Early 19th Century Art

Lock the Barn when the Oxen have fled is an original modern artwork realized in the first decades of the 19th Century. Original colored Etching on paper. A long inscription is pres...

Nicopolis is an original lithography artwork on paper realized by W.H. Bartlett (1809-1854). Signed on the plate on the lower left.Titled on the lower center. Included a passeparto...

Landscape is an original etching and aquatint on paper realized by Claudio di Lorena. Signed on the plate, on the lower left. plate no. 183, lower on the right, edition "L. Caraccio...

Pharmacist is an original artwork in China ink on brownish paper realized by Carlo Rivalta ( 1887-1941). The state of preservation is good, except for some small holes on the back. ...

Costume of Civita Castellana is original Hand-colored etching artwork realized by Bartolomeo Pinelli in 1819. Good conditions. Included a white Passepartout: 34 x 49 The artwork r...

Assembly is an original lithography on paper, realized by G. Engelmann in 1825, the artwork is signed and dated on plate. Sheet dimensions: 27 x 27 cm. Includes a white passepartou...

Image dimensions: 48.4 x 33.2 cm Busto di Geta (Bust of Geta) is a superb black and white burin and etching on paper, realized by the artist Pietro Fontana, after Agostino Tofanelli, as the inscriptions on plate on the lower margin report “Agostino Tofanelli delineò / Pietro Fontana incise Roma”. This original print is numbered on plate in Roman numerals on the higher margin: “Tom II. / Tav. XXII" and is a plate from the series "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 by Stamperia de Romanis in Rome in 1821. This old master’s original print shows a beautiful piece of the Borghese's collection: a marble bust of Geta in a neoclassical style. Geta (full name Publius Septimius Geta) was the son of Septimius Severus and Julia Domna, and the brother of Caracalla. He was a Roman co-emperor from 209 to 212 AD, first with his father and then with his brother. His biography is very interesting: he was the younger son of Septimius Severus and his second wife; his face was obliterated because of the damnatio memoriae ordered by his brother Caracalla, who had him assassinated. In excellent conditions, with some light signs of time, some sporadic minor stains along the lower margin, and a usual and imperceptible yellowing of the paper on the margins. This wonderful etching has preserved its charming and fresh impression. Pietro Fontana (Bassano Romano, 1762 – Rome, 1837) The Italian artist and engraver Pietro Fontana was active in Rome and specialized in subjects dealing with the Vatican and the Papacy. He started his career as student of Raffaello Morghen...

La Liberté is an original colored etching realized by an anonymous artist. Titled on the lower center "La Liberté". The State of preservation is excellent. Sheet dimension: 29x20.5 ...

Portrait is an original drawing in pencil on paper realized by Victor Hubert (born 1786). Hand-signed in pencil on the lower right. The state of preserv...

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...

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...

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...

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...

Sepulcher of Carlo di Angiò is an original etching, realized by Piroli written below the image down in the XIX century, the table is XII is written at the top of the image on the rig...

Simulacro Di Diana is an original print realized by Giovanni Folo After Agostino Tofanelli. Original etching on copper. Hand-colored on black ink backgr...

A delicate pastel portrait depicting a member of the Danken Family. Inscribed to the reverse in Western Frisian. Unsigned. On velum.

In The Garden, 19th Century circle of Robert Reid (1862-1929) American Impressionist & Mural Artist 19th Century American Impressionist portrait of a gir...

Richard Hilder (1813-1852) Pastoral Landscape Oil on Panel 10 X 16 inches, Framed Provenance: Important Private Collection Richard H. Hilder was a landscape painter and occasional ...

Image dimensions: 16 x 10.5 cm. Adieu! is an original watercolored print realized in the first quarter of the 19th century by the French artist Philibert-Louis Debucourt (1755 – 18...

Image dimensions: 16 x 10.5 cm. Prends Vite is an original watercolored print realized in the first quarter of the 19th century by the French artist Philibert-Louis Debucourt (1755...

Image dimensions: 16 x 10.5 cm. Costume Parisien - Model n. 48 is an original watercolored print realized in 1797. The artwork is the plate n. 48 f...

Image dimensions: 16 x 10.5 cm. Il Ne M'a Pas Vu is an original watercolored print realized in the first quarter of the 19th century by Philibert-Louis Debucourt. The artwork is th...

Elle le boude is a hand-watercolored etching on paper realized in 1801 by the French artist Louis-Philibert Debucourt (1755-1832). This is an original illustration (plate n. 46) pu...

Que lui conte-t-il? is a hand-watercolored etching on paper realized in 1800 by the French artist Louis-Philibert Debucourt (1755-1832). This is an original illustration (plate n. ...

Elle y Pense is an original watercolored print realized in the first quarter of the 19th century. Image dimensions: 16 x 10.5 cm. The artwork is the plate n. 41 from a suite of 52...

Beautiful b/w lithograph on ivory colored paper. Amusing satiric illustrations by the distinguished French draftsman and caricaturist, Cham (alias Count Amédée de Noé, 1818-1879). Plate n. 2, titled "La famille", from the series "Études sociales", Aubert, Paris. With a smart printed captures under the image: "Mais si l...

Salvatore Candido (Naples 1798 - 1869), Santa Lucia, Naples Oil painting on paper pasted on board 20 x 29 cm, unsigned.

Hand-watercolored Etching, 1819, Image Dim: cm 28 x 20, Dim: cm 29x40. Etching and Watercolor technique. In Good condition. Signed and dated on plate lower margin "Pinelli dis. e ...

Watercolour on ivory coloured paper (cm 29.6 x 23.4) by Michela De Vito, 1820 c.a. Representing a worker in traditional Napolitan costumes sleeping. Excellent conditions. Very beaut...

Two watercolours stuck on ivory colored paper, early XIX century. Hand-titled in black ink under each image. Representing two Italian popular figures in traditional costumes. Excelle...

Watercolour on paper stuck on grey cardboard, 1820 c.a. Wonderful watercolour both for the drawing and for the fineness of the colours representing a typical Italian scene of ordina...

Watercolour stuck on a pink cardboard, 1820 c.a. Very good quality watercolour representing a monk. Hand-titled "Monaco Pasqualino che va alla circa in Campagnia, Napoli" (Monk Pas...

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 ...

Il Corso is a beautiful etching and hand-colored gouache, finely engraved on copper and printed on laid paper. The work, which presents a remarkable quality of strokes and brilliant ...

Corsa dei Cavalli (Horse Race) is a beautiful etching on copper, printed on laid paper, hand-colored brightly with gouache. The artwork is unsigned, but it is part of the 20 plates ...

“Busto di Nerone” (Bust of Nerone) is a beautiful black and white burin and etching on paper, realized by the Italian artist Pietro Fontana, after Bernardino Nocchi as the inscriptions on plates on lower margins report “Bernardino Nocchi delineò./ Pietro Fontana incise Roma”. This original print is numbered on plate in Roman numerals on higher margin: “Tom II. /Tav. XVII" and is a plate from the series "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 by Stamperia de Romanis in Rome, 1821. This old master’s original prints shows a precious piece of the Borghese's collection, the marble bust of the Roma Emperor, Nerone, realized with neoclassical style and a wise touch In excellent conditions with some light signs of the time, with some sporadic minor stains along the margins above all on the lower, and a usual yellowing of the paper on the lower margin, this wonderful burin has preserved still today his fresh impression. Illustrazioni de' Monumenti scelti Borghesiani This collection in two volumes is a beautifully detailed catalog of classical sculptures collected by Prince Borghese (1730-1800) in his Villa on the Pincio. Ennio Quirino Visconti (1751 - 1818) wrote the texts that accompany the large branches depicting. To these writings, which were available by the son of the illustrious archaeologist, the publishers added only a few illustrations relating to some minor monument of which copper had already been engraved. The engraved title-plate are signed by draughtsmen like Agostino Tofanelli, Stefano Tofanelli, Bernardino Nocchi, Domenico de Angelis or Teodoro Matteini, and by engravers Pietro Fontana Veneto, P. Vitali, Pietro Bettelini, Giovanni Folo Veneto, Giovanni Brunetti da Ravenna, Giovanni Ottaviani, Francesco Cecchini, Gio. Batta. Leonetti, Girolamo Carattoni, Domenico Cunego, Luigi Cunego, Alessandro Mochetti, Luigi Pizzi, Angelo Campanella or Giacomo Bossi. The Volume I shows ancient full-length statues, of the Borghese warrior by Agasias (two plates), Greek gods and heroes and Roman famous historical figures; the last two plates represents antique Egyptian deities. There are plates representing ancient bas-reliefs, sarcophagi, of mythological subjects, the Borghese Vase, portrait busts, a vase on an altar, two statues of Amor; and two modern statues, by Bernini (the Apollo and Daphne, and the David). «Très bel ouvrage» writes Brunet, «Grand ouvrage, le seul qui mérite, parmi ceux sur la villa Borgese, de figurer dans le chapitre aux Galeries et Collections» Vinet said, looking at this plate. Pietro Fontana (Bassano Romano,1762 – Rome, 1837) The Italian artist and engraver, Pietro Fontana was active in Rome and specialized in subjects dealing with the Vatican and the Papacy. He started his career as a student of Raffaello...

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. John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Doctor in Divinity (1814) Aquatint with original hand colouring 29 x 24 cm Published by Rudolph Ackermann (1764 - 1834). A Doctor in Divinity of the University of Oxford, resplendent in academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints...

"Testa colossale creduta rappresentare la Spagna" (Kolossal head commonly belived to represent Spain) is a wonderful black and white etching on paper, realized by the Italian artist Francesco Cecchini (1790 - 1820 ca), after Agostino Tofanelli (Lucca 1770 - Rome 1834) , as the inscriptions on plates on lower margins report “Agostino Tofanelli delineò/ Francesco Cecchini incise Roma”. This original print is numbered on plate in Roman numerals on higher margin: “Tom II /Tav XX" and is a plate from the series "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 by Stamperia de Romanis in Rome, 1821. This old master’s original prints representing a precious piece of the Borghese collection is in excellent conditions with a usual yellowing of the paper at the edges, some light signs of the time (some little wormholes on the left margin beyond the marginal line of the matrix and a thinning of the paper along the margins) but with fresh impression. Illustrazioni de' Monumenti scelti Borghesiani This collection in two volumes is a beautifully detailed catalog of classical sculptures collected by Prince Borghese (1730-1800) in his Villa on the Pincio. Ennio Quirino Visconti (1751 - 1818) wrote the texts that accompany the large branches depicting. To these writings, which were found and made available by the son of the illustrious archaeologist, the publishers added only a few illustrations relating to some minor monument of which copper had already been engraved. The engraved title-plate are signed by draughtsmen like Agostino Tofanelli, Stefano Tofanelli, Bernardino Nocchi, Domenico de Angelis or Teodoro Matteini, and by engravers Pietro Fontana Veneto, P. Vitali, Pietro Bettelini, Giovanni Folo Veneto, Giovanni Brunetti da Ravenna, Giovanni Ottaviani, Francesco Cecchini, Gio. Batta. Leonetti, Girolamo Carattoni, Domenico Cunego, Luigi Cunego, Alessandro Mochetti, Luigi Pizzi, Angelo Campanella or Giacomo Bossi. The Volume I shows ancient full-length statues, of the Borghese warrior...

Skulls is a lot composed by two original drawings, Skull with hourglass and owl and Skull with Candle leaning on Book realized by Alessandro Dalla Nave. Skull with hourglass and owl...

Souvenir d'Espagne is an original artwork realized by Auguste Roedel in 1903. Original lithoraph with pencil drawing on the lower central margin. Hand-signed in pencil by the artist...

Framed characters of Bordeaux. Ten elegant hand coloured French engravings of personages / vocations Bordelais stamped 1820 under celadon matting with rippled antique glass in a Rege...

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. John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Doctor in Divinity (1814) Aquatint with original hand colouring 24 x 29 cm Published by Rudolph Ackermann (1764 - 1834). A Doctor in Divinity of the University of Cambridge, resplendent in academic dress. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints...

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. John Samuel Agar (1773 - 1858) after John Uwins (1782 - 1857) Pensioner of Trinity College, Cambridge, Masters of Arts, and Sizer (1815) Hand-coloured aquatint 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a pensioner of Trinity College, Masters of Arts, and a sizer (that is, an undergraduate who received some form of assistance such as meals, lower fees or lodging during his period of study, in some cases in return for doing a defined job) from Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. The four figures walk forward with ceremonial accoutrements, possibly to a graduation ceremony. At Cambridge, a sizar was originally an undergraduate student who financed his studies by undertaking more or less menial tasks within his college but, as time went on, was increasingly likely to receive small grants from the college. Certain colleges, including St John's and Trinity, distinguished between two categories of sizar: there were specific endowments for specific numbers of sizars who were called "proper sizars"; those who were not so endowed, but who were maintained by fellow-commoners and fellows were called subsizars. Isaac Newton matriculated as subsizar at Trinity College. Richard S. Westfall noted that sizars were considerably more successful in gaining degrees than the gentlemen who entered Cambridge in the seventeenth century. Pensioners, on the other hand, paid a fixed annual fee in order to study. Thomas Uwins RA RWS was a British painter in watercolour and oil, and a book illustrator. He became a full member of the Old Watercolour Society and a Royal Academician, and held a number of high-profile art appointments including the librarian of the Royal Academy, Surveyor of Pictures to Queen Victoria and the Keeper of the National Gallery. In the late 1790s he began producing work for Ackermann's collections. John Samuel Agar was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He was at one time president of the Society of Engravers. Rudolph Ackermann published many of his engravings. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints...

Heinrich Haberl (1869 Passau to 1934 Munich), Sturmhaube, c. 1900. drypoint, 14 x 10 cm (platemark), 28 x 21 cm (sheet size), 39 x 29 cm (passe-partout), titled "Sturmhaube" in lead at lower left and inscribed "Kaltnadelradierung", signed and locally inscribed "Heinrich Haberl Mchn. [Munich]" at lower right, inscribed again in lead on verso and with old collection stamp. - slightly darkened, fixed and mounted - The target in sight - About the artwork The theatrical "role-portrait" is to be seen against the background of the Rembrandt cult, which reached its climax at the end of the 19th century. The soldier seems to have stepped straight out of Rembrandt's Night Watch (1642) to fix something outside the picture with an alert and ready gaze. The steeply rising brim of the morion frames the gaze and thus perspectivises it as the actual 'pictorial action'. The gaze represents both the vigilant defence and the visionary goal of the battle. Not only the subject, but also the style of the etching needle reflect Rembrandt's understanding of the times. Strong contrasts of light and dark are created in a virtuoso free stroke, without losing the effect of the reflections on the helmet and in the eyes. This shows a kinship with the early prints of Lovis Corinth, who also saw himself as an artist in the role of the knight. Against this background, Haberl's picture can also be seen as a representation of his artistic self-image. About the artist Heinrich Haberl first attended the art school in Nuremberg and from 1892 studied at the Munich Academy. There he was a master student of Johann Leonhard von Raab, Rudolf von Seitz, Franz von Defregger...

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

Jacques-Laurent Agasse (Swiss, 1767-1849) Young Man Resting by the Roadside, 1819 Pen and ink and wash on paper, 5 1/4 x 6 1/2 inches Framed: 13 x 11 3/4 inches (approx.) Signed and ...

Set of four Regency era coloured engravings by Rowlandson. Four framed coloured engravings of Regency London landmarks including the Corn Exchange, by Rowlandson, circa 1808. Dimensi...

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...

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...

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...

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 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,...

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,...