Early 19th Century Prints and Multiples

Skulls is an etching realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Love of Mankind", London, Bensley, 1810. Good conditions. Johann Caspar Lavater was a swiss theologian and philosopher known throughout Europe for his studies on physiognomy. Following the physiognomy tradition of Della Porta and of many Renaissance and Baroque philosophers, he believed that the character of a person could be elucidated through examining their “lines of countenance" i.e. tracing a profile outline portrait. Being able to "read outside" was the key to "know the inside". Lavater's thought largely influenced Art in the late 18th and early 19th century, as in the case of Johann Fuseli and William Blake (who realized two etchings for Lavater's English edition of his Essay). Lavater was convinced that he could show his theories by analyzing the portraits of some of the main historical figures of the past, in some cases taken from paintings or (mainly for antiquity...

A striking mezzotint after the original painting by William Owen (1769-1825), showing the blind beggar of Bednall Green and a woman, with one hand on his shoulder, the other open and outstretched. The dedication and titular inscription is at the lower edge, completed with the artist's names and a short poem about the beggar in both French and English. The mezzotint has been presented in a fine late 19th Century Hogarth frame...

Colour aquatint after Samuel Howitt (1756/7-1822). From Samuel Howitt's 'Foreign Field Sports' Samuel Howitt was an English painter, illustrator and etch...

This is an early 19th century hand-colored satirical caricature etching entitled "John Bull and his favourite statue of bronze!!", published and possibly engraved in London in 1802 by William Holland (1757-1815). It depicts John Bull (symbolizing the English people) kneeling in profile before William Pitt, who was prime minister of England at the time, and for whom the American city of Pittsburgh was named. Pitt is standing, pretending to be a statue. A rectangular pedestal beneath Pitt is inscribed: "Erected by Voluntary Subscription!" Pitt's body seems elongated, reminding that this a caricature. He is standing, looking to the left, his aristocratic nose held high in apparent arrogance and his hands are deep in his pockets, with his hat under his right arm. John Bull, is dressed simply for the time. He is on in his knees in a gesture of supplication, as if in prayer or begging for some action from a deity. He is holding his hat in both hands, looking up at Pitt. Trees and bushes are seen in the background. A caption showing John Bull's words in the upper left ironically reads: "O Wonderful Man! - how I revere thy sublime resemblance. - what obligations I am under to thee! what happy times thou hast brought about! Bread for nothing! Beef 3d per pound! Porter 3d per pot! a Goose 2 shillings! and a fat Turkey 3s.6d!! - whit every thing else cheap in proportion! - besides the wonderful decrease of Taxes!! - O Dear - O Dear I hardly know how to express myself, I feel so enraptured. - O that fine brass countenance how it shines with conscious Integrity!" The engraving is presented in a gold-colored wood frame and a tan-colored mat, with curved upper corners. The frame measures 18" high, 13.13" wide and 0.5" deep. The framing and mounting utilizes acid-free archival materials and it is glazed with UV conservation clear glass. There are a few faint areas of discoloration and spotting and an apparent short barely visible crease in the lower right corner of the inscription area. The print is otherwise in very good condition. William Holland was printmaker as well as a prominent dealer of satirical prints in London in late 18th and early 19th century. He carried works by the best known satirists of the time: Gillray, Rowlandson, Newton and Woodward, as well as his own creations. Holland along with the other prominent print-sellers of the time, Hannah Humphrey and Samuel Fores, were responsible for promoting the golden age of British caricature...

'Clianthus puniceus' Original engraving with original hand-colouring, 1838. Native plant of New Zealand. From Benjamin Maund's 'The Botanist'. 1836-1...

A fine early 19th century coloured stipple engraving, titled Cyprian Volary by William Ward after George Morland. The engraving is exquisitely presented in a verre eglomise mount and...

Subject : Ancient Greek vase-painting depicting a warrior, seated young man, and young woman. Technique : Copper-line engraving with original hand-colouring Background informatio...

Fishermen is a lithograph on paper realized by an Anonymous artist in 1824. Good conditions with slight foxing, The artwork is realized through perfect hatching and deft strokes, c...

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

'The Bear Trap' Colour aquatint by Mathew Dubourg (1786-1838) and Samuel Howitt (1756/7-1822) after Samuel Howitt (1756/7-1822). From Samuel Howitt's 'Fore...

"Tomb of the Virgin Mary", Pl. 10 in Luigi Mayer's publication 'Views in Egypt, Palestine, and Other Parts of the Ottoman Empire', published by Robert Bowy...

Bust and Cupid is an etching realized by Thomas Holloway for Johann Caspar Lavatera's "Essays on Physiognomy, Designed to Promote the Knowledge and the Love of Mankind", London, Bens...

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...

The New Dance of Dead is an Woodcut Print realized by Alfred Rethel in 1848. The artwork is in good condition on a yellowed paper, included a white cardboard passpartout (32x48 cm)....

Thomas Sutherland (1785-1838) after Thomas Whitcombe (1760-1824) 'Capture of the La Vengeance, Aug 21st, 1800' Colour aquatint engraving from 'The N...

THOMAS ROWLANDSON (1757 - 1827) THE SUCCESSFUL FORTUNE HUNTER - Our Captain Shelalee Leading Miss Morrowfat to the Temple of Hyman, 1802 issued in 18...

Etching, drypoint, and roulette on watermarked Hallines cream laid paper, 3 3/4 x 5 7/8 inches (95 x 148 mm), full margins. A very good impression of this charming image, with all of...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." John Dower (1825 - 1901) Map of Berkshire from an actual survey made in the ye...

Interno del Pronao del Tempio d'Ercole nella città di Cora is an original etching by Luigi Rossini. From the collection “Le antichità de’ contorni di Roma”(..), Rome, 1826 by L. Rossini, an artist's proof with sharp details, showing Cora’s Ruins. Signed on plate “Rossini dis. e inc.” lower-left corner, with date and place “Roma, 1825”. In very good condition. Image Dimensions: 45 x 57 cm 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...

Copper-line engraving by Jacobus Houbraken (1698-1780). Houbraken was a Dutch engraver famous for his series of portraits of famous English historical figures with elaborate cartouc...

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. J Black (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...

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

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. Joseph Constantine Stadler (1755 - 1828) after Frederick Mackenzie (1788 - 1854) The Chapel of All Souls College, Oxford (1814) Hand-coloured aquatint 29.5 x 21 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of All Souls' chapel. All Souls College was founded in 1437 by Henry Chichele, Archbishop of Canterbury, to serve as a memorial to Henry V and the English dead in the Hundred Years War. The Front Quad appears virtually unchanged since it was first built in the years 1438-1343, thanks to a sympathetic Victorian restoration. The chapel was modelled after that of New College, where Chichele was a Member. It has a superb hammer-beam roof, excellent medieval stained glass, and a large number of original stalls. All services in the chapel are according to the Book of Common Prayer; the King James Bible...

'Aizoon Canariense - Purslane-leaved Aizoon' Original copper-line engraving with original hand-colouring from Henry Andrews' 'The Botanist's Repository', 1797-1812. Accompanied by ...

A fine early 19th Century strike of the humorous scene of the death of Tom Moody. Moody's friends from his hunting troupe gather round his open grave, wildly shouting "Tally Ho!" muc...

Charlotte Bronte Steel-engraving after the painting by Chappel. Circa 1870. Facsimile signature below the image. Charlotte Bronte (1816 - 1855) was ...

Subject : Ancient Greek vase-painting from depicting two fishermen in a boat with a seated nymph from an Apulian bell-krater. Naples, Museo Nazionale 1142...

Colour aquatint after Samuel Howitt (1756/7-1822). From Samuel Howitt's 'Foreign Field Sports' Samuel Howitt was an English painter, illustrator and etch...

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...

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...

Copper-line engraving by Jacobus Houbraken (1698-1780) after Holbein. Houbraken was a Dutch engraver famous for his series of portraits of famous English historical figures with elaborate cartouches. Originally published 1739, this impression c1820. 360mm by 230mm (platemark) Sir Thomas Smythe...

Colour aquatint after Samuel Howitt (1756/7-1822). From Samuel Howitt's 'Foreign Field Sports' Samuel Howitt was an English painter, illustrator and etch...

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...

Subject : Ancient Greek vase-painting depicting three draped young men and cortege of banqueters from an Attic column krater now in the British Museum. Technique : Copper-line engra...

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. Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850) Entrance to the Avenue, from Clare Hall Piece (1815) Hand-coloured aquatint 25 x 30 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the gates of Clare College...

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) Fellow Commoner of Emanuel College; a Nobleman; Fellow Commoner of Trinity College (1815) Hand-coloured aquatint 25 x 29.5 cm Published by Rudolph Ackermann...

London: Thomas McLean, 1835. Third Edition. Etching with hand coloring in watercolor on cream wove paper, 9 1/2 x 13 3/4 inches (240 x 348 mm), full margins. With light, fresh color....

This artwork titled "Brave Moor Gazul" from the suite "La Tauromaquia" engraved between 1815 and 1816, is a photogravure on creme wove paper after renown Spanish artist Francisco Jose De Goya...

Portrait of Maximilien Robespierre is an original Lithograph realized by an unknown artist in the early 19th Century. Good conditions. The artwork is depicted with perfect hatchin...

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...

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

London: Thomas McLean, 1818. Third Edition. Etching with hand coloring in watercolor on cream wove paper (published August 1st, 1835), 9 7/8 x 14 inches (250 x 354 mm), full margins....

Pair of early 19th century engravings of Raffael and Michelangelo, professionally framed in modern frames with classic white mat...

This is an early 19th century engraved portrait of the industrialist and philanthropist Richard Reynolds by William Sharp after William Hobday. It was published in London by Rudolph Ackerman in 1817. The print is entitled "Richard Reynolds of the Society of Friends, Late of Bristol". This three-quarter length portrait of Reynolds depicts him seated, directed to right, looking towards the viewer. He is holding an open book, wearing a plain suit. A curtain in the background is pulled to the left, revealing bookshelves. Some of the books are labelled 'Addison & Watts' 'Kempis & Fenelon' 'Milton & Cowley' etc. The inscription above the portrait reads: "When the eye saw him it blessed him". The lettering below the image reads: "Richard Reynolds of the Society of Friends, Late of Bristol; Whose Life and Fortune were devoted to the Glory of God by relieving the humble in Distress.', This plate is dedicated by Permission to his Royal Highness, the Prince Regent by his most devoted very humble servant William Hobday." This engraving is printed on thick paper. The sheet measures 16" high and 12" wide. It is adhered to an archival backing in the upper left corner. There is mild discoloration and toning in the margins, but it does not involve the image. Richard Reynolds (1735-1816) was a prominent member of the Society of Friends, also known as Quakers, in the 18th and 19th centuries. He was born into a wealthy family in Bristol, England, and inherited a successful copper smelting, iron manufacturing business from his father. Despite his privileged upbringing, Reynolds was known for his deep concern for the poor and his commitment to social justice. He used his wealth and influence to support a range of philanthropic causes, including the abolition of slavery, the improvement of working conditions for miners and factory workers, and the provision of education for the poor. Reynolds was also a prominent supporter of the Quaker...

'Rockbear House, Seat of Thos Porter Esq'. Rockbear House was originally built c. 1760-70 and owned by Sir John Duntze, the wealthy Exeter woollen merchant and banker. About 1820 t...

'German Wolf Trap' Colour aquatint by Mathew Dubourg (1786-1838) and Samuel Howitt (1756/7-1822) after Samuel Howitt (1756/7-1822). From Samuel Howitt's 'Foreign Field Sports'. Sam...

This hand-colored etching and aquatint caricature entitled "Playing in Parts" by James Gillray was published in London by Hanna Humphrey, 27 St. James Street on May 15th 1801. The print is signed in the plate in the lower right. This is a rare musical caricature. It depicts five amateur musicians, a woman and four men, performing their music in a drawing room. A young overweight woman dressed in white is seated in the center, playing a piano...

L'Automne is an etching realized by the french engraver Noel François Bertrand (1785-1952). Belongs to the Suite "Le Printemps, L'Eté, L'Automne, L'...

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. D Havell (1785 - 1822) after William Westall (1781 - 1850) The Library of St John's College, Cambridge (1815) Hand-coloured aquatint 24 x 29.5 cm Published by Rudolph Ackermann...

Mary Sister Of Marthais an etching realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Love of Mankind", London,...

To see our other views of Oxford and Cambridge, 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. James Basire II (1769 - 1822) after Edward Dayes...

This early 19th century framed 35" x 31" engraving by artist Amand-Durand depcits an etching of 'Jesus and the Woman at the Well,' after the Dutch master, Rembrandt van Rijn. This poignant Biblical story is depicted by Arman-Durand in Rembrandt style...

Thomas Holloway, Hands, Etching on paper, hand watercolored, 1810, is an artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote t...

La Belle Autrichenne is an artwork realized by Pierre-Paul Prud'hon in the Early-19th Century. Original print in etching technique. Good conditions. This artwork is depicted thr...

This colorful and detailed early 18th century copperplate map by John Cary entitled "A New Map of Persia from the Latest Authorities" was published in London in 1801. It depicts Persia, the region of modern day Afghanistan, the Caspian Sea, the Sea of Aral, the Persian Gulf...

“Antinoo, Testa Colossale” (Antinoo, Colossal Head) is a beautiful black and white burin and etching on paper, realized by the Italian artist Giovanni Folo, after Agostino Tofanelli, as the inscriptions on plates on lower margins report “Agostino Tofanelli delineò./ Giovanni Folo incise Roma”. Image Dimensions: 48 x 33.3 cm This original print is numbered on plate in Roman numerals on higher margin: “Tom II. /Tav. XV" 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 print shows a precious piece of the Borghese's collection, the marble bust of the legendary figure of Antinoo, a young Greek native of Bithynia, known for his sentimental and loving relationship with the Roman emperor Hadrian, who deified him after his premature death in rather mysterious circumstances. Today the name of Antinoo is associated with homosexuality and appeared in many literary and poetic works, including those by Oscar Wilde, Fernando Pessoa and Marguerite Yourcenar. In excellent conditions with some light signs of the time, with some sporadic minor stains along the margins above all on the lower, this wonderful burin has preserved still today 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. Giovanni Folo Veneto (Bassano, 1764– Rome1836) The Italian engraver of the Neoclassic period, active in Italy, 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...

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. J Black after Frederick Mackenzie (1788 - 1854) East Side of St Erasmus' Chapel, Westminster Abbey (1812) Hand-coloured aquatint 28 x 19 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".