1820s Figurative Prints

Kabuki actor Nakamura Shikan II by Utagawa Kunisada Japanese Woodblock Print Wonderful portrait of Nakamura Shikan II, a prominent kabuki actor, in the role of Kisen Hoshi Toyokuni ...

The Courtesan Kashiwagi and the Kamuro Wakano - Japanese Woodblock Print Original Toyokuni III/Kunisada (Japanese, 1786 - 1864) Japanese Woodblock Print "The Courtesan Kashiwagi and...

Théodore Géricault and Eugène Lami, 'Mazeppa' from the series 'Oeuvres de Lord Byron', lithograph, 1823, 2nd state of 3, Delteil 94. Rendered by Thé...

WILLIAM BLAKE (British 1757-1827) JOB'S SACRIFICE - And my Servant Job Shall Pray For You, 1825 (Bindman 1978.643; Binyon 1926.123 iii; Russell 1912.33) Engraving, First edition, one of 100 sets printed directly onto Whatman wove paper with a 1825 watermark. and the word “proof” removed. From "Illustrations of the Book of Job...

Book 1, line 192: Satan on the Burning Lake Mezzotint, 1825 Engraved signature below the image (see photo) From John Milton's "Paradise Lost" Published by Septimus Prowett Printed by...

"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...

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" (...

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...

Veduta Generale del Tempio della Sibilla, e Ponte della Cascata di Tivoli Image dimensions: 61x45 cm. From the series “Le antichità de’ contorni di Roma (...)” an artist's proof with...

Gentleman of the Cardinal is an Artwork realized in 1827 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and dated on the...

Napoleon a Bautzen Lithograph, 1822 Signed in the stone (see photo) From: Arnault, A. V. Vie Politique et Militaire de Napoleon (120 plates) Published, Paris, Librairie Historiquem 1...

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

Veduta delle Rovine di una Conserva d'acqua per la Villa di Domiziano vicino a Castel Gandolfo negl'Orti Lodovisi Image dimensions: 42 x 52 cm. From th...

A Duel between Frank and Rashleigh is original lithograph on china glued, realized by the artist Richard Parkes Bonington (1802- 1828) Signed...

Il Festino 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 brillian...

“Testa quasi colossale di Marco Aurelio” (Almost colossal head of Marco Aurelio) is a beautiful black and white burin on paper, realized by the Italian artist Pietro Fontana (Bassano Romano,1762 – Rome, 1837), after Teodoro Matteini (Pistoia, 1754 - Venice, 1831), as the inscriptions on plates on lower margins report “Teodoro Matteini delineò./ Pietro Fontana incise a bollino Roma”. This original print is numbered on plate in Roman numerals on higher margin: “Tom II. /Tav. XXV" 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 Roman philosopher and writer and one of the "good Roman Emperor" (according to Edward Gibbon) Marco Aurelio, represented in neoclassical style and with the traditional iconography with a thick hair and a long beard. In excellent conditions with a usual yellowing of the paper on the lower margin and some light signs of the time with an imperceptible weaving of the paper on the lower right corner, this wonderful burin preserved 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 Morghen...

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

Arashi Rikan II in an Osaka Kabuki Scene Color woodcut, c. 1827 Signed middle left (see photo) Titled upper left (see photo) Format: oban Publisher: Honsei The actor, in character, d...

Napoleon Standing Lithograph, 1822 Signed in the stone lower left corner of image (see photo) From: Arnault, A. V. Vie Politique et Militaire de Napoleon (120 plates) Published, Paris, Librairie Historiquem 1822 Printed by C. Motte, Paris Considered to be the major pictorial treatise on Napoleon and his military conquests. Image size: 14 x 9 3/4 inches Sheet size: 23 5/8 x 17 3/4 inches Condition: Very good Horizontal prints...

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

Dancing in the street (original Title: "Ballo nella Strada") is a beautiful etching and hand-colored gouache, finely engraved on copper and printed on laid paper. The work, which pre...

This early 19th century etching entitled "Veduta dei Grandi Avanzi delle Terme Antoniane, o di Caracalla" (The baths of Caracalla) was created by Luigi Rossini and included in his pu...

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

Veduta interna delle Sostruzioni dei Portici del tempio d'Ercole in Tivoli (...) is an original etching realized by Luigi Rossini. From the series “Le antichità de’ contorni di Roma (...)” it is an artist's proof with real technical virtuosity, with sharp details, representing the walkways under the portici of Hercules Temple in Tivoli. Signed on plate “Rossini dis. e inc.” lower-left corner, with indication of date and place “Roma, 1824”. In very good conditions. Luigi Rossini (1790 – 1857) Like Giovanni Battista Piranesi, Luigi Rossini was an architect and his etchings have the same tendency to emphasize the massive constructions of the Ancient Rome. He became famous thanks to his etchings representing Roman landscapes and antique monuments...

"Rovina della gran Basilica di S. Paolo fueri le mura accaduta" (View of the Ruins of the Great Triumphal Arch of S. Paolo Fuori le Mura) from "Le Antichita Romane" (Ancient Rome), published in Rome in 1823. It depicts the destruction of the Basilica of St. Paul after the fire of 1823. People stand in the road and on the right observing the damage amid debris, which includes many fragments of columns. The etching is presented in a silver-color wood frame with an off-white double mat with a black inner mat. There are a few small spots, but it is otherwise in very good condition. See item # LU117324669722 for another Rossini etching...

William Hogarth (1697-1764) Original engravings 155 pсs., 1 piece with blend. 1822 London From A. Neibergs collection

“Sarcofago rappresentante la morte di Meleagro” (Sarcophagus representing the Meleagro's death) is a beautiful black and white burin and etching on paper, realized by the Italian artist Giovanni Folo...

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

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

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

Théodore Géricault 'Cheval de Mecklembourg' (Mecklembourg Horse), lithograph, 1822, 2nd state of 4, Delteil 47. Signed in the matrix 'Gericault', lower left. Published by Godefroy En...

Veduta della Gran Caduta dell'Aniene in Tivoli Image dimensions: 63x46 cm. From the series “Le antichità de’ contorni di Roma (...)” an artist's proof of technical virtuosity with sh...

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

Guillaume le Conquérant rapporté après sa mort à l'église de Boscherville (William the Conqueror brought back after his death to the church at Boscherville) Lithograph, 1823 As publi...

Théodore Géricault (after), 'Tigre dévorant un cheval' (Tiger Devouring a Horse), lithograph, 3rd state of 3, Clement 97, c. 1820. Lettered 'Volmar ...

The Conservator in the Chapels is an Artwork realized in 1827 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and dated o...

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

Costume Parisien -Journal des Dames et des Modes  is a print realized by Louis-Philibert Debucourt in 1824. Etching on paper. The print is part of the fashion magazine Journal des ...

Veduta di un Tempio Antico, o Ninfeo, alle sponde del Lago di Castel Gandolfo (...) Image Dimensions: 45.5 x 57.5 cm From the collection “Le antichità de’ contorni di Roma”(..), Rome, 1826 by L. Rossini, an artist's proof with sharp details, representing some an Antique Temple, near the lake in Castel Gandolfo. Signed on plate “Rossini dis. e inc.” lower-left corner, with indication of date and place “Roma, 1826”. In very good conditions with some light marks. Luigi Rossini (1790 – 1857) Like Giovanni Battista Piranesi, Luigi Rossini was an architect and his etchings have the same tendency to emphasize the massive constructions of the Ancient Rome. He became famous thanks to his etchings representing Roman landscapes and antique monuments...

Sepolcro Regio o Consolare inciso nella rupe del Monte Albano, or nel Convento di Fr. Frances. ni di Palazzuolo is an original etching realized by Luigi Rossini. From the series “Le ...

The Cardinal of the Order of Deacons is an Artwork realized in 1828 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and d...

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

“Busto di Settimio Severo” (Bust of Settimio Severo) is a beautiful black and white burin and etching on paper, realized by the Italian artist Giovanni Battista Leonetti , after Bernardino Nocchi...

Avanzi della Biblioteca in Villa Adriana, di opera retticolata is an original etching realized by Luigi Rossini. From the collection “Le antichità de’ c...

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

The Monsignor of "Santo Spirito in Sassia" is an Artwork realized in 1827 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate...

Alfieri is an original modern artwork realized by Henri Grevedon in 1826. Original Black and White Lithograph on paper. Signed and dated on the lower margin: C. Motte 1826. Titled on the central margin in capital letters: Alfieri. Fair conditions: some foxings on the surface. Alfieri is an original modern artwork realized by Henri Grevedon in 1826. Original Black and White Lithograph on paper. Signed and dated on the lower margin: C. Motte 1826. Titled on the central margin in capital letters: Alfieri. Quite good conditions: some foxings on the surface. Magnificent lithograph depicting the portrait of the great Italian author and playwright Vittorio Alfieri. The figure is in pose and express a great magniloquence and monumentality. This work has been realized by the French artist and engraver Henri Grévedon (Paris, 1776 - Paris, 1860). Grévedon studied painting in the Parisian workshop of Jean-Baptiste Regnault, professor of painting at the École des Beaux-Arts in Paris. Henri Grévedon exhibited from 1798 to 1806 and received a second medal in 1790. He was a first class gold medal in 1805 and won the first prize of the torso in 1806. He competed without success for the Prix de Rome in 1805 and 1806. According to Henri Beraldi, he "traveled the world, going to seek success in Russia in 1806 where he became an associate of the Academy of Saint Petersburg. He stayed in Stockholm in 1812, then in London, finally retured to Paris in 1816. Soon he devoted himself completely to lithography, and found there a reputation which would not have come to him with painting". He executed many painted portraits, paintings and miniatures, then he drew directly on the lithographic stone, working in particular for the workshop of Charles Motte during the 1820s. At the Salon of 1824, he won for the second time a gold medal for first class. Among the personalities he represented between 1825 and 1845, there were many actresses and dancers of his time such as the Taglioni, Fanny Elssler...

"Aiutante di Camera con la Mazza" is an Artwork realized in 1828 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and date...

Armenian Bishop is an Artwork realized in 1827 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and dated on the right mar...

The Cardinal wearing the cape is an Artwork realized in 1827 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and dated on...

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

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

Theodore Gericault (1791-1824) Passage du Mont Saint-Bernard Lithograph, 1822 Signed and titled in the stone As published in Arnault "Vie politique et militaire de Napoleon" Conditio...

The Bishop Assistant at the Pontifical Throne is an Artwork realized in 1828 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on pl...

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

Théâtre des Variétés is an original Hand-colored etching on paper realized in 1820 ca. and attributed to the french engraver Godefroy Engelmann. With the description on the lower an...

The artwork belongs to the "Gerarchia ecclesiastica considerata nelle vesti sagre e civili usate da quelli li quali la compongono", composed by 112 engraved and hand-colored tables, ...

Cardinale in Croccia is an Artwork realized in 1829 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and dated on the righ...

"Paraferniere delle Cappelle Solenni" is an Artwork realized in 1827 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and ...

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