Samuel Howitt Paintings & Artwork for Sale | Samuel Howitt Art Value Price Guide

Jul. 10, 2026
William-Samuel Howitt (English, 1765-1822), Hunting in India
Est: £200 - £300
William-Samuel Howitt (English, 1765-1822) Hunting in India Hand-coloured engraving on paper Comprising eight prints Provenance: The estate of David William Fuller Dimensions: (Paper) 5.25 in. (H) x 7.5 in. (W) (Frame) 8.75 in. (H) x 10.75 in. (W)
Sloane Street Auctions
Jul. 08, 2026
Samuel Howitt, British 1765-1822- A pair of coaching scen
Est: £200 - £300
Samuel Howitt, British 1765-1822- A pair of coaching scenes; pencil, pen, grey ink and watercolour on paper, each 13.5 x 20.1 cm., a pair (2). Provenance: Anon. sale, Sotheby’s, Olympia, 3 November 2004, lot 609 (part). Private Collection, UK. Note: Howitt made his name as an animal and sporting artist, best known for his depictions of hunting and equestrian scenes. Often regarded as a precursor to Henry Alken (1785-1851), he illustrated several publications, including Peter Beckford's 'Thoughts on Hunting' (1798) and John Turton's 'The Angler's Manual' (1808), as well as his own titles, such as 'A New Work of Animals' (1811) and 'Groups of Animals' (1811). The present works are fine examples of Howitt's coaching scenes. The composition and handling closely resemble a larger work by Howitt in the Paul Mellon Collection at the Yale Center for British Art, depicting a coach passing through Chippenham, Wiltshire [B2001.2.921].
Roseberys
Jul. 07, 2026
Samuel Howitt (English, 1756 - 1823) "Tiger Prowling Through Village" Aquatint
Est: $100 - $500
Samuel Howitt (English, 1756 - 1823) "Tiger Prowling Through Village" Aquatint 19th century A color aquatint titled "A Tiger Prowling Through a Village / Un Tigre Traversant Un Village en Hurland Quete" by Samuel Howitt (English, b. 1756 d. 1823) based on original designs by Captain Thomas Williamson. Marked in lower left of aquatint "Sam Howitt del the original design of Capt. Thos. Williamson", marked in lower right of aquatint "H Merle sculp.". Titled bottom center. Marked bottom center "London pabd. by T McLean Jan 1819". Gilt wood frame.
Akiba Galleries
Jun. 27, 2026
Samuel Howitt Original Watercolor of a Mink
Est: $1,200 - $1,800
HOWITT, Samuel (British, 1765-1822). M. Minx (Mink, male). Watercolor on paper. Signed lower right: Howitt. Inscribed M. Minx lower center. An additional, indecipherable inscription may read Major Smith ad vite (?). 7 3/8" x 4 3/8" sheet, 10" x 7 3/4" mount. The British curiosity with some North American mammals centered on fur. The Hudson's Bay Company sold mink pelts at the London fur auctions throughout this period, classed among the "fancy furs" along with marten, ermine, and fox, and worked up by furriers into the trim, linings, cuffs, and muffs of women's outdoor clothing rather than into hats (which still wanted beaver felt). Several of the North American animal watercolors by Samuel Howitt from Walter Fawkes's collection at Farnley Hall are now in the Rothschild Library at the Natural History Museum, Tring, bearing inscriptions naming a "Major" as the apparent source. Howitt was working from skins or stuffed specimens collected in North America (Missouri, Albany, New York), and on several sheets, he noted "Major [surname] / [American place]" as the source. The surname is partly abraded or trimmed on every example we have been able to find a transcription of, and is often described as having an inscription as "Major __" or "Major _V." The inscriptions clearly name a Major associated with the American Northeast and the Missouri country, but the surname itself doesn't survive.
Arader Galleries
Jun. 27, 2026
Samuel Howitt Original Watercolor of a Silver Fox
Est: $3,000 - $4,000
HOWITT, Samuel (British, 1765-1822). Silver Fox. Watercolor and graphite on paper. Signed lower right: Howitt. Inscribed Silver Fox lower center and 91. 7 1/8" x 4 3/8" sheet, 10" x 7 3/4" mount. The fox is shown in profile, alert and mid-stride upon a sun-warmed rocky ledge, its silvered coat picked out with delicate parallel strokes of pale blue-gray and washed with rust at the throat and shoulder. The full brush of the tail, tipped in white, counterbalances the composition against a backdrop of weathered boulders and trailing foliage. The silver fox, a melanistic color phase of the red fox (Vulpes vulpes) rather than a distinct species, held a particular fascination for British audiences during this period. Its pelt was among the most valuable in the global fur trade, with prime North American skins commanding extraordinary sums at the London auctions of the Hudsons Bay Company, the chartered British concern that dominated the trans-Atlantic peltry market from 1670 well into the nineteenth century. Beyond commercial appeal, the animal fed a broader Georgian and Regency enthusiasm for cataloging the natural productions of empire and its trading environs, a project sustained by sporting gentlemen, naturalists, and the publishing houses that served them. The numeral 91 suggests the present sheet once formed part of just such a systematic album or natural history portfolio.
Arader Galleries
Jun. 27, 2026
Samuel Howitt Original Watercolor of a Raccoon
Est: $2,500 - $3,500
HOWITT, Samuel (British, 1765-1822). Raccoon. Watercolor and graphite on paper. 7 1/8" x 4 1/2" sheet, 10" x 7 3/4" mount. Howitt depicts a North American raccoon (Procyon lotor) in profile, atop a weathered boulder with its ringed tail extending behind. The animal turns its dark-masked face toward the viewer, alert and seemingly arrested mid-stride. The artist builds up the textured pelt with fine graphite hatching beneath delicate washes of gray and ochre, achieving a convincing sense of dense, grizzled fur. The raccoon held a particular appeal for British viewers in the early nineteenth century. Native only to the Americas, the species was familiar to most Britons chiefly through specimens exhibited in traveling menageries and at fixed collections like the Exeter Exchange on the Strand and the royal menagerie at the Tower of London, where curious crowds could observe living examples of creatures from the former North American colonies. The animal also figured prominently in transatlantic commerce, as raccoon pelts were imported in substantial quantities to supply the British hat and fur trades. For naturalists, meanwhile, the raccoon posed a taxonomic puzzle that had occupied classifiers since Linnaeus, who initially placed it among the bears as Ursus lotor before later authorities recognized it as a distinct genus.
Arader Galleries
Jun. 27, 2026
Samuel Howitt Original Watercolor of a Wolverine
Est: $2,000 - $3,000
HOWITT, Samuel (British, 1765-1822). Wolverine. Watercolor and graphite on paper. Inscribed Wolverine lower center. 7 1/8" x 4 1/2" sheet, 10" x 7 3/4" mount. Shown in profile on a weathered log against a softly washed gray sky, the animal displays the dark saddle, pale flanks, banded shoulder stripe, and bushy russet tail by which the wolverine was known to British natural historians of the period. Howitt has rendered the long guard hairs with fine parallel strokes, picking out the dark legs, white-tipped claws, and pale facial mask with characteristic delicacy. The watercolor belongs to the series of North American quadrupeds that Howitt produced in the second decade of the nineteenth century, which descended through the Fearnley Hall collection. Like those works, it was almost certainly drawn after a mounted specimen rather than from life. Howitt, who never traveled to the Americas, is known to have studied taxidermied animals at William Bullocks museum in Piccadilly and at the British Museum, supplementing direct observation with sketches and descriptions supplied by sportsmen and naturalists returning from abroad. For an English audience of the early nineteenth century, the wolverine carried an exotic, almost mythic charge. The species (variously called the glutton, carcajou, or quickhatch) inhabited the boreal forests and tundra of Scandinavia, Russia, and British North America, regions that lay at the commercial and scientific edges of Britains imperial reach. Through the Hudsons Bay Company, chartered in 1670, wolverine pelts arrived regularly in London auction rooms; their dense, frost-shedding fur was particularly prized for trimming hoods and cuffs in cold-weather clothing. Tales of the animals strength, cunning, and prodigious appetite had circulated in British natural history since Thomas Pennants Arctic Zoology (178487) and were further embellished by accounts from Samuel Hearne and the Franklin expeditions.
Arader Galleries
May. 20, 2026
Samuel Howitt
Est: €100 - €150
River landscape, 1819 watercolor on paper, cm. 46x69 approximately Initialed and dated on lower left: S.H.1819
Bolli & Romiti
May. 02, 2026
SAMUEL HOWITT ORIGINAL WATERCOLOR FOR EDWARD ORME'S BRITISH FIELD SPORTS - SNIPE SHOOTING
Est: $15,000 - $20,000
HOWITT, Samuel (British, 1765-1822). “Snipe Shooting”. Watercolor on wove paper. Signed ‘Howitt’ lower left. Preparatory watercolor drawing for Plate 16: Snipe Shooting for Edward Orme’s British Field Sports (1807–1808). 11 1/8" x 16 5/8" visible, 17 1/2" x 22 3/4" framed. The British Field Sports snipe shooting is set in a frost-touched lowland landscape, with bare winter willows and scrub grasses framing a millpond or riverside building in the middle distance. The wintery palette, all pale ochre, ash-white, and steel-gray sky, conveying the cold stillness of a shooting morning. Three sportsmen occupy the left portion of the composition, dressed in tan coats with black-topped hats typical of the Regency period. The central figure raises his flintlock to his shoulder, taking aim at a bird flushing low through the reeds, while a companion beside him watches the shot, and a third figure perches on a fallen tree above, surveying the ground ahead. Two spaniels work the rough grass below: one already bounding toward the flushing bird in anticipation of the retrieve. The target appears to be a pheasant or similar upland bird, caught mid-flush against the pale grass rather than in open sky. A second bird can be spotted in distant flight near the roofline, suggesting the continuity of the day’s sport beyond the immediate action. --------- SAMUEL HOWITT’S WATERCOLORS FOR EDWARD ORME’S BRITISH FIELD SPORTS THE MOST IMPORTANT ENGLISH SPORTING BOOK EVER PUBLISHED Among the most treasured artifacts at the intersection of sporting art and natural history publishing in Regency England are the original watercolors executed by Samuel Howitt for Edward Orme’s celebrated volume British Field Sports, first published in 1807. These drawings, produced as preparatory studies for the hand-colored aquatint engravings that would ultimately grace Orme’s sumptuous book, represent some of the finest examples of the British sporting watercolor tradition. They are intimate, technically assured, and alive with the mud, feathers, and autumn light of the English countryside. Howitt’s watercolors are the creative source of a publication that shaped how an entire generation of sportsmen imagined their own pleasures. Samuel Howitt (c. 1756–1822) occupied an underappreciated position in the hierarchy of British sporting artists. A brother-in-law to Thomas Rowlandson and a gentleman amateur turned professional, Howitt brought to his work an insider’s knowledge of field sports that no mere observer could have supplied. He hunted, he shot, he fished, and he drew and this intimacy with his subject matter gives his watercolors for British Field Sports a quality of felt experience that elevates them above mere illustration. Where a less experienced artist might have placed a sportsman in a generic landscape, Howitt rooted his figures in particular moments: the half-crouch of a shooter marking a flush, the setter frozen on point, the spaniel plunging through a reed bed with ears streaming behind it. Edward Orme was among the most ambitious sporting publishers of his era, and British Field Sports was conceived as a prestige object a folio intended for the libraries of wealthy country gentlemen who took their leaisure sports seriously. The collaboration with Howitt was well-judged. For the aquatint plates, engravers translated Howitt’s watercolors into the warm, layered tones that characterized the finest colorplate books of the period, but those plates inevitably lost something: the freshness of the original wash, the spontaneity of Howitt’s brushwork, the small corrections that reveal an artist’s thinking on paper. The surviving original watercolors command serious attention precisely because they restore the artist’s original vision, often lost in the engraving process. What makes Howitt’s original watercolors for British Field Sports so significant as art objects, beyond their documentary and historical interest, is precisely their status as working yet highly finished drawings. Watercolor does not permit the revisions and overpainting available to the oil painter; it demands decision and directness, and Howitt’s compositions, with their rapid, confident notation of light and form, speak to an artist whose hand and eye were thoroughly trained by years of drawing and shooting in the British countryside. Edward Orme gave him a subject worthy of his abilities, and the resulting partnership produced one of the most engaging bodies of sporting illustration in the English tradition. To see these watercolors today is to recover something irreplaceable: not merely the record of a sport or a season, but the vision of a particular artist alive to the beauty of a world that, even then, was already beginning to change.
Arader Galleries
May. 02, 2026
SAMUEL HOWITT ORIGINAL WATERCOLOR FOR EDWARD ORME'S BRITISH FIELD SPORTS - GROUSE SHOOTING
Est: $15,000 - $20,000
HOWITT, Samuel (British, 1765-1822). “Grouse Shooting”. Watercolor on wove paper. Signed ‘Howitt’ lower center. Preparatory watercolor drawing for Plate 15: Grouse Shooting for Edward Orme’s British Field Sports (1807–1808). 11 1/8" x 16 5/8" visible, 17 1/2" x 22 3/4" framed. Howitt’s grouse-shooting scene displays an entirely different landscape than his other compositions, and one senses in this drawing the artist taking pleasure in this change. At the left of the composition, a sportsman stands among rocky outcrops and russet bracken, dressed in a golden-yellow coat, buff breeches, and green boots, his broad-brimmed black hat shading his face as he holds his flintlock fowling piece across his body. Beside him, a companion rides a grey horse, surveying the ground ahead with equal attentiveness. In the foreground, two setters work low and purposefully through the grass, noses fixed to the scent of game. Behind these figures, Howitt opens the scene into the full breadth of the open moor. It is this vast expanse, heather and bracken rolling away to distant ridges beneath a hazy sky, that gave Howitt the space and atmosphere he so clearly savored. Grouse shooting over dogs, as it was practiced in the early nineteenth century before the driven shoot became fashionable, required sportsman and artist alike to cover great distances on foot, and Howitt’s watercolor conveys the physical scale of the moor and the quietude of the sport. --------- SAMUEL HOWITT’S WATERCOLORS FOR EDWARD ORME’S BRITISH FIELD SPORTS THE MOST IMPORTANT ENGLISH SPORTING BOOK EVER PUBLISHED Among the most treasured artifacts at the intersection of sporting art and natural history publishing in Regency England are the original watercolors executed by Samuel Howitt for Edward Orme’s celebrated volume British Field Sports, first published in 1807. These drawings, produced as preparatory studies for the hand-colored aquatint engravings that would ultimately grace Orme’s sumptuous book, represent some of the finest examples of the British sporting watercolor tradition. They are intimate, technically assured, and alive with the mud, feathers, and autumn light of the English countryside. Howitt’s watercolors are the creative source of a publication that shaped how an entire generation of sportsmen imagined their own pleasures. Samuel Howitt (c. 1756–1822) occupied an underappreciated position in the hierarchy of British sporting artists. A brother-in-law to Thomas Rowlandson and a gentleman amateur turned professional, Howitt brought to his work an insider’s knowledge of field sports that no mere observer could have supplied. He hunted, he shot, he fished, and he drew and this intimacy with his subject matter gives his watercolors for British Field Sports a quality of felt experience that elevates them above mere illustration. Where a less experienced artist might have placed a sportsman in a generic landscape, Howitt rooted his figures in particular moments: the half-crouch of a shooter marking a flush, the setter frozen on point, the spaniel plunging through a reed bed with ears streaming behind it. Edward Orme was among the most ambitious sporting publishers of his era, and British Field Sports was conceived as a prestige object a folio intended for the libraries of wealthy country gentlemen who took their leaisure sports seriously. The collaboration with Howitt was well-judged. For the aquatint plates, engravers translated Howitt’s watercolors into the warm, layered tones that characterized the finest colorplate books of the period, but those plates inevitably lost something: the freshness of the original wash, the spontaneity of Howitt’s brushwork, the small corrections that reveal an artist’s thinking on paper. The surviving original watercolors command serious attention precisely because they restore the artist’s original vision, often lost in the engraving process. What makes Howitt’s original watercolors for British Field Sports so significant as art objects, beyond their documentary and historical interest, is precisely their status as working yet highly finished drawings. Watercolor does not permit the revisions and overpainting available to the oil painter; it demands decision and directness, and Howitt’s compositions, with their rapid, confident notation of light and form, speak to an artist whose hand and eye were thoroughly trained by years of drawing and shooting in the British countryside. Edward Orme gave him a subject worthy of his abilities, and the resulting partnership produced one of the most engaging bodies of sporting illustration in the English tradition. To see these watercolors today is to recover something irreplaceable: not merely the record of a sport or a season, but the vision of a particular artist alive to the beauty of a world that, even then, was already beginning to change.
Arader Galleries
May. 02, 2026
SAMUEL HOWITT ORIGINAL WATERCOLOR FOR EDWARD ORME'S BRITISH FIELD SPORTS - PARTRIDGE SHOOTING, II
Est: $15,000 - $20,000
HOWITT, Samuel (British, 1765-1822). “Partridge Shooting, II” Watercolor on wove paper. Signed ‘Howitt’ lower right. Preparatory watercolor drawing for Plate 14: Partridge Shooting, II for Edward Orme’s British Field Sports (1807–1808). 11 1/8" x 16 5/8" visible, 17 1/2" x 22 3/4" framed. Partridge shooting, the great September ritual of the English sporting calendar, receives extended treatment in British Field Sports, and rightly so, for it was the most universal of the shooting sports among the landowning classes. Howitt sets his scene in a golden stubble field framed by mature oaks, their late-summer canopies still full but the warm amber light of early autumn already settled across the whole composition. A wooden field gate to the left anchors the foreground, while a red-roofed farmhouse glimpsed through the tree line gives the scene a reassuringly domestic English quality. The two sportsmen, both dressed in tan coats and broad-brimmed black hats, are caught at the decisive moment. The nearer figure has his flintlock raised and fired, a curl of white smoke drifting from the muzzle, while his companion steps forward in anticipation, gun at the ready. Above them, a covey of partridges scatters into the pale sky in a flurry of beating wings. Three dogs, black-and-white and orange-and-white setters, surge through the golden grass between and ahead of the hunters, their energy barely contained. Howitt’s figures have the easy authority of men who know exactly what they are doing. They stand correctly, hold their guns naturally, and their attention is directed entirely outward, absorbed in the landscape and the sport it offers. --------- SAMUEL HOWITT’S WATERCOLORS FOR EDWARD ORME’S BRITISH FIELD SPORTS THE MOST IMPORTANT ENGLISH SPORTING BOOK EVER PUBLISHED Among the most treasured artifacts at the intersection of sporting art and natural history publishing in Regency England are the original watercolors executed by Samuel Howitt for Edward Orme’s celebrated volume British Field Sports, first published in 1807. These drawings, produced as preparatory studies for the hand-colored aquatint engravings that would ultimately grace Orme’s sumptuous book, represent some of the finest examples of the British sporting watercolor tradition. They are intimate, technically assured, and alive with the mud, feathers, and autumn light of the English countryside. Howitt’s watercolors are the creative source of a publication that shaped how an entire generation of sportsmen imagined their own pleasures. Samuel Howitt (c. 1756–1822) occupied an underappreciated position in the hierarchy of British sporting artists. A brother-in-law to Thomas Rowlandson and a gentleman amateur turned professional, Howitt brought to his work an insider’s knowledge of field sports that no mere observer could have supplied. He hunted, he shot, he fished, and he drew and this intimacy with his subject matter gives his watercolors for British Field Sports a quality of felt experience that elevates them above mere illustration. Where a less experienced artist might have placed a sportsman in a generic landscape, Howitt rooted his figures in particular moments: the half-crouch of a shooter marking a flush, the setter frozen on point, the spaniel plunging through a reed bed with ears streaming behind it. Edward Orme was among the most ambitious sporting publishers of his era, and British Field Sports was conceived as a prestige object a folio intended for the libraries of wealthy country gentlemen who took their leaisure sports seriously. The collaboration with Howitt was well-judged. For the aquatint plates, engravers translated Howitt’s watercolors into the warm, layered tones that characterized the finest colorplate books of the period, but those plates inevitably lost something: the freshness of the original wash, the spontaneity of Howitt’s brushwork, the small corrections that reveal an artist’s thinking on paper. The surviving original watercolors command serious attention precisely because they restore the artist’s original vision, often lost in the engraving process. What makes Howitt’s original watercolors for British Field Sports so significant as art objects, beyond their documentary and historical interest, is precisely their status as working yet highly finished drawings. Watercolor does not permit the revisions and overpainting available to the oil painter; it demands decision and directness, and Howitt’s compositions, with their rapid, confident notation of light and form, speak to an artist whose hand and eye were thoroughly trained by years of drawing and shooting in the British countryside. Edward Orme gave him a subject worthy of his abilities, and the resulting partnership produced one of the most engaging bodies of sporting illustration in the English tradition. To see these watercolors today is to recover something irreplaceable: not merely the record of a sport or a season, but the vision of a particular artist alive to the beauty of a world that, even then, was already beginning to change.
Arader Galleries
May. 02, 2026
SAMUEL HOWITT ORIGINAL WATERCOLOR FOR EDWARD ORME'S BRITISH FIELD SPORTS - WOODCOCK SHOOTING
Est: $15,000 - $20,000
HOWITT, Samuel (British, 1765-1822). “Woodcock Shooting”. Watercolor on wove paper. Signed ‘Howitt’ lower right. Preparatory watercolor drawing for Plate 10: Woodcock Shooting for Edward Orme’s British Field Sports (1807–1808). 11 1/8" x 16 5/8" visible, 17 1/2" x 22 3/4" framed. Woodcock shooting offered Howitt different pictorial challenges, and his watercolor for this plate is notable above all for its handling of woodland light and atmosphere. The composition is dominated by the great bare trunks and spreading skeletal branches of deciduous trees, their warm ochre bark catching the pale winter light, while a cluster of evergreens to the right deepens the sense of enclosure. Golden bracken fills the middle ground, and a narrow stream threads through the shadowed undergrowth at the lower left, lending the scene a quality of stillness that the woodcock’s sudden eruption has just broken. The single sportsman, dressed in a rust-red coat and black hat, stands right of center among the trees, his flintlock raised and trained on a woodcock already climbing steeply away through the bare branches to the left. Three liver-and-white spaniels work the tangle of grass and bracken before him; their noses close to the ground. Unlike the open-country birds, the woodcock is a creature of coverts, and shots must be snatched at a flickering target moving between tree trunks. Howitt understood the pictorial demands this placed on him. His warm palette of ochre, umber, and amber captures the quality of filtered late-autumn light with precision, and the particular care given to the woodland floor and undergrowth reveals an artist taking genuine pleasure in textures that the engraved plates could only begin to approximate. --------- SAMUEL HOWITT’S WATERCOLORS FOR EDWARD ORME’S BRITISH FIELD SPORTS THE MOST IMPORTANT ENGLISH SPORTING BOOK EVER PUBLISHED Among the most treasured artifacts at the intersection of sporting art and natural history publishing in Regency England are the original watercolors executed by Samuel Howitt for Edward Orme’s celebrated volume British Field Sports, first published in 1807. These drawings, produced as preparatory studies for the hand-colored aquatint engravings that would ultimately grace Orme’s sumptuous book, represent some of the finest examples of the British sporting watercolor tradition. They are intimate, technically assured, and alive with the mud, feathers, and autumn light of the English countryside. Howitt’s watercolors are the creative source of a publication that shaped how an entire generation of sportsmen imagined their own pleasures. Samuel Howitt (c. 1756–1822) occupied an underappreciated position in the hierarchy of British sporting artists. A brother-in-law to Thomas Rowlandson and a gentleman amateur turned professional, Howitt brought to his work an insider’s knowledge of field sports that no mere observer could have supplied. He hunted, he shot, he fished, and he drew and this intimacy with his subject matter gives his watercolors for British Field Sports a quality of felt experience that elevates them above mere illustration. Where a less experienced artist might have placed a sportsman in a generic landscape, Howitt rooted his figures in particular moments: the half-crouch of a shooter marking a flush, the setter frozen on point, the spaniel plunging through a reed bed with ears streaming behind it. Edward Orme was among the most ambitious sporting publishers of his era, and British Field Sports was conceived as a prestige object a folio intended for the libraries of wealthy country gentlemen who took their leaisure sports seriously. The collaboration with Howitt was well-judged. For the aquatint plates, engravers translated Howitt’s watercolors into the warm, layered tones that characterized the finest colorplate books of the period, but those plates inevitably lost something: the freshness of the original wash, the spontaneity of Howitt’s brushwork, the small corrections that reveal an artist’s thinking on paper. The surviving original watercolors command serious attention precisely because they restore the artist’s original vision, often lost in the engraving process. What makes Howitt’s original watercolors for British Field Sports so significant as art objects, beyond their documentary and historical interest, is precisely their status as working yet highly finished drawings. Watercolor does not permit the revisions and overpainting available to the oil painter; it demands decision and directness, and Howitt’s compositions, with their rapid, confident notation of light and form, speak to an artist whose hand and eye were thoroughly trained by years of drawing and shooting in the British countryside. Edward Orme gave him a subject worthy of his abilities, and the resulting partnership produced one of the most engaging bodies of sporting illustration in the English tradition. To see these watercolors today is to recover something irreplaceable: not merely the record of a sport or a season, but the vision of a particular artist alive to the beauty of a world that, even then, was already beginning to change.
Arader Galleries
May. 02, 2026
SAMUEL HOWITT ORIGINAL WATERCOLOR FOR EDWARD ORME'S BRITISH FIELD SPORTS - DUCK SHOOTING
Est: $15,000 - $20,000
HOWITT, Samuel (British, 1765-1822). “Duck Shooting”. Watercolor on wove paper. Signed ‘Howitt’ lower right Preparatory watercolor drawing for Plate 18: Duck Shooting for Edward Orme’s British Field Sports (1807–1808). 11 1/8" x 16 5/8" visible, 17 1/2" x 22 3/4" framed. Duck shooting, perhaps the most dramatically varied of the shooting sports in its settings and methods, inspired some of Howitt’s most painterly watercolors. This scene is set along a reedy riverbank in the depths of winter, the bare willows and gnarled, exposed roots lending the composition a raw, elemental quality that sets it apart from the more orderly pleasures of the partridge field or the covert. Tall marsh grasses crowd both banks, and the pale, cold sky is reflected in the dark water below. Two sportsmen occupy the raised bank to the right of center. One figure, in an olive coat and black hat, crouches forward with his flintlock levelled, caught in the act of firing, while his companion stands slightly behind and above him among the roots of a great bare tree, gun held ready for a second shot. Their quarry, a duck, is already down on the water, and a liver-and-white spaniel launches itself from the bank in pursuit while a second dog swims close by, intent on the retrieve. Above them, three more birds beat urgently across the open sky to the left, the survivors of the flush still climbing hard. Howitt understood that wildfowling demanded a different pictorial register than the upland sports. Where the grouse moor invited breadth and atmosphere, the riverside shoot called for intimacy and a keen attention to the tangle of reed, root, and branch through which the sport was conducted. His warm ochre and pale blue palette capture the particular quality of a cold, bright winter morning, and the compression of action within the frame, dogs, falling bird, rising birds, and two sportsmen at different stages of the shot, gives the scene a lively sense of the unpredictable energy of a duck flight. --------- SAMUEL HOWITT’S WATERCOLORS FOR EDWARD ORME’S BRITISH FIELD SPORTS THE MOST IMPORTANT ENGLISH SPORTING BOOK EVER PUBLISHED Among the most treasured artifacts at the intersection of sporting art and natural history publishing in Regency England are the original watercolors executed by Samuel Howitt for Edward Orme’s celebrated volume British Field Sports, first published in 1807. These drawings, produced as preparatory studies for the hand-colored aquatint engravings that would ultimately grace Orme’s sumptuous book, represent some of the finest examples of the British sporting watercolor tradition. They are intimate, technically assured, and alive with the mud, feathers, and autumn light of the English countryside. Howitt’s watercolors are the creative source of a publication that shaped how an entire generation of sportsmen imagined their own pleasures. Samuel Howitt (c. 1756–1822) occupied an underappreciated position in the hierarchy of British sporting artists. A brother-in-law to Thomas Rowlandson and a gentleman amateur turned professional, Howitt brought to his work an insider’s knowledge of field sports that no mere observer could have supplied. He hunted, he shot, he fished, and he drew and this intimacy with his subject matter gives his watercolors for British Field Sports a quality of felt experience that elevates them above mere illustration. Where a less experienced artist might have placed a sportsman in a generic landscape, Howitt rooted his figures in particular moments: the half-crouch of a shooter marking a flush, the setter frozen on point, the spaniel plunging through a reed bed with ears streaming behind it. Edward Orme was among the most ambitious sporting publishers of his era, and British Field Sports was conceived as a prestige object a folio intended for the libraries of wealthy country gentlemen who took their leisure sports seriously. The collaboration with Howitt was well-judged. For the aquatint plates, engravers translated Howitt’s watercolors into the warm, layered tones that characterized the finest colorplate books of the period, but those plates inevitably lost something: the freshness of the original wash, the spontaneity of Howitt’s brushwork, the small corrections that reveal an artist’s thinking on paper. The surviving original watercolors command serious attention precisely because they restore the artist’s original vision, often lost in the engraving process. What makes Howitt’s original watercolors for British Field Sports so significant as art objects, beyond their documentary and historical interest, is precisely their status as working yet highly finished drawings. Watercolor does not permit the revisions and overpainting available to the oil painter; it demands decision and directness, and Howitt’s compositions, with their rapid, confident notation of light and form, speak to an artist whose hand and eye were thoroughly trained by years of drawing and shooting in the British countryside. Edward Orme gave him a subject worthy of his abilities, and the resulting partnership produced one of the most engaging bodies of sporting illustration in the English tradition. To see these watercolors today is to recover something irreplaceable: not merely the record of a sport or a season, but the vision of a particular artist alive to the beauty of a world that, even then, was already beginning to change.
Arader Galleries
Apr. 14, 2026
Howitt, Samuel: A new work of animals
Est: €300 - €450
Howitt, Samuel. A new work of animals. Principal designed from the fables of Aesop, Gay, and Phaedrus: Containing fifty-six plates. 3 Bl. Mit 54 (von 56) Kupferstichtafeln. 26,5 x 20 cm. Grünes Maroquin d. Z. (etwas berieben und bestoßen sowie Kapitale mit winzigen Einrissen) mit golgeprägtem RTitel, goldgeprägten Deckeln, goldgeprägten Steh- und Innenkanten sowie dreiseitigem Goldschnitt. London, Edward Orme, 1811. Vgl. Nissen, ZBI 2018. Wood 392. Thieme-Becker XVII, 588. – Eindrucksvolle Tierporträts von dem englischen Tiermaler Samuel Howitt (1756/57-1822), – Etwas stockfleckig und mit wenigen kleinen Einrissen. Exlibris auf dem Vorsatz. Mit mehreren hs. losen Blättern der Zeit, die die jeweilige dargestellte Fabel enthält. Mit sehr gratigen Drucken im dekorativen Einband.
Bassenge Auctions
Mar. 20, 2026
Howitt, Samuel
Est: £100 - £150
Howitt, Samuel "Howitt's Miscellaneous Etchings, old & new", New Edition, published by Edward Orme, London, 1812, 50 etched plates mostly of wild and domestic animals, original paper covered boards with green cloth spine, printed title label to upper cover. Provenance: from The Collection of the late Jean and Jacques Sieulle, Jersey. Jean and Jacques Sieulle were entrepreneurs, gallery owners, property developers, and discerning collectors, particularly of Oriental art and antiques. They married in Paris in the late 1960s and for their honeymoon embarked on a six-month world tour during which they compiled a list of places they hoped to revisit. Throughout the following two decades the couple travelled extensively, revisiting many of the destinations in the Far East and South Pacific that had first captivated them, among them Bora Bora, Thailand, Sri Lanka, China, and Japan. They also journeyed widely across Europe. In 1990 they spent several months in Hong Kong before returning to Jersey to retire. Most of the pieces from their collection were acquired during their travels.
Martel Maides
Mar. 18, 2026
1834 After Howitt Snipe Shooting Color Engraving
Est: $40 - $80
Framed Antique hand colored engraving. After Samuel Howitt (English 1756/57-1822). Snipe shooting. Hunting scene with man and dogs. Republished by F J Mason, 1834. Gilt and black wood frame. Not examined out of frame. Frame measures approx. 9.5 x 11.5 inches. Wear including foxing. Art, fine art print, framed art, home decor, home accessories, wall decor, wall accessories, 10 art wall
The Benefit Shop Foundation Inc.
Mar. 18, 2026
1834 After Howitt Duck Shooting Color Engraving
Est: $40 - $80
Framed antique hand colored engraving. After Samuel Howitt (English 1756/57-1822). Duck shooting. Hunting scene with man and dogs. Republished by F J Mason, 1834. Gilt and black wood frame. Not examined out of frame. Frame measures approx. 9.5 x 11.5 inches. Wear including foxing. Art, fine art print, framed art, home decor, home accessories, wall decor, wall accessories, 10 art wall
The Benefit Shop Foundation Inc.
Mar. 10, 2026
William Samuel Howitt, British c.1765-1822- The Eagle, an
Est: £150 - £200
William Samuel Howitt, British c.1765-1822- The Eagle, and the Assembly of Animals, from Gay's Fables; watercolour on paper, signed 'Howitt' (lower left), inscribed 'Watercolour Drawing / by Howitt / For Gay's Fables / "The Discontented Animals"' verso, 13 x 18.4 cm. Provenance: Private Collection, UK. Note: Another version of the same drawing by Howitt is in the collection of the Yale Center for British Art [B2001.2.912], where it is suggested that the composition depicts a scene from Aesop's Fables. However, the work actually appears to illustrate Fable IV from Gay's Fables, first written by John Gay (1685-1732) for Prince William, Duke of Cumberland (1721-1765), in 1727. The fable criticises the excessive pride and ambition of a group of animals, who complain to the eagle, as Jupiter's messenger, expressing their discontent at the limitations imposed upon them by nature.
Roseberys
Dec. 10, 2025
Samuel Howitt "Arabs Hunting Ostriches" Etching
Est: $100 - $200
Frame: 13" x 16" Image: 8" x 10" Condition: A few small nicks to the frame edges; the image shows light toning but is overall in good condition.
SebastianCharles Auctions
Nov. 12, 2025
William Samuel Howitt, British c.1765-1822- The Eagle, and the Assembly of Animals
Est: £300 - £400
William Samuel Howitt, British c.1765-1822- The Eagle, and the Assembly of Animals, from Gay's Fables; watercolour on paper, signed 'Howitt' (lower left), inscribed 'Watercolour Drawing / by Howitt / For Gay's Fables / "The Discontented Animals"' verso, 13 x 18.4 cm. Provenance: Private Collection, UK. Note: Another version of the same drawing by Howitt is in the collection of the Yale Center for British Art [B2001.2.912], where it is suggested that the composition depicts a scene from Aesop's Fables. However, the work actually appears to illustrate Fable IV from Gay's Fables, first written by John Gay (1685-1732) for Prince William, Duke of Cumberland (1721-1765), in 1727. The fable criticises the excessive pride and ambition of a group of animals, who complain to the eagle, as Jupiter's messenger, expressing their discontent at the limitations imposed upon them by nature.
Roseberys
Aug. 10, 2025
Samuel Howitt, British 1756-1822, Smoking wolves from their earths, antiquarian print, framed: 69 x 80cm
Est: $300 - $400
Samuel Howitt British, 1756-1822 Smoking wolves from their earths antiquarian print Masterpiece Pictures gallery label verso
Lawsons
Aug. 10, 2025
Samuel Howitt, British 1756-1822, The dead Tiger, antiquarian print, framed: 69 x 80cm
Est: $300 - $400
Samuel Howitt British, 1756-1822 The dead Tiger antiquarian print Masterpiece Pictures gallery label verso
Lawsons
Jul. 17, 2025
India.- Howitt (Samuel) A pair of leopards; A Pair of lions, watercolours, [c.1800]
Est: £700 - £1,000
India.- Howitt (Samuel) A pair of leopards; A Pair of lions, two works, brush and ink, watercolour, one signed in in the lower left, each approx. 160 x 240 mm (6 1/4 x 9 1/2 in), on card with old mounts affixed onto sheet, some even toning and surface dirt, unframed, [circa 1800s] (2) Provenance: Sale. Bloomsbury Auctions, London, 17th October 2013, lot 56 ⁂ Likely produced during the same period Howitt was working on illustrations for Williamson's Oriental Field Sports (1807), based on sketches made by the author in India.
Forum Auctions - UK
Jun. 26, 2025
Howitt (S[amuel]) British Preserve, Sherwood, Gilbert & Piper, [1829].
Est: £150 - £200
Howitt (S[amuel]) British Preserve, engraved title and 36 engraved plates with hand-colouring, tissue-guards, publisher's advertisement at end, plates browned at margins with occasional light spotting and staining, light offsetting, bookplates to front pastedown, hinges cracked, contemporary blind-stamped cloth with gilt decorations to spine and upper cover, fraying to spine ends, a few small stains to covers, light rubbing to extremities, g.e., housed in chemise and slip-case, 8vo, Sherwood, Gilbert & Piper, [1829].
Forum Auctions - UK
Jun. 19, 2025
Manner of Samuel Howitt (British, 1765-1822)
Est: £120 - £180
Manner of Samuel Howitt (British, 1765-1822) Study of a woodpecker on a tree stump Watercolour, together with a similar example by the same hand, 29.5cm x 23cm (2)
Martel Maides
Jun. 15, 2025
S. HOWITT (1756-1822), Rural horse scene, around 1799, Etching
Est: €90 - €150
Samuel Howitt (1756 - 1822 ibid.): Rural horse scene Depiction of a rural scene with horses in front of a hut, c. 1799, Etching Technique: Etching on Paper Inscription: lower left signed in the printing plate: "Howitt in. et f.". Upper left numbered in the printing plate: "42.". Date: c. 1799 Description: The artwork shows a rural scene with three horses in a pasture in front of a hut. A bare tree dominates the centre, while a rustic fence encloses the space. This depiction reflects an idyllic tranquillity and the harmony of nature. Keywords: Horses, 18th century, Romanticism, Genre, United Kingdom, Size: Paper: 17,7 cm x 23,9 cm (7 x 9,4 in), Plate: 14,0 cm x 19,8 cm (5,5 x 7,8 in), Depiction: 12,2 cm x 17,6 cm (4,8 x 6,9 in)
Fichter Kunsthandel
Jun. 14, 2025
HOWITT, FOUR WATERCOLORS FOR AESOPS FABLES
Est: $25,000 - $35,000
HOWITT, Samuel (British, 1756-1822). Four Watercolors principally designed from the Fables of Aesop. Drawings in pen, brown ink & wash with watercolor over pencil. London, 1808. 9" x 13" sheet, 20 1/4" x 24 1/4" framed, each. Provenance: From the Collection of Bradley Martin Samuel Howitt occupies a unique position in the rich history of British sporting art. A completely self-taught artist, Howitt received a rural sportsman's upbringing in Nottinghamshire. In London he lived at the heart of the city's smartest young social set, only turning to his art seriously when he fell into financial difficulty. What followed was a productive and highly acclaimed career as a painter and illustrator of a remarkably broad range of sporting subjects. Howitt combined his sportsman's upbringing with a highly evolved and original visual style to create some of the most vibrant and engaging images from this great period of British sporting art. The Greek fables of Aesop, with their cleverly wrought lessons on reason and morality, enjoyed a revival in the 17th century with La Fontaine's “Fables,” a monument of French Classicism. Howitt, as the title of this work implies, was more directly inspired by the English poet John Gay's version of the fables, published in 1727. Aesop's Fables (based perhaps on even earlier Indian fables) possess a timeless wisdom that comments gently on the foibles of the human condition, and Howitt's masterful watercolors convey the essence of these stories with a stylistic charm and emotional power that matches any of the poetic works of his literary forebears. A number of legends or facts have come to serve as something of a biography of Aesop: the greatest, and quite possibly fictional, writer of fables. The life and history of Aesop is involved, like that of Homer, the most famous of Greek poets, in much obscurity. He is thought to have been born about the year 620 B.C. in Samos, and to have been by birth a slave who was later freed in recognition of his great wit and learning. From such humble beginnings he was said to have risen to a position of great prominence in the cultural and intellectual life of Greece, eventually attaining a measure of political power under the patronage of Croesus, king of Lydia. Yet a number of authors from the 5th century BC onward placed Aesop at a number of locations and situations, and he seems to have been born in at least three different cities. This alone makes it likely that "Aesop" was a name invented to be a generic author for any collection of fables, many such collections from various authors being available. In any event, the name of Aesop has been associated with one particularly engaging and instructive literary form, the fable. Throughout history fables, which contain a short narrative that seeks to illustrate a hidden message, have been a popular method of giving instruction. Samuel Howitt, interpreting the fables that seem no less relevant today than they did almost three millennia ago, has infused them with a new vitality, and done so in a manner that illustrates their fundamental messages of common sense with freshness and vigor. These watercolors are engaging original works by this noted artist, who retold the ancient fables in his own remarkable visual language. Over the following pages, each watercolor is shown with the corresponding story and moral, in order to best demonstrate the artist’s inventive and witty approach to illustrating these classic fables.
Arader Galleries
Jun. 14, 2025
HOWITT ORIGINAL WATERCOLOR, AMERICAN DOG
Est: $5,000 - $8,000
HOWITT, Samuel (British, 1765-1822). American Dog. Watercolor and pencil on paper. Signed lower right: ‘Howitt’ 7 1/4" x 4 1/2" sheet, 17 3/4" x 15" framed. Provenance: Collection of Walter Faulkes, Fearnley Hall. Samuel Howitt, a country gentleman from Chigwell, Essex, found his calling in art as a means to address financial challenges stemming from his indulgent lifestyle. Defying the constraints of his Quaker upbringing, Howitt immersed himself in the vibrant London social scene, engaging in gambling, hunting, and fishing. Often seen frequenting the city’s drinking establishments with his brother-in-law, the renowned caricaturist Thomas Rowlandson, Howitt’s personal life suffered, particularly following a turbulent marriage that ultimately ended due to his passion for sporting pursuits. Despite his initial artistic efforts being somewhat rudimentary, Howitt’s innate talent rapidly developed into a distinguished style. He exhibited works at the Royal Academy between 1783 and 1815, showcasing quick, vibrant outlines influenced by Rowlandson. A prolific creator in both oil and watercolor, his lively prints delighted audiences in numerous sporting publications, including his notable contributions to The Angler’s Manual and the British Sportsman. Perhaps his most celebrated work, Oriental Field Sports, features 40 dynamic aquatints inspired by Captain Thomas Williamson’s adventurous sketches of Indian game hunting. Howitt’s commitment to authentic representation extended to his studies of animals at the Tower of London, leading to the publication of A New Work of Animals in 1811, which was intricately based on Aesop’s fables. In a testament to his significance in natural history art, the companion album of Howitt’s drawings is now part of Baron Rothschild’s prestigious collection at London’s Natural History Museum. Rothschild was not just a passionate collector but also a dedicated amateur scientist, actively contributing to the field of ornithology and advancing public understanding of natural history. Although the exact provenance of Howitt’s albums is unclear, these exceptional works stand as a hallmark of the talent and legacy of one of the foremost natural history painters of the late 18th and early 19th centuries.
Arader Galleries
Jun. 14, 2025
HOWITT ORIGINAL WATERCOLOR, A. MISSOURI [PRONGHORN ANTELOPE]
Est: $6,000 - $9,000
HOWITT, Samuel (British, 1765-1822). A. Missouri [Pronghorn Antelope]. Watercolor and pencil on paper. Signed & inscribed: "Howitt/A. Missouri/Major". 7 1/2" x 4 1/4" sheet, 17" x 14 1/2" framed. Provenance: Collection of Walter Faulkes, Fearnley Hall. Samuel Howitt, a country gentleman from Chigwell, Essex, found his calling in art as a means to address financial challenges stemming from his indulgent lifestyle. Defying the constraints of his Quaker upbringing, Howitt immersed himself in the vibrant London social scene, engaging in gambling, hunting, and fishing. Often seen frequenting the city’s drinking establishments with his brother-in-law, the renowned caricaturist Thomas Rowlandson, Howitt’s personal life suffered, particularly following a turbulent marriage that ultimately ended due to his passion for sporting pursuits. Despite his initial artistic efforts being somewhat rudimentary, Howitt’s innate talent rapidly developed into a distinguished style. He exhibited works at the Royal Academy between 1783 and 1815, showcasing quick, vibrant outlines influenced by Rowlandson. A prolific creator in both oil and watercolor, his lively prints delighted audiences in numerous sporting publications, including his notable contributions to The Angler’s Manual and the British Sportsman. Perhaps his most celebrated work, Oriental Field Sports, features 40 dynamic aquatints inspired by Captain Thomas Williamson’s adventurous sketches of Indian game hunting. Howitt’s commitment to authentic representation extended to his studies of animals at the Tower of London, leading to the publication of A New Work of Animals in 1811, which was intricately based on Aesop’s fables. In a testament to his significance in natural history art, the companion album of Howitt’s drawings is now part of Baron Rothschild’s prestigious collection at London’s Natural History Museum. Rothschild was not just a passionate collector but also a dedicated amateur scientist, actively contributing to the field of ornithology and advancing public understanding of natural history. Although the exact provenance of Howitt’s albums is unclear, these exceptional works stand as a hallmark of the talent and legacy of one of the foremost natural history painters of the late 18th and early 19th centuries.
Arader Galleries
Jun. 14, 2025
HOWITT ORIGINAL WATERCOLOR, POLAR BEAR
Est: $7,000 - $10,000
HOWITT, Samuel (British, 1765-1822). [Polar bear]. Signed: "Howitt". Watercolor and pencil on paper. 7 1/8" x 4 1/4" sheet, 7 5/8" x 10" mount. Provenance: Collection of Walter Faulkes, Fearnley Hall. Samuel Howitt, a country gentleman from Chigwell, Essex, found his calling in art as a means to address financial challenges stemming from his indulgent lifestyle. Defying the constraints of his Quaker upbringing, Howitt immersed himself in the vibrant London social scene, engaging in gambling, hunting, and fishing. Often seen frequenting the city’s drinking establishments with his brother-in-law, the renowned caricaturist Thomas Rowlandson, Howitt’s personal life suffered, particularly following a turbulent marriage that ultimately ended due to his passion for sporting pursuits. Despite his initial artistic efforts being somewhat rudimentary, Howitt’s innate talent rapidly developed into a distinguished style. He exhibited works at the Royal Academy between 1783 and 1815, showcasing quick, vibrant outlines influenced by Rowlandson. A prolific creator in both oil and watercolor, his lively prints delighted audiences in numerous sporting publications, including his notable contributions to The Angler’s Manual and the British Sportsman. Perhaps his most celebrated work, Oriental Field Sports, features 40 dynamic aquatints inspired by Captain Thomas Williamson’s adventurous sketches of Indian game hunting. Howitt’s commitment to authentic representation extended to his studies of animals at the Tower of London, leading to the publication of A New Work of Animals in 1811, which was intricately based on Aesop’s fables. In a testament to his significance in natural history art, the companion album of Howitt’s drawings is now part of Baron Rothschild’s prestigious collection at London’s Natural History Museum. Rothschild was not just a passionate collector but also a dedicated amateur scientist, actively contributing to the field of ornithology and advancing public understanding of natural history. Although the exact provenance of Howitt’s albums is unclear, these exceptional works stand as a hallmark of the talent and legacy of one of the foremost natural history painters of the late 18th and early 19th centuries.
Arader Galleries
Jun. 14, 2025
HOWITT ORIGINAL WATERCOLOR, PANTHER
Est: $4,000 - $8,000
HOWITT, Samuel (British, 1765-1822). Panther. Watercolor and pencil on paper. Signed & inscribed: "96/Howitt/Panther" 7 1/2" x 4 1/4" sheet, 17" x 14 1/2" framed. Provenance: Collection of Walter Faulkes, Fearnley Hall. Samuel Howitt, a country gentleman from Chigwell, Essex, found his calling in art as a means to address financial challenges stemming from his indulgent lifestyle. Defying the constraints of his Quaker upbringing, Howitt immersed himself in the vibrant London social scene, engaging in gambling, hunting, and fishing. Often seen frequenting the city’s drinking establishments with his brother-in-law, the renowned caricaturist Thomas Rowlandson, Howitt’s personal life suffered, particularly following a turbulent marriage that ultimately ended due to his passion for sporting pursuits. Despite his initial artistic efforts being somewhat rudimentary, Howitt’s innate talent rapidly developed into a distinguished style. He exhibited works at the Royal Academy between 1783 and 1815, showcasing quick, vibrant outlines influenced by Rowlandson. A prolific creator in both oil and watercolor, his lively prints delighted audiences in numerous sporting publications, including his notable contributions to The Angler’s Manual and the British Sportsman. Perhaps his most celebrated work, Oriental Field Sports, features 40 dynamic aquatints inspired by Captain Thomas Williamson’s adventurous sketches of Indian game hunting. Howitt’s commitment to authentic representation extended to his studies of animals at the Tower of London, leading to the publication of A New Work of Animals in 1811, which was intricately based on Aesop’s fables. In a testament to his significance in natural history art, the companion album of Howitt’s drawings is now part of Baron Rothschild’s prestigious collection at London’s Natural History Museum. Rothschild was not just a passionate collector but also a dedicated amateur scientist, actively contributing to the field of ornithology and advancing public understanding of natural history. Although the exact provenance of Howitt’s albums is unclear, these exceptional works stand as a hallmark of the talent and legacy of one of the foremost natural history painters of the late 18th and early 19th centuries.
Arader Galleries
May. 15, 2025
Howitt (Samuel) A New Work of Animals: principally designed from the Fables of Aesop, Gay, and Phaedrus, first edition, 100 etched plates, Edward Orme, 1811
Est: £200 - £300
Howitt (Samuel) A New Work of Animals: principally designed from the Fables of Aesop, Gay, and Phaedrus, first edition, half-title, 100 etched plates by Howitt, plate of Stag & Fawn torn just extending into image (repaired), modern half scarlet morocco over Japanese paper boards, gilt-stamped brown morocco label, preserved in modern cloth folder with slip-case, 4to, Edward Orme, 1811.
Forum Auctions - UK
May. 13, 2025
SAMUEL HOWITT FOX & HARE COLOR ETCHINGS
Est: $50 - $10,000
(2) in total. Stamped and dated within etchings and labeled to versos. Frame; H 18" x W 18" Sight: H 8" x W 9.25" Condition: Wood frames have slight scuffs and dings. Both have blemishes to paper. Wear consistent with age and use.
Westport Auction
Apr. 24, 2025
SAMUEL HOWITT (NOTTINGHAMSHIRE, 1756 - 1822, LONDON)
Est: £300 - £500
SAMUEL HOWITT (NOTTINGHAMSHIRE, 1756 - 1822, LONDON) SAMUEL HOWITT (NOTTINGHAMSHIRE, 1756 - 1822, LONDON) Dogs on the outskirts of an Indian village signed 'S. Howitt' (lower left) pen and ink with brush and grey wash 29.5 x 42 cm. (11 5/8 x 16 1/2 in.) (unframed)
Chiswick Auctions
Mar. 31, 2025
SAMUEL HOWITT (Published by Edward Orme), A suite of three engravings
Est: $300 - $500
SAMUEL HOWITT (Published by Edward Orme) A suite of three engravings i) Partridge Hawking, ii) Pheasant Hawking and iii) Heron Hawking titled and inscribed in plate 12 x 17cm
Gibson's
Feb. 09, 2025
Samuel Howitt, British 1756-1822, Smoking wolves from their earths, antiquarian print, framed: 69 x 80cm
Est: $300 - $400
Samuel Howitt British, 1756-1822 Smoking wolves from their earths antiquarian print Masterpiece Pictures gallery label verso
Lawsons
Feb. 09, 2025
Samuel Howitt, British 1756-1822, The dead Tiger, antiquarian print, framed: 69 x 80cm
Est: $300 - $400
Samuel Howitt British, 1756-1822 The dead Tiger antiquarian print Masterpiece Pictures gallery label verso
Lawsons
Feb. 05, 2025
SAMUEL HOWITT - TWO CAT PRINTS
Est: $150 - $250
Samuel Howitt (British, 1765-1822), two cat engravings, one titled "Cat and Kittens", the other titled "Cats". Published January 2, 18809, by Ed Orme, London; together with a colored aquatint print of a dog and a cat, marked "Giles Del" lower left.
Litchfield Auctions
Feb. 01, 2025
Samuel Howitt Signed Watercolor, Monkey
Est: $1,500 - $2,500
HOWITT, Samuel Howitt (British, 1765-1822). Monkey. Watercolor on paper. Signed lower left: “Howitt”. 3 1/4" x 4 1/8" sheet, 15 1/4" x 14 1/4" framed.
Arader Galleries
Jan. 21, 2025
WILLIAM SAMUEL HOWITT (BRITISH C.1765-1822)
Est: £200 - £300
WILLIAM SAMUEL HOWITT (BRITISH C.1765-1822) WILLIAM SAMUEL HOWITT (BRITISH C.1765-1822) Coursing the Hare signed Howitt (lower left) watercolour 23 x 33 cm (9 x 13 in)
Chiswick Auctions
Oct. 19, 2024
WILLIAM SAMUEL HOWITT : Liegender King Charles Spaniel.
Est: €160 - €220
WILLIAM SAMUEL HOWITT Nottingham 1765 - 1822 London Liegender King Charles Spaniel. Bleistiftzeichnung. Signiert. Auf Vélin, alt auf Unterlage mit dreifacher Einfassungslinie in brauner Feder aufgezogen. 14,5 x 20,4 cm. Leicht angestaubt und fleckig. [bg]
Winterberg-Kunst
Oct. 02, 2024
WILLIAM SAMUEL HOWITT (BRITISH c. 1756-1822)
Est: £400 - £600
WILLIAM SAMUEL HOWITT (BRITISH c. 1756-1822) STRIATED MONKEY signed Howitt in the watercolour watercolour 25 x 19cm; 10 x 7 1/2in together with another signed watercolour, thought to be of Thorold's Deer from Tibet by the same hand both unframed (2) The present work is illustrated in reverse in Edward Griffith's book, General and Particular Descriptions of the Vertebrated Animals, arranged conformably to the Modern Discoveries and Improvements in Zoology, London 1821, p. 97 Iolo Williams said, [Howitt] was particularly good at deer, which he drew with special delicacy, but he also did many monkeys, cattle, birds, fish and so forth. (Early English Watercolours, p. 196.)
Olympia Auctions
Sep. 19, 2024
Samuel Howitt (British, 1756/57 - 1822), The Tiger Hunt
Est: £300 - £500
Samuel Howitt (British, 1756/57 - 1822) The Tiger Hunt Grey wash over pencil on paper With sketch of a tiger hunt verso Dimensions: (Paper) 11.75 in. (H) x 16.75 in. (W)
Sloane Street Auctions
Sep. 17, 2024
SAMUEL HOWITT - Him, from his craggy winding haunts unearthed / Let all the thunder of the chase
Est: -
SAMUEL HOWITT Nottinghamshire, United Kingdom 1756 - London 1822 Him, from his craggy winding haunts unearthed / Let all the thunder of the chase For happy he who tops the wheeling chace / Who saw the villain seized. 1794 Pair of aquatints (two) Signed and dated on plate Measurements 220 x 280 mm each The titles are verses from the work J. Thomson “The Seasons”.
Subastas Segre
Aug. 15, 2024
Howitt (Samuel) A New Work of Animals: Principally Designed from the Fables of Aesop, Gay, and Phaedrus, Edward Orme, 1811; and others illustrated (5)
Est: £250 - £350
Howitt (Samuel) A New Work of Animals: Principally Designed from the Fables of Aesop, Gay, and Phaedrus, 100 etched plates, bookplate of A. Leonard Fuller, plate at p.13 with tear into image repaired without loss, few other plates with very short marginal tears, offsetting, scattered foxing, some light browning, 19th century straight-grain green morocco, stamped in gilt and blind, covers with central gilt stag within blind-stamped border, spine and upper cover a fraction faded, couple small spots to upper cover and tiny nicks to lower cover, light rubbing to joints and extremities, heavier to corners, g.e., Edward Orme, 1811 § Rowlandson (Thomas) [The Comforts of Bath], reprint, 12 uncoloured etchings with aquatint after Rowlandson, letterpress verses from Anstey's 'New Bath Guide' printed below, with letterpress preface concerning the reprinting, plates trimmed within platemark at head but not affecting image, first plate with text shaved to foot, a few very short marginal tears without loss, some light spotting, later half calf over marbled boards, some wear to extremities, [Abbey, Scenery 40 (first edition)], [Bath], [Rob.t Walker], 1858; and others illustrated, including the first Tilt published edition of Paradise Lost with mezzotint plates by John Martin (1833), v.s. (5) *** The second mentioned issued without a title page, the title originally printed on the upper wrapper (not here present).
Forum Auctions - UK
Aug. 11, 2024
Williamson & Howitt Hand-Colored Etchings, 6
Est: $400 - $600
Thomas Williamson (British, 1758-1817) and Samuel Howitt (British, 1765-1822), "Oriental Field Sports", Set of Six Hand-Colored Etchings, published by Edward Orme, Bond Street a B. Crosby and Co., Stationers Court, 1807, comprising plate numbers 1, 8, 9, 23, 19, 20, and 23, giltwood frames. Each image: 6.25" H x 9" W; frame: 17.5" H x 21.5" W. Provenance: From a 188 E 78th Street Estate. Keywords: Engravings, Hand-coloring, Prints, Multiples, Antiques, British School, English Art, Orientalist, Elephant, Tiger, Figures, Sports, Hunting, 19th Century
Auctions at Showplace
Jun. 25, 2024
Samuel Howitt (1756-1822)
Est: £200 - £300
Samuel Howitt (1756-1822) A foxhound pen and ink and wash 13 x 21.5cm Provenance: With Sabin Galleries Limited, London. A label verso states that the work is a study of 'Merkins', owned by Colonel Thomas Thornton of Thornville Royal. Condition Report: Overall: 26 x 33cm Time staining with some small speckles of foxing. A little fading consistent with the age of the work. Not viewed out of glazed frame.
Sworders
Jun. 20, 2024
Samuel Howitt (British 1765-1822), Smugglers unloa
Est: £100 - £200
Samuel Howitt (British 1765-1822), Smugglers unloading contraband, watercolour, 21.5 x 29cm. Framed and glazedProvenance: J. Leger & Son Under glass, faded and discoloured, may benefit from a clean.
Ewbank's