18th Century Art

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...

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

Hyacinthe Rigaud (Perpignan 1659 - Paris 1743) attributable Portrait of the painter Charles de La Fosse (1636-1716) oil on canvas 60 x 52 cm/ In a beautiful frame cm. 113 x 78 The ...

PRICE IS FOR EACH FRAMED PRINT "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origina...

This 59" x 20" Chinese Antique Scroll depicts a simple yet serene scene of a bird on a rock. The bird stands on the rock, which is much larger in size in comparison to the bird. The ...

Artist: Cornelius Nozeman (Dutch, 1720-1786) Title: "Corvus, Cornix (Hooded Crow)" (Plate 106) Portfolio: Nederlandsche Vogelen (Dutch Birds) Year: 1770-1829 Medium: Original Hand-Co...

Roman landscape painter of the eighteenth century - Entourage by Paolo Anesi (Rome 1697 - 1773) River landscape of the Lazio countryside, with the Tiber fl...

Original engraving with later hand-coloring from "Locupletissimi rerum naturalium thesauri accurata descriptio, et iconibus artificiossimis expressio, per universam physices historia...

Sir Nathaniel Dance-Holland (1750-1811) was an English portrait painter and one of the founding members of the Royal Academy in 1768. Justly celebrated in his lifetime he won several...

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...

The Royal Hunt, 18th Century attributed to JOHN CORDREY (1765-1825) Large 18th century English scene of The Royal Hunt, oil on panel attributed to John Cordrey. Excellent quality a...

Francesco Foschi (Ancona, 1710 - Rome, 1780) Attributable Winter landscape Oil on canvas 76 x 63 cm. - In frame 87 x 75 cm. The compositional and stylistic elements of this pleasan...

Portrait of Max Franz as coadjutor of the Teutonic Order Oil on canvas, 54 x 45 cm Maximilian Franz of Austria Austrian Archduke Maximilian II. Franz, was Grand Master of the Teutoni...

A truly rare and remarkable scene of hundreds of swordsmen meeting in a towns square. The circle is closed around the two in the duel, each of whom have drawn blood. German school 18...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) Oxford from the East Engraving 12 x 16 cm An eighteenth-century view of Oxford from the east, engraved by Pieter van de...

XXXIII Fig. I Avanzo del Tempio di Castore e Polluce .View of the Remains of the Peristyle of the House of Nero, Etching, 1756 Signed in the plate (see photo) From: Le Antichità Roma...

A wonderful selection of hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand- made parcel-gilt, ebonised and decalcomania frames. Joha...

Portrait Of Maria Walpole Duchess of Gloucester & Edinburgh (1736-1805), 18th Century attributed to Richard COSWAY (1742-1821) 18th Century English portrait of Maria Walpole, Duch...

Artist: (after) Jean-Baptiste Hilaire (French, 1751-1828) Title: "Ahorn auf Kos (Vue de la Place Publique de Cos)" (Plate 3) *Issued unsigned, though signed by Richter in the plate (...

Monogrammed lower left: Johan Philip Korn (1728 - 1796), was a Swedish painter. A beautiful landscape, with a backwater in which carefree ducks swim, hunters and their dogs in passion, in the background you can see a city with a bell tower. Old masters have been depicting animals in their paintings since the Renaissance. In those days, hunting scenes were popular - there is always a share of emotional participation in them. Here it is necessary to understand that in previous centuries people looked at hunting as a means of obtaining food, therefore naturalism dominates in the painting of the old masters. Old oil painting on wooden panel, in a non-original frame of the 19th century. Size app.: 49 x 64 cm (roughly 19.3 x 25.2 in) and nice golden gesso frame ca 65.5 x 81.5 cm (roughly 25.8 x 32.1 in). Very Good condition, age wear, cracks on a wooden board, minor losses, retouches, cleared and conserved. Please study good resolution images for overall cosmetic condition. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Weight of app. 6.4 kg is going to measure some 10 kg volume weight packed for shipment. Johan Philip Korn first began his career as a decorative painter. He was a student of artist Johan Sevenbom (1721-1784). After further studies he changed to landscape painting in the Rococo style of French artist François Boucher (1703–1770) and often after Dutch copper engravings. In 1759, Korn became master of the Stockholm...

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...

Attributed to Gainsborough Dupont (1754 - 1797, British) Portrait of Owen Ormsby, bust-length, in a brown coat, with slightly later inscription identifying the sitter oil on canvas 2...

Artist: Georges-Louis Leclerc, Comte de Buffon (French, 1707-1788) Title: "Euphorbia (Spurge)" (Dodecandrie, Trigynie, Plate 411) Portfolio: Histoire Naturelle Year: 1749-1789 Medium...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: JF Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: CXLI, CXLII, CXIII & CXLIV. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

A wonderful selection of hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand- made parcel-gilt, ebonised and decalcomania frames. Joha...

Jan Thomas van Kessel 1677-1741 Flemish A Peasant Country Scene Signed (lower left) Oil on canvas A quintessential example of Flemish genre painting, A Peasant Country Scene refl...

Portrait Of William Hogarth (1697-1764) , 18th Century English School, Possibly a Self Portrait Large 18th century English School portrait of painter and satirist William Hogarth, ...

This Winslow Homer wood engraving entitled "On the Beach at Long Branch, The Children's Hour", was published in Harper's Weekly in the August 15, 1874 ed...

A map of Mechelen, known as Malines in French and Mechlin in English, a city and municipality in the province of Antwerp in the Flemish Region of Belgium. A birds-eye view plan of th...

Price is per each framed print. "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origin...

Artist: Cornelius Nozeman (Dutch, 1720-1786) Title: "Ardea, Stellaris (Eurasian Bittern)" (Plate 41) Portfolio: Nederlandsche Vogelen (Dutch Birds) Year: 1770-1829 Medium: Original H...

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...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

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...

Attributed To French Master Jean-Baptiste Pillement (1728 - 1808). Magnificent rococo pair paintings depicting scenes from the life of Europe of the 18th century. Two scenes tell us about the lives of travelers and fishermen of the time. Two frames of the same century perfectly complement these paintings. Paintings made in the technique: Pastel, Bodycolor, chalks, and perhaps gouache on paper or paperboard supported by wooden boards. Gold leaf neoclassical frames of early 1800s (not examined under frames). On the reverse side of the wooden substrate, there is a stamp, "Bundesdenkmalamt Wien", Perhaps Jean-Baptiste Pillement (1728 –1808). Antique old paintings...

Antique Italian painting from the end of the 18th century. Artwork oil on canvas depicting landscape with characters and architectures of good pictorial quality. Non-coeval wood and ...

18th Century Flemish School Lively Landscape with a Herd of Cows Oil on wood panel 19.5 x 24.5 cm (27 x 32 cm with frame) Beautiful antique giltwood frame Beautiful small landscap...

Circle of Jan van Huchtenburg Landscape Scene with a Soldiers Camp Oil on Canvas, 41 x 55 cm Soldier Camp Life Scene together with a wonderful golden Frame

Pair of Italian 18' century paintings , oil on canvas with Venetian Palace gardens , antiques sculptures and various figures . Measurements with f...

The Blacksmiths Forge British artist, late 18th century Circle of Julius Caesar Ibbetson (1759-1817) oil on board, unframed board: 11 x 14.5 inches provenance: private collection, En...

Jacques Rigaud (c. 1671/91-1754) The Royal Garden Original etching enhanced with stencil Signed in the plate On Arches vellum 35 x 66 cm (13.7 x 25.9 inch) Very good condition, mi...

Artist: Jean Daullé (French, 1703-1763) Title: "Départ Pour La Pêche (Maison de Campagne des Environs de Naples)" Circa: 1740 Medium: Original Engraving on watermarked laid paper Lim...

Edward Williams "A College Scene" After Thomas Rowlandson Color Engraving C.1787 Late 18th century hand colored engraving after Thomas Rowlandson A scene of a young student asking ...

Le Cerf De Corse is an artwork realized  by  Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. The artwork belongs to the suite "Histoire naturelle, générale et par...

ITALIAN MARBLE BUST OF MELPOMEN, MUSE OF TRAGEDY Late 18th Century inscribed to base Melpomen marble height 66 cm height 26 in

Vincenzo Re (Parma, Italy, 1695 - Naples, Italy, 1762) Title: Christ Healing a Paralytic Medium: Oil on canvas Dimensions: without frame 50 x 62 cm - with frame 70 x 92 cm Expertise...

Sir Henry Raeburn (1756-1823) James Sinclair, 12th Earl of Caithness (1766-1823) Oil on Canvas 30 X 25 inches Unframed 37 X 32 inches framed Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton: works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practised portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, a bust of Dr Wardrop of Torbane Hill, two full-lengths of Adam Rolland of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adam in the National Gallery of Scotland, and that of William Macdonald of St Martin's. Apart from himself, Raeburn painted only two artists, one of whom was Sir Francis Leggatt Chantrey, the most important and famous British sculptor of the first half of the 19th century. It has recently been revealed that Raeburn and Chantrey were close friends and that Raeburn took exceptional care over the execution of his portrait of the sculptor, one of the painter's mature bust-length masterpieces. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the early 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, "You would never take him for a painter till he seizes the brush and palette." In 1812 he was elected president of the Society of Artists in Edinburgh; and in 1814 associate, and in the following year full member, of the Royal Scottish Academy. On 29 August 1822 he was knighted by George IV and appointed His Majesty's limner for Scotland at the Earl of Hopetoun house. He died in Edinburgh. Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Velázquez, the brushwork reminded him constantly of the "square touch" of Raeburn. Scottish physician and writer John Brown wrote that Raeburn "never fails in giving a likeness at once vivid, unmistakable and pleasing. He paints the truth, and he paints it with love". Raeburn has been described as a "famously intuitive"portrait painter. He was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting directly from life; he made no preliminary sketches. This attitude partly explains the often coarse modelling and clashing colour combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the 19th century from romanticism to Impressionism. Sir Henry Raeburn died in St Bernard's House (17 St Bernards Crescent), Stockbridge, Edinburgh. He is buried in St. Cuthbert's churchyard against the east wall (the monument erected by Raeburn in advance) but also has a secondary memorial in the Church of St John the Evangelist, Edinburgh. James Sinclair, 12th Earl of Caithness was born at Barrogill Castle (Castle of Mey) on 31 May 1766. He was the son of Sir John Sinclair of Mey, Baronet who he succeeded in the baronetcy in 1774. He succeeded as 12th earl of Caithness in 1789. He was lord-lieutenant of the county of Caithness and lieutenant-colonel of the Ross-shire militia. He married at Thurso Castle on 2 January 1784 Jane, second daughter of Alexander Campbell...

Colen Campbell (1676-1729) Althrop Hall in Northamptonshire the Seat of the Rt Honourable The Earl of Sunderland & co. 35x50cm Engraving (1715-1725) from 'Vitruvius Britannicus, or the British Architect...' Althorp Hall - as it is now written, but still pronounced 'Althrop' - is the seat of the Earl Spencer and the location of the grave of Diana, Princess of Wales...

Three Beauties under a maple tree from the series "A Contest of Fashionable Beauties of the Gay Quarters". The woodblock print is printed on rice paper....

A beautifully framed hand-colored engraving from the famous "Cries of London" series, depicting the lives and professions of the common people of 18th ...

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...

Satyr on Horseback is an original etching realized in 1795/1796 by Carl Wilhelm Kolbe the Elder (1759-1835). Good Conditions except for being aged....

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...

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...

The Structure of the paw bones of animals is an artwork realized by Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The...

Artist: George Edwards (English, 1694-1773) Title: "Set of Two Hand-Colored Ornithological Engravings by George Edwards" Portfolio: A Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals / Gleanings Of Natural History Year: 1743-1764 Medium: Set of Two Original Hand-Colored Engravings on watermarked laid and wove papers Limited edition: Unknown Printer: C. Rickaby, London, UK Publisher: William Gardiner and Messrs. Robinson, London, UK Reference: Mullens and Swann page 194-195; Anker No. 124-126; Fine Bird Books page 93; Lisney page 128-144; Nissen IVB No. 286-288; Zimmer page 192-198 Sheet size (each): approx. 11.25" x 9" Image size (each): approx. 8.63" x 7.38" Condition: "90" has faint offsetting to sheet. "308" has one foxmark center right. They are both otherwise in excellent condition with strong colors Notes: Comes from Edwards seven volume portfolio "A Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals" / "Gleanings Of Natural History" (1743-1764), which consists of 362 hand-colored engravings. "90" is on laid paper with a "fleur-de-lis" watermark at center left edge. "308" is on wove paper with no watermark. The last image of the cover title sheets is for reference/provenance; it is not included. Biography: George Edwards FRS (3 April 1694 – 23 July 1773) was an English naturalist and ornithologist, known as the "father of British ornithology". Edwards was born at West Ham...

Cornamentas is an artwork realized  by  Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboard....

The painting is signed and dated 1858 Felix Schlesinger (1833-1910) was a German painter known for his charming and detailed portrayals of domestic ...

French painter (18th century) - The Bellows. 80.5 x 112.5 cm. Oil on canvas, unframed (not signed). Condition report: Lined canvas. Good state of conservation of the painted surfa...

Le Riche is an artwork realized  by Jacques de Seve in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboard. Total...