1820s Art

"Uditore di Rota con Croce Papale" is an Artwork realized in 1827 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and dat...

Watercolour on ivory colored paper, 1820 c.a.. Hand titled and signed. Representing brigand. Very good conditions. Very beautiful and good quality watercolour both for the drawing a...

Watercolour on ivory colored paper, 1820 c.a. Representing a woman in typical Italian costumes of XIX century. Good conditions with burnished margins and some stains. Very beautiful...

Costume di Chieuti-Albanesi, 1820 c.a. Watercolour on ivory colored paper, 1820 c.a.. Hand-titled "Costume di Chieuti-Albanesi", with autograph caption black ink "Provincia di Basili...

Abraham COOPER Canvas Size: 28 x 36" (70 x 90cm) Outside Frame Size: 38 x 46" (95 x 115cm) A fantastic example of Cooper's work. A piece on a grand s...

Artist: William Roscoe (English, 1753-1831) Title: "Phrynium Myrosma", "Costus Maculatus", and "Kaempferia Galanga (Aromatic Ginger)" Portfolio: Monandrian Plants of the order Scitam...

Artist: Samuel Rush Meyrick (English, 1783-1848) Title: "John Duke of Somerset" (Vol. 2, Plate XLIX - 49) Portfolio: A Critical Inquiry into Antient Armour Year: 1824 (First edition)...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Full Title: Piazza di Palestrina costruita sulle rovine del famoso Tempio della Fortuna Prenestina Image dimensions: 41 x 52 cm. From the collection “Le antichità de’ contorni di R...

Original engraving, printed in color and finished by hand. Paris, ca. 1820.

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Amazing watercolor on paper of the Costume di Carafagreci realized by the artist Michela De Vito in 1820 ca. Hand-titled "Costume di Carafagreci", with autograph notes in black ink ...

Watercolour on paper, 1820 c.a. Hand-titled "Uomo del Paese di Carafa Greci" (Man of Carafa Greci town), with the caption "Provincia Contado di Molise". Hand-signed on lower-right m...

Artist: Pierre Corneille Van Geel (Flemish, 1796-1838) Title: "Iris" Portfolio: Sertum Botanicum Year: 1828 (First edition) Medium: Original Hand-Colored Lithograph on wove paper Lim...

Watercolour on ivory colored paper 1820 c.a. Very good quality watercolour representing a penitent nun. Hand-titled black ink on lower margin at the center. Near perfect conditions ...

Lithograph on wove paper, realized in 1828. Signed in the plate. Light foxing throughout, slightly heavier on the margins; faint handling creases; image impression clean and well-p...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Thomas Churchyard 1798-1865, was an English painter and Lawyer. Churchyard was predominantly a landscape painter in oil and watercolour, however he was educated at the same school as...

Utagawa Kunisada (Toyokuni III) Omori Hikoshichi, 1820 Oban Sheet size 36.5 x 24.5 cm A young 'innocent' woman has persuaded a warrior (Omori Hikoshichi, a samurai from the 14th c...

Robert Frain active 1829-1877, was a Scottish painter. There is very little biographical information regarding Frain, however he was active in the first quarter to the third quarter ...

Francois Grenier de Saint Martin (1793-1867) A Young Lady on the beach, 1829, signed and dated on the lower left watercolor on paper 17 x 19.5 cm F...

"Coppiere del Papa" is an Artwork realized in 1829 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and dated on the right...

The Marshal of the Conclave is an Artwork realized in 1829 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and dated on t...

Artist: John Latham (English, 1740-1837) Titles: "New-Zealand Plover" (Plate CLIV - 154), "Nilid Grosbeak" (Plate XC - 90), "Black-throated Bunting" (Plate XCII - 92), and "Variegated Chatterer" (Plate LXXXV - 85) Portfolio: A General History of Birds Year: 1821-1828 (second edition) Medium: Set of Four Original Hand-Colored Engravings on wove paper Limited edition: Unknown Printer: Jacob & Johnson, Winchester, UK Publisher: John Latham, Winchester, UK Sheet size (each): approx. 11.13" x 8.75" Image size (each): approx. 4.75" x 4.5" Reference: Brunet III, 872; Lowndes II, page 1314; Fine Bird Books page 87; Nissen IVB 532; Zimmer page 376 Condition: "New-Zealand Plover" has some light offsetting and a few faint areas of discoloration at top in margin. "Nilid Grosbeak" has some faint areas of discoloration. They are all otherwise in excellent condition with strong colors Rare Notes: Provenance: acquired from Christie's, New York, NY, December 19, 1990. Comes from Latham's famous eleven volume portfolio "A General History of Birds" (1821-1828) (second edition), which consists of 193 hand-colored prints, made from engraved plates. "New-Zealand Plover" has an unidentified "1823" watermark lower right. Biography: John Latham (27 June 1740 – 4 February 1837) was an English physician, naturalist and author. His main works were A General Synopsis of Birds (1781–1801) and General History of Birds (1821–1828). He was able to examine specimens of Australian birds...

Inari Kozo Tasaburo- Kabuki Color woodcut, c. 1820 Signed: ‘Toyokuni’ Publisher: ‘Yamamoto Heikichi’ Censor: Hama and Magome Very good impression and color Sheet/Image size: 15 1/2 x...

French Romantic School beginning of the 19th Century View of Ariccia, 1828 located and dated, "Ariccia 1828" on the lower right Pencil on paper 23 x 35...

Oil on canvas Shooting by the woods by Chapman Bayley (1818-1832) Early 19th Century gent standing by the woods with his two dogs shooting. Signed by the artist in original frame. Ch...

Title: Sho'onko Ryoho 小溫侯呂方 (Lu Fang) form Series: Tsuzoku Suikoden goketsu hyakuhachinin no hitori 通俗水滸傳濠傑百八人一個 (One of the 108 Heroes of the Popular Water Margin) Utagawa...

Simulacro Di Diana is an original print realized by Giovanni Folo After Agostino Tofanelli. Original etching on copper. Hand-colored on black ink background. Designed by Agostino Tofanelli and engraved by Giovanni Foto (as printed on plate on lower right). Original title: Simulacro Di Diana detto volgarmente la ZIngarella Included frame: 60 x 50 cm From "Illustrazioni de'Monumenti scelti Borghesiani già esistenti nella Villa sul Pincio (..)date ora per la prima volta in luce dal cav. Gio. Gherardo De Rossi e da Stefano Piale sotto la guida di Vincenzo Feoli.", by Ennio Quirino Visconti, published in Rome, 1821. It deals with two volumes of engravings showing the main antique monuments or statues collected by the Prince Borghese in his Villa in Pincio Hill. Remarkable contemporary artists like Luigi Cunego, Gio. Batta Leonetti, Pietro Bettelini, Gio. Brunetti, Giovanni Ottaviani, Angelo Campanella, Pietro Fontana contributed. Drawings are, above all, by Agostino Tofanelli, Bernardino Nocchi, Domenico de Angelis, Teodoro Matteini. Giovanni Folo Veneto (Bassano, 1764 – Rome 1836) Giovanni Folo Veneto was an Italian engraver of the Neoclassic period, active in Italy. He studied with Giulio Golini and G.B. Mengardi in Venice. In 1781 he moved to Rome to study with Giovanni Volpato, but later he followed the style of the Volpato's pupil, Raffaello Morghen...

“Agrippina Giovane” (The young Agrippina) is an original etching realized by A. Tofanelli and A. Mochetti. Image Dim: cm 48x33, Dim: cm 59x44; Passepartout Dim: cm 69 x 49. Precious Etching on copper: Hand-colored subject on black ink bottom. Designed by Agostino Tofanelli and engraved by Alessandro...

The original artwork Monaca della Sapienza is a beautiful watercolour on ivory-colored paper made by the virtuous artist Michela De Vito in 1820 ca. Hand-titled "Monaca della Sapien...

Watercolour on ivory colored paper, 1820 c.a. Wonderful watercolour both for the drawing and for the fineness of the colours representing a woman in typical Italian costumes of XIX ...

Watercolour on paper stuck on ivory colored cardboard, 1820 c.a. Hand-titled "Costume di Procida" with a caption "Provincia di Napoli" in black ink on lower margin. Partially hand-signed on lower-right margin. Representing a woman with baby...

The  Swiss Guard is an Artwork realized in 1828 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and dated on the right ma...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Print Sz: 16 1/2"H x 20 1/2"W Frame Sz: 24 1/2"H x 28 1/4"W Published by S & J Fuller Aquatint engraving by Mr. Sutherland Barefoot (1820–1840) was a British Thoroughbred racehor...

This lovely British Old Master portrait oil painting is attributed to circle of Sir Thomas Lawrence. Painted circa 1820 it is a seated portrait of a young girl in a white dress with ...

This superb British Old Master portrait oil painting is attributed to circle of Thomas Lawrence and is surely by a very experienced hand. Painted circa 1820 the composition is a half...

Rapidly executed with the tip of a brush, this wash bordering on abstraction seduced us with its great spontaneity. This (unsigned) study is a first thought for a small licentious ca...

Hight brow couple having relationship issues rendered in a black and white stylized Art Deco fashion. In pencil the caption reads "Are you willing to divorce your wife the minute sh...

Théodore Géricault, 'Garçon donnant l'avoine à un cheval dételé' (Boy Giving Oats to a Hitched Horse), lithograph, 1822, 2nd state of 2, Delteil 89...

The picture is oil on canvas. The picture is signed. Friedrich Wilhelm Ternite Friedrich Wilhelm Ternite (1786-1871) was a German portrait and miniature painter, as well as a litho...

This striking circa 1820 engraving by Carle Vernet, titled “Cosaque en Bataille” (“Cossack in Battle”), captures the dramatic energy and movement that made Vernet one of the great mi...

Théodore GUDIN Paris 1802 - Boulogne Billancourt 1880 Unloading on the beach Watercolor on paper Signed and dated "T Gudin 1827" bottom left 15 x 23 cm sheet 31.5 x 38 cm framed Bea...

Graphite and watercolor attributed to the well known British artist, Henry Thomas Alken. Circa 1825. Unsigned. Condition: Good. Provenance: Christie’s London, 1993. Matted but presently unframed. Alken was born on 12 October 1785 in Soho, Westminster, and baptised on 6 November at St James's Church, Piccadilly. He was the third son of Samuel Alken, a sporting artist. Two of his brothers were George and Samuel Alken the Younger, also an artist. In 1789, the Alken family moved from Soho to 2, Francis Street East, Bedford Square. Young Henry first studied under his father and then with the miniature painter John Thomas Barber...

This early 19th century etching entitled "Veduta dello scavo del Foro Trajano" was created by Luigi Rossini and included in his publication "Le Antichita Romane" (The Rome of Antiquity), published in Rome in 1823. It depicts the historical victory column of Trajan standing amidst the rubble of broken columns that remain around it. The etching is presented in a black wood frame with a light brown outer mat and a dark brown inner mat. There are several frame abrasions. The print and mats are in very good condition. The frame measures 27" high, 29.07" wide and 0.5" deep. The print is framed and matted in the identical style as the another etching of an ancient Roman landmark, the Piazza Navona, which is also listed on 1stdibs, see item # LU117326144172. The pair would make an attractive display grouping of Roman architecture. A discount is available for purchase of the pair of prints. Luigi Rossini (1790-1857) like his predecessors, Giovanni Piranesi (1720–1778) and Giuseppi Vasi (1710-1782), was an architect and artist. Like Piranesi and Vasi, he wanted to glorify the architecture of ancient Rome, which he felt was deteriorating and needed to be documented. Several of the ruins he illustrated have, in fact, since disappeared leaving only his images as a record of their appearance. His images of the grand edifices of the city dramatically depict the power and glory...

Real Life in London is an original couple of books written by William Combe (25 March 1742 – 19 June 1823) and illustrated by Thomas Rowlandson (13 July 1757 – 21 April 1827) in 1821...

Abraham Johannes Romswinckel (1810-1856) Self-portrait in Indonesian landscape Inscribed Abr. Joh. Romswinckel, geb. Batavia 17 Oct. 1810, overl...

Fine pair of left and right, hand-carved, gessoed and 22-karat gold gilded, Italian presentational angels singing in adoration while in flight. Both have been mounted on custom, Luci...

Théodore Géricault 'Le maréchal flamand' (The Flemish Blacksmith) from the series ‘Etudes, de chevaux lithographiés,’ lithograph, 1822, 2nd state ...

François CARLIER-RUBRECQ (active around 1820-1830) Study of various works of art Oil on canvas H. 50 cm; L. 58.5 cm Signed and dated upper left, countersigned on the stretcher 1825 ...

Recto: two horses, preparatory study for the lithograph "Les Boueux" ("The Muddy Ones") Verso: four studies of horse heads (including two preparatory studies for the watercolor "Plowing in England"), a study of a life guard with the rump of his horse (preparatory to the lithograph "A Party of Life...

Henry Alken hand-colour plate c1820 Hackney Published by T. McLean London Art Sz: 7"H x 9 1/4"W Frame Sz: 11 3/4"H x 14 1/2"W w/ birdseye maple frame

Eugène Devéria (1805-1865) Dona Clarice, 1828 Titled in pencil at the top: “Destouches, the Ambitious and the Indiscreet, Act 3, Scene 9” Signed and dated at the bottom, “Deveria 18...

"Various Himochi" Wagashi Festival Japanese Woodblock Print by Utagawa Toyokuni Rare oversized early 19th century 5-tiered woodblock by Utagawa Ichiyosai Toyokuni, (Japan, 1769-1825), a Japanese lord and wife oversee a sekku festival of food, music, and dolls or toys. '"oshi" is the first day of “Mi (Snake)” in the third month of the lunar calendar. This day, known in modern Japan as the Girls' Festival, originated in China as a form of purification ceremony in which water and drinking peach blossom wine were used to drive away evil. Many kinds of hishi-mochi appear in this picture of hina ningyo (dolls associated with Hinamatsuri, or the Girl’s Day) from Omochae. The custom of eating special dishes at events throughout the year and at milestones in people's lives has existed since ancient times. This paragraph specifically focuses on the annual event called sekku, and life events that involve eating sweets. Joshi is the first day of “Mi (Snake)” in the third month of the lunar calendar. This day, known in modern Japan as the Girls' Festival, originated in China as a form of purification ceremony in which water and drinking peach blossom wine were used to drive away evil. According to the Keiso saijiki, in ancient China, on the third day of the third lunar month, people ate “ryuzetsuhan,” which is the juice of gogyo (Jersey cudweed) mixed with rice flour and nectar. In Japan, there is a record in the Heian period history book Nihon Montoku tenno jitsuroku [839-5] that it was an annual event to make kusamochi using gogyo on the third day of the third month of the lunar calendar, which may have been influenced by Chinese customs. The tradition of eating kusamochi on the third day of the third month of the lunar calendar continued after that. By the Edo period, however, hishimochi had come to be used as a sweet to serve on the third day of the third month. A picture of a hishimochi is included in the Morisada manko , which we mentioned in Part 1. According to it, hishimochi in the Edo period were often three layers of green-white-green instead of the now common red-white-green. However, it is possible to see from our collection that not all hishimochi were made in this way. Omochae published in 1857, is a good example. Omochae is a type of ukiyoe print...