1810s Art
to
19
517
28
25
6
4
Overall Width
to
Overall Height
to
7,476
21,066
160,116
233,352
1,940
2,227
4,770
6,398
5,824
14,946
20,284
25,512
17,786
13,653
5,305
266
159
1
1
1
322
244
11
484
218
217
207
187
126
100
97
72
56
50
32
20
13
12
12
11
11
11
10
497
88
47
32
22
311
15
14
3
3
42
481
165
37
Period: 1810s
Crypt of St Peter's Church, Oxford engraving by Bluck after Nash for Ackermann
Located in London, GB
To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...
Category
1810s Art
Materials
Aquatint
Landscape near Paris
By Jean-Victor Bertin
Located in BELEYMAS, FR
Jean-Victor Bertin and workshop
(Paris 1767 - 1842)
Landscape of the Île-de-France region
Oil on canvas
H. 38 cm; W. 46 cm
Related work: painting of the same composition held at the...
Category
French School 1810s Art
Materials
Oil, Canvas
Reactions to Death - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Reactions to Death is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind",...
Category
Modern 1810s Art
Materials
Etching
Silhouette - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Silhouette is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", London,...
Category
Modern 1810s Art
Materials
Etching
Orator - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Orator is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", London, Bens...
Category
Modern 1810s Art
Materials
Etching
Magdalen College, Oxford Old Gate engraving by Bluck after Pugin for Ackermann
Located in London, GB
To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...
Category
1810s Art
Materials
Aquatint
Brasenose College, Oxford engraving by Hill after Mackenzie for Ackermann
Located in London, GB
To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...
Category
Realist 1810s Art
Materials
Aquatint
Asklepios and His Followers
Located in Stockholm, SE
This captivating work belongs to Elias Martin’s later period, characterized by his exploration of historical, biblical, and mythological themes. As Mikael Ahlund, Director of the Gus...
Category
Old Masters 1810s Art
Materials
Canvas, Oil
Liber Veritatis - Original B/W Etching after Claude Lorrain - 1815
Located in Roma, IT
Image dimensions: 21 x 27 cm.
Liber Veritatis - Plate 191 is a beautiful black and white etching and aquatint on paper realized by the Italian artist ...
Category
Old Masters 1810s Art
Materials
Etching, Aquatint
The Physiognomy - The Bats - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
The Physiognomy - The Bats is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Lo...
Category
Modern 1810s Art
Materials
Etching
Pair of French Neoclassical oil paintings by Dubost
By Antoine Dubost
Located in London, GB
Pair of French Neoclassical oil paintings by Dubost
French, 1809/11
Frame: Height 70.5cm, width 86cm, depth 9cm
Panel: Height 45cm, width 61c...
Category
Baroque 1810s Art
Materials
Oil, Panel
Portrait of Shakespeare, Sterne and Clarke-Original Etching by T.Holloway - 1810
Located in Roma, IT
Portrait of Shakespeare, L. Sterne and S. Clarke is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowle...
Category
Old Masters 1810s Art
Materials
Etching
Flowering Lyons' Chelone Botanical: A 19th C. Hand-colored Engraving by Curtis
Located in Alamo, CA
This early 19th century hand-colored double fold-out botanical engraving is entitled "Chelone Major" (Flowering Lyons' Chelone plant), plate 1864, published in London in 1816 in Will...
Category
Naturalistic 1810s Art
Materials
Engraving
View of the Silla oil Caracas - Etching by Louis Bouquet - 1814
Located in Roma, IT
Etching realized by Louis Bouquet after Hamboldt.
not signed.
Very good condition.
Category
Modern 1810s Art
Materials
Etching
Portrait of Woman - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Portrait of Woman is an original artwork realized by Thomas Holloway (1748 - 1827).
Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge a...
Category
Old Masters 1810s Art
Materials
Etching
Red Doyenne Pear: Original 19th C. Hand-colored Engraving by Sir William Hooker
Located in Alamo, CA
This is an original 19th century hand-colored stipple engraving by William Hooker entitled "The Red Doyenne Pear", published in London as plate 14 in the 'Transactions of the Horticu...
Category
Naturalistic 1810s Art
Materials
Engraving
Portrait of Robert Arnauld - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Portrait of Robert Arnauld is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Lo...
Category
Modern 1810s Art
Materials
Etching
The Surviving - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
The Surviving is an original etching artwork realized by Thomas Holloway after P. Mignard for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and th...
Category
Modern 1810s Art
Materials
Etching
Heads of Birds - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Heads of birds is an original artwork realized by Thomas Holloway (1748 - 1827).
Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and t...
Category
Old Masters 1810s Art
Materials
Etching
Assaut - Lithograph by Auguste Raffet - 1837
Located in Roma, IT
Assaut is a Lithograph realized by Auguste Raffet in 1837.
Signed in the plate.
Good condition with foxing.
Category
Modern 1810s Art
Materials
Lithograph
Ruins - Lithograph by Auguste Raffet - 1832
Located in Roma, IT
Ruins is a Lithograph realized by Auguste Raffet in 1832
Signed in the plate.
Good condition with foxing.
Category
Modern 1810s Art
Materials
Lithograph
Silhouette - Etching by Thomas Holloway - 1810
Located in Roma, IT
Silhouette is an etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Love of Mankind", London, ...
Category
Modern 1810s Art
Materials
Etching
Set of Four Stipple Engravings from "Drawings by Hans Holbein" /// Henry VIII
By Hans Holbein
Located in Saint Augustine, FL
Artist: (after) Hans Holbein (the Younger) (German-Swiss, c. 1497-1543)
Title: "Catherine Howard Queen", "Jane Seymour Queen", "Anna Bollein Queen", a...
Category
Old Masters 1810s Art
Materials
Engraving, Intaglio
Gate of Christ Church, Oxford engraving by Reeves after Mackenzie for Ackermann
Located in London, GB
To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...
Category
Realist 1810s Art
Materials
Aquatint
RELOJ SOBREMESA IMPERIO - BRONCE DORADO AL MERCURIO - FRANCIA 1810-15
Located in Sant Celoni, ES
Reloj Imperio; Imperio; Francia, c. 1810-15.
Bronce dorado al mercurio.
Medidas: 48 x 33 x 12 cm.
La pieza ha sido concebida a través de un concepto escultórico característico de est...
Category
1810s Art
Materials
Bronze
Portrait of the Rustick Socrates - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Portrait of the Rustick Socrates Kleinjogg is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Know...
Category
Modern 1810s Art
Materials
Etching
The River Barge
By David Cox
Located in Fairlawn, OH
The River Barge
Pen and ink on paper on laid paper, mounted in English drum mount , c. 1810
Unsigned
Condition: Slight sun staining to sheet and mount in the window (see photo)
Image/sheet size: 5 1/4 x 6 11/16 inches
Sight: : 5-3/4 x 7-1/4"
Frame: 13-3/8 x 14-3/8"
Provenance: Colnaghi, London (see photo of label)
David Cox (29 April 1783 – 7 June 1859) was an English landscape painter, one of the most important members of the Birmingham School of landscape artists and an early precursor of Impressionism.
He is considered one of the greatest English landscape painters, and a major figure of the Golden age of English watercolour.
Although most popularly known for his works in watercolour, he also painted over 300 works in oil towards the end of his career, now considered "one of the greatest, but least recognised, achievements of any British painter.
His son, known as David Cox the Younger (1809-1885), was also a successful artist.
Early life in Birmingham, 1783–1804
Cox's birthplace in Deritend, Birmingham, illustrated by Samuel Lines
Cox was born on 29 April 1783 on Heath Mill Lane in Deritend, then an industrial suburb of Birmingham. His father was a blacksmith and whitesmith about whom little is known, except that he supplied components such as bayonets and barrels to the Birmingham gun trade. Cox's mother was the daughter of a farmer and miller from Small Heath to the east of Birmingham. Early biographers record that "she had had a better education than his father, and was a woman of superior intelligence and force of character." Cox was initially expected to follow his father into the metal trade and take over his forge, but his lack of physical strength led his family to seek opportunities for him to develop his interest in art, which is said to have first become apparent when the young Cox started painting paper kites while recovering from a broken leg.
By the late 18th century Birmingham had developed a network of private academies teaching drawing and painting, established to support the needs of the town's manufacturers of luxury metal goods, but also encouraging education in fine art, and nurturing the distinctive tradition of landscape art of the Birmingham School. Cox initially enrolled in the academy of Joseph Barber in Great Charles Street, where fellow students included the artist Charles Barber and the engraver William Radclyffe, both of whom would become important lifelong friends.
At the age of about 15 Cox was apprenticed to the Birmingham painter Albert Fielder, who produced portrait miniatures and paintings for the tops of snuffboxes from his workshop at 10 Parade in the northwest of the town. Early biographers of Cox record that he left his apprenticeship after Fielder's suicide, with one reporting that Cox himself discovered his master's hanging body, but this is probably a myth as Fielder is recorded at his address in Parade as late as 1825. At some time during mid-1800 Cox was given work by William Macready the elder at the Birmingham Theatre, initially as an assistant grinding colours and preparing canvases for the scene painters, but from 1801 painting scenery himself and by 1802 leading his own team of assistants and being credited in plays' publicity.
London, 1804–1814
In 1804 Cox was promised work by the theatre impresario Philip Astley and moved to London, taking lodgings in 16 Bridge Row, Lambeth. Although he was unable to get employment at Astley's Amphitheatre it is likely that he had already decided to try to establish himself as a professional artist, and apart from a few private commissions for painting scenery his focus over the next few years was to be on painting and exhibiting watercolours. While living in London, Cox married his landlord's daughter, Mary Agg and the couple moved to Dulwich in 1808.
David Cox Travellers on a Path, pencil and brown wash.
In 1805 he made his first of many trips to Wales, with Charles Barber, his earliest dated watercolours are from this year. Throughout his lifetime he made numerous sketching tours to the Home Counties, North Wales, Yorkshire, Derbyshire and Devon.
Cox exhibited regularly at the Royal Academy from 1805. His paintings never reached high prices, so he earned his living mainly as a drawing master. His first pupil, Colonel the Hon.H. Windsor (the future Earl of Plymouth) engaged him in 1808, Cox went on to acquire several other aristocratic and titled pupils. He also went on to write several books, including: Ackermanns' New Drawing Book (1809); A Series of Progressive Lessons (1811); Treatise on Landscape Painting (1813); and Progressive Lessons on Landscape (1816). The ninth and last edition of his series Progressive Lessons, was published in 1845.
By 1810 he was elected President of the Associated Artists in Water Colour. In 1812, following the demise of the Associated Artists, he was elected as associate of the Society of Painters in Water Colour (the old Water Colour Society). He was elected a Member of the Society in 1813, and exhibited there every year (except 1815 and 1817) until his death.
Hereford, 1814–1827
In the summer of 1813 Cox was appointed as the drawing master of the Royal Military College in Farnham, Surrey, but he resigned shortly afterwards, finding little sympathy with the atmosphere of a military institution. Soon after that he applied to a newspaper advertisement for a position as drawing master for Miss Crouchers' School for Young Ladies in Hereford and in Autumn 1814 moved to the town with his family. Cox taught at the school in Widemarsh Street until 1819, his substantial salary of £100 per year requiring only two-day's work per week, allowing time for painting and the taking of private pupils.
Cox's reputation as both a painter and a teacher had been building over previous years, as indicated by his election as a member of the Society of Painters in Water Colours and his inclusion in John Hassell's 1813 book Aqua Pictura, which claimed to present works by "all of the most approved water coloured draftsmen". The depression that accompanied the end of the Napoleonic Wars had caused a contraction in the art market, however, and by 1814 Cox had been very short of money, requiring a loan from one of his pupils to pay even for the move to Hereford. Despite its financial advantages and its proximity to the scenery of North Wales and the Wye Valley, the move to Hereford marked a retreat in terms of his career as a painter: he sent few works to the annual exhibition of the Society of Painters in Water Colours during his first years away from London and not until 1823 would he again contribute more than 20 pictures.
Between 1823 and 1826 he had Joseph Murray Ince as a pupil.
London, 1827–1841
He made his first trip to the Continent, to Belgium and the Netherlands in 1826 and subsequently moved to London the following year.
He exhibited for the first time with the Birmingham Society of Artists in 1829, and with the Liverpool Academy in 1831. In 1839, two of Cox's watercolours were bought from the Old Water Colour Society exhibition by the Marquis of Conynha for Queen Victoria.
Birmingham, 1841–1859
Greenfield House in Harborne, Birmingham – where Cox lived from 1841 until his death in 1859 .
In May 1840 Cox wrote to one of his Birmingham friends: "I am making preparations to sketch in oil, and also to paint, and it is my intention to spend most of my time in Birmingham for the purpose of practice". Cox had been considering a return to painting in oils since 1836 and in 1839 had taken lessons in oil painting from William James Müller, to whom he had been introduced by mutual friend George Arthur Fripp. Hostility between the Society of Painters in Water Colours and the Royal Academy made it difficult for an artist to be recognised for work in both watercolour and oil in London, however, and it is likely that Cox would have preferred to explore this new medium in the more supportive environment of his home town. By the early 1840s his income from sales of his watercolours was sufficient to allow him to abandon his work as a drawing master, and in June 1841 he moved with his wife to Greenfield House in Harborne, then a village on Birmingham's south western outskirts. It was this move that would enable the higher levels of freedom and experimentation that were to characterise his later work.
The elderly Cox pictured by Samuel Bellin in 1855.
In Harborne, Cox established a steady routine – working in watercolour in the morning and oils in the afternoon. He would visit London every spring to attend the major exhibitions, followed by one or more sketching excursions, continuing the pattern that he had established in the 1830s. From 1844 these tours evolved into a yearly trip to Betws-y-Coed in North Wales to work outdoors in both oil and watercolour, gradually becoming the focus for an annual summer artists colony that continued until 1856 with Cox as its "presiding genius".
Cox's experience of trying to exhibit his oils in London was short and unsuccessful: in 1842 he made his only submission to the Society of British Artists; one oil painting was exhibited at each of the British Institution and the Royal Academy in 1843; and two oil paintings were exhibited at the Royal Academy in 1844 – the last that would be exhibited in London during his lifetime.
Cox showed regularly at the Birmingham Society of Arts and its successor, the Birmingham Society of Artists, becoming a member in 1842.
Cox suffered a stroke on 12 June 1853 that temporarily paralysed him, and permanently affected his eyesight, memory and coordination.
By 1857 however, his eyesight had deteriorated. An exhibition of his work was arranged in 1858 by the Conversazione Society Hampstead, and in 1859 a retrospective exhibition was held at the German Gallery Bond Street, London. Cox died several months later. He was buried in the churchyard of St Peters, Harborne, Birmingham, under a chestnut tree, alongside his wife Mary.
Work
Early work
In the spring of 1811 Cox made a small number of notable works in oils during a visit to Hastings with his family. It is not known why he didn't continue working in this medium at the time, but the five known surviving examples were described in 1969 as "surely some of the most brilliant examples of the genre in England".
Mature work
Cox reached artistic maturity after his move to Hereford in 1814. Although only two major watercolours can confidently be traced to the period between Cox's arrival in the town and the end of the decade, both of these – Butcher's Row, Hereford of 1815 and Lugg Meadows, near Hereford of 1817 – mark advances on his earlier work.
Later work
Cox's later work produced after his move to Birmingham in 1841 was marked by simplification, abstraction and a stripping down of detail. His art of the period combined the breadth and weight characteristic of the earlier English watercolour school, together with a boldness and freedom of expression comparable to later impressionism. His concern with capturing the fleeting nature of weather, atmosphere and light was similar to that of John Constable, but Cox stood apart from the older painter's focus on capturing material detail, instead employing a high degree of generalisation and a focus on overall effect.
The quest for character over precision in representing nature was an established characteristic of the Birmingham School of landscape artists with which Cox had been associated early in his life, and as early as 1810 Cox's work had been criticised for its "sketchiness of finish" and "cloudy confusion of objects", which were held to betray "the coarseness of scene-painting". During the 1840s and 1850s Cox took this "peculiar manner" to new extremes, incorporating the techniques of the sketch into his finished works to a far greater degree.
Cox's watercolour technique of the 1840s was sufficiently different from his earlier methods to need explanation to his son in 1842, despite the fact that his son had been helping him teach and paint since 1827. The materials used for his later works in watercolour also differed from his earlier periods: he used black chalk instead of graphite pencil as his primary drawing medium, and the rough and absorbent "Scotch" wrapping paper for which he became well-known – both of these were related to his development of a rougher and freer style.
Influence and legacy
By the 1840s Cox, alongside Peter De Wint and Copley Fielding, had become recognised as one of the leading figures of the English landscape watercolour style of the first half of the 19th century. This judgement was complicated by reaction to the rougher and bolder style of Cox's later Birmingham work, which was widely ignored or condemned. While by this time De Wint and Fielding were essentially continuing in a long-established tradition, Cox was creating a new one.
A group of young artists working in Cox's watercolour style emerged well before his death, including William Bennett, David Hall McKewan and Cox's son David Cox Jr. By 1850 Bennett in particular had become recognised as "perhaps the most distinguished among the landscape painters" for his Cox-like vigorous and decisive style. Such early followers concentrated on the example of Cox's more moderate earlier work and steered clear of what were then seen as the excesses of Cox's later years. During a period dominated by sleek and detailed picturesque landscape, however, they were still condemned by publications such as The Spectator as "the 'blottesque' school", and failed to establish themselves as a cohesive movement.
John Ruskin in 1857 condemned the work of the Society of Painters in Water-colours as "a kind of potted art, of an agreeable flavour, suppliable and taxable as a patented commodity", excluding only the late work of Cox, about which he wrote "there is not any other landscape which comes near these works of David Cox in simplicity or seriousness".
An 1881 book, A Biography of David Cox: With Remarks on His Works and Genius, was based on a manuscript by Cox's friend William Hall, edited and expanded by John Thackray Bunce, editor of the Birmingham Daily Post.
There are two Blue Plaque memorials commemorating him at 116 Greenfield Road, Harborne, Birmingham, and at 34 Foxley Road, Kennington, London, SW9, where he lived from 1827. It can also be seen at the David Cox exhibition in Birmingham.
His pupils included Birmingham architectural artist, Allen Edward...
Category
Romantic 1810s Art
Materials
Ink
King's College, Cambridge engraving by Havell for Ackermann
Located in London, GB
To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...
Category
Realist 1810s Art
Materials
Aquatint, Engraving
A Drunk Man - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
A Drunk Man is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the...
Category
Modern 1810s Art
Materials
Etching
Group of Carnations from Temple of Flora
Located in New York, NY
"Group of Carnations" by Dr. Robert Thornton from the quarto edition of "Temple of Flora." London, 1812. Mixed media engraving (aquatint, mezzotint, co...
Category
1810s Art
Materials
Paper
Noses - The Physiognomy - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Thomas Holloway, Noses, original Etching, 1810. The Physiognomy - The Noses is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiogn...
Category
Modern 1810s Art
Materials
Etching
Portrait of Cardinal Guido Bentivoglio - Original Etching by T. Holloway - 1810
Located in Roma, IT
Portrait of Bentivoglio is an original artwork realized by Thomas Holloway (1748 - 1827).
Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the Knowle...
Category
Old Masters 1810s Art
Materials
Etching
Portrait - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
The Physiognomy - The Portrait is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and th...
Category
Modern 1810s Art
Materials
Etching
Attention - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Attention is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Love of Mankind", L...
Category
Modern 1810s Art
Materials
Etching
Portrait of Quesnoy - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Portrait of Quesnoy is an original artwork realized by Thomas Holloway (1748 - 1827).
Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge ...
Category
Old Masters 1810s Art
Materials
Etching
Profiles - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Profiles is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", London, B...
Category
Modern 1810s Art
Materials
Etching
The Physiognomy - Etching by Thomas Trotter - 1810
Located in Roma, IT
The Portrait is an original etching artwork realized by Thomas Trotter for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Love of Mankind",...
Category
Modern 1810s Art
Materials
Etching
The Physiognomy - The Ears - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
The Physiognomy - The Ears is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Lo...
Category
Modern 1810s Art
Materials
Etching
Architectural Details of St Albans Cathedral (1810), engraving by James Basire
Located in London, GB
James Basire & John Carter
Architectural details of St Albans Cathedral
Engraving
62 x 46 cm
This engraving was originally published by the Society of Antiquaries of London, an ...
Category
Realist 1810s Art
Materials
Engraving
“View of Pyramid Cestius, Rome”
Located in Southampton, NY
Brown ink and wash drawing with touches of watercolor and gouache by the French artist, Francois-Marius Granet. Signed lower left. Condition: Good. Provenance: Christie’s London sale 1993. Matted but unframed.
The Pyramid of Cestius (in Italian, Piramide di Caio Cestio or Piramide Cestia...
Category
Academic 1810s Art
Materials
Ink, Paper, Watercolor, Gouache
$5,200 Sale Price
20% Off
Salomé - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Salomé is an original etching on paper realized by Thomas Holloway After H. Fussli in 1810.
Good Conditions.
The Artwork is Depicted through strong strokes in a well-balanced compo...
Category
Modern 1810s Art
Materials
Etching
Profiles - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Profiles is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Love of Mankind", Lo...
Category
Old Masters 1810s Art
Materials
Etching
Brabant Apple: A 19th Century Hand-colored Engraving by Augusta Innes Withers
By Augusta Innes Withers
Located in Alamo, CA
This early 19th century hand-colored stipple engraving by Augusta Innes Withers entitled "The Brabant Bellefleur Apple" was plate 10 published in London in the 'Transactions of the H...
Category
Naturalistic 1810s Art
Materials
Engraving
Portrait of S. John - Original Etching by Heinrich Fuseli - 1810
By Heinrich Fuseli
Located in Roma, IT
Portrait of S. John is an original artwork realized by Heinrich Fuseli (1741 - 1825).
Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge ...
Category
Old Masters 1810s Art
Materials
Etching
Jesus College, Cambridge 1815 engraving by Joseph Stadler for Ackermann
Located in London, GB
To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want.
Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850)
Jesus College...
Category
Realist 1810s Art
Materials
Aquatint
Daily Life Scene - Etching by Thomas Holloway - 1810
Located in Roma, IT
Daily life scene is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge a...
Category
Modern 1810s Art
Materials
Etching
Queens' College, Cambridge bridge engraving by Stadler after Westall
Located in London, GB
To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...
Category
Realist 1810s Art
Materials
Engraving, Aquatint
Portrait of Woman - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Portrait of Woman is an original artwork realized by Thomas Holloway (1748 - 1827).
Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", London, Bensley, 1810.
A the bottom center the name of the man portrayed "an angelic Woman...
Category
Old Masters 1810s Art
Materials
Etching
The English Dance of Death - The Dance of Life by Thomas Rowlandson - 1810s
Located in Roma, IT
The English dance of death - The dance of life is an original pair of rare and fine books written by William Combe (25 March 1742 – 19 June 1823) and illustrated by Thomas Rowlandson (13 July 1757 – 21 April 1827) in 1816/1817.
Original First Edition.
Published by Ackermann, London.
Format: in 8°. The dimensions of the book are indicative. The book includes 3 volumes with 295 + 299 + 285 pages.
2 frontispieces and 96 handcolored etchings.
252 pages and 26 handcolored aquatints.
Good conditions.
Thomas Rowlandson (13 July 1757 – 21 April 1827), he was an English artist and caricaturist of the Georgian Era, noted for his political satire and social observation. A prolific artist and printmaker, Rowlandson produced both individual social and political satires, as well as large number of illustrations for novels, humorous books, and topographical works. Like other caricaturists of his age such as James Gillray, his caricatures are often robust or bawdy. Rowlandson also produced highly explicit erotica for a private clientele; this was never published publicly at the time and is now only found in a small number of collections. His caricatures included those of people in power such as the Duchess of Devonshire, William Pitt the Younger and Napoleon Bonaparte.
William Combe (25 March 1742 – 19 June 1823) was a British miscellaneous writer. His early life was that of an adventurer, his later was passed chiefly within the "rules" of the King's Bench Prison. He is chiefly remembered as the author of The Three Tours of Doctor Syntax...
Category
Modern 1810s Art
Materials
Paper, Etching, Aquatint
Portrait of a Man - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Portrait of a man is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", L...
Category
Old Masters 1810s Art
Materials
Etching
Queens' College, Cambridge hall engraving by Bluck after Pugin for Ackermann
Located in London, GB
To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...
Category
1810s Art
Materials
Aquatint
Caricature of Lord Anson - Etching by Thomas Holloway - 1810
Located in Roma, IT
Caricature of Lord Anson is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Love...
Category
Modern 1810s Art
Materials
Etching
Ballo di Sposi Ciociari - Etching by Bartolomeo Pinelli - 1820
Located in Roma, IT
Ballo di sposi ciociari is a beautiful artwork realized by Bartolomeo Pinelli in 1820.
Etching and Watercolor tecnique. In Good condition, worn paper on the marginal line and some l...
Category
Realist 1810s Art
Materials
Etching
Profile of Woman - Original Pencil Drawing - 1818
Located in Roma, IT
Profile of a Woman is original drawing realized by unknown artist of the early 19th Century.
Dated on the lower 1818 and with description in pencil on the lower left.
Pencil drawin...
Category
Modern 1810s Art
Materials
Paper, Pencil
Narciso and Echo - B/W Etching after Claude Lorrain - 1815
Located in Roma, IT
Beautiful Artist’s Proof, representing the myth of Narcissius and the nymph Eco, draw by "the Metamorphosis" by Publio Ovidio Nasone.
This aquatint, by Ludovico Caracciolo (engraver...
Category
Old Masters 1810s Art
Materials
Etching, Aquatint
Portrait - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Portrait is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Love of Mankind", Lo...
Category
Modern 1810s Art
Materials
Etching
Grape Harvesters at Rest - Etching by Bartolomeo Pinelli - 1819
Located in Roma, IT
Grape Harvesters at Rest is original Hand-colored etching artwork realized by Bartolomeo Pinelli in 1819.
Signed by the artist on the plate, dated lower left"Roma, 1819", titled in ...
Category
Modern 1810s Art
Materials
Etching
Customs of Trastevere (Rome) - Etching by Bartolomeo Pinelli - 1819
Located in Roma, IT
Hand-watercolored Etching, 1819,
Image Dim: cm 28 x 20, Dim: cm 29x41.
Etching and Watercolor technique. In Good condition. Signed and dated on plate lower margin "Pinelli dis. e ...
Category
Realist 1810s Art
Materials
Etching
Heads of Women - Original Etching by Thomas Holloway - 1810
Located in Roma, IT
Heads of women is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", Lon...
Category
Modern 1810s Art
Materials
Etching
Scene from the Gospel - Original Etching by Philip Audinet - 1810
Located in Roma, IT
Scene from the Gospel is an original artwork realized by Philip Audinet for J.C. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", London,...
Category
Modern 1810s Art
Materials
Etching