painting "Die Heilige Familie" in a monographic article, ascribing the present work to the Venetian painter Giovanni Battista Pittoni (1687 -Venice - 1767). (Newspaper "Weltkunst", October 2001, No 12, p. 1850 f. ill.) He describes it as a typical work by this artist. Pittoni was one of the most influential and successful artists of the Venetian Settecento. He was a pupil of the Veronese Master Giovanni Balestra (1666-1740). His style is influenced by Sebastiano Ricci (1659-1734) and Giambattista Tiepolo (1696-1770). Giovanni Battista Pittoni was already successful at a young age and soon lead his own workshop. He created large-scale hitoria paintings, as well as large, religious altarpieces. In addition to Venetian and Upper Italian patrons, Pittoni also had many interested parties from Europe. His work is accordingly scattered in many different museums and private collections today. Pittoni - like other painter colleagues of his time - repeated his own compositions both by hand and with the help of his workshop. He repeatedly incorporated details into other pictures and contexts. Prof. Meyer zur Capellen noted the very good condition of the present work and the high quality of the paint with fine graduations and the vivid brushstrokes. Provenance: The panting has not been on the art market for at least 300 years. In the year 2000 the work was donated by the Münster-based, Noble Family Ketteler zu Harkotten to a private collection in Westphalia. Most probably the canon Nikolaus Hermann von Ketteler zu Harkotten bought the piece in Venice in 1750 together with the altarpiece of the Clemens Church in Münster. On the reverse of the work is a fideicommissum number by Ketteler zu Harkotten. As it belonged to the family commission, the painting was inalienable until 1919, when the corresponding law was repealed, and after that time it remained in the family's possession without interruption. Pittoni's only direct relationship to Münster is the commission for the high altar painting of the Baroque St. Clemens Church. It can be assumed that then canon von Ketteler saw this painting in the artist's workshop during his stay in Venice and acquired it for himself. This would also explain the discrepancy in dating. (ca. 1735/1750). However, it is also possible that the painting originated in the possession of Ferdinand von Plettenberg...

Como pueden apreciar, la obra no va firmada Se presenta enmarcada la obra con un marco del siglo xix en madera estucada y policromada (el marco presenta algún leve descolche) El es...

Portrait of a Lady with carnations By Jean Ranc (Montpellier 1674 - Madrid 1735), circa 1700 Oil on canvas in oval shape, Dimensions: h. 35.82, w. 28.34 in. Period Louis XIV giltwood and carved frame with laurel leaves. Framed dimensions: h. 42.52 in, w. 33.85 in. Provenance: Collection of the Marquis de Bailleul at the Château d'Angerville-Bailleul (before 1942). To be included in the catalog raisonné of the artist by Stephane Perreau Important portrait of a young woman depicted half-length turned three-quarters, her face looking at the viewer. Dressed in a brick red velvet dress, an elegant blue scarf envelops her figure. Hair styled “a la Fontange”, her powdered hair is raised and tied at the back with a red ribbon, several curly locks escape from her bun and fall on her back and shoulders. The perfectly oval face with regular features dominated by her straight nose is softened by her gray eyes with slightly lowered lids. The red tinged skin tones on the cheeks and cheekbones color the face and make the portrait come alive. The young woman is portrayed standing near a pot of carnations. Her strongly lighted figure stands out against an architectural background of columns. The artist's palette is made of contrasts opposing warm to cold hues. The icy electric blue contrasts with the fiery brick red, the hair powdered with white accentuates even more the flush of the cheeks. The left arm bent at the elbow, extending the open hand with slightly bent fingers in the foreground brings depth to the composition. Our portrait, an interesting testimony in the corpus of works of the painter, is part of his youthful period, around 1700-1705. The former belonging of this portrait to the Marquis de Bailleul reinforces the remarkable character of our painting. The portrait has been examined by Stéphane Perreau, specialist of Jean Ranc and will be included in the catalog raisonné currently being written, under number P. 43. The notice edited by Mr Perreau is below: "Painted around 1700-1705, this portrait of a woman is directly inherited from Hyacinthe Rigaud, the master of Jean Ranc (the hand turned over the front, in a watch...

Giustino Menescardi (Milan, Italy, c. 1720 - Venice, Italy, after 1779) Title: Ascent of Calvary Medium: Oil on canvas Dimensions: without frame 47 x 36 cm - with frame 57 x 43 cm Shaped and gilded wooden cassetta frame Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti...

Painting, oil on canvas, measuring 92 x 75 cm without frame and 102 x 87 cm with frame depicting a nobleman of the French school of the first half of the 18th century. In its formal...

Two oil on panel Old Master landscape paintings by Johannes Jakob Hartmann (Bohemian, 1680-1730) Bohemia, early 18th Century Panel: Height 73c...

Francesco Lavagna (active in Naples in the mid-18th century) Title: Pair of Flower Vases Medium: Oil on canvas Dimensions: without frame 98 x 36 cm each - with frame 112 x 50 cm each...

Two Arcadic Landscapes are a couple of original oil paintings by a follower of the Flemish artist, Jan Frans Van Bloemen (1662-1749). These old master's original paintings represen...

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...

Follower of Zacharias Wagener (1614-1688) Tamanuâguasû (Giant Anteater) On Italian 17th or 18th-century paper, H. 28 x W. 43.5 cm ​The present painting is a copy after Wagener’s painting of the anteater, Tamanduá-bandeira, which is illustrated in his “Thier Buch”, with 109 drawings of Brazilian fish, birds and mammals, published in Amsterdam c. 1641, in German. ​ Zacharias Wagener, or Wagenaer in Dutch, (Dresden 1614 – Amsterdam 1668) was a real adventurer who became Opperhoofd on Deshima and Governor of the Cape of Good Hope in the service of the VOC. During the Thirty-Year War in Germany Wagener tried his luck in Amsterdam where he worked for the map-maker Willem Blaeu. In 1634 he joined the WIC and left for Dutch Brazil where he worked as writer and painter, together with Frans Post...

Painting oil on canvas measuring 92 x 75 cm without frame and 102 x 87 cm with frame depicting a rich lady of the French school of the first half of the 18th century. In its formal ...

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...

Holy Baptism, Oil painting on canvas by an unknown artist About the artwork: Bible Scene, Early 18th Century, Florentine School TECHNIQUE: oil pai...

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...

Provenance: Sotheby’s December 5th 2006, Lot 388 Bout was a Flemish painter, draughtsman and etcher. He is known mainly for his landscapes, city, coast and country views and archite...

Christian Reder (Leipzig 1656 - Rome 1729) - The departure of the soldiers from the fort. 57.5 x 108.5 cm without frame, 89 x 122 cm with frame. Antique oil painting on canvas, in ...

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....

David Teniers the Younger (1610-1690) Follower of A Peasant Removing a Plaster: The Sense of Touch signed T on the table oil on panel panel size 7,20 x 5,55 inches (18,3 x 14,4 cm)...

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...