What characterises 18th-century Georgian portraiture?

Georgian portraiture of the 18th century often depicted aristocrats and notable figures, focusing on refined poses, detailed period costume, and dramatic natural lighting influenced by Grand Manner portrait traditions.

What materials were traditionally used in 18th-century oil portraits?

Artists during this period painted using natural pigment-based oil paints on hand-stretched linen or canvas, which were typically framed in hand-carved wood and gilt gesso.

How can authentic 18th-century oil paintings be identified?

Authentic paintings from this period generally display age-consistent craquelure across the paint layer, stretcher bar impression marks, hand-cut timber stretchers, and natural oxidisation on the reverse canvas.

How do you style an 18th-century framed portrait in a modern home?

A large oil portrait functions well as a main focal point positioned above a mantlepiece or sideboard, creating visual depth when juxtaposed with contemporary architecture or modern joinery.

How should an antique gilt-framed oil painting be cleaned and preserved?

Position the painting away from direct sunlight, moisture, and heat radiators, dusting the surface gently with a soft dry brush while avoiding water or liquid chemical cleansers.

for sale €10,355 $11,240

£8,850

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Joshua Reynolds Portrait

Classical Portrait Painting

Id #SA1174463

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Circle of Joshua Reynolds Studio Sample Portrait of David & Eva Maria Garrick 18th National Gallery Oil Paintings

Name: Circle of Joshua Reynolds Studio Sample Portrait of David & Eva Maria Garrick 18th National Gallery Oil Paintings
Brand: Antique
SKU: SA1174463
Price: 8850 GBP
Availability: InStock

18th century

For Sale by Mansion House Antiques & Fine Art

Description

This exceptionally rare and fine example is a version of one of Reynolds well known works and is probably the only reduced copy in existence after the original bought by The National Gallery London in 1981.

We must say that in our opinion this acquired version could possibly be another work from Reynolds studio and possibly an earlier reduced sample to his larger painting of Garrick and Eva.

One could also say that this portrait we offer is technically not strictly a copy as the artist has painted Garrick’s Coat with just four large upholstered buttons down the right side of his jacket , where as the larger version in the National Gallery depicts Garrick with five buttons.

Surely the best copyists would not make such a basic mistake had they been carefully producing an accurate copy.

This fact suggests that two versions were produced around the same time 1772 and that the smaller painting we offer for sale may in fact be an earlier sample of the work.

We only suggest this as a sensible analysis but do say our painting is definitely of the correct period around 1772 (late18thc) and that it has been produced by either Reynolds studio under his influence within his Circle or possibly by his studio assistant of many years Giuseppe Marchi.

The smaller version once scaled up would infact look visually incorrect to only have four buttons as the spacing of each button would have increased substantially and would continue to do so if enlarged even further.There are unlikely to be any other quality copies available to purchase,making our fine example a unique opportunity to buy a one off reduced version of one of Reynolds best known works

ABOUT THE SITTERS

David Garrick and Eva Maria Garrick (née Veigel), richly dressed, and conversing in wooded landscape. The painting follows the fashionable convention of the conversation piece, a (usually) small-scale portrait showing two or more people, often out of doors,with the smaller versions being about the same size as a half-length portrait but in horizontal or ''landscape'' format.

Having had their origins in the 17th century Netherlands, they were also very fashionable in Britain in the 18th century.

They are distinguished by their portrayal of the group apparently engaged in genteel conversation or some activity, very often outdoors.

Typically the group will be members of a family, but friends may be included, and some groups are of friends, members of a society or hunt, or some other grouping.

Garrick made his first appearance on the London stage in 1741. His distinguishing characteristic was what Samuel Johnson called his ''universality''. A close friend of Reynolds, he was painted by the artist on several occasions, notably as The Actor torn between Tragedy and Comedy, in 1762. In this portrait by the artist, David and Eva Garrick, the Viennese dancer whom he married in 1749, are depicted in the garden of their country house at Hampton in Middlesex.

Very finely depicted figures and attire. The facial features of the lady (lips, cheeks, nose) are remarkable. The impasto technique with the thickly applied paint is very effective and very beautiful.

Held in an excellent condition swept frame.

SEE IMAGE 11 ORIGINAL IN NATIONAL GALLERY

FRAME SIZE :

Height 32.5” (83cm) Width 40.5” (104cm)

Actual Canvas H28 Ins (71cm) x W36”Ins (91cm)

CONDITION: Very Good Order Throughout / Relined Canvas and Excellent Swept Frame

DELIVERY

UK By Private Courier £80

Worldwide: EU £300 & USA £375

TEL: 07765 856171

Ref: 0709

Physical Dimensions

Height

83cm (32.68")

Width

104cm (40.94")

Depth

6cm (2.36")

Declaration

Mansion House Antiques & Fine Art has dated this Georgian Oil Portrait Painting to the 18th Century.

Reference Numbers

Sellingantiques Reference

SA1174463

Dealers Internal Reference

0709

Dealers Notes

Payments are accepted by Bank Transfer & by Debit / Credit Cards Via the BUY NOW Payment Link Tab shown below each items description.

PAY-PAL Account Holders are welcome. CHEQUES Drawn from UK banks.

Description

“

We must say that in our opinion this acquired version could possibly be another work from Reynolds studio and possibly an earlier reduced sample to his larger painting of Garrick and Eva.

Mansion House Antiques & Fine Art

fig 1. An 18th-century oil painting depicting a seated man in a red jacket and a seated woman in an ornate white dress, set in a gilded frame. — fig 1. Circle of Joshua Reynolds Studio Sample Portrait of David & Eva Maria Garrick 18th National Gallery Oil Paintings

One could also say that this portrait we offer is technically not strictly a copy as the artist has painted Garrick’s Coat with just four large upholstered buttons down the right side of his jacket , where as the larger version in the National Gallery depicts Garrick with five buttons.

fig 2. An 18th-century oil painting depicting a seated man in a red jacket and a seated woman in an ornate white dress, set in a gilded frame. — fig 2. Circle of Joshua Reynolds Studio Sample Portrait of David & Eva Maria Garrick 18th National Gallery Oil Paintings

Surely the best copyists would not make such a basic mistake had they been carefully producing an accurate copy.

This fact suggests that two versions were produced around the same time 1772 and that the smaller painting we offer for sale may in fact be an earlier sample of the work.

fig 3. An 18th-century oil painting depicting a seated man in a red jacket and a seated woman in an ornate white dress, set in a gilded frame. — fig 3. Circle of Joshua Reynolds Studio Sample Portrait of David & Eva Maria Garrick 18th National Gallery Oil Paintings

We only suggest this as a sensible analysis but do say our painting is definitely of the correct period around 1772 (late18thc) and that it has been produced by either Reynolds studio under his influence within his Circle or possibly by his studio assistant of many years Giuseppe Marchi.

fig 4. An 18th-century oil painting depicting a seated man in a red jacket and a seated woman in an ornate white dress, set in a gilded frame. — fig 4. Circle of Joshua Reynolds Studio Sample Portrait of David & Eva Maria Garrick 18th National Gallery Oil Paintings

The smaller version once scaled up would infact look visually incorrect to only have four buttons as the spacing of each button would have increased substantially and would continue to do so if enlarged even further.There are unlikely to be any other quality copies available to purchase,making our fine example a unique opportunity to buy a one off reduced version of one of Reynolds best known works

fig 5. An 18th-century oil painting depicting a seated man in a red jacket and a seated woman in an ornate white dress, set in a gilded frame. — fig 5. Circle of Joshua Reynolds Studio Sample Portrait of David & Eva Maria Garrick 18th National Gallery Oil Paintings

ABOUT THE SITTERS

David Garrick and Eva Maria Garrick (née Veigel), richly dressed, and conversing in wooded landscape. The painting follows the fashionable convention of the conversation piece, a (usually) small-scale portrait showing two or more people, often out of doors,with the smaller versions being about the same size as a half-length portrait but in horizontal or ''landscape'' format.

fig 6. An 18th-century oil painting depicting a seated man in a red jacket and a seated woman in an ornate white dress, set in a gilded frame. — fig 6. Circle of Joshua Reynolds Studio Sample Portrait of David & Eva Maria Garrick 18th National Gallery Oil Paintings

Having had their origins in the 17th century Netherlands, they were also very fashionable in Britain in the 18th century.

They are distinguished by their portrayal of the group apparently engaged in genteel conversation or some activity, very often outdoors.

fig 7. An 18th-century oil painting depicting a seated man in a red jacket and a seated woman in an ornate white dress, set in a gilded frame. — fig 7. Circle of Joshua Reynolds Studio Sample Portrait of David & Eva Maria Garrick 18th National Gallery Oil Paintings

Typically the group will be members of a family, but friends may be included, and some groups are of friends, members of a society or hunt, or some other grouping.

Garrick made his first appearance on the London stage in 1741. His distinguishing characteristic was what Samuel Johnson called his ''universality''. A close friend of Reynolds, he was painted by the artist on several occasions, notably as The Actor torn between Tragedy and Comedy, in 1762. In this portrait by the artist, David and Eva Garrick, the Viennese dancer whom he married in 1749, are depicted in the garden of their country house at Hampton in Middlesex.

fig 8. An 18th-century oil painting depicting a seated man in a red jacket and a seated woman in an ornate white dress, set in a gilded frame. — fig 8. Circle of Joshua Reynolds Studio Sample Portrait of David & Eva Maria Garrick 18th National Gallery Oil Paintings

Very finely depicted figures and attire. The facial features of the lady (lips, cheeks, nose) are remarkable. The impasto technique with the thickly applied paint is very effective and very beautiful.