18th Century Art

Work on canvas Golden wooden frame 64 x 82.5 x 7 cm

A classic terra cotta sculpture of Mercury signed Jean-Baptiste Pigalle (1714-1785).

18th Century french School, Courtyard of a ruined palazzo, An Architectural Capriccio, Pen and black ink and black ink wash on paper 17 x 12 cm In good condition Framed : 32 x 26 c...

Oil on canvas Image size: 20 x 24 inches (51 x 61 cm) Period gilt frame This is a half-length portrait of a gentleman wearing a emerald coat and intricately designed waistcoat, dat...

A pair of rare, early 1700’s, Roman, beautifully hand–carved, solid Carrara marble cherubim singing in adoration. Each with feather embellished robe fragments. Both mounted on custo...

Le Paon is an etching realized by Haussard in 1771. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la d...

Pencil, pen and ink and watercolour on laid paper Image size: 12 ¾ x 16 inches (33 x 40.5 cm) Wash mount and period frame Boxing was a subject that Rowlandson depicted on a number ...

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...

Bernard Lucas Sanz (Germany, 1650 - Bergamo post 1710) Saint Alexander Oil on canvas (98 x 72 cm./ In frame 125 x 96 cm.) The painting, depicting Saint Alexander of Bergamo and data...

Hand carved, marble bust in three quarters, of a young man in a sensitively rendered, open-neck robe, with flowing hair held in a delicate circlet.

Hand-carved, oak statue of a putto holding a flowing tapestry and a shield mounted on a custom, Lucite base.

Le Jaguar is an etching realized in 1771 by Juste Chevillet (1729–1802) Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la desc...

French School watercolour of a group of sailors from a French Frigate in the region of Fernando de Noronha off the coastline of Brazil. The picture is inscribed, lower left, and depi...

Étienne Fessard is a Etching print realized by Étienne Fessard in 1771. Good conditions. The artwork id depicted through confident strokes in a well-balanced composition.

Johann Jacob HOCH Mainz, 1750 - 1829 Pencil 33 x 21 cm (50 x 40,5 cm with the frame) Signed and dated lower left "Johann Jacob Hoch / 13 July 1778" Nice frame in pitchpin Johann Jac...

Jan Weenix Canvas Size: 32 x 26" (82 x 66cm) Outside Frame Size: 40 x 34" (102 x 86cm) This beautiful painting is unsigned but this is not unusual with Jan ...

Chien Turc Metis ( Dog breed) is an etching realized by Pierre Francois Tardieu in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description d...

A horse is an etching realized by Pierre Charles Baquoy in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Paris...

Le Hamster is an etching realized by Pierre Charles Baquoy in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Pi...

A chic pair of Roman, oil-on-canvas overdoor paintings done in a nocturne, grisaille style. Each featuring underlit cherubs at play amongst streaming g...

Le bouc D'Angora (A goat) is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabine...

Skeleton is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artis...

A pair of oval drawings for Ovid, Metamophoses Left: The Triumph of Amphitrite (Book I) Right: Diana and Actaeon (Book III) From: Ovid, Metamophoses These mythological studies are a...

Marc Baets (Flemish 1720 - 1785), follower of Pastoral Scene oil painting on canvas, framed framed: 23 x 29 inches canvas : 17 x 23 inches provenance: private collection, England c...

Le Raton is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artis...

Animal's Skeleton is an etching realized in 1771 by C. Haussard. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description...

La Peintade is an etching realized in 1771 by Catherine Haussard. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la descriptio...

This small portrait is signed and dated among the bottom edge "Io(hannes) Baptista Scarlattius Rondinelli Fecit Anno 1754". Giovan Battista Scarlatti Rondinelli was an important memb...

Le Grand Aigle is an etching realized in 1771 by C. Lucas. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Ca...

Le cochon de Siam is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi...

Skeleton is an etching realized in 1771 by Louis Legrand (1723-1807). Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la descri...

Le Jocko is an etching realized by Juste Chevillet (1729–1802) in 1771. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la desc...

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...

Study of bones is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi"....

Loup Noir is an etching realized by Pierre Charles Baquoy in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description...

Skeleton is an etching realized in 1771 by A-J De Fehrt. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabi...

L'Ours Blanc is an etching realized by Pierre Charles Baquoy in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". ...

Skeleton is an etching realized by Jardinier in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Paris: I...

Le Caracal is an etching realized by Pierre Charles Baquoy in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". ...

Le Coati Noiratre is an etching realized by P. Tardieu in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artist...

Le Faisan is an etching realized by Jacques Blanchon in 1771. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du...

Le Grand Gibbon is an etching realized by Pierre Charles Baquoy in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi"...

Le Lynx is an etching realized in 1771 by Bernard Baron. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabi...

Interior of Animals is an etching realized in 1771 by Louis Legrand (1723-1807). Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière ave...

Une Loutre De Canada is an etching realized in 1771 by Louis Legrand (1723-1807). Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière av...

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...

Skeleton is an etching realized in 1771 by M.Aubert. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet ...

Institutiones Chirurgicae is an etching realized in 1771 by Juste Chevillet (1729–1802) Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulièr...

Interior of Animals is an etching realized in 1771 by Bernard Baron. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la descrip...

Animals' Brain is an etching realized in 1771 by Bernard Baron. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description ...

Interior of Animal is an etching realized in 1771 by Bernard Baron. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la descript...

Le Fourmilier is an etching realized in 1771 by Bernard Baron. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description d...

Gathering is an etching realized in 1771 by Louis Legrand (1723-1807). Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la desc...

This is a framed 18th century Giovanni Battista Piranesi etching entitled: "Veduta interna del Sepocro di Santa Costanza, fabbricat...

Work on paper mounted on wood 35.5 x 45.5 x 2 cm

Engraving, "the hunt for vipers" xylographs (wood and copper engravings), after Jan Van der Straeten, dit Stradanus (Bruges 1523-Florence 1605). Painter of history, mythological, rel...

L'Ours Brun is an etching realized by Pierre Charles Baquoy in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". ...

Skeleton is an etching realized by Carl Guttenberg in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Pa...