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Ancient View of Caucasus - Original Etching - Mid-19th Century

Mid-19th Century

Collegio De Neofiti is an original black and white etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions and aged mar...

Monastero e Chiesa di S. Apollonia is an original black and white etching of the Late 18th century realized by Giuseppe Vasi. The beautiful etching represents a glimpse of Rome. Si...

Giardino e Casino Pontificio is an original black and white etching of the Late 18th century realized by Giuseppe Vasi. The beautiful etching represents a glimpse of Rome. Signed ...

Archiginnasio della Sapienza is an original black and white etching of the Late 18th century realized by Giuseppe Vasi. The beautiful etching represents a glimpse of Rome. Signed ...

Fianco della Strada Giulia della Parte del Tevere is an original black and white etching of the Late 18th century realized by Giuseppe Vasi. The beautiful etching represents a glimp...

Fontana dell'Acqua Felice is an original black and white etching of the Late 18th century realized by Giuseppe Vasi. The beautiful etching represents a glimpse of Rome. Signed and...

This framed 18th century etching by Giovanni Battista Piranesi is entitled "Dimostransi nella Tav. presente la Pianta, ed Elevazione del Ponte, oggi detto Quattro Capi egli è antichissimo, e chiamavasi Fabrizio da L. Fabrizio Presid. delle Strade, che lo fabbrico' nel fine della Repubblica. "(The Plan and Elevation of the Bridge, today called Quattro Capi. The architect is very ancient, and was called Fabrizio da L. Fabrizio Presid. delle Strade, who built it at the end of the Republic). This is plate 18 in volume 4 of Piranesi's "Le antichita romane opera di Giambatista Piranesi architetto veneziano" (Roman antiquities by Giambatista Piranesi Venetian architect). It was published in Rome in 1756-1757. This etching depicts the plan and elevation of the bridge now called the Ponte dei Quattoro Capi or Ponte Cestio (Bridge of the Four Heads), which in antiquity was called the Bridge of Fabricius after L. Fabricius, the Superintendant of the Streets who built it at the end of the Republic, around 62 BC. It was also been known in the Middle Ages as ‘Ponte Giudeo’ (Bridge of the Jews). The bridge crossed from the left bank or northeast side of the Tiber River to Tiber Island...

Bretherton, James (After Rembrandt van Rijn). Christ and the Woman of Samaria Among Ruins. London: c 1775. Etching on light cream laid paper, 4 3/4...

Etching on Chine collé mounted to cream wove paper, 3 5/8 x 5 1/8 (90 x 129 mm), full margins. With a pencil notation in the right margin on the recto (outside of image area), as we...

Etching and engraving on cream laid paper, 11 3/4 x 8 1/8 inches (297 x 205 mm), margins trimmed. Scattered light surface soiling, minor loose handling creases, rubbed edges, and sma...

Etching with engraving on cream laid paper, 7 x 10 3/4 inches (184 x 273 mm), thin margins. Printing anomaly in the lower left quadrant with associated fold. Scattered handling wear...

A charming scene with romping dogs and spectators watching the cascading water play a trick on an unsuspecting man who is sprayed as he descends the steps, as the fountain was design...