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Ancient View of Rotterdam Original Lithograph on Paper - Early 19th Century

Early 19th Century

View on the Amstel is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted on the lower margin: View...

Rotterdam is an original modern artwork realizedin the mid of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin: Rotterdam. Sheet dimension...

Rotterdam is an original modern artwork realized in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin: Rotterdam. Sheet d...

Ancient View of Amersfoort is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted on the lower marg...

Antique print titled 'Le Binnen Amstel et la maison des Orphelins de la Diaconie, à Amsterdam'. View of the Amstel and the orphanage in Amsterdam, the Netherlands. This is an optical print, also called 'vue optique' or 'vue d'optique', which were made to be viewed through a Zograscope, or other devices of convex lens...

Gezigt van den Oosterdoksdijk, hand-colored lithograph of Amsterdam, 1857 This finely executed hand-tinted lithograph titled 'Gezigt van den Oosterdoksdijk' presents a historical vi...

Antique print titled 'A view of Amsterdam tacken from the Old Rampart'. Beautiful view of Amsterdam, the Netherlands. This is an optical print, also called 'vue optique' or 'vue d'op...

This is a 19th century etching entitled "Tour De Montalban, Amsterdam" (Montalban Tower, Amsterdam) by Maxime Lalanne, published by Phillip Gilbert Hamerton in 1884. The etching depicts a canal scene in Amsterdam with Montalban Tower on the right. Row boats are moored along a dock in the foreground on the left and larger sail boats are seen on the other side of the dock. A boat in the middle of the canal is being rowed by one man. Many buildings are seen along both shores. This etching is presented in a white mat that is suitable for framing. This excellent impression is printed on thick chain-linked, laid cream-colored paper with wide margins and two watermarks; "Portfolio" along the left margin and "MBM" along the right margin. It is signed, titled and dated in the plate in the lower right. There is a collector's stamp (either an "NC" or a "CN") in the lower right corner. The sheet measures 10" high by 15" wide and the mat measures 13" high by 16" wide. There is a small spot in the right margin and some mild discoloration in the periphery on the upper margin. The print is otherwise in excellent condition. This etching is held by many museums and institutions, including The Fine Arts Museums of San Francisco, The Museum of Fine Arts, Boston, The Yale University Art Gallery and The Philadelphia Museum of Art. References: Beraldi (1889) 105; Villet (2016) 148, IV; Lalanne (1882) 137; Bibliothèque Nationale (1932) 82; Gutekunst (1905) 105. François Antoine Maxime Lalanne (1827-1886) was a leading French etcher and painter of landscapes and urban views, who was at the forefront of the French revival of etching during the 1860's. He grew up in Bordeaux, but he refined his artistic skills and worked in Paris. His art was first exhibited at the Paris Salon in 1852 and he continued to regularly show both etchings and paintings there until the mid 1880's. He was also the author of several important books on the subjects of etching and other graphic arts. He was a founding member of the Societe des Aquafortistes, along with Auguste Delatre, Cadart, Ribot and Bracquemond. Lalanne created over one hundred and fifty fine etchings. Lalanne's unique style of art influenced many French and English artists in the twentieth century. Philip Gilbert Hamerton (1834-1894) was a British artist, art critic and author. He was particularly focussed on contemporary graphic art and printmaking techniques. He frequently wrote about the theory of the English Etching...