18th Century Portrait Paintings

Portrait of Lady Anne Howard (nee Montagu) Countess Of Suffolk (1660-1720), 18th Century follower of Sir Peter LELY Large 18th Century English portrait of...

A Large and Magnificent Oil On Canvas Painting of King William III (1672–1702), After Sir Godfrey Kneller Step into history with this extraordinary large oil on canvas painting of K...

Circle of Pierre Gobert (Fontainebleau 1662 - Paris 1744) Pair of portraits Portrait of Philip V, King of Spain (Versailles 1683 - Madrid 1746) Portrait of Queen Louise of Savoy (16...

Italian painter (18th century) - Portrait of a gentleman with an aphorism. 92 x 68cm. Oil on canvas, unframed. - Iscribed on the book: "In the world there are more crazy men than ...

English painter (late 18th century) - The Connoisseur and Tired Boy. 39.5 x 32 cm without frame, 46 x 38 cm with frame. Antique oil painting on canvas,...

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...

Attributed to Pierre Paul Prud’hon (French, 1758-1823) 'La belle musicienne' Oil on canvas, oval Signed ‘P. P. Prudon’ (lower left) 28.3/4 x 23.1/2 in. (73 x 59.5 cm.) Pierre Paul Prud'hon is considered a prime example of early French Romanticism. He was born as the seventh and last child of a master tailor. At the age of 16 he was a pupil of the painter and sculptor Francois Devosge. After finishing his studies he moved to Paris, where he first worked for an engraver and became friends with the Baron of Joursanvault, who became his patron. He also made a friendship with the "incorruptible", the politician and revolutionary Maximilien de Robespierre. Despite important friendships and the care of some cardinals, Prud'hon plunges into loneliness and melancholy. He has a good reputation and produces allegorical paintings, but his attachment to Robespierre forces him to leave the French capital. He now lives in the Free County of Burgundy, where he makes portraits and illustrations for Pierre Didot, the owner of the printing house. After a few years he moved back to Paris and his career received a new impetus. In the Louvre, Prud'hon is provided with a studio in which he paints "La sagesse et la vérité descendant sur la terre" (Wisdom and Truth descend to earth) for one year, as well as some ceilings of the Louvre. The government assigns him a studio in the Sorbonne, where his wife Jeanne, whom he married at the age of 19, comes looking for him. To escape her, he asks the museum director for protection. In 1808 he wrote "La justice et la vengeance divine poursuivant le crime" (Justice and divine revenge pursue the crime). In the same year he is also named Knight of the Legion of Honour and is able to break with his grumpy wife once and for all. He soon reconnects with his student and painter of neoclassicism Constance Mayer. Pierre is commissioned to paint a portrait of the Empress and wife of Napoleon, Joséphine de Beauharnais, which can still be seen today in the Louvre. He also paints the small "Roi de Rome" (King of Rome). In 1816 the Academy of Fine Arts elected him a member, where he took over the armchair in the painting section of François-André Vincent. A few years later his depressed wife commits suicide, and full of pain Prud'hon finishes her last work "Une famille malheureuse" (Engl. An Unhappy Family) and exhibits it. He himself dies soon afterwards and is buried in Paris. Many renowned artists admire Prud'hon for his "clair-obscur", the chiaroscuro painting...

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...

Portrait Of Lady Manners, 18th Century attributed to THOMAS HUDSON (1701-1779) Large 18th Century English portrait of Lady Manners, oil on canvas attributed to Thomas Hudson. Excellent quality and condition circa mid 18th Century portrait of the young lady wearing a lace Bonney with a pink bowtie...

Portrait Of General John Churchill, The Duke Of Marlborough At The Battle Of Ramillies, 1706 by JOHN VANDERBANK THE YOUNGER (1694-1739) Large early 18...

Portrait of James Stanley (1750 - 1810), circa 1775-1778, full-length, wearing a red coat and breeches and a gold embroidered waistcoat, hold...

Como pueden apreciar, la obra no va firmada, es de autor anónimo Se presenta enmarcada la obra con un marco de alta época El estado de la obra es bueno, solo comentar que la tela e...

French School Portrait of a young woman in Louis XV period dress Pastel on paper mounted on oval canvas H. 68 cm; W. 54 cm (Frame: H. 102 cm; W. 71 cm) 18th century frame, anti-refle...

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...

Sir Joshua Reynolds 1723-1792 British Sir Henry Bowles Howard, 12th Earl of Suffolk and 5th Earl of Berkshire Oil on canvas Sir Joshua Reynolds is unequivocally considered the most important English portraitist of the 18th century who was instrumental in adapting the Grand Manner style in the portrait genre. In fact, when the Royal Academy was founded in 1768, Reynolds was elected its first President, setting the precedent of quality for which all other portraitists would strive. Reynolds's portrait of Henry Bowles Howard, 12th Earl of Suffolk, showcases his genius in the genre and mastery over the medium. Reynolds’s portrait of the Earl expertly invokes classical values with strong lighting, rich colors and expert attention to detail to help underscore the prominence and revered echelon of the sitter. Howard was an esteemed British politician and Knight of the Garter. He served as Secretary of State for the Northern Department from 1771 to 1779, and he played a key role in utilizing mercenaries during the American Revolution and safeguarding Sweden's independence. The portrait employs Reynolds's signature style to render Howard rightfully as a gentleman of distinction. Captured seated in a stately library, the Earl appears learned and austere as he places one hand upon a stack of important documents and looks wistfully into the distance. Reynolds makes these compositional choices decisively, as the seated position gives Howard a weighty appearance of importance and the semi-profile turn captures his countenance at an attractive angle that highlights his strong, masculine features. The work draws on the classical conventions of Greek and Roman art and the Italian Renaissance masters, anchoring the nobleman in a history of refinement. Everything from his strong yet welcoming expression to his pale face enlivened by a rush of blood to the cheeks presents the picture of a strong, vital and powerful leader. As the first president of the Royal Academy in London, Reynolds’s commissions raised the status of an artist in Britain during the Romantic period and also established the portrait as an esteemed high art genre that garnered equal import to the history paintings that reigned supreme in decades prior. Today, Reynolds’s works grace the walls of the most important museums in the world, including the Louvre, the Metropolitan Museum of Art, and the National Gallery in London, among others. Circa 1770 Canvas: 50 1/2" high x 40 1/4" wide Framed: 61" high x 52 1/2" wide x 3 1/2" deep Provenance: Sir Henry Howard, 12th Earl of Suffolk and 5th Earl of Berkshire, 1739-1779 His mother, Lady Mary Howard, née Finch, Lady Andover, d. 1803 Acquired by descent to her daughter, Frances, and her husband Richard Bagot (later Howard) Acquired by descent to their daughter, Mary (1784-1877), and her husband Col. Fulke Greville Upton (later Howard), d. 1846 Acquired by descent to Lieutenant Colonel H.R.G. Howard Sale, Christie's, London, March 24, 1961, no. 29 Julius Weitzner, London and New York Sale, Paris, Musée Galliéra, December 7, 1965, no. 165 Newhouse Galleries, New York, NY Mr. and Mrs. F. Howard Walsh, Fort Worth, Texas, 1966 Walsh Family Art Trust Private collection, Oregon M.S. Rau, New Orleans Exhibited: British Institution, London, 1844, no. 130, loaned by the Hon. Fulke Greville Howard. South Kensington, "Second special exhibition of National Portraits," 1867, no. 478, lent by the Hon. Mrs. Greville. Agnew's, London, 1903, no. 17. Literature: Algernon Graves and W. V. Cronin, A History of the Works of Sir Joshua Reynolds, P.R.A., vol. 3 (London, 1899), p. 945. David Mannings...

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)...

Rare pair of portraits from the second half of the 18th century. Oil on canvas artworks depicting two splendid male figures, a hunter with his dog and a player with a stringed instru...

Antoine VESTIER, attributed to (Avallon, 1740 - Paris, 1824) Portrait of a man under the Revolution Oil on canvas H. 46 cm; L. 37 cm Circa 1793-95 This beautiful unsigned portrait i...

Louis-Gabriel BLANCHET (Versailles, 1701 – Rome, 1772) Presumed self-portrait of the artist Oil on canvas H. 73 cm; W. 60 cm Circa 1730 Originally presented in a Restoration period frame with a "Mignard" cartouche, this beautiful painting initially appeared to us as a work from northern Italy. However, it exuded a rather French form of refinement, suggesting that its artist may have assimilated a dual influence from both sides of the Alps. We thank our colleague and friend Philippe Mendès for spontaneously and judiciously "bringing out" the name of Louis-Gabriel Blanchet, a Romanized French portraitist, whose spirit and stylistic characteristics we clearly recognize here. Blanchet's "French" years, before his final departure for Rome in 1728, following his winning of the second Grand Prix for painting after Subleyras in 1727, are extremely poorly documented. His father, Gabriel, was valet to Blouin, himself Louis XIV's first valet at the time. According to Thierry Lefrançois, Blanchet was one of the few students of Nicolas Bertin (1667-1736), whose studio he is said to have joined in the early 1720s. At a baptism on March 24, 1724, where he was godfather, he is mentioned as a painter in the picture store of the Duke of Antin, the director of buildings between 1708 and 1736. At this time, he was probably already married to Jeanne Quément, with whom he had a daughter also named Jeanne, who would marry Nicolas Aviet, the son of a valet in the queen's wardrobe, in Versailles in 1738. When Blanchet arrived in Rome in October 1728, he was accompanied by Subleyras, Trémolières, and Slodtz. He enjoyed the goodwill of Vleughels, the director of the Académie de France, which had been based at the Palazzo Mancini since 1725, even though the latter was not always kind to our resident. From 1732, he was under the protection of the Duke of Saint-Aignan when he took up his post as ambassador to Rome. Along with Slodtz and Subleyras, they formed a trio of friends, joined by Joseph Vernet shortly after his arrival in Rome in 1734. Slodtz and Blanchet, on the occasion of Subleyras's marriage in 1739, were there to attest that their friend was not bound by any marital commitment, and Blanchet was a witness at Vernet's wedding in 1745. It is most likely from these early years in Rome that our portrait of the artist dates, the expression and turn of his face irresistibly reminiscent of a self-portrait. The still relatively youthful features may correspond to Blanchet's thirty-something years, and the fluffy wig was still fashionable at this time. The painting fits well with the depiction of a young painter wanting to display both the beginnings of success and a certain simplicity or restraint. A slight smile expresses a form of assurance in this man with a gentle, sincere gaze and a face radiating a keen sense of wit. We find here the air of intimacy present in almost all of Blanchet's portraits, even those from the 1750s and 1760s, as well as an almost complicity with the viewer. The spirit of the painting is quite close to that of the presumed portrait of Bouchardon (painted around 1730) and the portrait of Pannini, painted in 1736, but it possesses a more natural quality, notably thanks to the absence of decorum. Our work exhibits the characteristics of Blanchet's paintings: elegance, luminosity (especially in the whites), vibrant and refined colors (here, the harmony of the garnet of the garment and the slate blue of the background, whose uniformity is tempered by a very sketched landscape and a grove of greenery), light complexions, rather rosy cheekbones, often full lips, and rather tight framing. According to the Academy's rules, Blanchet's stay should have ended in the spring of 1732, but, for reasons unknown, he remained in the Eternal City until his death, as did his friend Subleyras, with whom he shared accommodation until the late 1730s. The latter regularly called upon him to collaborate on his paintings, such as The Meal at Simon's. Through Saint-Aignan's intervention, Blanchet was employed in the late 1730s by the Stuart princely family, then exiled in Italy. He notably produced copies (now lost) after Liotard of the portraits of Charles Edward and Henry Benedict, the sons of James III Stuart. The latter also commissioned three other portraits (now in the National Portrait Gallery in London), whose more formal character contrasts with the intimate spirit of Blanchet's portraits. Blanchet frequented English painters, such as the landscape painter Richard Wilson, and studied with the Scottish portraitist Katherine Read...

Half Length Portrait of Mr. Robertson Sir. Henry Raeburn ( Scottish 1756 - 1823 ) Half Length Portrait of Mr. Robertson 29x 24 Purchased, J Leger & Son,...

18th century style, “Young aristocrat with pet dog”. The work is a modern copy of a portrait of Pierre Van Cortlandt, first lord of Van Cortlandt manor in NY. ...

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...

John Alexander (Scottish, 1686-1766) Portrait of George Gordon, 7th Laird of Buckie (Scottish, 1707-1756), c. 1743 Oil on canvas In a carved ebonised frame, with gilded inner slight...

This fantastic portrait oil painting is attributed to British Old Master Joseph Highmore and was painted in 1770. The half length standing portrait is of a Cleric, dressed in his wig...

This portrait, attributed to the American painter Ralph Earl, captures Benedict Arnold, one of the most controversial figures of the American Revolutionary War. Ralph Earl, known for...

Portrait Of A Piedmont Nobleman & Military Officer, House Of Savoy, early 18th century Italian School Fine large 18th Century portrait of a Piedmont ...

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...

Pietro Bardellino (Naples, Italy, 1731 – 1806) Title: Mary Magdalene Medium: Oil on canvas Dimensions: without frame 75 x 60 cm – with frame 97 x 82 cm Antique shaped and carved wood...

Portrait Of Isabella Blackett, Countess Of Buchan, 18th Century English School Large 18th Century English portrait of Lady Isabella Blackett, Duchess of Buchan oil on canvas. Excel...

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...

A rich merchant is an original old master artwork realized in the 18th Century. Mixed colored oil painting on canvas depicting a merchant looking at a coin in his left hand. Provena...

18th century, antique painting, oil on canvas, old master. Mother with child. Relined canvas. Stretcher frame also renewed. Artist unknown.

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...

Oil Painting Stye of Benjamin Marshall "The Hobby Horse" 1768 -1835 painter of sporting subjects especially racing scenes. This fine late Regency portrait is in his slightly caricatu...

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...

Work on wood Molded frame in plaster and gilded wood 65 x 57 x 8 cm

Provenance By descent through the sitter's family to The Collection of R. W. Vivian-Neal of Poundisford Park, Somerset, from whom acquired by With Lane Fine Art, UK, where purchased by the present owners in 1996 Literature 'Poundisford Park, Somerset' in Country Life, 22 December 1934, ill. A.W. and C.M. Vivian-Neal, Poundisford Park, Somerset: A catalogue of pictures and furniture, Taunton 1939, cat. nos. 11 and 13 This is a three-quarter-length portrait of Ralph William Grey in a mole-coloured velvet coat and a long waistcoat of green satin, heavily embroidered in gold. Under his left right hand is a black chapeau bras. He has white doe-skin gauntlet gloves. Son of William and Ann Grey of Backworth: born 19 December 1707. He married Mary the daughter of William Rawstorne of Newall in 1741 and died 5 November 1786. He was educated at Eaton and Trinity College, Oxford. Within a year of his birth Mrs Grey died and, according to the Country Life article 'From that time forward all Mr Grey's faculties were concentrated on the well-being of his son. The possession of an heir gave zest to his efforts to build up the family fortune: he was successful in most of his ventures. Years later his interest in life was centred in the home of his daughter-in-law and grandchildren'. Grey's right hand is depicted in the present portrait resting on Locke's Essays and the Country Life article also records that there are constant references to John Locke...

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...

Flower garland with a portrait of the Virgin Francesco Trevisani (Capodistria 1656 - Rome 1746) and Niccolò Stanchi (Rome 1623 - 1690), attributable Oil on canvas 66 x 49 cm. - In f...

Sir Godfrey Kneller 1646-1723, was a German born British portrait painter. He was born in Leiden and studied under Bol and Rembrandt, before travelling to Rome, Venice, Hamburg and ...

Portrait Of Julia Copley, 18th Century circle of Sir William Beechey (1753-1859) Large 18th century English School portrait of Julia Copley in her wedding dress, oil on canvas. Exc...

The Consecrated Madonna, circa 1700 Eastern European School Large 17th 18th Century European School depiction of the Consecrated Madonna, oi...

Pierre Gobert (Fontainebleau 1662 - Paris 1744) Atelier of Pair of fine portraits Louis XV, King of France and his wife, Maria Leszczyńska oils on canvas (2), 41 x 32 cm., in frame 53 x 44 cm. It is easy to identify the sitters of this charming pair of portraits in the rulers of France, namely Louis XV of Bourbon, who ascended the throne in 1715 at the age of just thirteen and was nicknamed the 'Beloved', and Maria Leszczyńska, Queen Consort of France and Navarre and daughter of the King of Poland Stanislaus I. The queen is depicted in a three-quarter-length figure, her face smiling and turned towards the spectator. She wears a wig in shades of grey with her hair gathered around the nape of her neck and a diadem on her head, and pendants on her ears. She wears a dress with a wide neckline made of red velvet, brocaded with gold threads, with rich lace sleeves, and a bodice adorned with a jewelled bodice of diamonds and pearls. On the shoulders rests a blue velvet mantle embroidered with the heraldic...

This compelling portrait, recently studied by Stéphane Pinta of the esteemed Cabinet Turquin in Paris, has been confidently attributed to the Austrian painter Matthäus (Matthias) Lod...

Attributed to Jacques DUMONT aka DUMONT LE ROMAIN (Paris 1701 - 1781) Presumed portrait of Louis-Joseph de Formanoir (?-1732) Oil on canvas H. 91.5 cm; L. 73 cm Signed on the helmet:...

Antique oil on canvas of a Russian or Polish nobleman, painted by Rembrandt van Rijn in 1637. There is much controversy about this painting, currently housed in the National Gallery of Art in Washington D.C. and has previously been owned by such luminaries as Catherine the Great and Andrew Mellon. It has been referred to as both a Polish and Russian nobleman, the sitter wears a Russian sable hat...

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...

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...

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...

Austrian School 18th Century Tri-Directional Portrait Commemorating the Russo-Turkish War Oil on wooden strips This extraordinary tri-directional portrait exemplifies the rare innovation known as a triscenorama, capturing a pivotal diplomatic moment through ingenious artistic technique. Employing triangularly cut wooden strips, this remarkable work simultaneously depicts three imperial figures central to the Russo-Turkish War of 1735-1739: Empress Anna Ivanovna Romanova of Russia when viewed directly, Holy Roman Emperor Charles VI from the left and Ottoman Sultan Mahmud I from the right, commemorating the Treaty of Nissa that concluded this significant European conflict. The portrait utilizes an exceptionally rare optical technique that predates modern movable imaging technology. When observed from different angles, the painted triangular wooden strips create a transformative effect, revealing entirely different imperial portraits as the viewer shifts position. The precision required to execute such a work demonstrates remarkable technical mastery, as the artist had to conceptualize three distinct portraits as well as the meticulous arrangement of the panels. This sophisticated manipulation of perspective creates an interactive viewing experience considered revolutionary for its time. Almost certainly created by an Austrian artist, this diplomatic artwork likely served as a commemorative piece marking the Treaty of Nissa, signed in September 1739. The treaty concluded Russia's ambitious campaign to secure access to the Black Sea while countering Ottoman raids in Ukraine and the Caucasus regions. Given its exceptional quality and historical significance, this portrait was possibly commissioned by Emperor Charles VI himself, potentially serving as a diplomatic gift to either Empress Anna or Sultan Mahmud I during the treaty negotiations. Under Empress Anna's leadership, Russia sought to counter devastating raids from Ottoman allies, particularly the Crimean Tatars...

Portrait Of Henry Farington, East India Company, 18th Century attributed to Arthur DEVIS (1712-1787) One of a matching pair - the other is believ...

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...

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...

This beautiful 18th century Italian Old Master oil painting is something rather special. Painted circa 1750 the subject matter is Saint John the Baptist as a very young child. He is ...

Jean-Baptiste Perroneau (Paris, 1715 – Amsterdam, 1783) Portrait of a lady Oil on oval canvas 60 x 50 cm. - In frame 77 x 66 cm. Work accompanied by expertise: Raffaelle Colace (Cremona), Ferdinando Arisi Reference bibliography: d’Arnoult, Dominique (2014) Jean-Baptiste Perronneau, c 1715-1783, un portraitiste dans l’Europe des Lumières Excerpt from the expertise of Dr. Colace: This refined portrait of a lady is a perfect example of the style of Jean-Baptiste Perroneau, a very talented French painter, whose most beautiful works are located, just like this one, between the fifth and sixth decades of the eighteenth century. "Perroneaeu is more naturally colored than La Tour, the est, in the peinture de poussière colorée, tout plein de tons clairs, frais, presque humides": this is how his brothers wrote about him in La Maison d...

Portrait of a noblewoman in ceremonial dress with Chantilly lace mantilla Attributed to Jean Ranc (Montpellier 1674 - 1735 Madrid) oil on oval canvas cm.72 ...

Italian School, 18th century Depicted are the Madonna and Child Jesus, the virgin Mary is holding the Child Jesus lovingly in her arms. The child, lying on a bundle of cloth and with...

This charming British Old Master Regency pastel portrait is attributed to John Russell RA. Painted circa 1790 the composition is a blonde woman in pretty mob cap with a blue ribbon. A really lovely image. Provenance. Oxford estate. Condition. Oil pastel on paper, 23 inches by 19 inches unframed and in good condition but has line in paper in middle. Frame. Housed in a fine frame, 30 inches by 26 inches framed and in good condition. John Russell RA (1745-1806) was an English painter renowned for his portrait work in oils and pastels, and as a writer and teacher of painting techniques. Russell was born in Guildford, Surrey, the son of John Russell Snr., book and print seller and five times mayor of the town; his father was something of an artist, and drew and published two views of Guildford. Russell was educated at the Royal Grammar School, Guildford, and soon showed a strong inclination for art. He trained under Francis Cotes RA (of Cavendish Square, London), one of the pioneers of English pastel painting, and, like Cotes, was an admirer of the pastel drawings of Rosalba Carriera whose methods influenced his technique of "sweetening". At the age of 19 he converted to Methodism, which was the cause of tension with his family and with his teacher; he made no secret of his strong evangelical leanings and would attempt to preach and convert at every opportunity. Russell set up his own studio, in London, in 1767. He made the acquaintance of the notorious Dr. William Dodd, whose portrait he painted in 1768. He was introduced to Selina, Countess of Huntingdon, who unsuccessfully attempted to persuade him to give up painting and attend her Methodist ministers' training college at Trevecca in Wales. On 5 February 1770, he married Hannah Faden, daughter of a Charing Cross print and map seller...