18th Century and Earlier Paintings

French Louis XVI style (18th Cent) gilt framed oval oil painting portrait of lady wearing crown

A Large Important old master Italian 18th century oil painting portrait of a man in armour holding a helmut in his hand Impressive size 35.5 Inches ( 90cm) high and 28 Inches (71cm)...

Oval portrait of a lady of quality, wearing rich jewelry and clothes, a fan in her hand. Good condition, old restorations, relined, some wear to the frame. 18th century. Dim...

C1680 oil on canvas full length portrait in period frame and in good condition Condition: good condition Year: C1680 Medium: oil

English oil painting portrait of 17th century man in black cape with red drape in a mahogany and decorated frame.   

very colorful Fixé-sous-verre (paint under glass), representing a scene of horsemen hunting buffalo, in an oval, on a black background Indo-Portuguese or Philippine work, 18th centu...

　is a craft item of the "Saiyu" work painted by Kawai Gyokudo.It 　　is a simple work that gives a sense of nature, and is a 　　work that is carefully expre...

In good condition, slight paint loss to centre. From a private collection Free international shipping Moonlight Fishing Scene 18th Century Old Master Painting

Oil on canvas depicting Saint Anthony in a garden being visited by Angelic Cherubs with a courtyard and fountain and mysterious figure in the background, the ever present Lily flower in the foreground. In a period ebonized wood frame. Anthony of Padua (Italian: Antonio di Padova) or Anthony of Lisbon (Portuguese: António/Antônio de Lisboa; born Fernando Martins de Bulhões; 15 August 1195 – 13 June 1231) was a Portuguese Catholic priest...

Augusto Corelli (1853 - 1910) Gouache on paper depicting a view of Mount Vesuvius, signed lower right "Corelli", piece measures 13.5 x 17.5 and 19.5 x 23.5 inches with gold colored s...

Oil on canvas ''the Descent from the Cross'' or "La Descente de la Croix" in the style of Peter Paul Rubens the Descent from the Cross has been called a Baroque masterpiece — perhaps due to its monumentality — but it is also considered to be the first work of Rubens' “Classicist” period, which characterized his style from about 1612 to 1620. Highly sought after original copy of the masterpiece that Rubens painted, it shows it's age well, some repairs but when it hangs on the wall it is an impressive antique canvas...

Original oil on panel of Saint offering the Child, by an unidentified artist. --This painting represents St. Anthony of Padua. The scene is one that is often chosen to represent ...

This colorful and gleeful genre painting is from France, circa 1770. Genre paintings depict people engaged in common activities, such as picnicking, strolling through a park, or romantic settings. In the 17th and 18th centuries, paintings of this style typically came from France, The Netherlands, and Belgium. This particular painting can be considered to be after Nicolas Lancret...

Original oil on canvas portrait of a lady with hat and riding crop. Unknown artist, circa 1700's. Major wear, craquelure throughout. Stains, paint loss, scratches. Typical age relate...

Large canvas featuring roosters, hawk and ducks in a landscape. signed indistinctly. Unframed.

18th Century, Three Italian Paintings Depicting Still Life by Michele Antonio Rapous (Turin, 1733 – 1819) Oil on canvas. Dimensions: cm H 78.5 x W 104.5 Available individually or as ...

European School oil on panel of the 18th century Measures: 34X24CM Good condition.

This wonderful oil painting on canvas portrays a vibrant Dutch landscape and is attributed to Théobald Michau (1676-1765). It is characterised by a realistic depiction of everyday ru...

Oil on canvas portraying the visit of Venus to the forges of Vulcan. French school of the 2nd half of the 18th century. Undoubtedly executed by a pupil of François BOUCHER; who died...

Discover a rare and extraordinary piece of religious art with this 17th-century Italian oil painting on amethyst. This unique artwork symbolizes the martyrdom of Saint Stephen, offer...

18th-Century Miniature Oil Painting – Possibly England Exquisite 18th-century miniature oil painting, likely of English origin, featuring delicate brushwork and fine detail. Medium:...

An extremely decorative Asian 18th century watercolor on parchment. The watercolor painting is elegantly framed in a patinated green frame with a red fillet along its border. The ima...

In good condition From a private collection Free international shipping 18th Century Portrait of a Musketeer Old Master Oil Painting

Oil on canvas from the 18th century depicting the portrait of a young child. This portrait comes from the portrait of Rubens' brother painted in 1632 by Antoine Van Dyck. Possibly ...

A charming Italian 18th century Louis XVI period gouache in its original giltwood frame. The wonderfully executed painting depicts a beautiful landscape of the Italian countryside wi...

Alessandro Rosi (Florence 1627-1697) "St. Agatha Cured by St. Peter" Oil on octagonal canvas, 98x77 cm, In carved and gilded wooden frame (total measurements 125x114 cm) Artwork acco...

Large, very well done oil on canvas representing the Portrait of a mathematician, a professor, leaning on his elbows and holding a ruler. This painting has a very beautiful frame, w...

In good condition From a private collection Free international shipping Attributed to JACQUES-ANTOINE VALLIN (Paris 1760-1831) 18thC Old Master Portrait

Charming oil painting on wooden panel, elegantly framed in a carved and gilded wooden frame. The work depicts a landscape at sunset, with a city looming in the distance. In the foreg...

This cartoon is a pattern for a Louis XVI settee. The notation and measurements are handwritten on the cutout of the settee pattern. The study offers a motif and color guide for the ...

Cornelis Van Poelenburgh (Utrecht 1594-1667) Copper Oil Painting 17th Century, depicting bathing nymphs. Dutch painter, mainly of landscapes....

A masterful painting on tin in possibly original gilded frame, by an unknown artist. We unfortunately have no provenance or further information. Unrestored with soiling and mostly t...

Early 18th century portrait of a gentleman, William Woodhouse of Rearsby Hall. Superbly painted, oil on canvas in nice conditi...

Circle of CASPAR NETSCHER (1635/39-1684), ALLEGORY oil on canvas. Small antique restoration. Dimensions: 94.5x77.5 cm. good conditions Of German origin, according to Arnold Houbrake...

Nicolaes Berchem (Haarlem 1620 - Amsterdam 1683) "The river passage of shepherds with herds," c.1655 Oil on canvas, 80 x 104 cm Work accompanied by attribution sheet by Professor A...

Mystery Artist 18th Century French School Portrait of a Noble Lady Wearing a Blue Cape. Extensive writing on the reverse as to who she is, but illegible. Measurement: Art: 23 1/2 x ...

Painting with probably biblical Italian school characters End of the 17th beginning of the 18th century unsigned carrying a Carlo Maratta cartouche of in...

18th century sanctuary oil on panel The Roman Sanctuary of the Felix father in Jativa, Valence, Spain.

Complete series of late 18th century still life paintings are depicting everything on the kitchen table, fruit, vegetables, meat, fish and deserts, beautifully displayed. Affluent ho...

An exquisite 18th-century oil portrait miniature depicting a distinguished naval officer, dressed in period military attire. The artist has meticulously rendered the subject’s unifor...

Charming naive/folk early 1800s Swedish framed oil painting of a castle viewed from across a lake where figures are boating and fishing. The canvas has been laid on board and later f...

PORTRAIT OF D. MARIA BÁRBARA DE BRAGANÇA (1711-1758), QUEEN OF SPAIN Circle of Louis-Michel van Loo (1707-1771) Oil on canvas Her Royal Highness, the Infanta Maria Barbara of Braganza (1711-1758) was the first-born child of King John V of Portugal (1689-1750) and his queen consort Maria Anna of Austria (1683-1754). Born in December 1711, she had the Convent Palace of Mafra built in her honour following a vow made by her royal father. Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne. Daughter of one of the most illustrious monarchs of his time, Maria Barbara was carefully educated to become a fond admirer of the arts, and of music in particular, having had the Italian composer Domenico Scarlatti (1685-1757) as her music teacher. On the 10th January 1723 the young princess was betrothed to the Infante Ferdinand of Spain (1713-1759), eldest son of King Philip V (1683-1746). Six years later, on the 19th January, she entered her new country in a carefully choreographed ceremony that became known to history as the “Exchange of the Princesses”. This unique event took place on a specially built Bridge-Palace, a wooden, luxuriously decorated structure that included various modules and rooms, on both banks of the river Caia, the natural border between the town of Elvas in Portugal and of Badajoz in Spain. Simultaneously, on the same day that the Portuguese Infanta crossed the border to marry the Spanish Crown Prince, her new sister in law, the Infanta Mariana Victoria of Bourbon (1718-1781), her husband’s sister, crossed the same bridge in the opposite direction to marry Prince D. José, the Portuguese heir to the throne. Once married, Maria Barbara would spend 17 years as Princess of Asturias, only becoming Queen of Spain at her husband’s accession following the death of Philip V in 1746. She is portrayed in the 1743 painting by Louis-Michel van Loo (1707-1771) now in the Prado Museum, in which Philip V had himself represented with all his close family. The new Queen would take an important role at court eventually becoming the liaison between her husband and the King of Portugal, particularly throughout the negotiations for the Treaty of Madrid (1746-1750). Maintaining her interest in music, she patronized the Italian castrato singer Farinelli (1705-1782) while remaining close to her old master Scarlatti, having herself composed some sonatas for a large orchestra. She would also commission and fund the building of the Royal Salesians Monastery complex in central Madrid, where both her and Ferdinand VI are buried. The portrait we are presenting for sale shows the Queen in half-length, turning left at three quarters. She is wearing a blue low-cut dress embroidered with flowers and foliage, over a lace cuffed white blouse, and an ermine cloak pined on the left-hand side by a diamond broach. The powdered hair style is held sideways by a seven diamond and black plume headdress and topped by a small gold and pearl crown. The right arm rests on a cushion while the left hand, at chest height, holds a miniature male portrait. The Infanta’s features are analogous to the 1725 portrait by the painter Domenico Duprà (1689-1770), also in the Prado Museum collection. Further similarities can be found in another portrait by Louis-Michel van Loo, in which a seven diamond and black plume headdress is also present. In this work, the cushion supporting Maria Barbara’s right arm has also some obvious similarities to our painting. The same diamond headdress reappears in Van Loo’s above-mentioned portrait of Philip V’s family dated from 1743. It is nevertheless in Lisbon’s Ajuda National Palace that it is possible to find an almost identical depiction of the Infanta holding a miniature portrait of her husband. In it, the future Ferdinand VI is portrayed facing right at three quarters and wearing a curly wig, suit of armour, the golden fleece insignia and a blue band, in a composition that closely resembles an 18th century Spanish school painting that appeared in the art market in January 2016. Another detail common to various portraits of the Portuguese Infanta and Queen of Spain is the small gold and pearl crown on her head. In another Van Loo painting, also from the Prado Museum, in which Maria Barbara is portrayed as Queen, this crown is represented together with a headdress similar to the one previously described. Another two paintings by the same artist, at the Royal Academy of Saint Ferdinand, include the same ornament. We must also refer the paintings by the artist Jean Ranc (1674-1735). In one, dating from 1729 (Prado Museum), the Infanta is depicted outdoors holding a flower bouquet and wearing a yellow silk dress with red cloak, and a set of diamond and ruby jewellery that includes a headdress similar to the one present in our portrait. Another work by the same artist, belonging to the Complutence University of Madrid, depicts the Infanta sumptuously dressed in identical colours to our painting and wearing an elaborate headdress and diadem. These portraits, beyond their iconographical importance as contemporary records of the Infanta and Queen Maria Barbara, are also illustrative of 18th century fashion for jewelled head dressing. Often, flowers were combined with joyful adornments, composing almost theatrical displays that would reinforce the ostentatious nature of the image. The ornamental flowers and the chromatic character of the jewels would complement the luxury of the colourful dresses in blue, crimson, green or other silk shades, in compositions whose sole purpose was to highlight a royal sitter’s wealth and power, becoming an essential statement accessory within the strict court protocols and codes of conduct. Circle of Louis-Michel van Loo (1707-1771) Slowly but steadily, the resolute, tranquil and dignified attitude of Renaissance and Baroque portraiture becomes artificial and presumptuous. Mid 18th century society favours elusive expression and psychological deepness, albeit limited to the face, that, with emphasis on detail, on the rich colour palette and on changing costumes and landscapes, associated to the courtliness of gestures, creates a strongly artificial environment while maintaining a highly poetic intrinsic character. Louis-Michel van Loo followed a dynasty of famous Dutch origin artists that had settled in France. Initially taught by his father, Jean-Baptiste von Loo (1684-1745), the younger van Loo studied in Turin and Rome and frequented the Paris Academy. In Rome he worked with his uncle Charles-André van Loo (1705-1765) and become a painter for the Turin Court. In 1737 he arrived in Spain being summoned by Philip V to succeed Jean Ranc as painter of the king’s chamber. In Madrid, his work covers the numerous Court commissions and the Royal Saint Ferdinand Fine Arts Academy, of which he was a founding member and director for the Painting department in 1752. Is production at court consisted essentially of numerous portrait paintings, often Royal gifts...

Manner of Sir John Hoppner 'British, 1758-1810' Portrait of Master Robin Vanecke oil on canvas. A beautiful Hand Carved and crafted Large and imposing Frame. It is the perfect wall A...

A spectacular and extremely well executed pair of Italian mid 18th century Old Master oil on canvas paintings of ruins. Each painting displays wonderful perspectives, exceptional arc...

Early 19th century oval portrait painting of a man on an oval board. The condition is very good with no repairs.

Saint Margaret slaying the dragon oil on canvas painting and attributed to Giulio Romano. This painting is similar to one in the Louvre collection that was attrib to Giulio Romano. ...

2.nd Half of the 18th cenutury, hand-colored The pictures are showing dance scenes based on Etrukian vase painting.

Circle of Sir Godfrey Kneller, Mrs Voss, and Catherine Kneller, oil on paper laid to wood panel Overview This exceptional Baroque portrait artwork, the circle of Sir Godfrey Kneller, is an oil on canvas painting from the early 18th century. The painting, laid onto a panel, represents a compelling historical piece linked to Mrs. Voss, who was active circa 1685-1690 and recognized as the mistress of Sir Godfrey Kneller and the mother of Catherine (Agnes) Huckle. Key Details: Sir Godfrey Kneller, Mrs Voss and Catherine Kneller oil canvas Medium: Oil on paper, laid onto panel Period: Early 18th century Condition: Unframed oil panel Dimensions: Height - 28 inches, Width - 34 inches Historical Connection: A larger version of this artwork is held in the Kingston Lacy Estate, Dorset Artist Influence: Connected to the circle of Sir Godfrey Kneller, one of the most influential portrait artists of the Baroque period. This Old Master portrait painting is a fine example of Kneller’s portrait style, making it a sought-after piece for collectors, historians, and art enthusiasts looking to buy antique paintings in Sussex or the UK. About Sir Godfrey Kneller (1646-1723) Sir Godfrey Kneller (born Gottfried Kniller) was a renowned Baroque portrait painter of Anglo-German descent, widely considered one of the greatest portraitists of the late 17th and early 18th centuries. His influence on English portraiture was significant, and his works remain highly collectable today. 1. Early Life and Training Birth: August 8, 1646, Lübeck, Germany Parents: Zacharias Kniller (merchant) and Lucia Kniller Education: Studied painting in Lübeck Trained in Amsterdam under Ferdinand Bol (a student of Rembrandt) Influenced by the Dutch Golden Age art movement During his training, Kneller adopted techniques from Rembrandt and Bol, shaping his mastery of light, shadow, and lifelike portraiture. 2. Italian Influence and Artistic Growth Sir Godfrey Kneller Mrs Voss and Catherine Kneller oil canvas Traveled to Italy in the early 1670s to study Titian, Veronese, and Caravaggio His exposure to Italian Renaissance and Baroque art deepened his understanding of color theory, composition, and grand portraiture After returning to Northern Europe, he briefly worked in Hamburg before moving to England in 1676 3. Kneller’s Rise in England and Royal Patronage His talent quickly gained recognition among the English aristocracy and royalty In 1680, he was appointed Principal Painter to King Charles II Over his career, Kneller painted portraits of five English and British monarchs: King Charles II King James II King William III & Queen Mary II Queen Anne King George I His iconic portrait paintings continue to serve as historical records of British nobility, making his works highly valuable in the art market. 4. Notable Works and Contributions Kit-Cat Club Portraits: A famous series of 48 portraits of prominent literary, political, and cultural figures of the time. Developed the grand yet lifelike Baroque portrait style, balancing realism with nobility. His influence on later English portrait painters, such as Thomas Gainsborough and Joshua Reynolds, was profound. 5. Kneller’s Honors and Legacy Knighted by King William III in 1692 Created a Baronet by King George I in 1715 Naturalized British Citizen in 1711 Passed away on October 19, 1723, and was buried in Twickenham, England. His works remain highly collectible, sought after by art collectors, historians, and museums worldwide. Historical & Artistic Significance of the Painting This early 18th-century oil portrait attributed to Kneller’s circle is an outstanding example of his influence on Baroque portraiture. The depiction of Mrs. Voss and her connection to Catherine (Agnes) Huckle adds historical depth and collector value. 1. Artistic Style and Features Detailed brushwork characteristic of Kneller’s school Rich color palette influenced by Titian and Rembrandt Noble posturing typical of 17th-18th century aristocratic portraiture Use of light and shadow to enhance depth and realism 2. Collector’s Appeal & Investment Potential Highly sought-after Old Master artwork with documented provenance Strong appeal to art collectors, historians, and museums Valuable addition to Baroque art collections Investment-worthy due to high demand for Kneller’s works in auctions and private sales 3. Comparison to the Kingston Lacy Version A much larger version of this painting exists in the Kingston Lacy Estate, Dorset This smaller panel version offers collectors a unique opportunity to own a historically significant work at a more accessible scale and price Final Thoughts The circle of Godfrey Kneller oil on canvas painting featuring Mrs. Voss and Catherine (Agnes) Huckle is an important historical artwork. Whether you are an art collector, investor, or historian, this painting represents a rare opportunity to acquire a piece of Baroque portraiture. Why This Painting is a Must-Have for Collectors: Authentic Old Master Portrait from the School of Kneller Strong Historical and Artistic Value Investment Potential in the Art Market Connected to the Kingston Lacy Collection Ideal for Collectors of English Baroque Portraits...

Sir Joshua Reynolds painted Lady Forrester - nee Lady Catherine Mary Manners, Daughter of the Duchess of Rutland - on at least four occasions as a child and in later life. Her fac...

18th century French old master portrait of a gentleman, oil on canvas (relined), with small restorations/retouches. Dimensions: (unframed) 48 x 35 cm; (framed) 55 x 41 cm. Provenan...

This significant oil painting on copper represents a notable example of the North American School in the late 18th century. The artwork captures the essence of the time, marked by cr...

Venetian work, second half of the 15th century Tempera on panel 34 x 23 cm An episode from the Passion of Christ during the trial of Pontius Pilate, the Roman procurator, concerning ...

A watercolor engraving on paper, depicting a terrestrial globe, an armillary sphere and a celestial globe. Fir wood frame, walnut briar veneer, with gilded ramin wood edge. Mattäus S...

A wonderful reverse painted glass image. The image of a 17th C. female is wonderfully done and in very nice colors. The Frame is gilt and the image sits back, creating a shadow affec...

Early 17th century French landscape painting. Unframed.

In good condition From a private collection Free international shipping 17th Century Flemisch Old Master Hunting Painting

Giovanni Michele Graneri (Italy, Turin 1708-1762) Bambocciata (Farmers dancing in front of the inn) The painting, made in oil on canvas, depicts a moment of celebration where some p...

18th C. Portrait of a Lawyer Circle of Jacques Aved French School Oil on Canvas . Circle of Jacques-Andre-Joseph-Camelot Aved Portrait of a lawyer 1702-1766 French school mid-18th c...