1820s Figurative Prints

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...

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

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...

Interno della Basilica della Fortuna Prenestina Image dimensions: 40x53 cm. From the collection “Le antichità de’ contorni di Roma (...)”, published in Rome, 1826 an artist's proof w...

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...

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

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 Nobel's Chief Bodyguard is an Artwork realized in 1828 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate on the right m...

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" (...

Lithograph realized in 1821 by Zéphirin Belliard, executed after Raphael, from the early years of the medium. This print forms part of Belliard’s series of interpretations after the...

Veduta di Tivoli mista d'Antico, e moderno (...) From the collection: “Le antichità de' contorni di Roma ossia le più famose città del Lazio. Tivoli, Albano...

"Caudatario" in the Chapel 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 th...

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...

"Mazziere" of the Pontifical Chapel is an Artwork realized in 1827 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate on the...

I Moccoletti is a pleasant etching and hand-colored gouache, finely engraved on copper and printed on laid paper. The work is unsigned, but it is part of the 20 plates engraved in 18...

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 ...

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 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...

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...

"Bussolante con Triregno Pontificale" is an Artwork realized in 1828 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and ...

"Uditore di Rota con Croce Papale" is an Artwork realized in 1827 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and dat...

"Uditore di Rota. Suddiacono Apostolico" is an Artwork realized in 1828 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate a...

The Noble Pontifical Guard is an Artwork realized in 1827 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). "Cameriere Segreto Cavaliere di Spada, e Cappa" is an Artwork realiz...

Full Title: Piazza di Palestrina costruita sulle rovine del famoso Tempio della Fortuna Prenestina Image dimensions: 41 x 52 cm. From the collection “Le antichità de’ contorni di R...

Lithograph on wove paper, realized in 1828. Signed in the plate. Light foxing throughout, slightly heavier on the margins; faint handling creases; image impression clean and well-p...

"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 Marshal of the Conclave 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...

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...

Artist: Samuel Rush Meyrick (English, 1783-1848) Title: "John Duke of Somerset" (Vol. 2, Plate XLIX - 49) Portfolio: A Critical Inquiry into Antient Armour Year: 1824 (First edition)...

Simulacro Di Diana is an original print realized by Giovanni Folo After Agostino Tofanelli. Original etching on copper. Hand-colored on black ink background. Designed by Agostino Tofanelli and engraved by Giovanni Foto (as printed on plate on lower right). Original title: Simulacro Di Diana detto volgarmente la ZIngarella Included frame: 60 x 50 cm From "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 in Rome, 1821. It deals with two volumes of engravings showing the main antique monuments or statues collected by the Prince Borghese in his Villa in Pincio Hill. Remarkable contemporary artists like Luigi Cunego, Gio. Batta Leonetti, Pietro Bettelini, Gio. Brunetti, Giovanni Ottaviani, Angelo Campanella, Pietro Fontana contributed. Drawings are, above all, by Agostino Tofanelli, Bernardino Nocchi, Domenico de Angelis, Teodoro Matteini. Giovanni Folo Veneto (Bassano, 1764 – Rome 1836) Giovanni Folo Veneto was an Italian engraver of the Neoclassic period, active in Italy. He studied with Giulio Golini and G.B. Mengardi in Venice. In 1781 he moved to Rome to study with Giovanni Volpato, but later he followed the style of the Volpato's pupil, Raffaello Morghen...

“Agrippina Giovane” (The young Agrippina) is an original etching realized by A. Tofanelli and A. Mochetti. Image Dim: cm 48x33, Dim: cm 59x44; Passepartout Dim: cm 69 x 49. Precious Etching on copper: Hand-colored subject on black ink bottom. Designed by Agostino Tofanelli and engraved by Alessandro...

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...

Théodore Géricault, 'Garçon donnant l'avoine à un cheval dételé' (Boy Giving Oats to a Hitched Horse), lithograph, 1822, 2nd state of 2, Delteil 89...

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...

"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...

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 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...

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

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...

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

"Prelato di Mantelletta" is an Artwork realized in 1828 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate on the right marg...

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...

"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...

“Nascita di Telefo, Bassorilievo” (Birth of Telefo, Bas-relief) is a beautiful black and white burin and etching on paper, realized by the artist Angelo Campanella, after Bernardino Nocchi, as the inscriptions on plates on lower margins report “Bernardino Nocchi delineò/ Angelo Campanella incise Roma”. This original print is numbered on plate in Roman numerals on higher margin: “Tom II. /Tav. IX" 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 beautiful piece of the Borghese's collection, a classical bas-rilief representing the birth of Telefo, a Greek hero and myth. In excellent conditions with some light signs of the time with some sporadic minor stains along the higher margins,this wonderful etching has preserved still today his beauty and 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. Angelo Campanella (Rome, 1748 – 1815) Angelo Campanella was an Italian painter and engraver, learned his art under Giovanni Volpato. He engraved the statues of twelve apostles found in the church of St. John Lateran in Rome, and some of the plates for Gavin Hamilton's Schola Itálica including The Presentation in the Temple after Fra Bartolommeo...

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...

Nous Avons la Victoire! is an artwork realized by French artist Denis Auguste Marie Raffet (1804 – 1860) Lithograph print. Signed on plate on the lower right. On the lower center ...

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...

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, ...

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...

The  Pope wearing the cape in the Chapel is an Artwork realized in 1829 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate a...

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 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....

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...

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  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 on the right ma...

The 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 the right margin...

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...

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...

Ristauro del Tempio della Fortuna Prenestina. From the collection “Le antichità de’ contorni di Roma (...)” a Virtuous proof concerning the restoration of the Fortuna Prenestina Temple, with artchitectural plan, sections and some notes. Signed on plate “Rossini dis. e inc.” lower-left corner, with date and place “Roma, 1826”. In Excellent condition with some light stains. Image Dim: cm 67.5 x 51 , Dim: cm 70 x 53 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...