Antique Grape Botanical Chromolithographs, Wine & Table Grapes, Set of Six, 1854

Title: "A Bountiful Vine: Hand-Colored 19th-Century Engraving of Grapes from Bertuch’s *Bilderbuch für Kinder*" Description: This captivating 19th-century botanical engraving featu...

Antique Grape Varieties Botanical Print, Vitis Vinifera Study, Hand Colored This comparative botanical engraving presents multiple varieties of Vitis vinifera, offering a more analy...

This hand-colored lithograph showcases a cluster of Stockwood Golden Hambro grapes, a variety known for its plump, golden fruit. The print is part of Louis van Houtte’s *Flore des Se...

Set of three original antique chromolithographs of various red grape varieties titled 'Forcalla - Mecle - Grappu'. These prints originate from 'Traité Général de Viticulture. Ampélog...

Artist/ School: English/ American School, 19th century, circa 1860's. Title: Isabella Grapes on the vine. Interesting inscription telling the history of the drawing and how the orig...

Offered is framed antique print featuring several varieties of grapes (Mrs. Pince’s Muscat, Royal Muscadine, Chasselas Vibert, Foster’s Seedling, Mrs. Pearson and Gros Marcoc). May ...

George Brookshaw (1751-1823) Plate LVIII West St. Peters Aquatint, engraving with some stipple, printed in colors with hand finishing, 1809 Signed in the plate Engraved signature on the bottom center margin From: Pomona Britannica or A Collection of the Most Esteemed Fruits (90 Plates) Published: White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Format: Folio size, 1st edition Printer: Thomas Bensley (active c. 1760-1935) Considered to be a msaterpice of natural history illustration Condition: Excellent Image size: 18 3/4 x 15 7/8 inches Sheet size: 21 1/4 x 17 inches Provenance: W. Russell Button Gallery, Chicago Reference: Dunthorne: 1938.050 Publication legend lower center: “Painted & Published as the Act Directs by the Author G. Brookshaw” followed by date, varying from 1804 to 1812. Title page credits: “Printed for the author by T. Bensley, Bolt Court, Fleet Street. Published by White, Cochrane and Co. Fleet Street; E. Lloyd, Harley Street; and W. Linsell, Corner of Wigmore Street.” George Brookshaw (1751-1823) (after) from Pomona Britannica; Or, a collection of the most esteemed fruits at present cultivated in this country… selected principally from the Royal Gardens at Hampton Court T. Bensley, London (printer) White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Folio edition Stipple engravings, printed in color, finished by hand 17.5 x 14 inches, plate mark, average approximate 22 x 17 inches, overall, average approximate Pomona Britannica, or a Collection of the Most Esteemed Fruits at present cultivated in the country…selected principally from the royal gardens at Hampton Court…accurately drawn and coloured from nature, with full descriptions was published in London from 1804—1812. Comprising 90 aquatint engravings, including 256 depictions of British fruit, after paintings by George Brookshaw. Published in London and engraved by R. Brookshaw and H. Merke. George Brookshaw (1751—1823) was born in Birmingham, England where he was apprenticed to Samuel Troughton (d. 1783), a Birmingham painter and japanner. According to a recent blog post related to St. Philips Cathedral, Birmingham, England, entitled In Search of Sobieski Brookshaw, by Gill Partridge, he may have received some art training from his father, also named George Brookshaw, who is listed as an engraver in a document dated 1751. George Brookshaw’s brother, Richard Brookshaw (1736—c.1804) was a portrait painter and engraver well versed in mezzotint and copperplate engraving techniques, and may have instructed his brother. In 1777, Brookshaw moved from Birmingham to London and began a celebrated career building fine cabinets detailed with hand-painted botanical and pomological motifs. Shortly afterward, in 1778, he married Sobieski Grice (1749—1811), daughter of William Grice, a prosperous gunsmith.The Prince of Wales was the most distinguished of Brookshaw’s well-heeled patrons, and today examples of Brookshaw’s cabinetry may be seen at the Victoria & Albert Museum, London. According to church records noted in Gill Partridge’s post, both George Brookshaw and Sobieski Grice were baptized at the Birmingham Cathedral. In his cabinet-making shop, Brookshaw also offered lessons in flower painting to ‘Ladies of Taste and Fashion’. During the mid 1790s, it appears his furniture-making business went bankrupt, and he led his life under an assumed name, G. Brown. In 1991, Lucy Wood wrote two articles in which she drew the connection between G. Brown and George Brookshaw. During his years of anonymity, Brookshaw worked as an illustrator of botanical books and gave flower-painting lessons, which may have been his primary source of income. Apparently, the marriage dowry he enjoyed while married to Sobieski Grice was lost after their marriage dissolved. Brookshaw returned to public view as the earliest parts of Pomona Britannica were issued. In Flower and Print Books of the 18th and Early 19th Centuries, Gordon Dunthorne extolls the virtues of George Brookshaw’s large folio edition. “One of the eminent English artists of the early nineteenth century is George Brookshaw, who issued in 1812, Pomona Britannica. Ninety aquatint plates, printed in colour and on a scale comparable to Thornton’s Temple of Flora...

Artist/ School: English/ American School, 19th century, circa 1860's. Title: Isabella Grapes on the vine. Interesting inscription telling the history of the drawing and how the orig...