Early 19th Century Art

Copper-line engraving by Jacobus Houbraken (1698-1780) after the painting by Gibson. Houbraken was a Dutch engraver famous for his series of portraits of famous English historical f...

A finely detailed silhouette of a Victorian young lady. Attributed to Hinton Gibbs (1783-1839) Portrait of a young lady, bust length, turned to the right watercolour, reverse painte...

Beached Fishing Boat Simone Forge 1930's French Impressionist oil on board unframed board: 13 x 16 inches Provenance: private collection Condition: great condition For more any m...

French botanical flower engraving, 1818. Colour-printed stipple engraving by J Lambert after Pierre Turpin (1775-1840) From Francois Pierre Chaumeton's 'Flore Medicale' which portrayed a variety of flowers, trees and herbs which could be used for treating illnesses. The engravings were produced during the great period of French colour printing using the stipple-engraving process pioneered by the great botanical artist Pierre-Jospeh Redoute. The artist is the celebrated Pierre Jean Francois Turpin...

French botanical flower engraving, 1818. Colour-printed stipple engraving by J Lambert after Pierre Turpin (1775-1840) From Francois Pierre Chaumeton's 'Flore Medicale' which portrayed a variety of flowers, trees and herbs which could be used for treating illnesses. The engravings were produced during the great period of French colour printing using the stipple-engraving process pioneered by the great botanical artist Pierre-Jospeh Redoute. The artist is the celebrated Pierre Jean Francois Turpin...

Circle of Anthony Vandyke Copley Fielding (1787-1855) VIew In Kerry Highlands, Ireland watercolor/gouache on board, framed glass over picture framed: 10 x 14 inches board: 18 x 21 in...

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", ...

Coastal Beach Scene Simone Forge 1930's French Impressionist oil on board unframed board: 13 x 18 inches Provenance: private collection Condition: great condition For more any mo...

Fish and seahorse, engraving with original hand-colouring, circa 1815. From Bilderbuch Zum Nutzen und Vergnugen Der Jugend by Friedrich Justin Bertuch (1747-1822), an encyclopaedic ...

Still Life with Bust Sculpture Simone Forge 1930's French Impressionist oil on canvas, unframed canvas: 18 x 15 inches Provenance: Private collection Condition: Great condition Fo...

The port of Étaples, France Simone Forge 1930's French Impressionist oil on board unframed board: 13 x 16.5 inches inscribed verso Provenance: private collection Condition: great co...

Oil on canvas realized by an italian neoclassical artist in th early 19th Century. In very good condition, it includes a coeval gilded wooden frame.

This charming French Old Master oil painting is by noted French artist Philippe Budelot. Painted circa 1800 the composition is of figures on a woodland path by a lake. In the foreground is a drover on horseback with some cattle and a goat. They are being greeted by the sheep dog of the shepherdess behind them who has sheep scattered amongst the trees. More figures are coming along the path in the distance. The group in the foreground are well illuminated beneath the blue sky above and it is probably early morning. The brushwork on the trees is superb and the whole scene is quite charming. This is an excellent example of a French Old Master landscape...

Ca. 1820 Portrait of a Woman. Léon Cogniet (1794-1880, Paris), attributed. French school of 19th century. Tecnicque: oils on canvas. Dimensions: 70cm x 61cm 20th century wooden frame. Old attribution to Léon Cogniet (1794-1880, Paris) is inscribed on the wooden frame. Portrait of the restoration period, post Napoleonic wars. Stylistically the painting is found in the transition period from the late Empire period to the beginning of Romanticism. The new artistic trends can be seen in the increased naturalism, representation of the landscape/nature, in the contrasts, and in a greater emotionality of the person represented. Detailed but loose is the way to describe the winter dress...

This is a 19th century colored aquatint and stipple engraving finished by hand entitled "White Hamburgh Grape", drawn and engraved by George Brookshaw and published in London in 1812 as plate 60 in his 'Pomona Britannica; or, A Collection of the Most Esteemed Fruits'. It depicts a cluster of pale green grapes still on the vine. The vine and leaves are shown in attractive shades of green and brown. The plant lays on a brown textured background with shadows to impart 3-dimensionality. The scene is reminiscent of an engraving in an 18th century artistically stylized human anatomy atlas. There is a light brown title rectangle in the lower center which is blank, suggesting this may be a more rare preproduction proof. There are wide white margins. This striking engraving is presented in a reddish brown decorative wood frame with a darker brown scroll-work outer trim and a gold-colored inner fillet and a thick light beige mat. The frame measures 26" high, 22" wide and 1.13" deep. It is glazed with UV conservation glass. There is a tiny spot in the lower margin on the left and another in the left margin. The print and frame are otherwise in excellent condition. There is a second Brookshaw engraving that is framed in identical moulding, although a slightly different size and a different color mat. It depicts a Silver Rock Melon. The two prints would make a striking display pairing...

Portrait Of A Country Gentleman, early 20th Century by Charles Edwin Andrew (1911-1996) Large early 20th century portrait of an English country ...

Swan is an original etching on paper realized by an unknown artist of the XIX century. The State of preservation is very good. Sheet dimension: 29 x 22.5 cm. The artwork represen...

Art print on heavy paper After the original from 1925 In great condition

Cyrenius Hall was an artist who painted Western landscapes in a luminous style. He first went to Portland, Oregon in 1853 and 1854 over the Oregon Trail. From there he executed views...

"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...

A very attractive and meticulously executed view of a rocky landscape within the woods dating to 1823. This would suit a library or study with its muted tones and skifull draughtsmanship. William Nicholson (1781-1844) Near Croxdale Hall Signed with initials and inscribed with title and date 1823 Pen, ink and grey wash 11 x 8 inches, image only 17 x 13 inches without frame The portrait-painter and etcher William Nicholson was born in Ovingham-on-Tyne, Northumberland, on Christmas Day 1781. His family transferred to Newcastle when his father was appointed Headmaster of the city's Grammar School. At an early age, though, Nicholson appears to have moved to Hull where he made his artistic debut, painting miniatures of officers garrisoned there. He was almost entirely self-taught, learning his craft through the close study of artworks in private and public galleries. He subsequently returned to Newcastle where he received many commissions to paint portraits of the old families of Northumberland. In 1808, he began to exhibit at the Royal Academy, continuing to do so until 1822. By 1814, Nicholson, whose mother was a Scot, had moved to Edinburgh where he set up as a miniaturist and painter in oils. Soon, however, he began to specialize in watercolour portraits. Early subjects included the actor Daniel Terry and the poet and novelist James Hogg. In 1818 he began to publish a series of Portraits of Eminent Scotsmen, etched from his own portraits and those of other painters. Besides Scott and Hogg, the subjects included the writers Robert Burns, John Wilson ('Christopher North'), and Lord Jeffrey, the painters Sir Henry Raeburn, the divines Alexander Carlyle and Alexander Cameron, the engineer James Watt, the architect John Playfair, and the song-collector and composer George Thomson...

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...

The Sporting Gentlemen Attributed to Dean Wolstenholme Snr (1757-1837) oil on canvas, framed framed: 18.5 x 22 inches canvas: 14 x 18 inches provenance: from a collection in the UK c...

Whales, engraving with original hand-colouring, circa 1815. From Bilderbuch Zum Nutzen und Vergnugen Der Jugend by Friedrich Justin Bertuch (1747-1822), an encyclopaedic collection of Interesting Animals, Plants, Flowers, Fruits, Minerals, Costumes, Antiquities and other Interesting Objects...

Italian school from the beginning of the 19th century ? Oil on canvas (2) 99 x 65 cm (103 x 78 cm with the frame) Old frames with gadroons and palmette decoration Very good condition...

This early 19th century hand-colored double fold-out botanical engraving is entitled "Sempervivum Smithii" (Hispid-Stemmed Tree Houseleek), plate 1980, published in London in 1818 in...

A very good quality early 19th Century Austrian, Vienna style convex porcelain plaque depicting a hand painted portrait of the "Duchess of Devonshire." Georgiana Cavendish...

Aquatint from the beginning of the 19's century Illegible signature gold frame with glass, total size with frame: 38x48x3 cm

Copper-line engraving by Mathys Pool (1676-1732) after Picart and Charles Le Brun (1619-1690). 1718. Depicts a ceiling design commissioned for the Hot...

J. R. Hutchinson, 'Broadway from the Bowling Green, 1828', hand-colored etching, 1828. Signed and dated in the plate, beneath the image, lower right. Ann...

This is a hand-colored aquatint and engraving entitled "Part of the New City of Alexandria, with the Light House", published in London by R. Bowyer from 1802-1805. The print was crea...

Fantastic oil on panel possibly Dutch school. Looks to be at least 19 century possibly earlier. The scene looks like a very important gentleman or possibly royalty with a scribe taki...

This early 19th century etching entitled "Veduta degl' Avanzi delle Torri di Belisario Dalla parte che guarda l' Interno della Città, vicino a Porta S. Giovanni, A. Mura Aureliane" (...

This early 19th century hand-colored double fold-out botanical engraving is entitled "Sempervivum Glutinosum" (Clammy Houseleek), plate 1963, published in London in 1818 in William C...

A painting of a chestnut hunter in a landscape with a horse and rider accompanied by two hounds by a woodland river in the distance. Signed and inscribed 'Melton Mowbray', lower left. Oil on canvas in a giltwood frame. John Ferneley Sr (1782-1860) was born the son of a Leicestershire wheelwright, the youngest of six children. He is known as one of the great British equine artists, perhaps only second to Stubbs in terms of raw ability. Ferneley originally worked with his father, until by chance the Duke of Rutland saw some of his work on the side of a cart on which Ferneley and his father had been working. The Duke was so impressed with Ferneley that he persuaded John's father to allow him to become the pupil of Benjamin Marshall. Ferneley was so talented that apparently he produced almost perfect copies of his tutor's paintings and they were said to have been indistinguishable from the master’s. Marshall also enrolled him as a student of the Royal Academy Schools. In 1804 Ferneley paid a man named Thomas Harrison...

Attribué à Claude-Marie Dubufe (1790–1864) Jeune femme à la toilette Huile sur toile, 60 x 74 cm Cadre ancien doré à la feuille Élégamment mise en scène devant un fond rouge profond...

Well-drawn early 19th century French watercolor of a family in a wooded landscape. Framed in an antique water gilded frame, which might be the original to the piece. The quality o...

Colour aquatint by John Bluck (active 1791-1819) after Auguste Pugin (1762-1832). Architectural interior with superb original colour. From 'Westminster Abbey', published by Rudolf A...

Dutch School 19th Century Flower Still Life Oil on panel Framed: 13 ½ inches x 11 ½ inches (34 x 29 cm) This charming miniature floral still life—possibly a preparatory study for...

A very fine English School folk art portrait of a young boy in an East Anglian landscape. The artist intricately captures the contrasting plaid overcoat that the young boy wears in r...

Giuseppe Bernardino Bison (Palmanova 1762 - Milan 1844) - Holy Family. 32 x 26 cm without frame, 36 x 30 cm with frame. Pencil and white chalk drawing on paper, in a gilded wooden ...

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

'German Manner of Netting Partridges' Colour aquatint by Merke after Franz Joseph Manskirch (1768-1830). From Samuel Howitt's 'Foreign Field Sports'. Samuel Howitt was an English p...

Attitudes of the Prussian Military is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to...

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 Hill (1770 - 1850) after Augustus Charles Pugin (1762 - 1832) St Sepulchre's - The Round Church (1814) Aquatint with original hand colouring 24 x 29 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the Church of the Holy Sepulchre, Cambridge, the round shape of which is inspired by the rotunda in the church of the Holy Sepulchre, Jerusalem. John Hill was born in London in 1770, and was an engraver's apprentice. He worked in aquatint and largely produced book illustration aquatints. He went to America in 1816 and produced the notable Picturesque Views of American Scenery amongst other books of prints. Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. 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...

Actor Iwai Hanshiro as a Samurai is an artwork realized by Utagawa Toyokuni (1769-1825), in the early 19th Century Color woodcut, signed or inscribed in the top right and bottom lef...

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...

The Riverside Pathway Italian School, early 1800's period oil painting on paper laid on board, unframed size: 12.75 x 17.5 inches condition: overall very good for age, a few very sma...

"The Queen Flower" by Dr. Robert Thornton from the quarto edition of "Temple of Flora." London, 1812. Mixed media engraving (aquatint, mezzotint, color...

'Falcon Crag' Aquatint by William Green, 1804 William Green of Ambleside was a Lake District draughtsman, soft ground etcher and aquatint engraver of ...

From Dibdin's 'Observations on a tour'. Charles Dibdin the elder was a famed singer, songwriter, and actor who spent a significant amount of time touring the countryside. During this...

Colour aquatint by Bluck after Thomas Rowlandson and Auguste Pugin. From the series 'Microcosm of London', published by Rudolf Ackermann, the great Regency publisher of fine colour...

George Brookshaw's (1751-1823) beautiful "Peaches, Nectarines" hand colored aquatint engraving, plate 38 from his "Pomona Brittanica", considered to be the finest British botanical large format treatise of the 19th-century. His engravings were unique for their rich tones and colors, elegant compositions with the fruit seeming to float on a mottled sumptuous background. The pale green and peach-colored peaches and the pink and green flowers lie on a rich dark brown-colored background. The print is presented in an ornate bronze-colored wood frame with gold-colored inner and outer trims and a triple mat. The outer mat is a marbled light...

Portrait of a Young Aristocrat French School, circa 1800's circle of Louis Leopold Boilly (1761-1845) oil painting on canvas, framed canvas: 16 x 13.5 inches frame: 21 x 18 inches p...

Ceremonial Portrait of Noble German Lady - amazing discovery of hidden monogram "J.E. 1826" disclosing Great American portraitist Jacob Eichholtz (17...

Work on canvas

Little Devils Bridge over the Russ, above Alt Dorft Swiss From: Liber Studiorum Etching and mezzotint, 1809 Signed in the plate by JMW Turner and Charles Turner who applied the mezz...

Etching on paper realized, among the others, by Tomàs Gozàlez. From Juan Corradi, Descubrimiento y conquista de la América o Compendio de la historia general del Nuevo Mundo, Madrid...

'Helonias bullata - Spear-leaved Helonias' Native of Carolina, North America. Original copper-line engraving with original hand-colouring from Henry Andrews' 'The Botanist's Repos...

'Torch Light Fishing in N America' Colour aquatint by Merke after John Heavenside Clark (c1770-1863). From Samuel Howitt's 'Foreign Field Sports'. Samuel...