19th Century Landscape Prints

Etching on chine collé mounted to white wove paper, 3 x 4 5/8 inches (75 x 112 mm), full margins. Scattered light areas of adhesive residue with associated discoloration along the to...

Scarborough is an etching realized in 1845 by Edward Francis Finden. Signed on the plate. Titled on the lower center, from the series of "Ports of Great Britain" Good conditions ...

Hand-colored engraving by P. Fitzer for Dictionnaire pittoresque d’histoire naturelle et des phénomènes de la nature, edited by French entomologist Felix Edouard Guerin-Meneville (17...

Pug, Greyhound, Terrier 1883-84 Chromolithograph 8.5 x 11 inches

London is an etching realized in 1845 by W. H.Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is beautifully realized ...

This framed reproduction of Claude Monet's immensely popular painting, “The Bridge Over The Seine Near Argenteuil,” comes with a certificate of authenticity on the back and is numbered 1102, making it interesting for several reasons. The artagraphic process used to produce this work in a limited edition of 2900 is considered the state-of-the-art in art reproduction and the most respectful approach to reproducing a painting by a master. In three steps, this technique creates a 3D replica of an original oil painting's color and surface texture. Colors are scanned with a digital laser and then printed separately using oil-based inks on a single sheet. A mold is created from the original painting to reproduce its surface texture and bas-relief brushstrokes. Unlike lithographs and serigraphs, there is a palpable material and relief if you run your fingers over the surface. At the Impressionist group's first exhibition in 1874, Claude Monet demonstrated his deep interest in the motif by working on seven depictions of the Argenteuil bridge and four of the railroad bridge upstream. The artwork depicts Monet's immediate impressions of the scene rather than offering detailed realism. In these series, moored sailboats occupy the foreground, while the fluidity of the river melts harmoniously with the geometrically contrasted presence of the bridge and its imposing pillars. Monet manipulates his palette and complementary color schemes to create the illusion of light and movement through small, separate, and visible brushstrokes, making it one of the artist's most recognizable signatures. The painting displays a diversity of styles, with some elements more solid, having strong and distinct lines and structured forms defined by firm contours, while the water and the sky in the background give off an impression of moving space, floating, and ripples. An original painting of the series can be seen at Musée d'Orsay in Paris, France...

Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Bulldog and Frog France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) inches Six lithographs of dog portr...

Hand-colored engraving by P. Fitzer for Dictionnaire pittoresque d’histoire naturelle et des phénomènes de la nature, edited by French entomologist Felix Edouard Guerin-Meneville (17...

"Hyde Park on Sunday" - Hand Colored Etching from "Old and New London" Detailed etching of a typical Sunday in Hyde Park around 1800 after an etching by Ed...

Original “Le Rapide, Grand Journal Quotidien” art nouveau vintage poster. Conservation linen backed and ready to frame. Year: 1892 Artist: Jules Cheret, referred to as the father of the poster. Le Rapide, Grand Journal Quotidien. Jules Cheret (French, 1836-1932) is a well-listed draftsman, printmaker, and designer is best known as a fin de siecle poster designer. Arguably, he is the best-known French poster designer of his age. Figure no 126; No 568; Posters of Jules Cheret. Most people overlook the fact that she is still writing for Le Rapide using a quill instead of an ink pen. Yes, this poster is over 130 years old and still presents itself well. There are telegraph wires in the sky background. The last time this poster was sold in the big NYC poster...

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The Landscape is an etching on ivory-colored paper realized after an etching by Rembrandt. This wonderful piece of art belongs to a late edition of the 19th century. Signed on the ...

'Roma, Veduta generale presa della Cupola di San Pietro' Tinted lithograph by Philippe Benoist after Felix Benoist. Figures by Bayot. From a French series titled 'Rome dans Sa Gran...

This beautiful 19th century framed engraving "The Fighting Temeraire" by James Tibbetts Willmore is based on an original painting by the renowned British artist J.M.W. Turner. It was published by James S. Virtue & Co. in London between 1859-1875. It depicts the once mighty British warship the HMS Temeraire being towed away down the river Thames by a much smaller steamboat to a ship-breaking yard to be broken up for scrap. The Temeraire was first launched in 1798 and represented the pinnacle of British ship-building. 180-feet long, constructed of English oak and armed with 98 guns, she was one of the largest warships of the period. The Temeraire became a symbol of British pride and military power that endured throughout the 19th century. The man-of-war served during the French Revolutionary and Napoleonic Wars and was among the last serving ships to have been at the Battle of Trafalgar in 1805. It became one of the many older ships put out of service in the 1830s and 1840s. The once mighty and feared ship symbolizes a once magnificent, but now obsolete, technology. Turner seems to lament her inglorious final journey, being towed by a less magnificent, but modern steam powered tugboat. The Turner painting was created in 1838 and is now held in the National Gallery in London. Willmore's engraving, created in 1859, captures the dramatic scene with great detail and skill. The image has become an iconic representation of the decline of Britain's naval power and the transition from sail to steam in the 19th century. The sunset in the background is symbolic of the sun going down on British naval power and tradition. The painting conveys profound and diverse themes that are central to the human experience: those of mortality and change, technology and progress, heroism and brutality. The painting demonstrates Turner’s skill as an artist. His ability to produce scenes of great beauty that are dramatic, but are also symbolic, stimulating both thoughtful analysis, as well as emotion. Turner's painting was voted by the British public in a 2005 BBC radio sponsored survey to be the British people's favorite painting of all time. In 2020 it was included on a new British banknote...

Fishermen is an original etching realized by Eugène Burnand (1850-1921) in the Late 19th century. Good conditions with foxing. The artwork is realize...

Etching with aquatint on heavy laid paper, 7 x 9 1/4 inches (172 x 233 mm), full margins. Signed in the plate, lower right image area. Minor corner loss, top right, and a 1/4 inch ed...

A beautiful, dark impression of a bucolic cow path. Etching with drypoint on heavy cream wove paper, 6 5/8 x 9 7/8 inches (174 x 248 mm), full margins. Uniform light brown discolorat...

Image dimensions: 9.3 x 16 cm. Plan de la Nouvelle Orléans is an interesting black and white lithograph on paper, realized in 1880 by an anonymous artist. Original Title: Plan de l...

Dunnottar Castle, Stonehaven is an etching realized in 1845 by William Henry Bartlett. Signed on the plate. Titled on the lower center. Good...

Mielatz, Charles. BATTERY PARK. Etching, 1889. Edition size not known. Signed and dated in the plate. 7 X 9 7/8 inches. In excellent condition. Mielatz...

Whirlpool at Awa is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Utagawa Hiroshige in the 19th c...

New Brighton is an etching realized in 1845 by W. H. Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is beautifully re...

Port Glasgow is an etching realized in 1845 by W. H. Bartlett. Signed on the plate. Titled on the lower center, from the series of "Ports of Great Britain". Good conditions with...

Landscape in Quebec is an original modern artwork realized in the mid-19th Century. Original Colored Lithograph on Ivory Paper. Inscripted on the lower margin: Quebeck. Printed ...

New Bridge, Glasgow is an etching realized in 1845 by W. H. Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is beautif...

The Light House, Aberdeen is an etching realized in 1845 by W. H. Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is b...

Leith Pier and Harbour is an etching realized in 1845 by William Henry Bartlett. Signed on the plate. Titled on the lower center. Good condi...

Hontrose is an etching realized in 1845 by William Henry Bartlett. Signed on the plate. Titled on the lower center. Good conditions with sli...

This beautiful 19th century framed hand-colored engraving/etching entitled "Ullyses Deriding Polyphemus" by Edward Goodall is based on an original 1829 painting by the renowned Briti...

Whitby is an etching realized in 1845 by Edward Francis Finden. Signed on the plate. Titled on the lower center, from the series of "Ports of Great Britain" Good conditions with ...

The Solway is an etching realized in 1845 by W. H.Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is beautifully reali...

Workington is an etching realized in 1845 by W. H. Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is beautifully real...

WILLIAM BLAKE (British 1757-1827) JOB'S SACRIFICE - And my Servant Job Shall Pray For You, 1825 (Bindman 1978.643; Binyon 1926.123 iii; Russell 1912.33) Engraving, First edition, one of 100 sets printed directly onto Whatman wove paper with a 1825 watermark. and the word “proof” removed. From "Illustrations of the Book of Job...

Withehaven is an etching realized in 1845 by W. H.Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is beautifully reali...

Greenock is an etching realized in 1845 by F. W. Topham. Signed on the plate. Titled on the lower center, from the series of "Ports of Great Britain" Good conditions with slight ...

Allonby is an etching realized in 1845 by W. H.Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is beautifully realized...

Les Tuileries, Paris - Hand Colored Lithograph Delicate hand-colored lithograph of Tuileries Palace in Paris, France printed by Rose-Joseph Lemercier (French, 1803 - 1887). Published, Paris 1843 to 1867 by Hautecoeur Freres (Eugène and Alfred Hautecoeur (French). After Charles Riviere...

Nursing is an etching realized by Eugène Burnand (1850-1921) in the Late 19th century. Good conditions with foxing. The artwork is realized through s...

Cullercoats is an etching realized in 1845 by George Balmer. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is beautifully real...

Stonehaven is an etching realized in 1845 by William Henry Bartlett. Signed on the plate. Titled on the lower center. Good conditions with s...

Scene At Fleetwood is an etching realized in 1845 by W. H.Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is beautiful...

Whitby is an etching realized in 1845 by Edward Francis Finden. Signed on the plate. Titled on the lower center, from the series of "Ports of Great Britain" The artwork is beautif...

Mary- Port Pier is an etching realized in 1845 by W. H. Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is beautifully...

The Buller Of Buchan is an etching realized in 1845 by W. H. Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is beauti...

Entrance to the Port of Dundee is an etching realized in 1845 by W. H.Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork ...

Mielatz, Charles. IN THE BOWERY. Etching, 1891. Edition size not known. Signed and dated in the plate. 9 7/8 x 7 inches. In excellent condition. Mielatz, taught etching at the Nation...

Mielatz, Charles. HEARN'S. Etching, 1912. Edition size not known. Signed and dated in the plate. 12 X 7 1/2 inches. In excellent condition. Mielatz, taught etching at the National A...

Mielatz, Charles. RAINY DAY, BROADWAY. Etching, 1892. Edition size not known. Signed in oencil and inscribed "imp," and signed and dated in the plate. 9 7/8 x 7 inches. In excelle...

Description: Antique signed mezzotint by Henry Scott Bridgwater (1864-1950) after painting "Charlotte, Lady Milnes," c. 1788-1792, by British artist George Romney (1734-1802) who was...

Artist: Jacob George Strutt (English, 1784-1867) Title: "Near Stoneleigh, Warwickshire" Portfolio: Deliciae Sylvarum or Grand and Romantic Forest Scenery in England and Scotland *Monogram signed by Strutt in the plate (printed signature) lower right Year: 1828 Medium: Original Etching on chine appliqué on heavy wove paper Limited edition: Unknown Printer: Unknown Publisher: Jacob George Strutt, London, UK Sheet size: 14.25" x 21.13" Image size: 10.38" x 13.94" Condition: Minor soiling and discoloration in margins. A few light areas of waterstaining at right and bottom edges in margins. It is otherwise a strong impression in very good condition Very rare Notes: There is an example of this work within the permanent collection of the British Museum, London, UK and the National Gallery of Ireland, Dublin, Ireland. Biography: Jacob George Strutt (4 August 1784 – 1867) was a British portrait and landscape painter and engraver in the manner of John Constable. He was the husband of the writer Elizabeth Strutt, and father of the painter, traveller and archaeologist Arthur John Strutt...

Mielatz, Charles. BATTERY PARK. Etching, 1889. Edition size not known. Signed and dated in the plate. 7 X 9 7/8 inches. In excellent condition. Mielatz, taught etching at the Nati...

"Deer Shooting in the Northern Woods" is an original hand-colored lithograph by Currier & Ives. It depicts a landscape with a hunter aiming his gun at a deer on a winter day. 10" x 14" art 19 1/2" x 23 1/4" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives. In 1907, faced with competitive pressures from advancements in offset printing and photo engraving, Chauncey closed the venerable lithography business and sold the printing equipment and lithographic stones to his shop foreman, Daniel W. Logan. Nathaniel Currier and James Merritt Ives are laid to rest along with their families at the Greenwood Cemetery...

This is a set of five framed original 19th century duo-tone lithographs by David Roberts, from his Egypt, The Holy Land and Nubia volumes of the quarto edition, published in London b...

"The Last War-Whoop!" is a lithograph by Currier & Ives. The framed size is 26 x 32.62 x 1.25 inches. Provenance: Private Collection

"Fulham A.K.A. Chelsea" is an original etching by James Abbott MacNeill Whistler. The artist signed the piece in the plate with his butterfly monogram in the lower right. IT was publ...

"Road Landscape" is an original etching and aquatint by Felix Bracquemond. This piece depicts a shadowy path through the foliage. The artist signed the piece in the lower right and i...

This beautiful 19th century framed hand-colored engraving is entitled "St. Michael's Mount, Cornwall" by J. Saddler after an original painting by the British artist Myles Birket Fost...

This is a framed original 19th century hand-colored folio-sized lithograph entitled “Strix Flammea” (Barn Owl) by John Gould, from his "Birds of Great Britain", published in London between 1862 and 1873. The print depicts an adult Barn Owl perched on a log its three baby owls to the left. Another adult owl in the background on the right, presumably a male, watches over his family. There are leaves on the right contributing to this pleasant landscape composition. This striking framed Gould...