18th Century Paintings

A late 18th century French painting depicting a romantic couple in a pastoral setting. Oil on canvas. Unsigned. Original gilded wood frame. Small repair to canvas in the upper left c...

"An impressive early 18th century Dutch School portrait of Carolina Cornelia De Wille, circa 1714. The oval oil painting is on canvas and feat...

Omori Soun (b. 1704) Chrysanthemums - One Hundred Flowers A Pair of Six-fold Japanese Screens. Ink, color, gofun and gold leaf on paper. Dating ...

Piedmontese painter of the second half of the 18th century Two "Still Lifes with composition of flowers, fruits and mushrooms" Measurements: Frames: cm W 63 x H 74 x D 8.5 frames...

Fine 18th century portrait of a lady, unsigned, circa 1750, Sweden. (reframed, oil on canvas) According to old frame painted by Johan Horner (...

ATTRIBUTED TO JOHN SMITH OF CHICHESTER England, 1717-1764 "The Second Premium Landscape, a copy" oil on canvas unsigned, attributed posthumously verso in pitch "jno Smith of Chich...

Important old-master painting, 18th century. Measurements: With frame: H. 65 W. 57 D. 5 cm Without frame : H. 48 W. 42 cm With frame: H. 25.5 W. 22.4 D. 1.9 in Without frame : H...

Original Antique Oil on Canvas Painting Coming from a Cornish estate, it was said by the previous owners that the subject was a tin miner, although by the looks of it, I imagine it ...

A vintage print of the painting George Washington before the Battle of Trenton from 1792-94. Beautiful gilt tipped frame. Acquired at a Palm Beach estate.

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 Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne.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...

Magnificent 18th century oval painting representing a lovely milk girl.

Death of Socrates, oil on canvas, Unsigned, 18th century possibly Italy.

Portrait Of A Nobleman 18th century PORTRAIT OF AN 18TH CENTURY NOBLE ELEGANT AND LARGE PAINTING WITH THE PORTRAIT OF AN 18TH CENTURY EUROPEAN ...

David Kleyne (1753- 1805) Dutch painter, oil painting seascape with ships David Kleyne (1753- 1805), Dutch painter, draftsman, pen artist, etcher. A beau...

A rare 18th century painting of Virgin Mary, painted for a Spanish Colonial travellers, most probably in the artistic centers of Cuzco and the ...

This magnificent early 18th century painting of an Angel Arcabucero. In eighteenth century Peru, extraordinary depictions of ángeles arcabuceros or an...

Pair of two oil paintings on canvas depicting landscapes with figures. Veneto, 18th century Good state of conservation.

This is a very good Spanish Colonial, Cuzco School (Cuzqueno) painting of the Archangel Michael. The painting appears to have little or no restorations and, as such, is in remarkable condition. We have chosen to leave that painting as found as the patina highlights the depth and character of the painting. We have listed separately two complementary larger paintings of the Virgin Mary and the Archangel Michael acquired from the same estate. The Cuzco school is a Peruvian Spanish Colonial religious artistic tradition in which Incan spirituality was incorporated into Catholic iconography. These Peruvian paintings incorporate artistic forms that distinguish Cuzqueno paintings from other Spanish Colonial artistic traditions. The Jesuit order, arriving in the mid-16th century, was the principal Catholic order whose mission it was to convert the Inca to Christianity and introduce Christian iconography and European type painting techniques to the Inca capital of Cuzco. Cuzco School paintings...

Each in later bird’s-eye maple frames. Depicting farm animals and skaters on a pond, houses and people in daily pursuits along a waterway.

This is a charming painting of a cherub with an arm extending forward, perhaps hold out a bouquet of flowers. The painting dates to the mid-18th century and is probably cut from a la...

Fete Galante Scene from 18th century Piedmont-School. Bamboo inlay collage on canvas in carved antique frame. Net size: 40 x 49 cm Size with frame: 53 x 61.5 cm

An exceptional French 18th century oil on copper painting in its original giltwood frame. The wonderfully executed painting depicts a beauti...

Spanish Colonial Virgin Mary Original Oil on Canvas Painting XVIII Century DETAILS Original period frame. PAINTING DIMENSIONS Height: 17.5 inches Width: 12.75 inches ...

Antique Italian painting from the 18th century. Artwork oil on canvas depicting a religious subject, The sacrifice, of good pictorial quality. Painting of good size and pleasant furn...

Allegorical scenes with ebonized frames.

Beautiful oil painting on canvas depicting a winged putto with a tree background, grape branches and fruit. Within a molded frame in gilded wood, typical manufacture attributable to...

Still life with copper crockery, bottle and majolica. Emilian school, 18th century On the top of a table there are some copper crockery for daily use, an excellently painted gl...

Exquisite antique Arcadia Scene with Shepherds, by flemmish painter Jan Frans Beschey (Antwerp, 1717-1786). Signed bottom left: J. F. Beschey In antique carved wood frame. Net siz...

Giovanni Domenico Molinari (Caresana, 1721 - Turin, 1793) Lying Female figure Oil on canvas, cm 46 x. 31 - With frame, cm 56 x 42 The present painting is connected by style and treated subject, in this case a young girl lying in an idyllic landscape, to the production of small pictures of pastoral subject of the Piedmontese painter Giovanni Domenico Molinari (Caresana, 1721 - Turin, 1793). Molinare was born in Caresana (Vercelli) on 19 July 1721 but after losing both his parents he moved to Turin. Here he became, from 1736, a pupil of the Academy of Drawing founded by the painter Claudio Francesco Beaumont (Turin, 4 July 1694 - Turin, 21 June 1766) where he remained as a pensioner until December 1755. Molinari was immediately engaged in the translation of the master’s sketches on cardboard used for the Regia manufacture of tapestries. His early success on the Turin art scene is confirmed by the fact that he joined the Compagnia di San Luca in 1756. In 1751 he married Margherita Peiroleri, whose brothers Pietro (engraver) and Nicolò (painter) also attended the school. Remained widower count two other marriages first with Lucrezia Elisabetta Burzio and then in 1770 with Domenica Maria Ferrero. On the death of the master in 1766 Molinari, considered by his contemporaries to be the most faithful interpreter of the master and for his elegant and Arcadian style, which clearly interprets the aesthetic taste of the court, was called to finish the works that remained unfinished, such as the altarpiece for the church of Santa Maria della Scala in Moncalieri depicting the Assumption venerated by Blessed Bernard of Baden and Saint Anthony. Molinari was also well praised by critics and Abbot Lanzi highlighted the quality of the production of historical and mythological subject for the rigorous post-marattesco classicism. In Turin he worked for Vittorio Amedeo III of Savoy as a portrait painter, executing for him eleven canvases (between 1774 and 1775), but, since 1745, he also supplied tapestry cartoons to the local Fabbrica, of which, in 1766, he became director. The production of paintings of sacred subjects is also lively, especially used in the decoration of the churches of the capital as the Assumption for the Hotel of Virtue and San Pietro Regalado and San Benedetto il Moro for Santa Maria degli Angeli ( Torino) He also painted tempera and oil cartoons for the same church, on the occasion of the beatification of Pacifico da San Severino (1787) and, for that of San Francesco di Paola, when Gaspare de Bono...

This antique stunning portrait of Madonna in Sorrow came out from a Palazzo in Florence and an absolute eye catcher. The colors and details are incredible and very typical for an Ita...

Large oil painting on canvas depicting the Madonna with Child and San Giovannino within a carved and gilded wooden frame. The subject is particular as it leaves the classic canons of the representation of Maternity by presenting a Madonna without a halo. Attributable to the School of Giovanni Battista Salvi...

A wonderfully painted oil on canvas by George Morland depicting a moment of life in a cottage on a snowy winter day. Signed lower right. George Morland (26 June 1763 – 29 October 1804) was an English painter. His early work was influenced by Francis Wheatley, but after the 1790s he came into his own style. His best compositions focus on rustic scenes: farms and hunting; smugglers and gypsies; and rich, textured landscapes informed by Dutch Golden Age painting...

Delightful 18th century Roman school representing a view of Rome fixing the "ponte Rotto". Painted in an architectural style of the best craftsmanship, this charming animated composi...

Oil on canvas depicting the mythological scene of Bezzebea bathing. Gorgeous woman wife of one of King David's army commanders, the latter, seeing her at the bath, fell madly in love...

Pair of Pierre Joseph Buchoz (French) Botanical Engravings, 18th century. Floral prints from "Histoire Universelle Du Regne Vegetal", Published in Paris, 1775-1778. Artist signed ...

An exceptional, museum quality very large 18th century Greek icon of the Pentecost. Egg tempera and gold leaf on wood, primed with gesso. Attributed to Mount Athos...

Grand tour - Landscape of the Roman countryside with architecture and characters Oil painting on canvas Rome 18th century Measurements: 27 x 33 - 43.5 x 50.5 cm (with frame)...

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

Large original oil on canvas painting of Italian village with mountains in background, 6' long (measured at frame). Italian school circa 1700s. Impressive in Size and detail this w...

Benjamin West Oil on Canvas Painting, "St. John" Putto with Lamb, 18th Century The painting depicts a putto praying with a lamb near him towards the lower...

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...

18th century, French Painting with Landscape with Ruins Measures: frame cm L 165 x H 95 x P 10; canvas cm L 142 x H 71 This painting depicti...

Adoration of the Shepherds, French School. Oil on canvas, 18th Century. Framed.

Pair of Pierre Joseph Buchoz (French) Botanical Engravings, 18th century Floral prints from "Histoire Universelle Du Regne Vegetal", Published in Paris, 1775-1778. Artist signed "...

The Sacred Heart of Jesus, Oil Painting on Canvas 18th century An antique oil painting depicting the sacred heart of Jesus. Oil on canvas with p...

This 18th century painting, signed by L.S. VERHEYDER, showcases a scene of a man and a horse in a field, framed in a luxurious gold leaf frame with d...

Francesco Maria Raineri, known as Schivenoglia (Schivenoglia, Mantua 1678-1758) Esther and Ahasuerus oil painting on canvas Size: 52x137 cm Work exhibited during the exhibition dedicated to the homonymous painter: “Francesco Maria Raineri - Lo Schivenoglia 1676-1758, works from private collections” and published in the catalogue, page 13. Esther is the daughter of Abicàil of the tribe of...

Painting with the still young Tsar Peter I. Due to his dark, rather unofficial jacket and the dark background the focus of the painting is based just on the face of the proud emperor...

Oil on framed oval canvas, presenting the Virgin seated near an angel looking at the instruments of the Passion of Christ or Arma Christi: c...

A beautiful piece with a portrait of a shepherd boy, with this great touch of Spanish artist.

In a giltwood frame and scene of a king with hands clasped over a bedridden child with Christ at his side.

Beautiful oil painting on canvas depicting the allegory of Summer. Piedmontese school from the end of the 1700s, within a wooden frame and tablet carved with floral and vegetable mo...

Beautiful neoclassical tempera depiction on canvas of Venus bathing within a gilded and ivory lacquered wooden frame. Tuscan manufacture, in good condition. MEASURES: Work 56x42 ...

18th century Italian painting by the painter Scipione Cignaroli. The valuable oil painting on canvas depicts a landscape of the Italian countryside with wayfarers on the banks of th...

Oil on canvas English school marine scene eighteenth century On the back part it has a label with a note in ink: coast of Scarborough-England E...

A Beautiful oil on board antique portrait of a boy by an unknown artist. The artist succeeded in capturing this boys striking expression. Age related wear and patina. May have had...

An exceptional and extremely decorative Continental 18th century oil on canvas painting in its original giltwood frame. The wonderfully executed painting depicts a handsome young man...

A pair of beautiful French oil on board paintings from the 1700s depicting interior scenes with characters portrayed while eating and drinking seated at a tavern table. Stunning contemporary gold leaf...