Early 18th Century Paintings

La pintura representa a la Virgen María por su iconografía tradicional. Viste un manto azul verdoso que cubre su cabeza y hombros, y una túnica rosada con detalles en tonos claros. S...

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

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...

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...

Antonio Bellucci (Venice 1654 - Soligo 1726) - Diana and Endymion. 122 x 152 cm without frame, 142 x 172 cm with frame. Oil on canvas, in a carved a...

A delightful 18th-century oil after the Dutch Golden Age artist Paulus Potter (1625–1654). The artwork depicts a herd of animals resting beside a tree in golden light. Potter was a p...

This fine 18th-century portrait depicts a distinguished gentleman. The subject wears a powdered wig and a silk cravat, both emblematic of his high social standing. His composed gaze ...

Finísimo óleo sobre cobre de la Virgen con el Niño, de mediados del siglo XVIII. Seguramente es Escuela Flamenca, gran calidad, va con un marco de madera y estuco dorado del siglo X...

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...

Circle of Hendrik Frans van Lint (Antwerp 1684 - Rome 1763) - Apollo and Daphne. 40 x 50 cm. Old oil painting on canvas, unframed (not signed). Condition report: Lined canvas. The...

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...

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 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...

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." (...

Sir John Wynn, 5th Baronet Canvas Size: 50 x 40" (127 x 102cm) Outside Frame Size: 58 x 48" (147 x 122cm) Sir John Wynn, 5th Baronet (1628 – 11 January ...

Follower of François Boucher(1703-1770). French School 18th century oil. Boy Teasing a Girl with a Feather. Unsigned. On canvas on stretchers.

A charming 18th-century Dutch School oil depicting a raging bull, poised and ready to charge. The scene is rendered with exquisite brushwork, the artist capturing the bull's thick fu...

As Florence Ingersoll-Smouse wrote in 1921 in her book devoted to Jean-Baptiste Pater, "a painter of the Fête galante, Pater is interesting both by his intimacy with Watteau, to whom many of his works are still attributed, and by his own value as an artist.” This sanguine, full of life and spontaneity, is typical of the preparatory studies made by the painter to be used later in the composition of his paintings. 1. Jean-Baptiste Pater, pupil and disciple of Antoine Watteau Antoine Pater, Jean-Baptiste's father, belonged to the petty bourgeoisie of Valenciennes where he worked as a merchant-sculptor. His brother Jacques was a local painter who was probably involved in his nephew's training. Born on December 29, 1695, Jean-Baptiste Pater was first trained with Jean-Baptiste Guider, a local painter whose death in 1711 was probably the reason for Jean-Baptiste’s departure alongside Watteau, who was visiting Valenciennes. Watteau's difficult character led to their separation in 1713. Back in Valenciennes, Jean-Baptiste Pater encountered difficulties with the powerful Corporation of Saint-Luke (to which he refused to belong) which forced him to return to Paris in 1718. He reconciled with Watteau shortly before his death (on July 18th 1721), inherited the commissions that Watteau had been unable to fulfil and completed some of his paintings. Pater was accepted by the Académie Royale in 1725 but did not produce his reception painting The soldier’s revels until three years later. Throughout his brief career (he died at the age of forty on July 25th 1736), he mainly had a clientele of amateurs and received only one royal commission, shortly before his death. 2. Description of the drawing and related artworks Pater had adopted his master Watteau's method of composition. His study drawings were carefully glued in a notebook and were used to animate his compositions. His paintings sometimes suffer from a somewhat artificial composition, since the figures seem to be pasted one next to the other. This point has also been made about Watteau’s. The theme of military scenes (which was at the time included in the genre of Fêtes galantes!) was one of Pater’s favourite subjects. Together with the Bathing Women...

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...

Felice Boselli (Piacenza 1650 - Parma 1732) - Shepherd with flock and game. 155 x 112 cm without frame, 170 x 126 cm with frame. Ancient oil painting on canvas, in a wooden frame lacquered in faux marble. 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...

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)...

Attributed to MILLOT, Henri. Portrait of a Lady. Oil on canvas. Unsigned, inscribed Millot on the reverse. 18th century. 85 x 69 cm. Framed. 85 x 69 cm. Portrait of a young woman in ...

French School, circa 1720's circle of Nicolas Lancret (1690-1743) oil painting on canvas 15 x 23 inches provenance: private collection, UK Fine depic...

Oil painting depicting a vivid hunting scene with a mounted party, accompanied by hunting dogs and a slain doe in the foreground. Set against a sweeping landscape with a farmhouse, t...

18th Century French Rococò Painting An oil on panel painting attributed to the great French artist of the eighth century, Jean Ra...

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...

Artist: Antonio Mercurio Amorosi (Comunanza, Italy, 1660 - 1738) Title: Portrait of a little girl with cat Medium: Oil on canvas Dimensions: without frame 42 x 31.5 cm – with frame 5...

Beautiful watercolor by Dirk Maas, a Dutch Golden Age landscape painter. Provenance: R. Edereimer Print Cabinet, New York (label overleaf). Good conditio...

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...

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

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 ...

The three kings miniature painting. Antique Louis XV period painting of the three wise men who paid homage to the King. The three kings on card paper in gilt oval frame with original...

Antique Italian painting from the early 18th century. Artwork oil on canvas depicting an amazing still life with flowers and a view in the background of excellent pictorial quality. ...

Circle of Giovan Battista Piazzetta (1683-1754), 18th century Christ the Savior Mundi Oil on canvas, 81 x 64 cm Framed, 90 x 72 cm This painting is configured within the eighteen...

Painting Oil on canvas measuring 72 x 92 cm and 98 x 114 cm with a wonderful contemporary frame depicting an outdoor inn scene by the painter Giacomo Francesco Cipper known as Todesc...

Dominicus van der Smissen Early 18th Century Portrait of Conrad Friedrich Hurlebusch Oil on canvas Image size: 20½ x 16¼ inches Period gilt frame This is a portrait of Conrad Friedrich Hurlebusch, composer, Kapellmeister and organist, whom Van der Smissen most probably portrayed during his stay in Hamburg, Brunswick or Amsterdam. The identification is based on the reproduction of the portrait which was engraved by Pieter Anthony Wakkerdak (1740- 1774). Van der Smissen has reduced the face of the sitters to an egg-shaped oval in three-quarter view, applying diminution to one half of the figure’s torso, which is farther away from the viewer. This partial side view, with the head turned to look at the viewer over the shoulder, creates spatial depth and brings the figure to life by avoiding the stiffness of a frontal depiction. Because the artist chose to highlight the figure from above, a distinct shadow is cast under the tip of the nose, in the shape of a triangle. This is an often recurring and almost ‘signature’-like feature in Van der Smissen’s oeuvre. Hurlebusch's garments are of a very high quality and serve to reflect the sitter’s wealth, status and elegance. During this period, gentlemen often shaved their heads in order to facilitate the wearing of a wig, which wouldbe worn with a suit. Here Hurlebusch has been depicted in a luxurious turban-like cap lined with lynx fur, a highly fashionable and expensive material at the time. Over his shirt, he wears a velvet fur-lined gown adorned with decorative clasps fashioned from silver braid. The elegant informality of his appearance can be seen in his unbuttoned shirt and the unfastened black ribbon hanging from his button hole, which has been artfully arranged into a fluttering drape by the portraitist. The Sitter Hurlebusch was born in Brunswick, Germany. He received the first instructions in his field from his father Heinrich Lorenz Hurlebusch, who was also a musician. As an organ virtuoso, he toured Europe, visiting Vienna, Munich and Italy. From 1723 to 1725 he was Kapellmeister in Stockholm; later he became Kapellmeister in Bayreuth and Brunswick, and lived in Hamburg from 1727 to 1742, where he had contact with fellow composers Johann Mattheson and Georg Philipp Telemann. He made his living composing, performing and teaching. In 1735 and 1736, he is believed to have visited Johann Sebastian Bach in Leipzig, who promoted Hurlebusch’s compositions as the local seller...

Painting with a diameter of 130 cm and 160 x 160 cm with a marvellous frame depicting an 'allegory of the Earth' by the painter Felice Cignani ( Bologna 1660 - 1724 ). An oil on ca...

Oil on canvas Image size: 24 x 18 1/2 inches (61 x 47 cm) Gilded wood framed Provenance Estate of Judge Davis Norton and Florence Edelstein. William Bateman was a British Whig politician who sat in the House of Commons between 1721 and 1734. He was made Knight Companion of the Order of the Bath...

A late 17th/early 18th century Flemish painting measuring 90 x 70 cm without frame and 100 x 80 cm with a contemporary frame. An important characteristic of this painting is its str...

Questa ceramica dipinta, 33 x 24 cm senza la cornice, è ispirata dal "Riposo durante la fuga in Egitto" di Simone Cantarini detto il Pesarese, realizzato negli anni trenta del XVII s...

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...