Early 1800s Art

English School, circa 1800 Napoleonic Wars Period marine scene with soldiers on a French beach. oil on canvas, framed framed: 10.5 x 13 inches canva...

The Arcadian View Italian School, circa 1800 Grand Tour subject oil on canvas, unframed canvas : 12 x 16 inches provenance: private collection, UK condition: very good and sound cond...

Subject : Ancient Greek vase-painting depicting (left) Europa garlanding the bull, Eros flying between Zeus and Aphrodite, (right) Dionysus, Eros, satyr and maenades, from an Apulian...

Subject : Ancient Greek vase-painting depicting a warrior, seated young man, and young woman. Technique : Copper-line engraving with original hand-colouring Background informatio...

An important and extremely rare pair of Italian landscapes from the Neoclassical period, painted using the refined technique of tempera. They depict views of the Tyrrhenian coast ne...

Oil on Canvas. Signed lower right. Leonardo Roda, a landscape painter from Turin, was known as "the painter of the Matterhorn" because of his numerous depictions of the Alpine peak, ...

French artist, circa 1800 Study of a male nude Oil on canvas Size 24 x 49 cm Frame 34 x 59 cm

English School, circa 1800 Napoleonic Wars Marine Scene oil on canvas, framed framed: 10.5 x 13 inches canvas: 8 x 10 inches private collection, England condition: The painting is i...

Kitagawa Utamaro (1750-1806) Wakamurasaki, Matsukaze ("Young Murasaki" and "Wind in the Pines.") Color woodcut, c. 1800 Signed in the block, Utamaro fude (see photo) Series: Seirō Niwaka Zensei Asobi ( "Popular Entertainment at the Niwaka Festival, Yoshiwara".) (Green Houses) is a poetic term for the pleasure quarters, specifically the Yoshiwara district."Niwaka" refers to amateur theatrical performances and parades held during the Niwaka festival Format: chuban Fresh colors and condition Housed in an 8 ply rag mat with OP3 Acrylic in a rounded corner Hackman 1" metal leaf frame Image size: 9 x 7 inches Frame size: 14-1/4 x 16-7/8 x 3/4" These are names of chapters from the classic 11th-century novel The Tale of Genji (Genji monogatari). The women in the print are likely performing a parody (mitate) or "modern" version of these classic themes. The print depicts two beauties in elaborate costumes, carrying umbrellas and flowers, typical of the processions held during the Niwaka festival in the Yoshiwara. Kitagawa Utamaro (1750-1806) Kitagawa Utamaro is highly appreciated as the dominating ukiyo-e artist of the late eighteenth century. Yet little is known about his life. Neither the precise date of Utamaro's birth, his birthplace, nor any substantial information about his parents are known. Utamaro’s original name was Ichitaro Kitagawa. It is generally agreed that he started his career as a pupil of the painter Toriyama Sekien. His early known works are actor portraits and theater programs, published under the name of Utagawa Toyoaki. In 1781/82 he changed his name to Kitagawa Utamaro. Around 1783 Utamaro started a successful cooperation with the publisher Tsutaya Juzaburo. Together they published several book illustrations. The early works of Utamaro were influenced by Torii Kiyonaga and Harunobu Suzuki...

This is one of Raeburn's best works from his best period, which is not in a museum or private collection. Three-quarter-length portrait, seated in a white dress with a black scarf ov...

Artist: Owen Manning (English, 1721-1801) Title: "Loseley House, The Seat of James More Molyneux Esq." Portfolio: The History and Antiquities of the County of Surrey Year: 1804-1814 ...

Subject : Ancient Greek vase-painting depicting three draped young men and cortege of banqueters from an Attic column krater now in the British Museum. Technique : Copper-line engra...

Early 19th century French School, Portrait of a young man in profile charcoal on cut paper applied to pink tinted paper Oval 58 x 47 cm (overall size) the portrait itself 41.5 x 28...

Subject : Ancient Greek vase-painting depicting two women and two youths from an unidentified vase. Technique : Copper-line engraving with original hand-colouring Background inf...

Claude François Henry PETIT de VILLENEUVE (Paris 1764 – Paris 1820) Portrait of a Priest During His Sermon Oil on canvas H. 83 cm; W. 68 cm Signed bottom center, dated 1808 Exhibiti...

A wonderful Oval oil on canvas portrait of a little girl. Very much in the style of Jean-Baptiste Greuze.

A circa. 1800 engraving by Pierre Gabriel Berthault, "Vue intérieure de Paris prise du milieu du Pont Royal regardant le Pont Neuf". Artwork size: 16 3/8" x 26". Archivally matted...

Olio su tela firmato in basso a destra dall'artista milanese Roberto Fontana, noto per aver iniziato la sua carriera nel romanticismo storico e successivamente affermatosi nella pitt...

Artist: William Curtis (English, 1746-1799) Title: Set of Six Hand-Colored Engravings Portfolio: The Botanical Magazine; or, Flower-Garden Displayed Year: 1803-1819 (Second series) M...

Charcoal and grey wash on paper Image size: 14 3/4 x 13 3/4 inches (37.5 x 36 cm) Hand made gilt frame Provenance Private collection, Washington DC. C.G. Sloan & Co., Sept. 1980. T...

Beauty Otami - Kabuki Note: Kabuki actor Nakamura Matsue is in the role of courtesan otami. She is standing in front of a small tea shop in a garden. Color woodblock, c. 1800-1810 Si...

Rudolph Ackermann (20 April 1764 in Stollberg, Electorate of Saxony – 30 March 1834 in Finchley, London)[1] was an Anglo-German bookseller, inventor, lithographer, publisher and busi...

Disegno matita su carta, 45 x 68 cm; con cornice dorata 72 x 94 cm. La scena si svolge sulla costa, nel punto in cui il mare tempestoso lambisce la terraferma, che si presenta rocci...

This charming portrait is a statement piece for any space. The two elegantly handsome sitters are brother and sister and are accompanied by their loyal dog. With 18th and 19th century British portraiture, it's the sitters' attractiveness that makes a painting desirable and drives price. There are lively brush strokes with impasto in the trees The nameplate identifies the sitters as Robert & Marianne Lawrence-Townsend - The Family of Lawrence-Townsend were originally descendants of the Lawrence Family of Wiltshire who inherited the name Townsend along with an estate, Steanbridge House near Stroud in Gloucestershire. Robert would appear to be the son born in 1797, educated at Eton and Christ Church, Oxford, former Captain in the British Army and who became a Magistrate for Gloucester. Condition is good with some old repairs. painting beckons with vibrancy. Presents very well and is best viewed with a top key light. Private collection and perhaps Phillips Auctioneers New York 1995 per letter. Framed Size 66 x 43.5 x 4 W.R. Peddigrew, Western Cardiff, South Wales Provenance: The Estate of Mrs. Eleanor Goddard Daniels, Worcester, Massachusetts. Sotheby Parke-Bernet, New York, June 1981 The uploaded video on 1stDibs is coming up a bit off color. Refer to the still images for more accurate color Originally this work was attributed to Sir William Beechey...

Edward Donovan (1768–1837) was an Anglo Irish writer, natural history illustrator and amateur zoologist. Born in Cork, Ireland, Donovan was an avid collector of natural history speci...

Edward Donovan (1768–1837) was an Anglo Irish writer, natural history illustrator and amateur zoologist. Born in Cork, Ireland, Donovan was an avid collector of natural history speci...

Artist: William Curtis (English, 1746-1799) Title: Set of Six Hand-Colored Engravings Portfolio: The Botanical Magazine; or, Flower-Garden Displayed Year: 1801-1809 (Second series) M...

Japanese Woodblock print of a Biensennyo-ko a powder face women. Behind the women is a framed cityscape. The print is possibly from the series "Eight Favorite Things in the Modern World". The woodblock print is printed on rice paper. The print is not framed. Artist Biography: Keisai Eisen...

Jean-Henri Cless (1774-1812) Portrait of a young woman in a landscape signed "Cless fec" for fecit on the lower left Brown ink and brown ink wash on paper Size of the sheet : 31.5 x 22 cm Size of the motive : 24.5 x 17 cm very simply framed under glass without actual frame 32 x 22.5 cm This pre...

Subject : Ancient Greek vase-painting depicting young nude man with thyrsus and flowers, opposite two young women with fillet, situla, phiale and thyrsus. Above left, Hercules in Nem...

Charming early 19th century fine quality British oil on board; small painting with a lot going on; subject matter. rural scene of two young boys frolicking on white horseback down by...

US buyers pay no import tariffs on this item. This fine early 19th-century watercolour by British artist Amos Green (1735-1807) depicts an asperous gorge near Ingleton in Yorkshire....

From a series of architectural prints of St George's Chapel; to see some others, scroll down to "More from this Seller" and below it click on "See all from this Seller." Frederick Nash (1782-1856) Drawn and etched Engraved by F C Lewis Arches and Columns London Published by F Nash, No 6 Asylum Buildings, Westminster Road July 12 1804 55x39cm Frederick Nash was born in Lambeth. Initially studying architectural drawing under Thomas Malton he subsequently enrolled at the Royal Academy of Arts. From 1801 to 1809 he worked with the antiquarians John Britton...

John Raphael Smith 1751 - 1812 Portrait of a Young Lady Pastel on paper on canvas stretcher Image size: 9 x 7 inches (23 x 18 cm) Gilt frame

Provenance: Private Collection, Spain. This intriguing and enigmatic sculpture depicts the head of a young African man emerging from a circular opening ...

Oil painting on canvas ( 97 x 72 cm; 116 x 89 cm with gilt wood frame). Title: Portrait of Monsignor Gherardo Federici against the background of the church of Santa Maria Maggiore i...

Artist: William Curtis (English, 1746-1799) Title: "Fritillaria Racemosa Oriental Fritillary (Slender Fritillary)" (Vol. 30, Plate 1216) Portfolio: The Botanical Magazine; or, Flower...

Il dipinto è uno studio piuttosto elaborato e finito della figura del decemviro Appio Claudio, e del suo entourage con i littori, che primeggia nella parte sinistra della monumentale...

A Full-Length Portrait of Nicholas I of Russia in a classical setting. Pietro Labruzzi (1739–1805). 1802.    Signed, located and dated lower left: ‘Pietro Labruzzi Roma Pinx Anno 1802.’ Oil on canvas.   Dimensions:  Unframed: 135.7 x 98.5 cm.; 53½ x 38¾ in. Framed: 151.6 x 115.6 cm.; 59¾ x 45½ in. Description:  Nicholas I (Russian: Nikolay Pavlovich) (1796-1855), Russian Emperor...

Attributed to George Morland. 19th Century English Antique, Two Country farmers drinking beer in a landscape. Wonderful early 19th-century original oil on canvas. A classic 'Morland' composition as the painter was a big fan of English Pub scenes...

George Brrokshaw (1751-1823) Plate LVII, Black Frontiniac Aquatint printed in color on heavy laid paper watermarked J. Whatman 1809 Signed in the plate lower center margin (see photo) From: Pomona Britannica or A Collection of the Most Esteemed Fruits (90 Plates) Published: White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Format: Folio size, 1st edition Printer: Thomas Bensley (active c. 1760-1935) Considered to be a masterpiece of natural history illustration Condition: Excellent Never framed, fresh colors, full margins Image size: 17 3/4 x 13 3/4 inches Sheet size: 21 1/4 x 17 1/8 inches Provenance: W. Russell Button Gallery, Chicago Regerence: Dunthrone: 1938.050 Publication legend lower center: “Painted & Published as the Act Directs by the Author G. Brookshaw” followed by date, varying from 1804 to 1812. Title page credits: “Printed for the author by T. Bensley, Bolt Court, Fleet Street. Published by White, Cochrane and Co. Fleet Street; E. Lloyd, Harley Street; and W. Linsell, Corner of Wigmore Street.” George Brookshaw (1751-1823) (after) from Pomona Britannica; Or, a collection of the most esteemed fruits at present cultivated in this country… selected principally from the Royal Gardens at Hampton Court T. Bensley, London (printer) White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Folio edition Stipple engravings, printed in color, finished by hand 17.5 x 14 inches, plate mark, average approximate 22 x 17 inches, overall, average approximate Pomona Britannica, or a Collection of the Most Esteemed Fruits at present cultivated in the country…selected principally from the royal gardens at Hampton Court…accurately drawn and coloured from nature, with full descriptions was published in London from 1804—1812. Comprising 90 aquatint engravings, including 256 depictions of British fruit, after paintings by George Brookshaw. Published in London and engraved by R. Brookshaw and H. Merke. George Brookshaw (1751—1823) was born in Birmingham, England where he was apprenticed to Samuel Troughton (d. 1783), a Birmingham painter and japanner. According to a recent blog post related to St. Philips Cathedral, Birmingham, England, entitled In Search of Sobieski Brookshaw, by Gill Partridge, he may have received some art training from his father, also named George Brookshaw, who is listed as an engraver in a document dated 1751. George Brookshaw’s brother, Richard Brookshaw (1736—c.1804) was a portrait painter and engraver well versed in mezzotint and copperplate engraving techniques, and may have instructed his brother. In 1777, Brookshaw moved from Birmingham to London and began a celebrated career building fine cabinets detailed with hand-painted botanical and pomological motifs. Shortly afterward, in 1778, he married Sobieski Grice (1749—1811), daughter of William Grice, a prosperous gunsmith.The Prince of Wales was the most distinguished of Brookshaw’s well-heeled patrons, and today examples of Brookshaw’s cabinetry may be seen at the Victoria & Albert Museum, London. According to church records noted in Gill Partridge’s post, both George Brookshaw and Sobieski Grice were baptized at the Birmingham Cathedral. In his cabinet-making shop, Brookshaw also offered lessons in flower painting to ‘Ladies of Taste and Fashion’. During the mid 1790s, it appears his furniture-making business went bankrupt, and he led his life under an assumed name, G. Brown. In 1991, Lucy Wood wrote two articles in which she drew the connection between G. Brown and George Brookshaw. During his years of anonymity, Brookshaw worked as an illustrator of botanical books and gave flower-painting lessons, which may have been his primary source of income. Apparently, the marriage dowry he enjoyed while married to Sobieski Grice was lost after their marriage dissolved. Brookshaw returned to public view as the earliest parts of Pomona Britannica were issued. In Flower and Print Books of the 18th and Early 19th Centuries, Gordon Dunthorne extolls the virtues of George Brookshaw’s large folio edition. “One of the eminent English artists of the early nineteenth century is George Brookshaw, who issued in 1812, Pomona Britannica. Ninety aquatint plates, printed in colour and on a scale comparable to Thornton’s Temple of Flora...

Charming, early 19th century, hand carved, gessoed, and 22-karat gold gilded, polychrome wall plaques featuring nature spirits surrounded by foliate wreaths. Each with wonderful, mis...

The Condition is fair. work has been slightly over-cleaned. A heavy layer of glossy varnish. The surface of the canvas is undulated and most apparent from extreme side view . Yet in...

While the Petit-Palais is hosting the first exhibition dedicated to the artist in Paris in over a century, this replica of the last painting by Jean-Baptiste Greuze, executed by his ...

Oil on Canvas. A 19th-century English school. Half-length portrait of a woman sitting by a window that overlooks a glimpse of a landscape of a an English-style countryside scene; th...

"Pillory, Charing Cross" is an illustration (Plate 62) from "The Microcosm of London", published in London in 1809 by R Ackermann's Repository of Arts. The scene was created by one of the most famous British satirists and caricaturists of the late 18th and early 19th centuries' Georgian Period, Thomas Rowlandson, who drew the figures, while Augustus Charles Pugin drew the architecture. The plate was then created by Hill, Stadler and Bluck using a combination of aquatint and etching and was then hand colored with watercolor. Scenes illustrated in "The Microcosm of London" gives an accurate and often comical view of everyday life in London during the Regency Period of the early 19th century. While Pugin’s excellent architectural drawings capture the size and shape of the exterior as well as the interior of London’s principal buildings, Thomas Rowlandson’s insightful and often whimsical and satirical view of the city's inhabitants depicts the color and vitality of the late Georgian society, both rich and poor alike. This print depicts the "Pillory, Charing Cross", where criminals were brought and placed on display while secure in the stocks, as are seen in this print. A crowd is present in the square jeering at the prisoners. A statue of Charles I on horseback stands atop a very large pillar to the right. Shops with apartments are seen on the left. Young wealthy people frolic around and on a carriage on the right in front of the statue of King...

Artist: William Curtis (English, 1746-1799) Title: "Fritillaria Pyrenaica (Pyrenean Fritillary)" (Vol. 18, Plate 664) Portfolio: The Botanical Magazine; or, Flower-Garden Displayed Y...

An early Devonshire landscape, ex-collection West Collection of British Watercolors & the Fine Art Society, London. Circa 1800 Ink and brown wash on paper, 7 1/8 x 10 1/4 inches (...

Pen and ink with black and brown ink and brown wash on buff wove paper, 10 3/8 x 9 3/8 inches (262 x 232 mm), the full sheet. Signed in brown ink in the lower right image area. In ve...

This framed hand-colored etching and aquatint entitled "A Great Man on The Turf or Sir Solomon in all his Glory" by James Gillray was published in London by Hanna Humphrey, 27 St. James Street on July 7th 1803. The print is signed in the plate in the lower right. It depicts a man, possibly a caricature of the racehorse breeder Sir Solomon. However, there has been some controversy about the identity of the central figure on the mound. Traditionally the man has been thought to represent John Russell, 6th Duke of Bedford...

Wonderful and outstanding example by one of England's known and much-loved 18th and 19th-century painters. Morland was an English painter who became one of the most popular artists o...

Oil on Canvas. At the bottom left, you'll find the signature, date, and title. Giuseppe Canella is one of the most important Veronese landscape and cityscape painters of the 19th ce...

George Brookshaw (1751-1823) Plate XLIX Blue Muscadine Aquatint, engraving with some stipple, printed in colors with hand finishing on J Whatman 1809 paper 1804-1812 Signed in the plate lower center margin (see photo) From: Pomona Britannica or A Collection of the Most Esteemed Fruits (90 Plates) Published: White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Format: Folio size, 1st edition Printer: Thomas Bensley (active c. 1760-1935) Considered to be a msaterpice of natural history illustration Reference: Dunthrone 1938.50 Condition: Excellent Image size: 18 3/4 x 17 inches Sheet size: 21 1/4 x 17 inches Provenance: W. Russell Button Gallery, Chicago Notes: Publication legend lower center: “Painted & Published as the Act Directs by the Author G. Brookshaw” followed by date, varying from 1804 to 1812. Title page credits: “Printed for the author by T. Bensley, Bolt Court, Fleet Street. Published by White, Cochrane and Co. Fleet Street; E. Lloyd, Harley Street; and W. Linsell, Corner of Wigmore Street.” George Brookshaw (1751-1823) (after) from Pomona Britannica; Or, a collection of the most esteemed fruits at present cultivated in this country… selected principally from the Royal Gardens at Hampton Court T. Bensley, London (printer) White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Folio edition Stipple engravings, printed in color, finished by hand 17.5 x 14 inches, plate mark, average approximate 22 x 17 inches, overall, average approximate Pomona Britannica, or a Collection of the Most Esteemed Fruits at present cultivated in the country…selected principally from the royal gardens at Hampton Court…accurately drawn and coloured from nature, with full descriptions was published in London from 1804—1812. Comprising 90 aquatint engravings, including 256 depictions of British fruit, after paintings by George Brookshaw. Published in London and engraved by R. Brookshaw and H. Merke. George Brookshaw (1751—1823) was born in Birmingham, England where he was apprenticed to Samuel Troughton (d. 1783), a Birmingham painter and japanner. According to a recent blog post related to St. Philips Cathedral, Birmingham, England, entitled In Search of Sobieski Brookshaw, by Gill Partridge, he may have received some art training from his father, also named George Brookshaw, who is listed as an engraver in a document dated 1751. George Brookshaw’s brother, Richard Brookshaw (1736—c.1804) was a portrait painter and engraver well versed in mezzotint and copperplate engraving techniques, and may have instructed his brother. In 1777, Brookshaw moved from Birmingham to London and began a celebrated career building fine cabinets detailed with hand-painted botanical and pomological motifs. Shortly afterward, in 1778, he married Sobieski Grice (1749—1811), daughter of William Grice, a prosperous gunsmith.The Prince of Wales was the most distinguished of Brookshaw’s well-heeled patrons, and today examples of Brookshaw’s cabinetry may be seen at the Victoria & Albert Museum, London. According to church records noted in Gill Partridge’s post, both George Brookshaw and Sobieski Grice were baptized at the Birmingham Cathedral. In his cabinet-making shop, Brookshaw also offered lessons in flower painting to ‘Ladies of Taste and Fashion’. During the mid 1790s, it appears his furniture-making business went bankrupt, and he led his life under an assumed name, G. Brown. In 1991, Lucy Wood wrote two articles in which she drew the connection between G. Brown and George Brookshaw. During his years of anonymity, Brookshaw worked as an illustrator of botanical books and gave flower-painting lessons, which may have been his primary source of income. Apparently, the marriage dowry he enjoyed while married to Sobieski Grice was lost after their marriage dissolved. Brookshaw returned to public view as the earliest parts of Pomona Britannica were issued. In Flower and Print Books of the 18th and Early 19th Centuries, Gordon Dunthorne extolls the virtues of George Brookshaw’s large folio edition. “One of the eminent English artists of the early nineteenth century is George Brookshaw, who issued in 1812, Pomona Britannica. Ninety aquatint plates, printed in colour and on a scale comparable to Thornton’s Temple of Flora...

George Brookshaw (1751-1823) Plate LVIII West St. Peters Aquatint, engraving with some stipple, printed in colors with hand finishing, 1809 Signed in the plate Engraved signature on the bottom center margin From: Pomona Britannica or A Collection of the Most Esteemed Fruits (90 Plates) Published: White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Format: Folio size, 1st edition Printer: Thomas Bensley (active c. 1760-1935) Considered to be a msaterpice of natural history illustration Condition: Excellent Image size: 18 3/4 x 15 7/8 inches Sheet size: 21 1/4 x 17 inches Provenance: W. Russell Button Gallery, Chicago Reference: Dunthorne: 1938.050 Publication legend lower center: “Painted & Published as the Act Directs by the Author G. Brookshaw” followed by date, varying from 1804 to 1812. Title page credits: “Printed for the author by T. Bensley, Bolt Court, Fleet Street. Published by White, Cochrane and Co. Fleet Street; E. Lloyd, Harley Street; and W. Linsell, Corner of Wigmore Street.” George Brookshaw (1751-1823) (after) from Pomona Britannica; Or, a collection of the most esteemed fruits at present cultivated in this country… selected principally from the Royal Gardens at Hampton Court T. Bensley, London (printer) White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Folio edition Stipple engravings, printed in color, finished by hand 17.5 x 14 inches, plate mark, average approximate 22 x 17 inches, overall, average approximate Pomona Britannica, or a Collection of the Most Esteemed Fruits at present cultivated in the country…selected principally from the royal gardens at Hampton Court…accurately drawn and coloured from nature, with full descriptions was published in London from 1804—1812. Comprising 90 aquatint engravings, including 256 depictions of British fruit, after paintings by George Brookshaw. Published in London and engraved by R. Brookshaw and H. Merke. George Brookshaw (1751—1823) was born in Birmingham, England where he was apprenticed to Samuel Troughton (d. 1783), a Birmingham painter and japanner. According to a recent blog post related to St. Philips Cathedral, Birmingham, England, entitled In Search of Sobieski Brookshaw, by Gill Partridge, he may have received some art training from his father, also named George Brookshaw, who is listed as an engraver in a document dated 1751. George Brookshaw’s brother, Richard Brookshaw (1736—c.1804) was a portrait painter and engraver well versed in mezzotint and copperplate engraving techniques, and may have instructed his brother. In 1777, Brookshaw moved from Birmingham to London and began a celebrated career building fine cabinets detailed with hand-painted botanical and pomological motifs. Shortly afterward, in 1778, he married Sobieski Grice (1749—1811), daughter of William Grice, a prosperous gunsmith.The Prince of Wales was the most distinguished of Brookshaw’s well-heeled patrons, and today examples of Brookshaw’s cabinetry may be seen at the Victoria & Albert Museum, London. According to church records noted in Gill Partridge’s post, both George Brookshaw and Sobieski Grice were baptized at the Birmingham Cathedral. In his cabinet-making shop, Brookshaw also offered lessons in flower painting to ‘Ladies of Taste and Fashion’. During the mid 1790s, it appears his furniture-making business went bankrupt, and he led his life under an assumed name, G. Brown. In 1991, Lucy Wood wrote two articles in which she drew the connection between G. Brown and George Brookshaw. During his years of anonymity, Brookshaw worked as an illustrator of botanical books and gave flower-painting lessons, which may have been his primary source of income. Apparently, the marriage dowry he enjoyed while married to Sobieski Grice was lost after their marriage dissolved. Brookshaw returned to public view as the earliest parts of Pomona Britannica were issued. In Flower and Print Books of the 18th and Early 19th Centuries, Gordon Dunthorne extolls the virtues of George Brookshaw’s large folio edition. “One of the eminent English artists of the early nineteenth century is George Brookshaw, who issued in 1812, Pomona Britannica. Ninety aquatint plates, printed in colour and on a scale comparable to Thornton’s Temple of Flora...

This early 19th century hand-colored double fold-out botanical engraving is entitled "Pendulous-flowered Bryophyllum", plate 1409, published in London in 1809 in William Curtis’s 'The Botanical Magazine, or Flower-Garden Displayed'. Bryophyllum pinnatum, also known as the air plant...

Artist: William Curtis (English, 1746-1799) Title: "Tritonia Deusta Copper-Colour Tritonia" (Vol. 17, Plate 622) Portfolio: The Botanical Magazine; or, Flower-Garden Displayed Year: ...

Plate LXXVIII Pears (Valley, Petit Russelet, Doyenne, or Saint Michael, and the Russselet de Rheims, or Gross Russelet varities). Aquatint, engraving with some st...

Page from The History of Rama, Java Gold and colors on uncoated paper, 19th century Unsigned (as usual) This document is an illuminated manuscript page from the Ramayana, a major anc...

Ballads is an original modern rare book written by William Hayley (Chichester 1745 - Felpham, Sussex, 1820) and illustrated by Sir William Blake (London, 1757 - London, 1827) in 1805...

Original stipple engraving on a verge type of hand laid paper. The overall size of the engraving is 15.75 inches by 12.75 inches The image size of the engraving is 14 inches by 12 i...