Early 18th Century Art

A charming 18th-century Cuzco-style depiction of the 'Santo Niño de Atocha', or 'Holy Child of Atocha', a popular figure in Roman Catholic devotio...

Signed and dated indistinctly under the mount. Presented in a gilt frame and wash-line mount. On paper.

Nicolas de LARGILLIERRE (Paris 1656 – 1746) Portrait of a woman, presumed to be Marie-Anne de Bourbon, Princess of Conti (1666-1739) Oil on oval canvas H. 8...

Pair of large painting oil on canvas with the Wedding Feast of Bacchus and Ariadne scene . Italy 18' century . Amazing landscape background and roman Temple with classical archite...

This large double portrait depicts the sisters Lady Catherine and Lady Jane Brydges, the daughters of John Brydges, the Marquess of Carnarvon (1703-1727). They are seated on a stone...

Early historical portrait in the style of William Aikman believed to be of David Carnegie, 4th Earl of Northesk, a Scottish peer and politician. The work features the central figure ...

This early 18th century hand-colored copperplate map of North and South America entitled "Totius Americae Septentrionalis Et Meridionalis Novissima Repraesentatio" was created by Johann Baptist Homann and published in Nuremberg, Germany, between 1710 and 1731. The map details cities, forts, mountains, forests and lakes, as well as districts. There is a decorative cartouche in the lower left which depicts a volcano, scenes representing the people in their native costumes, as well as animals and plants of the Americas. A village is seen in the background on the left. A second smaller decorative cartouche in the upper right includes text and a series of allegorical figures. A large portion if the north central and western portions of North America is left without detail, because the region was largely unexplored at the time this map was created. The map also shows "Terra Esonis Incognita", representing a mythical continuous land bridge from North America to Asia, a northwest passage. The map preceded the French and...

Early 18th Century still life, very close to Pedro de Camprobín.

World map is an original modern artwork realized by Hubert Nicholas - Jaillot, printed by Louis Cordier in  Paris 1719. Etching on copper The artwork depicts two hemispheres, conti...

The sitter, seated in a yellow silk gown trimmed with a pink bow playing the cello, is believed to be the artist Balthazar Denner's eldest daughter Catharina (1715-1744), after his marriage to Esther Winter in Hamburg in 1712. She is also recognisable in another portrait of the Denner family in the Hamburg Kunsthalle, painted circa 1740 by the artist's son, Jacob Denner (1722-1765). Oil on canvas in a period giltwood frame. Provenance: Private collection, Northern Germany Professor Helmut Borsch-Supan, Berlin, confirmed the authenticity of the painting after examining it in 2013. The painting will also be included in the forthcoming catalogue raisonnée of the artist, by Ute Mannhardt. Balthasar Denner...

Well presented in a simple mahogany frame and cream mount On wove.

Attributed to MILLOT, Henri. Portrait of a Lady. Oil on canvas. Unsigned, inscribed Millot on the reverse. 18th century. 85 x 69 cm. Framed. 85 x 69 cm. Portrait of a young woman in ...

Artist: (after) Anthony van Dyck (Dutch, 1599-1641) Title: "Dominus Nicolaus Vander Borcht" Year: 1703 (first or second state of three) Medium: Original Engraving on laid paper Limi...

John Wootton (1686 - 1764) The Bloody-Shouldered Arabian Oil on canvas Inscribed below, 'Bred by Lord Oxford in 1755 & Sire of many famous Racers, including the Duke of Bolton's 'Swe...

Le Roy Mene au Trone from the Series Le Sacre de Louis XV  (1722-1731 )  is an etching by French artist Charles Nicolas Cochin the Elder ( 1688-1754...

Huile sur toile dim avec cadre 44/52 cm Dim sans cadre 33.5/41 cm Ecole française Entourage Pierre Mignard Pierre Mignard  né le 17 novembre 1612 à Troyes et mort le 30 mai 1695 à Pa...

Well presented in a simple mahogany frame and cream mount. On wove.

Well presented in a simple mahogany frame and cream mount. On wove.

La Manière de se Bien Preparer à La Mort is an etching by Romeyn de Hooghe from the Suite by Chertablon de la Vigne, La manière de se bien preparer à la mort. Antwerp: Gallet 1700. ...

This stunning 18th century Dutch Old Master Golden Age floral oil painting is attributed to a circle of Simon Pietersz Verelst. Painted circa 1720 it is a still life floral of a mixe...

A delightful 18th-century embroidery depicting a family at the table for dinner. The artist has expertly blended threads of varying weights and painted fine watercolour details to cr...

This is a hand-colored copper plate engraving depicting flowering "Hyosciamus albus and Hyosciamus vulgaris" (Henbane) plants from Basilius Besler's landmark work, Hortus Eystettensi...

Artist: Johannes "Jan" Kip (Dutch, 1652/3-1722) Title: "The West Prospect of the Cathedral of York" (Vol. 3, Plate 31) Portfolio: Britannia Illustrata / Le Nouveau Théâtre de la Grande Bretagne Year: 1715-1724 (Third edition) Medium: Original Engraving and Etching on cream laid paper Limited edition: Unknown Printer: Joseph Smith, London, UK Publisher: Joseph Smith, London, UK Reference: "London Illustrated 1604-1850" - Adams No. 22; Crace No. 201; Brunet IV No. 114; Lowndes No. 1277; Lewine page 263-264 Sheet size: 19.25" x 24.19" Image size: 16.75" x 22.5" Condition: With centerfold as issued. Some light toning and foxing mainly in margins, and some light edgewear. Has been professionally stored away for decades. It is otherwise a strong impression in very good condition Rare Notes: Provenance: private collection - Ross-on-Wye, UK. Engraved by Dutch artist Johannes "Jan" Kip (1652/3-1722) after a drawing by Dutch artist Leonard Knyff or Leendert Knijff (1650-1722). Comes from Kip's six volume (including Supplement and 'Atlas Anglois') "Britannia Illustrata" / Le Nouveau Théâtre de la Grande Bretagne", (1724-1728) (Third edition), which consists of 394 engravings and etchings. Printed in one color from one copper plate: black. Biography: Johannes "Jan" Kip (1652/53 in Amsterdam - 1722 in Westminster) was a Dutch draftsman, engraver and print dealer. Together with Leonard Knyff, he made a speciality of engraved views of English country houses. Kip was a pupil of Bastiaen Stopendaal (1636–1707), from 1668 to 1670, before setting up on his own; his earliest dated engravings are from 1672. In April 1680, at the age of 27, he married Elisabeth Breda in Amsterdam. After producing works for the court of William of Orange in Amsterdam, Kip followed William and Mary to London and settled in St. John Street in Farringdon, where he conducted a thriving printselling business. He also worked for various London publishers producing engravings after such artists as Francis Barlow (c. 1626–1704) and Caius Gabriel Cibber (1630–1700), largely for book illustrations. He made several engraved plates for Awnsham & John Churchill's "A Collection of Voyages & Travels" (first published 1704). He signed the African scenes in volume V of the 1732 edition as "J. Kip". His most important works were the large fold-out folio illustrations for "Britannia Illustrata", 1708; for the 65 folio plates he engraved for the antiquary Sir Robert Atkyns, "The Ancient and Present State of Glostershire", 1712 (1st edition); and for "Le Nouveau Théâtre de la Grande Bretagne ou description exacte des palais de la Reine, et des Maisons les plus considerables des des Seigneurs & des Gentilshommes de la Grande Bretagne", 1715, an extended reprint in collaboration with other artists. The linked careers of Jan Kip and Leonard Knyff made a specialty of engraved views of English country houses, represented in detail from the bird's-eye view, a pictorial convention for topography. Their major work was "Britannia Illustrata: Or Views of Several of the Queens Palaces, as Also of the Principal seats of the Nobility and Gentry of Great Britain, Curiously Engraven on 80 Copper Plates", London (1707, published in the winter of 1708–9). The volume is among the most important English topographical publications of the 18th century. Architecture is rendered with care, and the settings of parterres and radiating avenues driven through woods or planted across fields, garden paths, gates and toolsheds are illustrated in detail. The images are staffed with figures and horses, coaches pulling into forecourts, water...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) The Bodleian Library, Oxford Engraving 12 x 16 cm An eighteenth-century view of the bea...

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

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...

Circle of Hendrik Frans van Lint (Antwerp 1684 - Rome 1763) - Apollo and Daphne. 40 x 50 cm. Old oil painting on canvas, unframed (not signed). Condition report: Lined canvas. The...

An original hand colored engraving by Johannes 'Jan' Kip (1653-1722) of Haughton in the County of Nottinghamshire, one of the seats of Prince John Duke of ...

View Of Kinnungam is an original print realized in the beginning of the XVIII century by Pieter van der Aa. Hand-watercolored etching. Includes frame 42 x 52.5 cm. Original title,...

La Manière de se Bien Preparer à La Mort is an etching by Romeyn de Hooghe from the Suite by Chertablon de la Vigne, La manière de se bien preparer à la mort. Antwerp: Gallet 1700. ...

Gaspare Lopez, attrib. Still Life with Fountain, Obelisk and Cascade of Flowers in a Garden, Naples, c. 1720 Oil on canvas, 36 × 45.2 cm Giltwood frame of later date, 48 × 57.4 cm Inscription on reverse: “H. C. Veit – 1A Chesham Mews SW1 – 16 June 1957” This painting, one of a pair of Neapolitan still lifes from the early eighteenth century, displays a refined architectural setting combined with a rich cascade of flowers—features closely associated with the work of Gaspare Lopez, one of the leading Italian flower painters of the period. At the centre stands a fountain with a putto, its stream rendered in fine, silvery strokes that recall Lopez’s characteristic way of enlivening his compositions with water. To the left rises a slender obelisk, a motif that appears in several of his more elaborate garden scenes and contributes to the noble, decorative tone of the setting. The cascade of flowers is constructed with the inventive spirit typical of his floral capricci: roses, tulips, peonies, carnations and his distinctive blue bellflowers, painted with a clear, bright touch. The colours are luminous, joyful and decorative, expressing the Neapolitan vitality that marks Lopez’s mature style. Already in his lifetime he was known as “Gaspare dei fiori” for his spectacular and often deliberately exuberant floral arrangements. The background features an Italianate garden with cypresses, terraces and stone structures. This repertoire closely parallels the still lifes with garden terraces preserved at the Kunsthistorisches Museum in Vienna (inv. GG 1658, 1662, 1664), all attributed to Lopez. Despite its smaller size, the present painting shares the same horizontal layout, bright skies with soft clouds and the interplay of architecture and abundant floral masses, offering strong arguments for the attribution. Lopez trained under Andrea Belvedere, the foremost Neapolitan flower painter of the late Baroque. From him he inherited a refined botanical vocabulary, brilliant colour and a taste for scenographic compositions, which he later developed in a more decorative and international direction while active between Naples, Rome and Florence. Condition: old varnish and stable craquelure. Provenance A handwritten label on the reverse, dated 16 June 1957 and bearing the London address 1A Chesham Mews, SW1, identifies former ownership by Henri C. “Harry” Veit (1925–2012): American citizen, engineer trained at Princeton, US Navy veteran and grandson of the French Orientalist painter Maurice Bompard...

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 Louis Legrand (1723-1807). Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la descri...

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 January 10, 1991, lot 82. Christie's, London, July 7, 2010, lot 186, where it was purchased after the sale by the executors of the will of the late Edmund de Rothschild (1916-2009) for display at Exbury House The Trustees of Exbury House Literature : R. Brown, Bulletin of the Art Division, Los Angeles County Museum, VIII, 1957, pp.8-9, no. 4; S. Schaefer and P. Husco, European Paintings and Sculpture in the Los Angeles County Museum of Art (Los Angeles, 1987), p. 53 (illustrated and dated c. 1735) This sumptuous ceremonial portrait, executed around 1725-1730, depicts Monsieur Aubert, the French General Comptroller of Bridges and Roadways, as we learn from a letter on the desk beside our model. The virtuoso treatment of the fabrics, the authoritative yet confident pose, the vigorous treatment of the two hands, are representative of Largillière's talent, here at the peak of his art as portraitist. The portrait also has a rather extraordinary provenance: donated by Arnold S. Kirkeby, an American hotel magnate and real estate developer, it was exhibited during almost forty years in the collections of the Los Angeles County Museum, before being acquired in 2010 by the executors of Edmund de Rothschild's will to adorn his former home Exbury House (Hampshire), where it remained until its sale in 2022. 1. Nicolas de Largillière, a great European portraitist Nicolas de Largillière (or Largillierre), one of Europe's premier painters of portraits, history paintings, and still lifes during the late seventeenth century and the first four decades of the eighteenth, was born in Paris in 1656. He was the son of a hatmaker and merchant who moved with his family to Antwerp in 1659. As a boy of nine, he traveled for the first time to London in the company of an associate of his father. After returning to Antwerp more than a year later, his artistic gifts were recognized and his father apprenticed him to Antoni Goubau (1616-1698), a painter genre scenes and landscapes. Something of a prodigy, he was admitted to the painters' Guild of Saint Luke when he was only seventeen. In 1675 he made a second trip to London, where he was employed at Windsor Castle and worked as a restorer under the direction of Italian painter and decorator Antonio Verrio (c. 1639-1707), who brought him to the attention of King Charles II (r. 1660-1685). At this time Largillière painted several still life paintings in the manner of the Dutch and Flemish masters. Thereafter he practiced this branch of painting with consummate skill, a talent that allowed him to make brilliant use of flowers, fruit, and animals in some of his most ambitious portraits and contemporary history pictures. In 1679 Largillière settled in Paris, where he specialized in baroque portraiture in the grand manner of Peter Paul Rubens (1577-1640), Anthony van Dyck (1599-1641), and Peter Lely (1618-1680). The Flemish battle painter Adam Frans van der Meulen (1631 or 1632-1690) introduced him to Charles Le Brun (1619-1690) who, as First Painter to King Louis XIV (r. 1643-1715) and director of the Académie royale de peinture et de sculpture, was the predominant figure in France's official art establishment. Upon his acceptance as a candidate for admission to the Académie, he agreed to execute as his diploma picture a large portrait of Le Brun (completed 1686, Paris, Musée du Louvre, eight photo in the gallery) seated in his studio surrounded by the accoutrements of his art and an oil study for the ceiling of Galerie des Glaces at Versailles. In 1686, Largillière made a final trip to England, where he painted portraits of the newly crowned king, James II (r. 1685-1688) (Greenwich, National Maritime Museum) and his consort Mary of Modena...

Matteo Bonechi (Florence, Italy, 1669 - Florence, Italy, 1756) Title: Presentation of Jesus Medium: Oil on canvas Dimensions: without frame 75 x 49 cm – with frame 89.5 x 65 cm Shaped, carved and gilded wooden box frame Not signed Expertise by Sandro Bellesi, Professor and art historian Fairs: The International Biennial of Antiques in Florence 2022 (BIAF, Biennale Internazionale dell’Antiquariato di Firenze) Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti (From the Giorgio Baratti Collection) curated by Anna Orlando, Agnese Marengo and Annalisa Scarpa, Genova, 2022, pp. 20, 21. The present painting is a very interesting testimony of the creative process of Matteo Bonechi, one of the leading artists on the Tuscan art scene in the early 18th century. The canvas in question is in fact the last preparatory model made by Bonechi before he executed an altarpiece for the church of San Filippo Neri in Cortona in 1716. The scene presented here is that of the Presentation of Jesus, when, forty days after his birth, the child is ransomed through an offering in the temple and placed in the hands of Simeon, who prophesies his future: the coming of the Messiah...

Several figures load firewood onto horses in a snow-covered landscape. Beautifully presented in an ornate gilt-effect frame. Unsigned. On canvas on stretchers.

Baroque capriccio with architectural ruins and figures, an early 18th century Italian painting showing an imaginary landscape with Roman ruins and figures, an early Italian oil-on-ca...

Due Angeli is an original artwork realized by Andrea Brustolon. Mixed media, ink and watercolor. The artwork rapresents two baroque angels, study realized by Brostolon for a sculpt...

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...

Kameya - Tea House Lithography by Utagawa Hiroshige (Ando Hiroshige) Print in Good Condition Measures 12.5 in x 19 in

A delightful bird's eye view of Deane House Kent, engraved by John Harris after an original drawing by British illustrator Thomas Badeslade. The engraving shows a detailed view of th...

Engraving of Veduta della Piazza, verso la Chiesa di S Marco by Pierre van der Aa. Printed in 1722. Unsigned. Unframed. Image size, 13.5"L x 10.5"H. Has the original center crease an...

Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692) The Auditoriums & Public Library, Cambridge Engraving 12 x 16 cm An eighteenth-century view of the auditoriums and ...

This richly detailed 18th-century still life depicts symbols of royal authority and power, featuring an ornate golden crown alongside armour, a ceremonial key and a cannon ball on a ...

Jan Goeree (Middelburg 1670 – Amsterdam 1731) Interior of the Nieuwe Kerk, Amsterdam (c. 1724) Red chalk for the architecture, pen and black ink, grey wash on paper Composition reversed in preparation for engraving 25 × 17.5 cm Watermark: Hunting horn, Churchill 318 (dated 1724) Unsigned Provenance Private collection, France Context & Attribution Trained in the studio of Gérard de Lairesse, Jan Goeree was among the finest Dutch engravers of the early eighteenth century, celebrated for his architectural views of Amsterdam. This drawing is a preparatory study for an engraving of the same subject now preserved in a major public collection. The final print—slightly larger—closely follows the reversed composition of this sheet. Subject In the center of the Gothic nave, five bearers carry a catafalque toward a freshly dug grave—a tribute to the naval heroes often buried in the Nieuwe Kerk. This funerary motif, familiar from Dutch painting (e.g. Emanuel de Witte, 1657), evokes the vanitas theme and the transience of earthly life. Technical Analysis Goeree’s use of red chalk for the architecture and ink for the figures reveals his working method: the chalk lines could be used to produce a counterproof restoring the correct orientation of the architecture, while the inked figures remained adjustable before the design was transferred to the copper plate. Place within the Oeuvre Drawings of church...

Gérard Edelinck (1640 Antwerp - 1707 Paris), Joan of Austria, 1707. Copperplate engraving, 51.2 cm x 29.8 cm, inscribed below the image: "Jeanne d'Autriche Grande Duchesse de Toscane...

David Loggan (1634 - 1692) Clare College, Cambridge Engraving 36 x 42 cm An eighteenth-century view of Clare College, Cambridge, engraved by David Loggan, the noted engraver, draugh...

After David Loggan (1634 - 1692) Christ's College, Cambridge Engraving 40 x 46 cm An eighteenth-century view of Clare College, Cambridge, engraved by David Loggan, the noted engrave...

18th Century French Rococò Painting An oil on panel painting attributed to the great French artist of the eighth century, Jean Ra...

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Thorsby House in the County of Nottingham" (Vol. 1, Plate 91) Portfolio: Vitruvius Britannicus; or The British Architect, Contain...

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Powis House in Ormond Street London" (Vol. 1, Plate 42) Portfolio: Vitruvius Britannicus; or The British Architect, Containing th...

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Royal Hospital att Greenwich to the River" (Vol. 1, Plates 86, 87) Portfolio: Vitruvius Britannicus; or The British Architect, Co...

18th Century Roman School A Palazzo with antiques Brown ink and pen, brown ink wash on paper 12.5 x 20 cm Framed : 28,5 x 35.5 This nice drawing represents a genre scene, with a nobleman, priests, a mother and her children...

Follower of Meindert Hobbema Dutch 1638 - 1709 No signature is visible Framed Oil on Canvas Picture Size: 35 x 43" (89 x 109cm) Outside Frame Size: 43 x 51" (110 x 130cm) Meindert Hobbema, viewed today as one of the most characteristic and highly valued Dutch landscape painters of the seventeenth century, is not mentioned in a single seventeenth-century literary source. The earliest reference to his work occurs in Johan van Gool...

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...

Silver was the material of choice for both ecclesiastical and domestic vessels in the New World, not only for its status as a precious metal, but also because of its abundance and du...

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 ...

Portrait of a young Lady Robert Le Vrac Tournières (1667-1752) 18th century French school, circa 1725 Oil on canvas Dimensions: h. 81 cm, w. 65 cm Important 18th century Régence per...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Cockersand Abbey" (Plate 148) Portfolio: Buck's Antiquities or Venerable Remains of Above 400 Castles...

The painting depicts James (Jacques) Dalbiac, his wife Louise (ne de la Porte) and their five children, James, Charles, Louise, Marianne and Martha in the ornamental gardens of a grand country estate. The extensive gardens extend into the distance with gardeners working in the background and figures strolling through the avenues of trees. A peacock and peahen can be seen on the wall to the left and a potted orange tree to the right. Louise Dalbiac holds an orange taken from the orange tree, aluding to the family's faith and their loyalty to the protestant King William of Orange and their adopted country. The Dalbiacs were wealthy London silk and velvet merchants of French Huguenot origin who had fled France at the end of the 17th century to escape persecution for their protestant faith. England offered safe refuge and their skills and industriousness allowed them to establish one of the most successful businesses in London's Spitalfields which became a new centre of the silk trade, effectively leading to the collapse of the once dominant French silk industry. Both sons, James and Charles followed their father and Uncle into the family business, successfully growing the family's fortune and each going on to own their own country estates. A conversation piece is a genre of painting used to describe group portraits of families and friends, often depicted with their servants and family pets and set within an elegantly furnished interior or the garden of a grand country house. They were a celebration of the intimacy of family relations as well as a sign of status, property and the power of succession. The informality of conversation pieces grew popular in 18th century England, allowing the sitters to present themselves in a more relaxed pose, perhaps engaged in intellectual conversation or showing their talents or interests. In this present portrait, the Dalbiacs are shown richly dressed and and at leisure in a grand country house setting, conveying their success and cultural and social aspirations. Charles Philips (c.1703–1747) was an English artist known for painting a number of portraits and conversation pieces for noble and Royal patrons in the mid-eighteenth century. He was the son of portrait painter Richard Philips...