18th Century and Earlier Portrait Paintings
Period: 18th Century and Earlier
Color: Beige
Young Aristocrat with Pet Dog
Located in San Francisco, CA
18th century style, “Young aristocrat with pet dog”
Category
18th Century and Earlier Portrait Paintings
Materials
Canvas, Oil
18th century French Rococo Portrait painting of a noble lady - young lady
Located in Antwerp, BE
18th century French Rococo portrait of a young noble lady
This cheerful young lady is looking at the spectator with a sparkling eyes has a cheeky smile on her face, almost as if she has just heard a funny story. She is very elegantly dressed, wearing a blue dress with embroidered silk sleeves. The bodice is adorned with a cream silk band which has been beautifully tied to a ribbon at the top, a tulle-lining completes the dress. Her hair is styled in an elaborate 18th century style and tied together with a blue and cream silk hairband.
This portrait has been wonderfully painted, the artist not only beautifully depicted the fabrics, but also marvellously captured the happy nature of the sitter. The painting really has a soul, when one looks at it, it feels as if one is looking at a real person. It is very close to the works of Joseph-Siffred Duplessis (1725-1802) and it shares an uncanny resemblance to the portrait that he painted of the Comtesse de Provence, Princess of Savoie and wife of the King Louis XVIII of France. Duplessis is known to have reused many of his favoured compositions in different portraits, but he always applied slight differences, such as in the present painting. We believe that the present painting was created by someone from his very close circle.
Joseph-Siffred Duplessis (1725-1802) was a renowned French portrait painter, famed for his intimately rendered portraits. After training for many years in Paris, Duplessis presented himself to the Académie in 1769 and was afforded the opportunity to exhibit regularly at the Salon. He was very successful and in 1777, he was allowed to paint a full-length portrait of Louis XVI (1754–1793) in his state robes. Two years later he created a portrait of Benjamin Franklin in a red coat with a fur collar, a painting which was the subject of much favorable comment. It was destined to become the artist’s most famous work and perhaps the best known image of the great American patriot...
Category
Old Masters 18th Century and Earlier Portrait Paintings
Materials
Canvas, Oil
peter lely (follower) 18th century Portrait Of A Gentleman
By (follower of) Peter Lely
Located in York, GB
A head and shoulders portrait of a gentleman wearing a white powdered wig. The gentleman in question is as yet
unknown but certainly has the look of an aristocrat. oil on canvas, housed in later gilt frame
The painting is 57cm by 44cm (17½ x 22¼ inches high) whilst overall is 58½ x 71 cm (23 x 28 inches high)
The condition overall is very good having had some restoration and also relined and cleaned. There is some cracquelure throughout
and some areas of retouching a few minor abrasions and losses to the background
mainly edges by frame non of which detract from this fine piece.
Peter Lely...
Category
Old Masters 18th Century and Earlier Portrait Paintings
Materials
Oil
English 18th century portrait of a lady, Circle of Thomas Murray (1663-1735)
Located in Bath, Somerset
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...
Category
Old Masters 18th Century and Earlier Portrait Paintings
Materials
Canvas, Oil
Portrait of a Gentleman, Halung, Court Painter Schildbach, Gotha, Convex Copper
Located in Greven, DE
Christian Schildbach was a very talented artist with his own style.
Art painter in Plauen, then court painter in Dresden; around 1706 art painter in Vienna, also active in Bamberg (...
Category
Baroque 18th Century and Earlier Portrait Paintings
Materials
Copper
Chickens & Other Birds In A Farmyard, 18th Century
By Marmaduke Cradock
Located in Blackwater, GB
Chickens & Other Birds In A Farmyard, 18th Century
circle of Marmaduke CRADOCK (c.1660-1717)
Fine 18th Century English School farmyard scene of var...
Category
18th Century and Earlier Portrait Paintings
Materials
Canvas, Oil
King Portrait Clementi Paint Oil on canvas Old master 18th Century Italian
Located in Riva del Garda, IT
Maria Giovanna Battista Clementi known as La Clementina (Turin, 1692 - Turin, 1761), Attributable to
Portrait of Victor Amadeus II of Savoy (Turin 1666 - Moncalieri 1732) king of Sardinia, duke of Savoy, marquis of Saluzzo and duke of Monferrato, prince of Piedmont and count of Aosta, Moriana and Nizza from 1675 to 1720.
Oil on oval canvas,
79 x 62 cm., Framed 98 x 82 cm.
The portrayed in this fascinating virile portrait is King Vittorio Amedeo II of Savoy, portrayed in ceremonial armor and red cloak according to the traditional courtly iconography, represented half-length, slightly three-quarter-length, with the towering "courtly" wig, according to the dictates of fashion of the first decades of the century, of French inspiration.
In order to represent the power embodied in our austere portrayal, the sovereign is immortalized with the symbolic attributes of the power of the family, identifiable in the ancient crown of the Kingdom of Sardinia, in the scepter with the Mauritian cross and in the necklace of the Supreme Order of the Most Holy Annunziata, established in 1364 by Amedeo VI, as the highest honor of the House of Savoy...
Category
Old Masters 18th Century and Earlier Portrait Paintings
Materials
Oil
Rocky Coastal Scene, 18th Century
Located in Blackwater, GB
Rocky Coastal Scene, 18th Century
attributed to Joseph VERNET (1714-1789)
18th century French coastal scene of a ship in rough waters off a rocky coast, oil on canvas attributed t...
Category
18th Century and Earlier Portrait Paintings
Materials
Canvas, Oil
Ficherelli Saint Ursula Paint Oil on canvas Old master Italy 17th Century Art
By Felice Ficherelli known as 'il Riposo' (San Gimignano 1603 - Florence 1660)
Located in Riva del Garda, IT
Felice Ficherelli known as 'il Riposo' (San Gimignano 1603 - Florence 1660) attributable
Saint Ursula
oil on canvas (octagonal)
cm. 82 x 74
Carved and gi...
Category
Old Masters 18th Century and Earlier Portrait Paintings
Materials
Oil
Anthony van Dyck, Engraving Ernest de Mansfeld, c. 1654, Portrait, Iconographie
Located in Greven, DE
A wonderfully detailed and charismatic portrait, this exquisite work illustrates the technical mastery and artistic vision of Van Dyck. Ernest de Mansfeld's stately yet approachable expression reflects Van Dyck's refined ability to comfort and relax his subjects, resulting in a realistic and acute portrait. Ernest de Mansfeld was a German military commander during the early years of the Thirty Years War. Donning his armor and an ornate, lace collar, de Mansfeld appears as a strong commander. Without a hint of a smile, he calmly gazes out, the definition of cool and collected. Van Dyck accurately captures the sense that de Mansfeld is a man who takes his job seriously, a man worthy of commanding an army in battle.
This portrait is a Mauquoy-Hendrickx State II (of II), engraved by Robertus van Voerst in collaboration with Anthony van Dyck (Antwerp, 1559 - London, 1641) as part of his Iconographie series of engraved portraits of famous people...
Category
Baroque 18th Century and Earlier Portrait Paintings
Materials
Engraving
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Both sitters are portrayed wearing a silk “Japanese” coat. During the second half of the seventeenth the Japanese silk coat, an adapted Japanese kimono, became a real vogue in the Dutch elite. The exclusive Dutch trade contacts with Japan can explain the popularity of the kimono-style silk coats in the Netherlands. Everybody who could afford one, dressed in such a fashionable and comfortable coat and, like the present sitters, some proud owners had themselves portrayed in a “Japanese” coat often together with an oriental carpet to underline their standing and international connections. These portraits are the work of the Polish-born portraitist Christoffel Lubieniecki (also known as Lubienitski, Lubinitski or Lubiniecki)
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Lagneau is one of the most mysterious French artists of the time of Louis XIII. While his name is the only bibliographic record we have, he left behind a dazzling series of pastel portraits, widely represented in the major public collections. Here is a typical work of his production: the portrait of an anonymous man, aged about sixty, who looks at us with an air of connivance and a smile...
1. "Lagneau mythique" or the five-legged sheep
The total absence of any anchor point on the life of Lagneau - an artist whose supposed first name (Nicolas) remains questionable - has led some art historians to indulge in these easy puns on our artist's name.
The consensus of historians today is that Lagneau "must have been born at the end of the sixteenth century and still lived (or died) at the beginning of the reign of Louis XIV" . His name (then spelt "Laneau") appears in the inventory drawn up in 1666 after the death of the painter and print publisher Jean 1er Leblond, even though his work had hardly been engraved (we shall return to this point). Marolles is the first to mention it in his Livre des peintres, composed in the 1670s; "he speaks of him in the imperfect tense, which may lead one to believe that the artist had died by that date".
These few elements do not answer any of the questions that one might legitimately ask about the artist's life or the purpose of his work. If these drawings seem to be real portraits and not expressive heads, we know neither why they were drawn, nor who they represent since "it has not been possible to identify a single model of Lagneau". There is only one book entirely devoted to the artist, the catalogue of the exhibition held in Chantilly in 2005, on which we did rely extensively for this note.
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