What characterises 18th-century Georgian portraiture?

Georgian portraiture typically features sitters depicted in grand naturalistic landscapes or classical settings, showcasing status through elaborate costume and relaxed poses. Artists frequently employed subtle dramatic lighting and theatrical compositions inspired by European Old Masters.

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

Paintings from this era were rendered using oil pigments ground with linseed or walnut oil on hand-stretched linen canvas. Period frames were constructed from carved timber, layered with gesso, and finished with delicate gold leaf gilding.

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

Authentic works exhibit natural age craquelure across the paint film, hand-forged tacks on the wooden stretcher bars, and visible oxidation on the canvas backing. The reverse side often shows darkened timber oxidation and historical framer labels.

How do you style an 18th-century portrait painting in a modern interior?

A substantial oil portrait acts as an effective focal point when hung above a fireplace mantelpiece, sideboard, or on a deep-toned feature wall. Positioning classical artwork alongside contemporary minimalist furniture creates a balanced, curated interior aesthetic.

How should a fine art oil painting and gilt frame be preserved?

Keep the artwork away from direct sunlight, extreme humidity, and direct heat sources to prevent paint flaking and canvas distortion. Dust the gilded frame lightly with a soft, dry camel-hair brush, avoiding water or chemical cleaning solutions.

for sale €10,355 $11,240

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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: SA1211048
Price: 8850 GBP
Availability: InStock

18th century

For Sale by Mansion House Antiques & Fine Art

Description

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.

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 & USA £375

SEE IMAGE 12 THE ORIGINAL

TEL: 07765 856171

Physical Dimensions

Height

83cm (32.68")

Width

104cm (40.94")

Depth

6cm (2.36")

Declaration

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

Reference Numbers

Sellingantiques Reference

SA1211048

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

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.

Mansion House Antiques & Fine Art

fig 1. An 18th-century style oil painting depicting a seated man in a red velvet coat and a woman in an ivory gown, set in a carved gilt 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 style oil painting depicting a seated man in a red velvet coat and a woman in an ivory gown, set in a carved gilt 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 style oil painting depicting a seated man in a red velvet coat and a woman in an ivory gown, set in a carved gilt 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 style oil painting depicting a seated man in a red velvet coat and a woman in an ivory gown, set in a carved gilt 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 style oil painting depicting a seated man in a red velvet coat and a woman in an ivory gown, set in a carved gilt 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 style oil painting depicting a seated man in a red velvet coat and a woman in an ivory gown, set in a carved gilt 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 style oil painting depicting a seated man in a red velvet coat and a woman in an ivory gown, set in a carved gilt 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 style oil painting depicting a seated man in a red velvet coat and a woman in an ivory gown, set in a carved gilt 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.