Mid-18th Century Art

Netherlandish School, 18th Century – Monogrammed Old Master Oil Painting on Panel A captivating Old Master oil painting depicting the Crucifixion at Calvary, set outside the walls o...

Portrait of a Bay Hunter Horse with Groom, in an English Landscape by Francis Sartorius (English, 1734-1804) signed and dated 1762 oil painting on canvas, correct period antique gilt...

18th century oil on canvas chinoiserie scene painted 'en Camaïeu Bleu'. Originally part of a decorative scheme in a dining room as an overdoor set into panelling. Provenance: From ...

GIOVANNI BATTISTA PIRANESI (Italian 1720-1778) VEDUTA del SEPOLCRO della Famiglia PLAUZIA per la strada che Conduce da Roma a Tivoli vicino a Ponte Lugan...

Gian Domenico Tiepolo Follower Period Italian Painting A beautiful and important painting fan-shaped on parchment produced by an 18th century Venetian artist from the circle of Gian ...

Antique Italian painting from the first half of the 18th century. Oil on canvas artwork depicting an intense scene of mystical ecstasy of Saint Francis of Assisi. A large-scale paint...

A rare 18th-century Italian painting. Oil on panel artwork depicting a captivating mythological subject, Mercury delivers the infant Bacchus to the Nymphs of Mount Nysa. According to...

Antique Italian painting from the 18th century. Framework oil on canvas depicting a landscape with figures of good pictorial quality. Nice sized and pleasantly decorated paintinf wit...

A fine impression with the address of the artist (Autore, Strada Felice) and the price (Paoli 2 1/2) as well as Hind Watermark no.3 (Fleur-de-lys-in-a-Double-Circle), all correspondi...

An 18th century hand colored botanical engraving by Johann Wilhelm Weinmann (1683-1741) depicting the following flowering sage plants:...

An 18th century, Mughal painting of a tribal chief, shown richly dressed and reclining in a courtyard surrounded by numerous concubines. Exceptional attention to detail throughout, p...

An 18th century color printed in addition to hand colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) depicting the following flowering amaranthus p...

This stunning British Old Master landscape oil painting, with excellent provenance, is by George Lambert. Lambert was a pioneer of British landscape in art for its own sake. Painted in 1744, the painting is entitled View of a Manor House and Cottages in Elizabeth Einberg's 63rd volume of the Walpole Society 2001 and is described as follows: In the foreground a road emerges from a wood to cross a ford and then leads up the hill to the right, towards a manor house seemingly built into the remains of a medieval or Tudor edifice. The main track, crowded with sheep and rustic figures, passes the massive square gateposts lower down the hill on the left. Further to the left is a thatched cottage with smoke coming out the chimney. In the distance is a wide coastal view. The main buildings, which are in the dead centre of the composition, represent almost certainly an as yet unidentified English view. The colouring and detail in the trees and foliage are superb. This is an excellent Old Master oil painting by one of the all time great British landscape artists with extensive provenance. Signed and dated 1744 lower left on rock in black. Provenance. Elizabeth Einberg, “Catalogue Raisonnè of the works of George Lambert” The Annual Volume of the Walpole Society, 2001 Vol. 63, page 149 no P1744, fig.71. Antonacci Efrati Antichità Rome Gallery. Burden sale, Parke Bernet, New York, 20-21, April 1938 (376 repr.) Robert E. Peters, Sotheby Parke Bernet, New York, March 1975 (41 repr.) Lit. Schnackenburg 1995, pp 83-84, cat. no.14 fig 13. Condition. Oil on canvas, 54 inches by 52 inches and in good condition. Frame. Housed in an ornate gilt frame, 64 inches by 62 inches and in good condition. George Lambert (1700-1765) was an English landscape artist and theatre scene painter. With Richard Wilson he is recognised as a pioneer of British landscape in art, for its own sake. Lambert was born in Kent and studied art under Warner Hassells and John Wootton, soon attracting attention by the quality of his landscape painting. He painted many large and fine landscapes in the style of Gaspar Poussin and Salvator Rosa. Many of his landscapes were finely engraved by François Vivares, James Mason (1710–1785), and others, including a set of views of Plymouth and Mount Edgcumbe (painted conjointly with Samuel Scott), a view of Saltwood Castle in Kent, another of Dover, and a landscape presented to the Foundling Hospital in London. Lambert also obtained a great reputation as a scene-painter, working at first for the Lincoln's Inn Fields Theatre, in London, under John Rich. When Rich moved to Covent Garden Theatre, Lambert secured the assistance of Amigoni, and together they produced scenery of far higher quality than any previously executed. Lambert was a man of jovial temperament and shrewd wit, and frequently spent his evenings at work in his painting-loft at Covent Garden Theatre, to which men of note in the fashionable or theatrical world resorted to share his supper of a beef-steak, freshly cooked on the spot. Out of these meetings arose the well-known "Beefsteak Club" which long maintained a high social reputation. Most of Lambert's scene-paintings unfortunately perished when Covent Garden Theatre was destroyed by fire in 1808. Lambert was a friend of William Hogarth and a member of the jovial society that met at 'Old Slaughter's' Tavern in St Martin's Lane. In 1755 he was one of the committee of artists who proposed a royal academy of arts in London. He was a member of the Society of Artists of Great Britain, exhibited with them in 1761 and the three following years, and during the same period contributed to the Academy exhibitions. In 1765 he and other members seceded and formed the Incorporated Society of Artists of Great Britain, of which he was elected the first president. In conjunction with Samuel Scott, Lambert painted a series of Indian views for the old East India House in Leadenhall Street. He also etched two prints after Salvator Rosa. Lambert was associated in 1735 with George Vertue, Hogarth, and John Pine (engraver, 1660–1756) in obtaining a bill from parliament securing artists a copyright on their works. Lambert's portraits were painted by Thomas Hudson, John Vanderbank (engraved in mezzotint by John Faber the younger in 1727, and in line by H. Robinson and others), and Hogarth. Lambert's most famous painting is "A view of Box Hill, Surrey" (1733) which depicts a well-known beauty spot south of London. Hogarth considered Lambert a rival to the famous French landscape painter Claude Lorrain (1600–1682) with respect to his use of soft light to unify the scene in this painting. Though he never visited Italy he was inspired by the classical tradition of landscape painting. Lambert died on 30 November 1765 at his home on the Piazza in Covent Garden. His pupils included John Inigo Richards...

Pietro Paltronieri, known as il Mirandolese (Mirandola, 1673 - Bologna, 1741) - Architectural Capriccio with Arcades and a Waterfall. 98 x 134 cm (without frame) - 124 x 160 cm (wit...

Large Putto, Southern Germany / Tyrol, c. 1750 Wood carving Dimensions: 79 x 55.5 x 24.5 cm paint in places damaged (see photos) Viewing and pickup are available by prior appointment...

William Hogarth (1697-1764). Character vs. Charicature, 1743. Engraving on laid paper, plate measuring 8.25 x 9.25 inches. Framed measurement: 16.25 x 20.25 inches. Characters and...

French painter (18th century) - Flute Player and Dog. 43.5 x 35 cm (without frame), 54 x 45 cm (with frame). Oil on canvas, in a carved and gilded wooden frame. The scene depicts ...

Portrait of William Parker (see biographical details in photos) 18th Century English School oil on canvas, unframed canvas: 30 x 25 inches Labeled verso Provenance: private collectio...

This is a restrained and elegant eighteenth-century British or Irish portrait, most likely dating from the mid-1700s, and it fits squarely within the polite, understated portrait tra...

A lovely, early drawing of the Roman god Mercury. Pen and brown ink on cream laid paper, with a partial crown and shield watermark, 7 1/4 x 4 7/8 inches (184x 123 mm) (matrix). In go...

Follower of Nicolas Lancret (Paris 1690 - Paris 1743) - Gallant scene in a landscape. 63.5 x 76 cm (without frame) - 91 x 102.5 cm (with frame). Oil on canvas, in carved and gilded...

Elaborate Floral Arrangement French artist, 18th Century oil on canvas, framed Framed: 27 x 34 inches Canvas: 22 x 29 inches Provenance: private collection, England Condition: very...

This exceptional 19th-century French bronze sculpture is titled Taureau Beuglant (The Bellowing Bull). It was conceived by Rosa Bonheur (1822–1899), one of the most celebrated Animal...

This early 18th-century oil painting by an artist working in the circle of Nicolas De Largillière (1656-1746) depicts Frédéric III, Duke of Saxe-Gotha-Altenbourg (1699-1772), shown h...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." after Samuel Buck (1696 - 1779) and Nathaniel Buck (active 1724 - 1759) The East View of Winchester Palace (1733) Engraving 20 x 37 cm An engraved view of Winchester Palace, a bishop's palace built in the 12th century. It served as the London townhouse of the Bishops of Winchester and remained in use until around 1700, when it was divided up into tenements and warehouses. The building was largely destroyed by fire in 1814. Samuel and Nathaniel Buck...

This pair of large-scale antique bird prints consists of authentic 18th-century copperplate engravings sourced from the famous “Recueil de Planches” (AbeBooks) volumes of Denis Dider...

This tender mid-18th-century Sevillian oil painting depicts the Virgin Mary as La Divina Pastora, the Divine Shepherdess. Attired in a straw hat, decorated with flora, she rests in...

Oil on Canvas. French school of the mid-18th century. The Romantic-style landscape depicts a lush, green setting in which a romantic encounter takes place between a soldier and a lad...

A fascinating image of a well-known theif robbing a merchant of goods held atop her head. Paris: circa 1670. Etching and engraving on cream laid paper, 6 3/4 x 4 15/16 inches (17...

This is an original rare and extremely collectible first octavo edition John James Audubon hand colored lithograph entitled "Brown Pelican, Young First Winter", No. 85, Plate 424, fr...

Francesco Battaglioli (Modena 1710 ca. - Venice after 1796) - Architectural capriccio with figures. 83.5 x 114.5 cm (without frame) - 98 x 130 c...

Nacimiento del Niño Jesús. Escuela Italiana del Siglo XVIII. Importante pintura cargada de detallismo, excelente calidad. El óleo esta re-entelado y va con un marco macizo de cerezo ...

Giuseppe Zais (Forno di Canale 1709 - Treviso 1784) - Landscape with Shepherds, Cattle and a Ruined Bridge. 79.5 x 108.5 cm (without frame) - 96 x 125 cm (with frame). Oil on canva...

The four plates in this "Four Times of the Day" set were created utilizing both engraving and etching techniques by William Hogarth in 1738. Hogarth's original copper plates were refurbished where needed by James Heath and these engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's original copper plates were used for printing. Most were melted down during World War I for the construction of bombs. Printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. The inscription below each print reads "Invented Painted & Engraved by Wm. Hogarth & Publish'd March 25. 1738 according to Act of Parliament". These large folio sized "Four Times of the Day" engravings/etchings are presented in complex gold-colored wood frames with black bands and scalloped gold inner trim. A majority of each thick impressive frame is covered with glass applied near the outer edge. Each frame measures 25.75" high, 22.25" wide and 1.88" deep. There are a few small dents in the edge of these frames, which are otherwise in very good condition. "Morning" has two focal areas of discoloration in the upper margin and some discoloration in the right margin, a short tear in the left margin and a short tear or crease in the right margin. "Noon" has a spot in the upper margin that extends into the upper image, but it is otherwise in very good condition. "Evening" has a faint spot in the upper margin, but it is otherwise in very good condition. "Night" is in excellent condition. The "Four Times of the Day" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Victoria and Albert Museum. Through this series Hogarth is portraying early 18th century London street life at "Four Times of the Day". His characters are exhibiting their personalities, quircks, strange activities, but he also wants to draw attention the disparities between the wealthy aristocracy and the common working class. Plate 1, "Morning" depicts morning in Covent Garden in the winter in front of Tom King...

Outstanding early 18th-century portrait of a seated Spaniel dog in a landscape with an array of fruits. Attributed to the work of Tobias Stranover. ...

This is an 18th century etching by Giovanni Battista Piranesi entitled "Veduta del Tempio detto della Tosse su la Via Tiburtina, un miglio vicino a Tivoli" (View of the so-called Tem...

18th Century Italian Portrait Credited to Maria Giovanna Battista Clementi The painting probably depicts a young nobleman of Savoy court ...

Elegant Figures in Interior *see notes below Italian School, mid 18th century most likely of Venetian origin oil on canvas, unframed canvas: 10.75 x 11.75 inches provenance: private ...

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

This beautiful 18th century Italian Old Master oil painting is something rather special. Painted circa 1750 the subject matter is Saint John the Baptist as a very young child. He is ...

The Ponte and Castel S. Angelo Veduta del Ponte e Castello Sant' Angelo Etching, 1754 Signed in the plate lower right above the caption From: Vedute di Roma A proper Roman printing w...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta del Mausoleo d'Elio Adriana ora chiamato Castello S. Angelo nella parte opposta alla Facciata de...

Al Dolo is an original Artwork realized by Giovanni Antonio Canal, commonly known as Canaletto (Venice, 1697 - 1768). Original Etching on Laid paper...

Canot, P.C. (French, worked in England, 1710-1777), after Willem van de Velde and Ludolph Bakhuizen. "A BRISK GALE" and "A MODERATE GALE," engravings, ...

A stunning 18th century optical view of London from the Thames. London: 1760. Copper plate engraving with hand coloring in watercolor on cream laid paper with a large circular wate...

Giuseppe Zais (Forno di Canale 1709 - Treviso 1784) - Landscape with a Cavalcade and Fortress. 37.5 x 97.5 cm (without frame) - 45.5 x 104.5 cm (with frame). Oil on canvas, in carv...

Large Prussian-blue grisaille. French, Rococo, mid-18th century. Depicting a romantic couple resting by the edge of a lake, in a wooded landscape with abundant, luxuriant nature. Pro...

Portrait of Hortense-Félicité de Mailly-Nesle, Marquise de Flavacourt (1715-1799) Studio of Jean-Marc Nattier (Paris, 1685 - 1766), no visible signature Mid-18th century French Schoo...

This lovely British 18th century portrait oil painting, with excellent provenance, is attributed to circle of George Henry Harlow. Painted circa 1760, it is a standing half length po...

Portrait of a Lady French artist, Rococo period 18th century oil on canvas, framed framed: 15 x 12.5 inches canvas: 10.5 x 8.5 inches provenance: private collection, France condition...

Circle of Thomas Hudson (1701-1779) British. 18th Century Bust Portrait of a Lady, Oil on Canvas, Inscribed on a label verso, canvas: 30" x 25" (76.2 x 63.5cm). frame: 30 x 25 in...

George EDWARDS Bird and beetle ('The Gowry Bird') Original engraving, enhanced with watercolor Printed signature in the plate Dated, 1741 28.8 x 23.3 cm Created for Volume I of the...

This lovely Italian Old Master portrait oil painting is by Domenico Maria Sani. Painted circa 1732 the sitter is of Maria Anna Vittoria (1718 - 1788), daughter of Philip V and Elisabetta Farnese, who in 1729 married Joseph prince of Brazil and king of Portugal...

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 ...

European painter in the Chinese manner (18th century) - Oriental scene with river boat. 42.5 x 72.5 cm (without frame) - 52 x 80 cm (with frame). Oil on canvas, in carved and gilde...

A mischievous tableau with sexual overtones. Tokyo: Shuei-Sha, 1768. Woodblock print in colors printed on laid mulberry paper, 10 3/4 x 7 7/8 inches (273 x 200 mm), full margins. I...

This evocative antique oil painting on canvas depicts a dramatic European genre scene centered on an encounter between a well-dressed young gentleman and two impoverished figures. Pr...

WILLIAM HOGRATH (1767- 1764) THE BATHOS / Tail Piece 1764 (Paulson 1989: 216 I/I Paulson 1965/70: 216 I/I) Engraving Plate 12 7/8 x 13 3/8, sheet 17 ¾ x 18 ¾ Designed & Engrav’d by Wm Hogarth at left and Published according to Act of Parliam’t March 3, 1764 at right. Good condition on thick laid paper Small bit of tape on the left & right sheet edges small stan lower sheet edge all on recto. This Hogarth’s last print is fascinating as it is prophacy about death. Various institutions have interesting commentaries - to wit: Chicago Art Institute: Hogarth created The Bathos toward the end of his life. It is considered one of the bleakest artworks of the 18th century because it depicts the Apocalypse without an afterlife. The Angel of Death even collapses in exhaustion after having destroyed the world. In his hand is an execution decree and around him lies a mass of broken objects. Princeton: Hogarth’s last print, The Bathos,….. is filled with all manner of images denoting the end of life as we know it. Entry no. 216 in Ronald Paulson’s catalogue raisonne Hogarth’s Graphic Works, 3rd revised edition says “This print is the culmination of such pessimistic images . . . . [taking] his general composition, the configuration of objects, and some of the particular items, from Dürer’s engraving, Melancholia; but he also recalls Salvator Rosa’s Democritus in Meditation (which derives from Dürer’s print) with a scroll at the bottom of the etching: ‘Democritus the mocker of all things, confounded by the ending of All Things’ (Antal, p.168).” Newfields (Indianapolis Museum of Art): Hogarth intended this engraving to serve as the tailpiece to bound volumes of his collected engravings and, appropriately, it proved to be his last engraving. Father Time has died and his last will and testament has been witnessed by the three Fates. He is surrounded by a landscape of death, decay, and ruin. Hogarth aimed this print at dealers in “dark” Old Masters paintings who promoted the idea that ruins evoked sublime feelings in viewers—a sentiment, Hogarth wrote, that was reducing the world to ruin. British Caricature...

Signed 'BDandridge/ pinxit' lower left Provenance By descent through the sitter's family to The Collection of R. W. Vivian-Neal of Poundisford Park, Somerset, from whom acquired by ...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand- made parcel-gilt, ebonised and decalcomania frame. So...