Early 19th Century Art

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 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) Nobleman, Cambridge (1815) Aquatint with original hand colouring 30 x 25 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of a nobleman studying at Cambridge, from Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. 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...

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 ...

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) Doctors in Divinity, Esquire Beadle, and Yeoman Beadle (1815) Hand-coloured aquatint 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of two Doctors in Divinity and two beadles (administrative assistants to the Chancellor and Proctors of the University) from Ackermann's 'A History of the University of Cambridge, Its Colleges, Halls and Public Buildings'. The four figures walk forward with ceremonial accoutrements, likely to a graduation ceremony. 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...

Still Life with Pink Roses in a vase.

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Print Sz: 11 1/2"H x 9 1/2"W Frame Sz: 19 1/4"H x 16 3/4"W Publisher: Longman, Hurst, Rees, Orme & Brown Plate XLIX George Brookshaw, also known as G. Brown, was a notable Englis...

"Field Fare" and "Sea Fare" Pair by Benjamin Blake. Benjamin Blake and his studio produced a number of fine quality larder scenes in the regency period. Bo...

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

ISSACHAR RYBACK 1897-1935 Yelizavetgrad 1897-1935 Paris (Ukrainian /Russian /French) Title: Fields of Kherson Technique: Original Signed Oil painting on board size: 32 x 6...

Hand carved Carrara marble head of a cherub's face surrounded by wings. Later mounted on metal base.

The proposed attribution for this drawing in brown ink on paper is the name of the painter and academician of the Tuscan-Roman neoclassical cohort Francesco Nenci (Anghiari, April 19...

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

This small drawing (pencil on paper, 23 x 19 cm) made on paper cut out in the shape of a lunette depicts a view from the apsidal part of the Benedictine abbey church "Saint Ouen Rou...

Questo disegno, matita su carta 14 x 10 cm, è uno squisito esempio di "Accademia", ovvero studio dal vero da modello nudo che era una delle attività tipiche nelle accademie, soprattu...

Provenance: Exhibited at Pennsylvania Academy of Fine Arts, 1911 #229 Description: William Wallace Gilchrist (1879-1926) was an American painter known for his captivating depictions of everyday life scenes and his ability to capture the ambiance and aesthetic of the late 19th century. Born in Philadelphia, Gilchrist showed an early passion for art and pursued his artistic education at the Pennsylvania Academy of the Fine Arts Gilchrist’s artwork often revolved around intimate domestic settings, where he skillfully portrayed the beauty and tranquility of ordinary moments. His painting “The Morning News...

Artist: Sir William Dugdale (English, 1605-1686) Title: "Monastery of St. Augustine, Canterbury" Portfolio: Monasticon Anglicanum: A History of the Abbies and Other Monasteries, Hosp...

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. Robert Woodlark Founder of Catherine Hall, Cambridge from a Picture at the Hall (1815) Hand-coloured aquatint 24 x 20 cm Published by Rudolph Ackermann (1764 - 1834). A copy of this engraving is held by the National Portrait Gallery, reference NPG D4871. Robert Woodlark (also spelled Wodelarke) was an English academic and priest. He was the Provost of King's College, Cambridge, and the founder of St Catharine's College, Cambridge. He drew up the original statutes for the governance of the college and obtained a charter from Edward IV...

A captivating 19th-century botanical engraving depicting Chirita walkeria, a delicate flowering plant named in honor of Anna Maria Walker, a noted naturalist. This hand-colored print...

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 Bluck (early 19th century) after Frederick Mackenzie (1788 - 1854) East End of South Aisle, Westminster Abbey (1812) Hand-coloured aquatint 31 x 24 cm Published by Rudolph Ackermann...

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 Bluck (early 19th century) after Frederick Mackenzie (1788 - 1854) Screen Over the Chantry of Henry V, Westminster Abbey (1812) Hand-coloured aquatint 26 x 31 cm Published by Rudolph Ackermann...

La scena raffigurata è presa dal capitolo 20 del vangelo apocrifo dello Pseudo Matteo e raffigura un evento avvenuto durante la fuga in Egitto. Maria, stanca, chiede a Giuseppe di ra...

Horace Vernet (French, 1789-1863) Lady and Her Maid with a Dress, 1814 Watercolor on paper, 8 1/4 x 6 1/4 inches Framed: 15 x 13 inches (approx.) Signed and dated at lower right: "H...

Horace Vernet (French, 1789-1863) Two Ladies Standing, 1814 Watercolor on paper, 8 x 6 1/4 inches Framed: 15 x 13 inches (approx.) Signed and dated at lower right: "H.Vernet--1814."...

Print Sz: 11 1/2"H x 9 1/2"W Frame Sz: 19 1/4"H x 16 3/4"W Publisher: Longman, Hurst, Rees, Orme & Brown Plate V George Brookshaw, also known as G. Brown, was a notable English painter and illustrator from London. His early career was spent as a London cabinet-maker specializing in painted furniture, often with floral decorations. Brookshaw also published supplementary drawing manuals on fruit, flowers, and birds. Pomona Britannicaa London 1804-1812 Engravings with original hand-coloring George Brookshaw's splendid "Pomona Brittanica" is a masterpiece among 19th-century British flower books. The publication of the "Pomona" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual "A New Treatise on Flower Painting", 1797. Characterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the "Pomona" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton...

This early 19th-century aquatint was engraved and colored by Mr. John Clarke after drawings by George Perry. The publication, CONCHOLOGY, OR, THE NATURAL HISTORY OF SHELLS… , was pub...

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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 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...

The Wrestlers, dated 1962 signed EE dates 1962 - Large 1962 British Figurative School portrait of two male wrestlers, oil on board. Good quality and ...

Portrait Of A Boy & Fiddle, 19th century Irish School Large early 19th Century Irish School portrait of a young boy and fiddle wearing a red jacket and brown waistcoat, oil on canvas. Excellent quality and condition interior portrait of the young musician...

Jules COIGNET Paris 1798-1860 Torrent in the Alps Watercolor and brown ink wash Signed lower left 18 x 26.5 cm 29.5 x 37.5 cm framed Condition: Remarkably fresh Period frame and gl...

Print Sz: 11 1/2"H x 9 1/2"W Frame Sz: 19 1/4"H x 16 3/4"W Publisher: Longman, Hurst, Rees, Orme & Brown Plate LX George Brookshaw, also known as G. Brown, was a notable English painter and illustrator from London. His early career was spent as a London cabinet-maker specializing in painted furniture, often with floral decorations. Brookshaw also published supplementary drawing manuals on fruit, flowers, and birds. Pomona Britannicaa London 1804-1812 Engravings with original hand-coloring George Brookshaw's splendid "Pomona Brittanica" is a masterpiece among 19th-century British flower books. The publication of the "Pomona" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual "A New Treatise on Flower Painting", 1797. Characterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the "Pomona" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton...

The drawing, pencil on laid paper 29 x 27 cm, represents a moment of rest during the Flight to Egypt. It's a study on an etching ispired by a Guido Reni's painting, made by him durin...

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...

After Crossing The North River in 1776 Map Sz: 9 7/8"H x 7 1/4"W Frame Sz: 18 5/8"H x 15 3/4"W Engraved by J Yeagen Uncolored map of Northern New Jersey, Staten Island and the lo...

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

Signed (at lower right): FJK

Questo disegno (matita su carta 37,5 x 24 cm) su carta vergellata orizzontale con doppia filigrana ( giglio coronato di Strasburgo e cartiglio con il monogramma CM) è uno studio acca...

Original etching and drypoint, signed in the plate and in pencil in the lower right corner; Dodgson "Etchings and drypoints by Muirhead Bone", Print Collector's Quarterly, 1922, IX, p. 173-200; Mackenzie, British Prints, p. 57; 400 x 278 mm Superb test with signs particularly rich in beards, a characteristic typical only of the first tests: the pictorial effect is very effective. Small uneven margins. In perfect state of conservation. Rich of burr drypoint, 1916, printed on cream paper. Good margins all around. In good condition. Sir Muirhead Bone (23 March 1876 - 21 October 1953) was a Scottish etcher and watercolorist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists...

Richard Hilder (1813-1852) Pair of Landscapes Oil on Panel 9 1/4 X 11 3/4 inches, Framed Provenance: Important Private Collection Richard H. Hilder was a landscape painter and oc...

A Map Of The Country Which Was The Scene Of Operations Of The Northern Army: Including The Wilderness Through Which Gerneral Arnold Marched To Attack Plate VI Map Sz: 11"H x 9 1/4"W...

Print Sz: 7 1/2"H x 9 1/2"W Frame Sz: 14 1/4"H x 15 3/4"W Artist: Henry Alken

Funeral by Ludovic-Rodo Pissarro (1878-1952) Watercolour and ink on paper 17.6 x 21.2 cm (6 ⁷/₈ x 8 ³/₈ inches) Signed with the Artist’s initials lower l...

Print Sz: 11 1/2"H x 9 1/2"W Frame Sz: 19 1/4"H x 16 3/4"W Publisher: Longman, Hurst, Rees, Orme & Brown Plate XII George Brookshaw, also known as G. Brown, was a notable English...

Print Sz: 10"H x 14 1/2"W Frame Sz: 16"H x 20"W Artist: Fores, S.W. The people are striving to see Queen Charlotte, who visited Bath to take the waters in November 1817. The Duke ...

Measurements with frame: 87 x 69 cm In this tempera dated between the second and third decade of the 19th century we find an iconographic design with a sacred character by neoclassic...

Chapelle de l’Oratoire, Avignon, circa 1900 by RICHARD JACK, RA, RI, RP, ARCA (1866-1952) to £100,000 Fine Large circa 1900 view of Chapelle de l’Oratoire, Avignon, oil on panel by...

Il disegno, sanguigna su carta, raffigura un uomo nudo seduto su una roccia, ritratto di schiena nell'atto di alzare una mano al cielo, con una posa e un'espressione ricche di pathos...

Graphite on paper, monogrammed lower left Image size: 6 x 6 1/2 inches (15.25 x 16.5 cm) Contemporary style handmade gilt frame Henry Perronet Briggs Henry Perronet Briggs RA wa...

Il disegno in questione è molto probabilmente uno studio dal vivo per un ritratto da riportare successivamente in pittura, come si può notare dall'intensità dello sguardo e dall'alta...

Neapolitan gouaches appeared in the eighteenth century when tourism in the Naples area was developing: the discoveries of Herculaneum and Pompeii made this city a mandatory stop on the Grand Tour, the journey made by wealthy Europeans to complete their education. Generally small in size for ease of transport and affordable in price, these gouaches were the ideal travel souvenir that these tourists of the early days were bringing back to capture the idyllic landscapes they had discovered during their journey and to share them with family and friends upon their return at home. The Bay of Naples and the eruptions of Vesuvius are the favourite themes of these views. Here we have a view of the Ovo Castle, which was rebuilt on the island of Partenope, in the middle of the Bay of Naples and about a hundred metres from the shore by the Normans in the 12th century on antique ruins...

Charming Dutch watercolour circa 1828 depicting two boys by a cottage in a silver gilt frame Art Sz: 10.5"H x 17.75"W Frame Sz: 18.5"H x 25.75"W

Medium: Pen and Ink on Board Signature: Signed Lower Right This work is a political cartoon of a Muslim waiter collecting a bill.

Shot from a helicopter in Oahu, Hawaii. Abstract feel. Soft colors. Mounted on Aluminum. Floats in frame. About the Artist Dinesh Boaz creates a dynamic juxtaposition between t...

Oil painting of a garden scene from ‘The Heart of Midlothian’ by Leslie English, c. 1830 Canvas: Height 30cm, width 25cm Frame: Height 38.5cm, width 32.5cm, depth 3cm This beautiful...

Follower of Claude Joseph Vernet (Early 19th Century)

Signed (at lower right): FJK

Charming watercolor of an intimate family scene in beautiful painted period frame. Signed in the lower right-hand corner.