18th Century Art

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...

18th century French Rococo portrait of a young noble lady This cheerful young lady is looking at the spectator with a sparkling eyes has a cheeky smile on her face, almost as if she has just heard a funny story. She is very elegantly dressed, wearing a blue dress with embroidered silk sleeves. The bodice is adorned with a cream silk band which has been beautifully tied to a ribbon at the top, a tulle-lining completes the dress. Her hair is styled in an elaborate 18th century style and tied together with a blue and cream silk hairband. This portrait has been wonderfully painted, the artist not only beautifully depicted the fabrics, but also marvellously captured the happy nature of the sitter. The painting really has a soul, when one looks at it, it feels as if one is looking at a real person. It is very close to the works of Joseph-Siffred Duplessis (1725-1802) and it shares an uncanny resemblance to the portrait that he painted of the Comtesse de Provence, Princess of Savoie and wife of the King Louis XVIII of France. Duplessis is known to have reused many of his favoured compositions in different portraits, but he always applied slight differences, such as in the present painting. We believe that the present painting was created by someone from his very close circle. Joseph-Siffred Duplessis (1725-1802) was a renowned French portrait painter, famed for his intimately rendered portraits. After training for many years in Paris, Duplessis presented himself to the Académie in 1769 and was afforded the opportunity to exhibit regularly at the Salon. He was very successful and in 1777, he was allowed to paint a full-length portrait of Louis XVI (1754–1793) in his state robes. Two years later he created a portrait of Benjamin Franklin in a red coat with a fur collar, a painting which was the subject of much favorable comment. It was destined to become the artist’s most famous work and perhaps the best known image of the great American patriot...

Posing Man is an etching realized by Nicholas Cochin in 1755. Good conditions with foxing on the margins. Signed in the plate. The etching was realized for the anatomy study “JOMB...

Antiquities of Herculaneum is an etching on paper folded in four part realized by Roccus Pozzi in the 18th Century. Signed on the plate. Good conditions with some folding and foxin...

Portrait of French King Louis XV (1710-1774) in armour 18th century French school Workshop of Jean Baptiste Van Loo (1684-1745) Circa 1730 Oil on canvas, dimen...

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)...

François de Troy (1645 – 1730) - Duchesse de Fontanges The young woman, traditionally identified as Mademoiselle de Fontanges, Louis XIV's mistress, is depcited in bust facing forward, her head slightly raised and turned to the left. She seems to dominate the viewer. She is dressed in a blue satin dress and wrapped in an orange satin stole that shines with its most golden luster. His hand with graceful fingers with the index and ring fingers spread apart and the middle finger glued to the ring finger keeps slippery fabrics on his chest. Its stole flying in the wind creates an instantaneous movement and the arm bent at the elbow obliquely transforms its static pose. The perfectly oval face is enlivened by wide gray eyes, a turned-up nose, full cheeks and a mouth that sketches a half-smile. Her powdered and tied hair is studded with many flowers. The young woman wearing no jewelry, the radiance of her youth and her translucent hue are her only ornaments. The juxtaposition between the icy blue satin and the incandescent orange like the heart and the contours of a flame indicates François de Troy's great talent as a colourist. Its vibrant and nervous touch enlivens fluid fabrics, making them sparkling and changing. Their surface is worked in quivering brushstrokes, the serifs and the glazes forming an elegant arrangement. The glazes of the face are treated by superimposing light and transparent layers, producing pearly reflections and a translucent rendering, the technique in which de Troy particularly excels. By François de Troy (Toulouse 1645 – Paris 1730) Early 18th century French School Oil on canvas in oval format: h. 27.95 in, w. 25.18in 19th century period frame Framed dimensions: h. 41.34 in, w. 33.46 in Although unsigned, like the majority of works by François de Troy, our portrait has been authenticated by the French expert cabinet "Turquin" as an autograph work by François de Troy. Provenance : Paris, Heim-Gairac gallery in 1965. Thence private collection. Published in the book on the life of Louis XIV “The Sun King: Louis XIV at Versailles”, Nancy Mitford...

Pietro Fancelli (Italian 1764 - 1850) bio details attached to the frame 'St. Anne & The Virgin' ink with watercolor wash on paper, framed framed: 22 x 16 inches image: 11 x 6.5 inche...

"Crucifixion" is an etching and aquatint, printed in brown ink by Conrad M. Metz after a painting by Daniele da Volterra. It was published in London in 1789 in 'Imitations Of Ancient...

A head and shoulders portrait of a gentleman wearing a white powdered wig. The gentleman in question is as yet unknown but certainly has the look of an aristocrat. oil on canvas, housed in later gilt frame The painting is 57cm by 44cm (17½ x 22¼ inches high) whilst overall is 58½ x 71 cm (23 x 28 inches high) The condition overall is very good having had some restoration and also relined and cleaned. There is some cracquelure throughout and some areas of retouching a few minor abrasions and losses to the background mainly edges by frame non of which detract from this fine piece. Peter Lely...

Still Life with Dead Birds 18th Century Italian School oil painting on canvas, framed framed: 16 x 20 inches canvas: 13 x 17 inches provenance: privat...

Marble relief of a trireme from the Temple of Fortuna, Praeneste, from Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Ba...

Ancient Roman Scene from the series "Antiquities of Herculaneum", is an etching on paper realized by Niccolò Vanni in the 18th Century. Signed on the plat...

Anatomy Studies after Guido Reni is an etching realized by Nicholas Cochin in 1755. Good conditions with slight foxing. Signed in the plate. The etching was realized for the anato...

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

Ancient Roman Fresco from Herculaneum from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Nolli in the 18th Century. Signed on the plate. G...

The Penitent Magdalene French School, 18th century oil on canvas, unframed canvas : 33 x 21.5 inches provenance: private collection, France condition: very good and sound condition, ...

The crucifixion of Crist Italian school 17th or 18th century. Beautiful detail in the face and hands. The lighting makes the figure of Crist seem to glow. In a good quality later frame. Presented by Joseph Dasta Antiques...

This framed 18th century etching by Giovanni Battista Piranesi is entitled "Dimostransi nella Tav. presente la Pianta, ed Elevazione del Ponte, oggi detto Quattro Capi egli è antichissimo, e chiamavasi Fabrizio da L. Fabrizio Presid. delle Strade, che lo fabbrico' nel fine della Repubblica. "(The Plan and Elevation of the Bridge, today called Quattro Capi. The architect is very ancient, and was called Fabrizio da L. Fabrizio Presid. delle Strade, who built it at the end of the Republic). This is plate 18 in volume 4 of Piranesi's "Le antichita romane opera di Giambatista Piranesi architetto veneziano" (Roman antiquities by Giambatista Piranesi Venetian architect). It was published in Rome in 1756-1757. This etching depicts the plan and elevation of the bridge now called the Ponte dei Quattoro Capi or Ponte Cestio (Bridge of the Four Heads), which in antiquity was called the Bridge of Fabricius after L. Fabricius, the Superintendant of the Streets who built it at the end of the Republic, around 62 BC. It was also been known in the Middle Ages as ‘Ponte Giudeo’ (Bridge of the Jews). The bridge crossed from the left bank or northeast side of the Tiber River to Tiber Island...

Anatomy Studies is an etching realized by Nicholas Cochin in 1755. Good conditions with slight folding and a yellowish stain on the right margin. Signed in the plate. The etching ...

Pierre Louis De La Rive (1753 Geneva - 1817 Geneva). Two countrywomen with a donkey. Oil on canvas, mounted, 27 x 20 cm (visible size), 37 x 31 (frame), monogrammed "P.R." at lower right. About the artwork De La Rive has taken the typical scenes of Dutch landscape genre paintings...

Herbert Pugh (Ireland Fl. 1758-1788 London) Old Northumberland House, c. 1770 Oil on panel 20 x 30 in (50.8 x 76.2 cm) Provenance An important private collection Born in Ireland he went to England about 1758, and in 1765 when he was living in the Great Piazza, Covent Garden, he obtained a premium of twenty-five guineas from the Society of Arts for a landscape in oil. He was a Member of the Society of Artists and contributed forty-five works to its exhibitions between 1760 and 1776, nearly all landscapes and topographical views, but including 'The Italian and British Quack Doctors', 'The Amorous old Beau' and 'The Procuress'. These were probably of the same nature as two of three pictures done by him in imitation of Hogarth which, says Edwards (Anecdotes of Painting) "are nothing but mere representations of vulgar debauchery". In 1777 he had two works exhibited at 'The Exhibition or Grand Museum of Arts and Sciences at the Great Room, Royal Exchange, Strand. Pugh's intemperate habits hastened his death which took place shortly after 1788. There is a large landscape by him in the Lock Hospital, London and two views of London Bridge were exhibited in the Grosvenor Gallery...

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

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...

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...

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

The Merchants Port Italian School, 18th century oil painting on canvas, framed framed: 37 x 58 inches canvas: 32 x 52 inches provenance: private collection, UK condition: very good a...

A finely painted picture, possibly of the penitent Mary Magdelane, painted in oil on to a copper plate and dating to c1750. Condition Two old touch ins, tiny chip to the forehead...

Letter V is an etching realized by Luigi Vanvitelli artist of 18th century. Good condtions. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original ti...

Letter A is an Etching realized by Luigi Vanvitelli in 18th century. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (ori...

Adriaen van Ostade (follower of) A Women Dancing to the Music from a Violin oil on oak panel panel size 10.23 x 15.35 inches (26 x 39 cm) frame 15.74 x 21.25 inches (40 x 54 cm) f...

Letter S is an etching realized by Luigi Vanvitelli artist of the 18th century. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Anti...

English School, circa 1780’s Circle of George Romney (1734-1802) oil painting on canvas, framed framed: 36 x 30 inches canvas: 30 x 25 inches private collectio...

French School 18th Century, L'étonnement, Astonishment as a form of expression, Titled on the lower right "L'étonnement N°9" Black chalk on paper 43 x 29 cm In good condition, a sta...

Bath of Titus is an artwork realized by Giuseppe Vasi in the late 18th century. Etching, 33 x 45 cm. "Vasi and Piranesi dis.e inc" in the lower left part. Good conditions! G...

Artemis Goddess from "Antiquities of Herculaneum" is an etching on paper realized by Giovanni Morghen in the 18th Century. Signed on the plate. Good conditions with some folding. ...

Artist: Francis Swaine (English, 1725-1782) Title: "Dutch Fishing Vessels in Storm" *No signature found Circa: 1770 Medium: Original Oil Painting on wood panel Framing: Framed in a Louis XV style gold moulding Framed size: 10.63" x 12.63" Panel size (irregular margins): 6" x 7.75" Condition: One small restored spot upper left. Cosmetic wear to frame. In otherwise very good condition Notes: Provenance: private collection - London, England; acquired from art dealer Ernest Alden, London, England retaining his original gallery label on verso. Metal plaque inscribed "F. Swaine 1740-1782", (active dates), attached to frame bottom center. Ernest William Alden (1866-1947) was recorded in successive censuses, in 1881 as a picture mounter (card maker), age 14, living at 9 Bloomsbury St, with several other members of his family also given as picture mounters, including his father, James; in 1891 as a picture frame mounter with his father and family at 208 Shaftesbury Avenue; in 1901 as a photographer and picture dealer at 39 King’s Road, Chelsea; and in 1911 again at 39 King’s Road but the census form is damaged. His listing in trade directories, initially as picture mount cutter, changed to picture framemaker from 1904, soon after he set up in the King’s Road. He advertised his large stock of second-hand swept and other frames, claiming to have been established in 1893 (The Year’s Art 1913). Alden died in Chelsea in 1947, leaving effects worth £5,011, with probate granted to his widow Lily Alden and to Marjorie Frances Alden. Two of his younger brothers, Henry Cyril Alden (1871-1939) and James Preston Alden (1876-1960), were also active as picture framemakers. - National Portrait Gallery, London, England. Biography: Francis Swaine (1725–1782) was a British marine painter. He was born in 1725, and christened on 7 October of that year at St Dunstan's, Stepney, London. His parents were named Francis Swaine and Ann Joel. In 1735 the elder Francis Swaine, the marine painter's father, applied in writing to the Commissioners of His Majesty's Navy for employment as a Navy Messenger, in succession to Mr William Wyatt. He mentions that he had served "upwards of twenty eight years" in the Navy, and that his father had died Purser of the Royal Katherine. He mentions also that he had carried out "little labours in drawing", and that he at that time had five small children. The first-born of these children was the Francis Swaine who became the marine painter. The elder Swaine was duly employed as a Navy Messenger. He served for 20 years and died on 10 October 1755, aged 64. Swaine is said to have been influenced by the style of Van de Velde. There is no clear evidence of this alleged influence. The suggestion that Swaine may have been a pupil of Charles Brooking...

Letter A is an Etching realized by Luigi Vanvitelli artist of 18th century. The etching belongs to the print suite “Antiquities of Herculaneum Expose...

Hermes God And Nymph from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen in the 18th Century. Signed on the plate. Good c...

GIOVANNI BATTISTA PIRANESI (1710-1778) UNA DELLE QUATTRO FIGURE RAPPRESENTANTI QUATTTRO VITTORIE, (Focillon 330, Wilton-Ely 463) 1750-1756 Etching, Plate 48 from “Le Antichita Romane“ vol. 3. Engraved by Jean Barbault...

Joseph Highmore (London 1692-1780 Canterbury) Portrait of a young boy holding his pet squirrel Oil on canvas Canvas Size - 30 x 25 in Provenance Sale, Sotheby's New York, Old Master...

Portrait of a Lady with carnations By Jean Ranc (Montpellier 1674 - Madrid 1735), circa 1700 Oil on canvas in oval shape, Dimensions: h. 35.82, w. 28.34 in. Period Louis XIV giltwood and carved frame with laurel leaves. Framed dimensions: h. 42.52 in, w. 33.85 in. Provenance: Collection of the Marquis de Bailleul at the Château d'Angerville-Bailleul (before 1942). To be included in the catalog raisonné of the artist by Stephane Perreau Important portrait of a young woman depicted half-length turned three-quarters, her face looking at the viewer. Dressed in a brick red velvet dress, an elegant blue scarf envelops her figure. Hair styled “a la Fontange”, her powdered hair is raised and tied at the back with a red ribbon, several curly locks escape from her bun and fall on her back and shoulders. The perfectly oval face with regular features dominated by her straight nose is softened by her gray eyes with slightly lowered lids. The red tinged skin tones on the cheeks and cheekbones color the face and make the portrait come alive. The young woman is portrayed standing near a pot of carnations. Her strongly lighted figure stands out against an architectural background of columns. The artist's palette is made of contrasts opposing warm to cold hues. The icy electric blue contrasts with the fiery brick red, the hair powdered with white accentuates even more the flush of the cheeks. The left arm bent at the elbow, extending the open hand with slightly bent fingers in the foreground brings depth to the composition. Our portrait, an interesting testimony in the corpus of works of the painter, is part of his youthful period, around 1700-1705. The former belonging of this portrait to the Marquis de Bailleul reinforces the remarkable character of our painting. The portrait has been examined by Stéphane Perreau, specialist of Jean Ranc and will be included in the catalog raisonné currently being written, under number P. 43. The notice edited by Mr Perreau is below: "Painted around 1700-1705, this portrait of a woman is directly inherited from Hyacinthe Rigaud, the master of Jean Ranc (the hand turned over the front, in a watch...

This is an original 18th century hand-colored map entitled "An Accurate Chart of The Mediterranean and Adriatic Sea's; with the Archipelago & Part of the Black Sea. Exhibiting all th...

18th century continental eglomise painting of St John the Baptist preaching. Eglomise is a method of reverse painting on glass. In a go...

Venus Goddess With Horse from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen in the 18th Century. Signed on the plate. Good conditions with some fo...

A Pair of Forest Landscapes with River and Boat in the Foreground Brinckmann Philipp Hieronymus Spire 1709 – 1761 Manheim Old Master Signature: Signed "Ph. Brinckm" bottom lower lef...

Wildlife is an etching realized by Jean Le Pautre in 18th Century. Good conditions. Signed on plate. The artwork is depicted through confident strokes.

View of the Ancient Structure built by Tarquinius Superbus called the Bel Lido, and like others built by Marcus Agrippa in the time of Augustus when he ...

HENRI MILLOT PORTRAIT OF LOUISE-DOROTHÉE VON HOFFMAN Signed “h. millot” and dated 1724 on the back of the original canvas Henri Millot, French painter (Paris, active between 1699 an...

San Pietro in Vincoli is an artwork realized by Giuseppe Vasi in the late 18th century. Etching, 33 x 45 cm. Signed and titled in the lower part. Good conditions! Giuseppe V...

This fine early 18th-century engraving by flemish printmaker Jacques Coelemans (1654-1732) was commissioned by Jean-Baptiste II de Boyer (1645-1709) and formed part of ‘Recueil D'Estampes D'Aprés Les Tableaux Des Peintres Les Plus Celebres D'Italie, Des Pays-Bas Et De France, Qui sont à Aix dans le Cabinet de M. Boyer d'Aguilles’. Within mountainous terrain and partially hidden by rocks, a muscular man...

Etching and drypoint on heavy cream laid paper, 3 3/4 x 3 1/4 inches (96 x 83 mm), narrow margins. In very good condition with some minor surface soiling. [Björklund's second state ...

Etching and engraving on cream laid paper, 11 3/4 x 8 1/8 inches (297 x 205 mm), margins trimmed. Scattered light surface soiling, minor loose handling creases, rubbed edges, and sma...

Engraving on cream laid paper, 8 x 5 7/8 inches (202 x 149 mm), trimmed at the platemark. Adhered at each corner to a small sheet of archival laid paper. Horizontal edge loss at the ...

Etching on cream laid paper, 4 3/8 x 3 3/8 inches (110 x 90 mm), thread margins. Several scattered light spots of yellow discoloration, and multiple areas of minor skinning and adhes...

Wildlife is an etching realized by Jean Le Pautre in 18th Century. Good conditions. Signed on plate. The artwork is depicted through confident strokes.

Christian Reder (Leipzig 1656 - Rome 1729) - The departure of the soldiers from the fort. 57.5 x 108.5 cm without frame, 89 x 122 cm with frame. Antique oil painting on canvas, in ...

Portrait of Nobleman is a Pencil and Pastel Drawing realized by an unknown artist of late 18th century. Good condition on a little yellowed paper...