Early 19th Century Prints and Multiples

"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...

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...

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...

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...

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...

Striking 19th century engraving of a toucan hand colored by artist and naturalist Jacques Barraband (1767-1809 ) first published in Paris 1801. Presented under glass in a lacquered w...

A fine engraved chart table showing the lengths of the principal rivers across the world, from the second edition of John Thomson's 'New General Atlas' published in 1830. On paper.

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,...

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,...

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,...

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...

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...

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...

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...

Darton and Harvey (publisher) Map of London, Southwark, and parts adjacent (1800) Engraving 42 x 56 cm Original price "1 shilling".

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

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...

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...

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...

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

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...

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 ...

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...

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: 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 XX George Brookshaw, also known as G. Brown, was a notable English ...

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 XXXVIII George Brookshaw, also known as G. Brown, was a notable Eng...

Art Sz: 10"H x 16"W Frame Sz: 15 1/2"H x 21"W Pub, January 1st 1814 Property from the Estate of Paula Peyraud A reserved librarian from Chappaqua, New York, Miss Paula Peyraud wa...