18th Century Paintings

"STILL LIFE" Italian School of the 18th Century Oil on canvas pasted on wood, 18th Century Italian school Small defects. Dim.: 80 x 107.5 cm good conditions

18th Century Portrait of a Nobleman. Beautiful painting purchased in France. Age appropriate wear, see detailed photos or message us with any questions. Inner Frame Dimensions: Hei...

Fantastic 18th century French Louis XV entry or foyer console table lacquer painted by artist Ira Yeager (American 1938-2022). The table features a...

Historical pair of 18th Century Indo Persian manuscripts hand decorated in gouache depicting cultural events. Presented under glass in gilt wood fra...

Venetian school, 18th century Study with the head of a cherub Measures: Oil on canvas, 45.5 x 41 cm - with frame 54.5 x 49.5 cm The present qualifies as a study or preparatory sketch by virtue of the structural and figural layout; by reason of formal and substantial evidence, it can be traced back to the mature neo-Venetian style, which in the eighteenth century had begun to produce figurations of extreme typological pathetism and formal expressionism. The contemporary painting experience of Tiepolo commanded the Venetian art scene, once the lesson of Pier Francesco Mola (1612-1666) was overruled. The delicate putto head offered here, in which a cherub is recognizable due to the happy iconographic solution of the wings placed under the angel's face, is outlined with a vigorous vitalism. A foreshortened point of view illuminates his face in a grazing way, probing his features with strong shadows and with a youthful blush that orange his cheeks. The veristic perfection with which the artist arranges the semblant is of marvelous expressiveness. The eyes are swollen with intensity, and together with the general setting of the head they denounce a conscious reflection on the physiognomy, peculiar within the emerging context of Venetian painting. The painting in question is affected by the large-scale productions, both monumental and perspective, at the time in vogue in the territory of the Serenissima. Conceived through a vision from below, the portrait reveals from the Venetian Rococo that particular predilection for the open and clear, airy ways, denounced in the first instance by Tiepolo. The conscious detachment from the Cortona-style decorativism and from the repeated layout solutions then in vogue allow us to approach the present to the production of Francesco Fontebasso...

A remarkable and most unique Italian 18th century Baroque st. giltwood and oil on board picture frame/painting of the Louis Philippe family. The picture frame displays a beautiful pi...

Antique Italian painting from the 18th century. Artwork oil on canvas (glued on a board) depicting a pleasant caprice, view with architectures and characters of good pictorial qualit...

Antique Spanish painting from the 18th century. Artwork oil on canvas depicting a religious subject, Adoration of Saints with Christ and the Virgin Mary, of good pictorial quality. T...

This captivating oil on canvas painting, believed to date from the late 18th century, depicts a dramatic shipwreck near a towering lighthouse. The scene captures the chaos of a storm...

Japanese two-panel screen: ink painting of Palm Trees on paper, Edo period (1787) beautiful painting of Japanese windmill palm trees. Ink paint...

Ölgemälde auf Leinwand, doubliert, im Stil der Lombardischen Schule, 18. Jahrhundert Das Gemälde ist betitelt: "Amymon wehrt sich gegen die Annäherungsversuche eines Satyrs". Es ha...

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.

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...

Pair of eighteenth-century paintings -"Saint Joseph with child" oil on canvas of the Roman school 18th century, from 1700 Measurements: 85 x 70 cm -"The Madonna with Child" oil on c...

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

A very large, impressive, and beautifully painted Baroque era still life with a colorful parrot and flowers. Oil on canvas in giltwood frame. Italy, late 17th century-early 18th cent...

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. ...

An antique Persian miniature painting, executed in opaque watercolor on paper, portraying Archangel Michael, the revered archangel o...

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...

Fine "Highflyer" painting by John N. Sartorius. John Nost Sartorius, was an English painter of horses, horse-racing and hunting scenes, 1759-1828. Measures: Width of the frame 2.25".

This carefully observed view of Leeds Castle, enlivened by an array of figures and animals moving across its verdant grounds and medieval moat, is an important testimony of the build...

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...

A fine 18th century oil on canvas "Joseph and Potiphar's wife" This large and impressive painting depicting Joseph rebuffing Potiphar's Wife's advances. An act which stripped him of ...

18th century Central Italian Painter - Madonna with the praying Saint John oil painting on canvas Dimensions: 63x76 cm good condition

Antique painting Our Lady of Sorrows, 18th century Oil on canvas 101 x 75 cm Anonymous painter. The painting in general is assumed to be Lombard from the first half of the 1700s, ye...

An Italian hand-painted wall plaque from the 18th century. This wall decoration from Italy has a half-octagon shape with longer flat section being at bottom-side of plaque. It has been hand-painted in a motif of horns, arrows, angels, and volutes. Primary coloring is gold and green with a black frame. There is a lovely old patina; a nice reflection of its age. This 18th century Italian wall plaque...

18th century, French School. Portrait of Louis XV of France and queen consort Maria Leszczynska (2) Pastel on paper, 47 x 60 cm With frame 5...

The pair of oils on canvas depicting floral arrangements, one in a basket, the other in a pot, both on plinths, each with dwellings and mountains in the distance, one with a bird in ...

Created in England and attributed to Francis Wheatley (1747-1801), the oil on panel depicts a young shepherdess attending her sheep and lambs in a pastoral landscape. The colorful ar...

French achool 18th century "Battle". 46cm x 67cm. Oil on canvas. Good condition.

18th Century Framed Family Crest oil painting on canvas is a wonderfully well preserved work in part because of the lavish frame that was added to ...

Early 18th Century French Oil on Canvas Grisaille of Putti in a Hunting Scene. Gray-green tones, sculptural looking putti in a landscape with auct...

Ink painting on mulberry paper of gibbons in a tree with hints of gold in the sky.

Large Italian landscape from the 18th century. Oil on canvas artwork depicting landscape with architecture and farmers of good pictorial quality. Painting adorned with an antique Lou...

Kano Osanobu (狩野養信) Osanobu Kano (born August 18, 1796; died June 12, 1846) was the ninth painter of the Kobikicho Kano School in the Edo period. His common name was Shozaburo. His father was Naganobu KANO, and Tadanobu KANO was his son. His Go (pen name) was Osanobu Seisenin, Kaishinsai, and Gyokusen. Brief Personal History He was born the eldest son of Naganobu ISENIN during the Edo period. He was first sent to serve at Edo Castle at the age of 15, and it appears that he was apparently pushed by his father to perform various public tasks for the Kanon School. He kept a diary for 36 years, starting from the day before he first went into service at Edo Castle until the day before he died. The diary is entitles "Official Service Diary" (it consists of 52 volumes that are maintained at the Tokyo National Museum, and 4 volumes that are separately maintained at the different families), and have become the focus of a lot of attention in recent years for the detailed information they present on the daily life and work of a prestigious official painter. The reading of the characters of his name was originally "Takenobu"; however, with the birth of the first son of the Shongun Ieyoshi TOKUGAWA in 1813, whose name was Takechiyo, having a sylable with the same pronunciation of "Take"was deemed to be inappropriate, and was therefore changed to "Osanobu". Because Takenobu died the following year, after which he was referred to as Gyokujuin, Osanobu changed his pen name Gyokusen he had used until that point to Seisenin, in order to avoid using the same Chinese charcter pronounced alike. In 1819, he attained the second highest rank for a Buddhist priest, Hogen, and assumed the role of head of the family after his father passed away in 1828. In 1834 he attained the highest rank for a Buddhist priest, Hoin. He oversaw the rennovation of the wall paintings of Nishinomaru Palace of Edo Castle from 1838 to 1839, and Honmaru Palace of it from 1844 to 1846. It is thought that Osanobu later died due to the fatigue...

Most likely French, c.1790/1800, painted on slate with carved giltwood frame.

A beautiful and most charming pair of French 18th century oil on canvas paintings. Each most decorative and colorful cloud shaped painting disp...

Continental School oil portrait of Maria Teresa: Portrait of Maria Theresa (1717-1780), Archduchess of Austria, Holy Roman Empress, Queen of Hungary and Bohemia This portrait was ow...

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 ...

Kano School painting, of the edge of a bamboo grove in early winter snow with very fine gold mist. Mineral pigments and gold dust on mulberry paper with 18th century brocade.

Behold "Abundantia," an oil masterpiece on panel, often attributed to the accomplished artist Angelica (Maria Anna) Kauffman (Italian/English, 1741-1807). This remarkable work of art...

18th Century Spanish Hand-Painted Wooden Panel with Religious Scenes. Birth of Christ

18th Century Framed Oil Painting on Canvas of Nativity ~ Flemish School is an amazingly inspirational work, displaying the influences of the Old Masters in the setting, composition, ...

Portrait of the two children of Mr and Mrs Oliver Jones, full-length, one wearing blue, the other red, holding a bow and a spear. Oil on canvas Unframed: 126.2 x 102 cm Framed: 130...

An impressive and large scale Continental 18th century oil on canvas painting. The painting is framed within a fine walnut frame with a carved...

Oval portrait Miniature on tortoiseshell of a noblewoman, probably Spanish, 17th-early 18th century. In original beautiful bronze moulded frame. Image size: 3 3/4" H x 3" W.

This 18th century Italian painting captures one of the most iconic biblical moments: the Adoration of the Magi. The mysterious travelers kneel in reverence before the Infant Jesus, ...

A striking pair of French 18th century oil on canvas in mahogany and giltwood frames. Each painting retains its original beautiful mahogany frame with a finely carved charming foliat...

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

SIR MARTIN ARCHER SHEE, P.R.A. (1769-1850) A PAIR OF PORTRAITS OF THOMAS NETHERTON PARKER (1772-1848) AND HIS WIFE SARAH PARKER (1779-1854) Oil on ...

Neoclassicism saturates this droll portrait of a French girl c. 1800: the high-waisted dress, the antique hairstyle "a la Titus” complemented with m...

A rare oil on copper painting of a hawking scene attributed to Carel Van Falens. Circa 1700. A fascinating picture of a hawking scene, with elegant m...

Portrait of a man France, late 18th-early 19th century oil on canvas Measures: H 41.5 in (105.5 cm).

Ottoman oil painting, monumental battle scene, circa 1740. Monumental oil on canvas painting, wide-scale combat scenes of the ottomans in Europ...

2 Drawings by a Boston Artist, Signed March 1909, D5 Two drawings of figures, two 7.25" x 4.65", signed March 1909, Framed (22.5" x 14.5") under glass.

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...

Italian painting, oil on canvas, 18th century

A traditional Russian icon of St John; the Theologian in Silence, where he appears to be holding the Gospel. The scene's title derives from the saint's hand gesture in which his fing...

A stunning and very finely produced antique Georgian original framed silhouette portrait of a gentleman dating from the 18th century. The portrait mounted in a thick carved wooden fr...

CIRCLE OF SALVATORE ROSA "Port View" 18th Century Oil on canvas. Recovered. Grid label from screen supplier James Bourlet & Sons (1850-1895). The London firm of Bourlet has made the...