18th Century Portrait Paintings

Portrait of an Eritrean Sibyl who writes the prophecy Circle of Lorenzo Pasinelli (Bologna 1629 - 1700) - Attributable to Giampietro Cavazzoni Zanotti ...

Artist/ School: French School, 18th century Title: The Garden of Gethsemane Medium: oil painting on wooden panel, unframed. painting: measurem...

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...

Lionel Cranfield Sackville, 1st Duke of Dorset (1688-1745), 18th Century Michael DAHL (1659-1743) Large 18th Century English portrait of Lionel Sackvi...

French Art Rococo Portrait of a Woman, Young Lady, perhaps an actress

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...

Circle of George Stubbs (1724-1806). English 18th century portrait of a water spaniel standing in a wooded landscape. This charming painting is a wonderful example of the style of English dog painting made popular by artists such as George Stubbs and other sporting artists working in England in the 18th century who painted the dogs and horses of the aristocracy and wealthier classes. It follows in the ancient tradition of celebrating and commemorating our faithful canine companions through portraiture. Oil on canvas in a giltwood frame Provenance: Private collection, Somerset George Stubbs (1724-1806) was classified in his lifetime as a sporting painter, and as such was excluded from full membership of the Royal Academy. He is best remembered for his paintings of horses and his conversation pieces. Having studied anatomy, Stubbs's pictures of horses are among the most accurate ever painted. Stubbs was born in Liverpool, the son of a leather worker...

Saint John the Evangelist French school of the eighteenth century Oil painting on canvas 82 x 64 cm. - in frame 102 x 84 cm. In this pleasant painting we see the portrait of the evangelist John, holding a pen in his hand while writing the pages of the Gospel, while behind him it is possible to recognize the profile of an eagle, his typical iconographic attribute. The graceful face, which still reveals the devout attitude, which gives the painting a more intimate and delicate, not excessive religiosity, is one of the typical characteristics for works intended for domestic devotion, as in the case of this Saint John. From the representation of the Saint the freshness of his features immediately stands out, he is in fact portrayed as young and handsome: and it is precisely this iconographic peculiarity that makes the work fascinating and very pleasant, probably commissioned for a private room. The painting presents the peculiarities of eighteenth-century French portraiture, characterized by a soft drawing and a wise use of light. The rather marked chiaroscuro and well-calibrated shades produce an excellent result thanks to the play of light on the face, highlighted by the dark background of the scene. The painting has been relined and is in an excellent state of conservation with the colors still bright and a very healthy pictorial layer. The painting is sold together with a nice golden frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We take care and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the Riva del Garda...

Portrait of Young Gentleman, Lord George Douglas, in an Arcadian Landscape c.1710 Attributed to Charles D'Agar (1669-1723) Depicted with bow in hand and situated against an Arcadian...

"As the incarnate of dawn shines in the morning, such a blushed Diane's complexion exposed without veils to the eyes of a mortal" Les Métamorphoses by Ovide Less tragic is our destin...

Oil on canvas Image size: 28 3/4 x 24 inches (73 x 61 cm) Contemporary style gilt frame This portrait is an evocative example of Devis' Regency period portraiture, featuring a pleasant looking young girl holding a book in an outdoor setting. Working with a darker palette, a strongly accented diagonal recession, and dramatic contrasts of light and shadow, Devis heightens the girl's three-dimensional physical presence in the foreground of the composition. The Artist  Arthur William Devis (10 August 1762 – 11 February 1822) was an English painter of history paintings and portraits. He painted portraits and historical subjects, sixty-five of which he exhibited (1779–1821) at the Royal Academy. Among his more famous works are a depiction of the Death of Nelson and a posthumous portrait of Nelson. Devis was born in London, the nineteenth child of the artist Arthur Devis and his wife Elizabeth Faulkner. Devis was the younger brother of the painter Thomas Anthony Devis (1757–1810) and of the schoolmistress and grammarian Ellin Devis (1746–1820), teacher, among others, of author of Maria Edgeworth and Frances Burney (later novelist Madame d'Arblay). He followed his elder brother Thomas Anthony in becoming a pupil at the Royal Academy Schools in 1774 and like his brother exhibited at the Free Society of Artists, of which in 1768 their father had become president, and at the Royal Academy. Early on he came to the notice of Sir Joshua Reynolds. He was appointed draughtsman on the British East India Company's packet Antelope in a voyage in 1783, under Captain Henry Wilson. In her he was injured in an encounter with Papuans near the Schouten Islands and was then wrecked on the Pelew Islands before proceeding to Canton and thence to Bengal. During his voyages, the artist received arrow wounds, one of which inflicted permanent injury on his lower jaw. During his time in Bengal, he painted a portrait of Sir William Jones, at the time a judge in Fort William. The painting now hangs at the British Library. He was back in London by 1795 and is recorded on 21 July 1797 as living at 27 George Street, Hanover Square, where he was insured by the Sun Assurance Office. He is noted for his involvement in the creation of the posthumous cult of Horatio Nelson. As she returned from Trafalgar, Devis went out to meet HMS Victory and was present on board the ship during the autopsy of Nelson's body conducted by Dr Beatty, the ship's surgeon. With the help of sketches he took at that time, he painted a heroic Death of Nelson, which proved a sensation. Devis also painted Dr Beatty, and was commissioned by him to produce a half-length painting of Nelson as vice-admiral, which he lent to Emma Hamilton (who later lost it in an accident whilst travelling). Either the original or a copy of this portrait was exhibited at the Royal Academy two years after the Battle and many copies were made of it. Lord Howe owned one, and another ended up in the collection of the National Maritime Museum. It also appeared as an engraving in Beatty's published account of Nelson's death. Other work includes a portrait of King George III on horseback, and a range of portraits of admirals and generals, along with historical subjects, such as the Babington Plot and the signing of the Magna Carta...

Portrait Mrs. Cockerell (Frances Jackson) Niece of Samuel Pepys, 18th Century circle of Thomas GAINSBOROUGH Large 18th Century portrait of Mrs Cockerell...

Portrait Of Monsieur De Cotte, circa 1710 circle of Hyacinthe RIGAUD (1659-1743) - one of a pair Large circa 1710 French portrait of Monsieur De Cot...

Artist/ School: English School, circa 1740's Title: Portrait of a Lady, traditionally identified as 'Anne of Chesterfield'. Medium: oil painting on canvas, framed Size: painting: ...

Oil on canvas Image size: 30 x 25 inches (76 x 63.5 cm) Original gilt swept frame After the death of Sir Joshua Reynolds in 1792, Hoppner was considered by his contemporaries to be England’s most important portrait painter. Having entered the Royal Academy Schools in 1775, by 1785 Hoppner had risen meteorically from painting the gentry to exhibiting portraits of...

Portrait Of Madame De Cotte, circa 1710 circle of Hyacinthe RIGAUD (1659-1743) - one of a pair Large circa 1710 French portrait of Madame De Cotte, ...

Portrait Of Gertrude Durnford, Lady Alston (1731-1807), 18th Century Studio of Sir Joshua Reynolds (1723-1792) Large 18th Century English portrait ...

Portrait Of Edme Mongin Bishop Of Bazas (1668-1746), circa 1730 French School Large 18th Century French School portrait of Edme Mongin Bishop Of Bazas (1668-1746), oil on canvas. G...

"Saint Joseph and the Christ Child" Manner of Guido Reni (1575-1642) Italian. Oil on Copper, Unframed painting: 9.35 x 7.25 inches Condition ...

Portrait of a nobleman by an unknown artist , titled "Sir" on a London label on verso. A man dressed in dark robes with a white collar looks directly at the viewer. Heavy age toning ...

Evangelista Schiano (attr.) (active in the 18th century) Saint Gennaro Oil on canvas, cm. 102 x 74 - with frame 126,5 x 100 cm. 19th century carved, sculpted and gilded wooden frame ...

Engraved from an Original Painting by Mr. Wootton by John Jones (c.1755-1797). Inscription to the lower edge reads at the Coffee Room, Newmarket: Also at all the Principal Towns in E...

Portrait Of John Parker, 1st Lord Boringdon (1735-1788), 18th century School of Joshua Reynolds (1723-1792) Large 18th portrait of John Parker, 1st Lord Boringdon, oil on canvas. E...

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

Cain & The Death Of Abel, 18th Century School of William Blake (1757-1827) Circa 1790 English School depiction of Cain and the Death Of Abel, oil on canvas. Rare biblical depiction...

Portrait of a lady wearing a white gown with a red cloak, pearls in her hair and draped over one shoullder, standing beside a classical urn with a basket of flowers, c.1765. The portrait is believed to be a companion portrait of a John (1741-1816) or James (1751-1807) Durno which is housed in an identical frame. The sitter is possibly either the wife of John who was Janes Byres of Stonywood or John and James's sister Elizabeth. (James never married). The Durno family were based around the Aberdeen area of Scotland and John was an advocate in the area and then later a customs official in Jamaica. James was a successful timber merchant, spending time in the Baltic before being made His Majesty's Consul in Memel, Prussia. The portrait is likely to have been painted before Tilly travelled to India in 1768, when John, Jane and Elizabeth would have been in their twenties. We are gtrateful to Mark Beattie for sharing his family knowlege and research on the portrait. Provenance: With W. C. Beattie in the mid 19th century, and by descent through the family Private collection, Kent With thanks to Hugh Belsey who has confirmed this to be the work of Tilly Kettle from photographs. Tilly Kettle (1735-1786) was born in London, the third of six children by Henry Kettle (c.1704-c.1773), a coach painter, and his wife Ann. He attended William Shipley...

Oil on canvas Image size: 17 x 23 1/2 inches (43 x 60 cm) Contemporary William Kent hand made frame

After a copper engraving (46 x 34 cm) by Gilles Rousselet after Van Dyck, ca. 1640 Paris. Oil on cardboard, 44 x 35 cm Trompe-l'oeils are pictures whose depicted objects are painte...

Circle of Sir Godfrey Kneller Dutch, (1646-1723) Portrait of a Lady in an Ermine Trimmed Cloak Oil on canvas Image size: 26.5 inches x 22.5 inches Size including frame: 33.5 inches x 29.5 inches A well-executed half-length portrait of a lady painted in a feigned oval, circle of Sir Godfrey Kneller. The use of a feigned oval was a device used in portraiture to give a sense of depth and add an intimacy to the painting, drawing your attention to the sitter. The subject, posed without her wig in the undressed fashion of the day, wears a blue ermine trimmed blue cloak over a white silk robe...

The Roman Gods In An Allegory Of Love, 18th Century Italian School Large 18th Century Italian School "Allegory of Love" in a panorama of Roman Gods, o...

PORTRAIT OF COURT MUSICIAN JOSEF LEMBERGER (1667-1740) Hungarian School Large 18th Century Hungarian Portrait of court musician Josef Lemberger, oil on canvas. Superb quality and e...

Portrait Of Lady Maynard, circa 1745 English School Large 18th Century English portrait of Lady Maynard, oil on canvas. Excellent quality and condition portrait of the young woman ...

Oil painting on canvas. At the top right are the name of the man portrayed and his age, 78 years old. The man's habit and the attitude of prayer, in front of the Crucifix, with the meditation book...

French school of the eighteenth century Atelier of Jean-Marc Nattier (Paris 1685 - Paris 1776) Portrait of a gentleman in armor Louis XV period - early 18th century Oil painting on canvas, 81 x 65 cm., In frame 97 x 80 cm. The painting examined here, depicting a gentleman in a knight's armor, presumably a noble officer, can be dated to around the beginning of the 18th century and is evidently a work to be referred to the prolific and prestigious Parisian workshop of Jean-Marc Nattier (Paris 1685 - Paris 1776), one of the most significant portrait painters of his time and a great interpreter of the French school, one of the leading portrait painters of the reign of Louis XV. Thanks to his numerous pupils, he produced a large number of splendid portraits, such as the work we are offering you, which fully exhibits the formal and aesthetic elegance required by the master's atelier for the demanding aristocratic clientele. Note the meticulous rendering of the facial features and the sharpness of the contours highlighted by the light, both in the details of the face and in the reflections of the armor, rendered with great skill. Behind our portrayed, presumably to evoke his military exploits or to honor a recent victory, a glimpse of a battlefield is depicted, still in the midst of combat, with the fumes of the cannons that are dispersed in the sky, with the typical colors gray-blue used by Nattier in his works. The pose of our lord is royal, canonical to all officers of rank, following the favorite formula for the portraits of the members of the French aristocracy, presented in half-length to three-quarters and with a proud gaze towards the observer, as illuminated by the glow of his own prestige: in our case he wears the parade armor and is immortalized with the classic hairstyle surrounded by a bow on the back from which a long lock of hair starts. The work is presented in an excellent state of conservation, with a gilded wooden frame. For more information, please contact us. It is also possible to see the painting in our gallery in Riva del Garda...

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...

Oil on canvas. cm 60.5 x 2 x 50 Nice Oil painting (Italian School of XIX century) with a rapid sign and intense colors backgrpound. Some color cracking on left margin and top edge, ...

Portrait Of CLAUDE-LOUISE DE LORY (1706-1742), 18th Century French School Large 18th Century French portrait of a lady identified as Claude-Louise De Lory. Excellent quality and c...

Scandinavian Family Portrait Artist 18th century 18th Century Scandinavian School Signature: Not signed Medium: Miniature Dimensions: Image size diameter 11 cm, frame size 19 x 16 cm

Portrait Of A Lady Holding A Flue, 18th Century French School Large 18th century French School portrait of a lady holding a flute, oil on canvas. Magnificent and unusual portrait ...

George Knapton 1698-1778 Portrait of a Girl Oil on canvas Image size: 20 x 18 inches Original giltwood frame This beautiful half length portrait  of a young woman, turned to left, gazing at the spectator, wearing a pink, white lace-embroidered, dress, in her hair a pink bonnet trimmed with lace to match her dress. The depiction of a young girl epitomises child portraiture of the late eighteenth century, in which painters such as William Beechey, Joshua Reynolds, Thomas Gainsborough had begun to discover and express the true character of children, in contrast to the stiff, miniature-adults of previous generations. The Artist Knapton was born in Lymington, one of four sons of James Knapton. He was apprenticed to Jonathan Richardson from 1715 to 1722, and in 1720 was a founding subscriber to the academy of St. Martin's Lane established by Louis Chéron...

Thomas Spencer was a leading sporting and equestrian artist of the period of John Wootton and James Seymour; his art shows a considerable to debt to tha...

The portrait shows Mme Silvestre. Born in Paris, Silvestre was the daughter of Charles-Antoine Hérault and his wife Marie-Geneviève, who were her first teachers. In 1706 she married the painter Louis de Silvestre, moving with him in 1716 to Dresden. The couple's daughter Marie-Maximilienne became a pastellist. Silvestre died in Dresden, the year before her husband retired and returned to Paris. Her surviving pastels show the influence of Rosalba Carriera...

Portrait of Johann Quantz (1697-1773), flautist and composer, wearing a blue velvet coat, waistcoat and breeches, standing in a garden landscape with ...

What is so wonderful and unusual about this 18th Century portrait is the relatability of the sitter. There is an openness to the world in his gaze, curiosity, a sense of humour, pass...

Attributed to Arthur Pond British, (1701-1758) Portrait of a Lady Oil on canvas Image size: 50.75 inches x 41.5 inches Size including frame: 58.5 inches x...

Portrait Of Thomas Paget, Governor Of Minorca, Marquess Of Anglesey, 18th Century English School Large 18th Century portrait of Thomas Paget, Governor of Minorca, Marquess of Anglesey, oil on canvas. Excellent quality and condition portrait of the young Marquess and Governor in red robes and a big wig who was a prominent military officer serving under the Duke Of Marlborough and serving the 7th Dragoons Guards as well as the 22nd Regiment of The Foot. He also served as an MP of Ilchester. We have reframed but the portrait comes as he was found and is untouched by us. Provenance: From a deceased estate, Paris, France. We have replaced the old frame that had degraded but retained the plaque. The previous owner had purchased the portrait from a London dealer...

Antonio Mercurio Amorosi (Comunanza 1660 - 1738) Portrait of a little girl with cat Oil on canvas, cm. 42 x 31.5 – with frame cm. 56 x 44 Shaped, carved and gilded wooden cassetta fr...

French 18th century old master portrait of a majestic and elegant lady. The aristocratic lady gazes at the viewer with a kind and enigmatic smile and twinkling eyes. In comparison w...

Portrait Circle of Sir Godfrey Kneller Bt. (British, 1646-1723) of Katharine, wife of Thomas, 6th Earl of Westmorland, oil on canvas late 17th early 18th century in date. The sitter Katharine is facing dexter and is wearing a cream dress, blue and gold cloak and lace mantilla...

Collections: Robert Gallon (1845-1925); Private Collection, UK. Oil on canvas laid down on panel Framed dimensions: 11.5 x 10 inches This highly engaging, previously unpublished portrait by Johan...

French School, Portrait of a Young Lady, perhaps an actress Oval Louis XIV sculpted and gilded frame French Art, Roccoco Art The oval portrait of a young woman measures 61 by 50,5 cm canvas sight size and its 18th century oak carved and gilded frame...

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...

Portrait of a lady, traditionally identified as Grace Loftus,of Beverley hall yorkshire.Three-quarter-length, before a window. Dressed in blue and wearing a white bonnet. The paintin...

This portrait is extremely important in the reconstruction of the corpus and of the life of the artist thanks to a significant inscription on the back of the canvas that says “Ritrat...

Circle of Robert Byng British, (1666-1720) Portrait of a Boy Oil on canvas Image size: 28.5 inches x 23.5 inches Size including frame: 34.5 inches x 29.5 inches A fine half-length ...

A fine oval portrait of George Granville, PC, 1st Baron Lansdowne and "Duke of Albemarle" in the Jacobite peerage (1666-1735) Studio of Sir Godfrey ...

Portrait of Marie Camille (nee de Beer), Countess de Lalaing and her dog, 18th Century - married to Charles II Joseph, count de Lalaing, 11th Viscount of Audenaerde and Count of Thildoncq school of Alexander ROSLIN...

I have great pleasure in offering for sale this beautiful portrait, by Nathaniel Hone, the elder. 18th century. The painting is of Ann Anderson, wife...