18th Century Oil on Canvas French Antique Painting Gallant Scene, 1780

Antique French painting from the second half of the 18th century. Oil on canvas artwork depicting a gallant party in the woods, genre scene with characters in the style of Jean-Honor...

Antique French painting from the second half of the 18th century. Framework oil on canvas depicting genre scene with popular characters of good pictorial quality. Nice size painting ...

Antique Italian painting from the end of the 18th century. Neoclassical artwork, oil on canvas, depicting a Roman historical subject of good picto...

Antique French painting from 18th century. Oil on canvas framework depicting landscape with hunting dogs with partridges of good pictorial quality. Painting of great measure and impa...

Antique Italian painting from the 18th century. Artwork oil on canvas depicting pastoral scene, bucolic landscape with animals and popular characters of good pictorial quality. Paint...

Antique Italian painting from the 18th century. Artwork oil on canvas depicting a bucolic landscape, pastoral scene with chariot of good pictorial quality. Small painting adorned wit...

Veneto, Italy, early 18th century Oil on canvas 20th century frame carved and gilded in pure gold Dimensions: cm W 93 x H 78,5 x D 5.

An 18th century painting of a gallant scene in a park. Attributed with seal of painter's studio to Philippe Mercier (1689 to 1760) from the circle of the french painter Nicolas Lancret, a follower of the École of Antoine Watteau. Oil on canvas, in a fine carved giltwood frame. Frame: Width: 16,53 in (42 cm) Depth: 14,56 in (37 cm) Canvas: Width: 12,99 in (33 cm) Depth: 10,62 in (27 cm) Philippe Mercier (Berlin 1689 – London 1760) born in Berlin and studied at the Berlin Akademie with Antoine Pesne before traveling to Italy and France. By the time he arrived in London in 1716, had considerable familiarity with the work of contemporary French painters, particularly Watteau and his sophisticated style. Soon won Watteau patronage in court circles. In 1726 painted two important group portraits that can be seen as an introduction to English art - Baron Schultz and his friends (1725, Tate Gallery, London) and Viscount Tyrconnel with his family (1725-6, private collection). In 1729, Mercier was appointed Chief Painter to Frederick, Prince of Wales, and, a year later, keeper of his library, but they seem to have fallen away in the latter half of the 1730s, when he retired to the country, where painted several portraits for the Samwell family of Upton, Northants, and Hesilriges of Noseley, Warwicks. In 1739 Mercier moved to York, where he built up a considerable portrait practice among the leading families in the county. It was at this time that he made his greatest contribution to British painting, introducing and developing the 'extravagant image', a genre derived from Chardin as well as Watteau and 17th-century Dutch genre painting. Described by George Vertue as "bit of some conversational figures as large as life: vain plaisant Fantasies and habits: mixed modes very well done – and very approved", such works were frequently recorded and clearly enjoyed considerable success. Painted in the second half of the 1730s, the present work, An Allegory of Taste, is a fine example of this way of painting and its Rococo sensibility reveals the artist's affinities with contemporary French art...

18th century French study of a painting of an allegory. Gold giltwood frame with salmon color moiré fabric around matting. Drawing measures 6" H x 8.5" W. Much of the white you see ...

17th century, Emilian school Rural landscape with gallant scenes Oil on canvas, 37 x 47.5 cm With frame 61 x 50.5 cm The bucolic amenity of the present is reflected in the joyful gallant scenes that dot its surface. The locus amoenus described reflects on the more traditional inflection of Arcadia, which in the literary transfiguration was the scenario par excellence of the most carefree pastoral life and out of this world; the painting is therefore a forerunner of what was professed by the actual poetic academy of Arcadia which was established in Rome in 1690, but enthusiastically testifies to the feverish invitations to its acceptance, then widespread in the most avant-garde cultural salons throughout Italy. First Theocritus and Virgil later had awakened with Idilli and Bucoliche that capacity typical of the natural world to allow an escape from reality; the contemplation of perfect natural fruits that followed would have evoked in the spirits of dreaming men back to origins. The bucolic landscape was able to positively give a rhythm to material life, and constituted the concretization of a place devoid of incivility and ugliness, where only dreams, wild music and homages to fruitful nature were allowed. In the present painting widespread figures of shepherd children trace the same intent to the sublimation of earthly life, gathered in pairs, while children on the model of the ancient cherubs cheer the field with flowers and petals. The games of these and the sweet affections of the other characters are rendered through liquid and vibrant brushstrokes, flickering with a white light that opposes the dark shadow of the undergrowth. In the distance, the sky tapers with a silvery and flat brushstroke, while the vertical development of the promoters with architectures helps to introject a bright beam of light into the grassy clearing. The foliage and the turf of the landscape piece are rendered through a digital brushstroke, betraying the Italian brand of the present, influenced at the same time by the seventeenth-century European influences that then conveyed to the capital. The evocative culture of the city attracted many artists from the city of Bologna, from the Italian north but also from the territories beyond the Alps, such as Claude Lorrain and Nicolas Poussin. The historical-artistic heritage of the Italian pastoral scenes was thus able to fill up with the more functional and particular formalisms of the charms coming from elsewhere, such as the expressive tremor of the present, similar to the contemporary French lexicon. The typological restitution from pastoral idyll, in accordance with the intrinsic stylistic qualities of the work, allows us to specify the solid belonging of the present to the Italian hand, similarly to what was then emerging in the pictorial sphere within the Emilian school. In this regard, we should recall the latent influences of two decisive foreign landscape painters who passed through the Emilian belt, such as Claude Lorrain (1600-1682) and Nicolas Poussin (1594-1665); before them, Giovanni Battista Viola...

Beautiful antique marine oil painting on canvas, 18yh century. Excellent pictorial quality. Large antique Italian painting beautiful marine scene a coast with some large galleons arr...

This large (110 inches high) oil on canvas painting depicts a successful hunter, with his felled game displayed near his retriever dogs. Our hunter is leaning against a stone pedestal, clad in blue coat and pants with his rifle beneath his right hand. The man is wearing a gold cap with red fabric attached to it and has a sword on his left hip. Three retriever dogs stand to the hunter’s left, while a fourth sits in front of him (the man appears to be motioning to this dog with his left hand). An orange terra cotta vase adorned with spiral fluting sits on top of a molded plinth at the top of the pedestal. Ivy has begun to wrap around the vase, which also is festooned with green drapery. On a ledge at the base of the pedestal is the felled game: a rabbit and three birds. The hunting display is surrounded by numerous trees and shrubbery. Mountains and a lake can be seen in the background, beneath a blue sky with pink and orange clouds and birds flying. Based on the size and vertical orientation, the scene was most likely part of a French boiserie room...