1840s Landscape Prints

Maryport is an etching realized in 1845 by J.C.Armytage. Signed in plate. The artwork is realized in a well-balanced composition.

Image dimensions: 14.7 x 19.8 cm. La Cava is an original black and white etching on paper, printed in 1843 as a plate of the print suite "90 Views of the citi...

Histoire d’Albert is an original modern rare Book engraved by Rodolphe Töpffer (31 January or 1 February 1799 – 8 June 1846) in 1845. Original First ...

View of Oran is an original Hand-colored lithograph on paper realized in 1846 by an Anonymous artist of the XIX century. Titled in Italian on the lower center "Oran". The state of...

"Vie of Bagni di Lucca" is an original etching by Attilio Zuccagni-Orlandini (1784-1872), a famous italian cartographer and geographer active in Tuscany...

John Harris after Harry Hall The Merry Beaglers c. 1845 48x65cm Aquatint with hand colouring The most famous beagling print there is, after the 1845 pa...

Image dimensions: 11.5 x 14.7 cm Vie of Taranto is an original black and white etching on paper, realized by the Italian engraver Achille Parboni. Printed as a plate of the prints ...

New York - Taken from the north west angle of Fort Columbus Governor's Island, 1846 Engraved by Henry Papprill after a sketch by F. Catherwood, published by Henry J. Megarey Hand-colored engraving on paper Image 16 x 26 1/2 inches Henry A. Papprill (1816–1903) was a British engraver. Noted as an aquatint engraver from 1840. His plates were published from 1840 till 1883 mainly by Ackermann of the Strand. Papprill was born in Holborn, London. Lived for much of his life at Wharton Street, Lloyd Square, London. Papprill is thought to have been based in New York City for brief period in the mid-1840s. His work in the USA appears to classify him as an American engraver but he was based and gained his reputation and bulk of his work in England. He produced a series of works for Ackermann & Co from 1840 beginning with four plates called "The Jolly Squire", with verses, after James Pollard. In the following years Papprill engraved a number of military plates for Ackermann as well a series of engravings of New York (1846-9) for H.I.Megarey (published in New York). The most notable of these are: "The North West Angle of Fort Columbus, Governor's Island" (the Catherwood-Papprill view) and New York from the Steeple of St. Paul's Church, Looking East, South & West." (The Hill-Papprill view) listed in the American Historical Prints - Early Views of American Cities, etc: I.N.Phelps Stokes & Daniel C. Haskell. New York Public Library 1932. Papprill also produced for Ackermann a series of sporting prints after G. H. Laporte between 1860 and 1865. These were entitled: Racing, Hunting and Coursing. He also produced a series of shipping prints...

The French attack is a Lithograph realized by Auguste Raffet in the 1860s. Belongs to the series "Souvenir d'Italie - Expédition de Rome". Signed on the plate. Good condition

The French attack on Porta San Pancrazio is a Lithograph realized by Auguste Raffet in the 1860s. Belongs to the series "Souvenir d'Italie - Expédition de Rome". Signed on the plat...

'New South Wales' With decorative border surrounds and vignettes of 'Sydney Cove'. 'The Murray' and 'Xanthorrhea'. 'Drawn and engraved by J Rapkin'. Published by John Tallis. 375m...

Tombs of Ajax and Patroclus is a lithograph realized in 1862. Good conditions. The artwork belongs to the Suite Uses and customs of all the peoples of the universe, or History of t...

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

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

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

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...

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...

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...

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...

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...

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...

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...

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...

Tynemouth Castel 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...

Holy Island Castle is an Engraving realized in 1845 by E.Finden. Signed on plate. The artwork is realized in a well-balanced composition.

Dunstanborough Castle is an Engraving realized in 1845 by E. Finden. Signed in plate. The artwork is realized in a well-balanced composition.

The Quay, Yarmouth is an etching realized in the Early-20th Century by J.Sands. Signed in plate. The artwork is realized in a well-balanced composition.

Yarmouth is an etching realized in the Early-20th Century by E. Finden. Signed in plate. The artwork is realized in a well-balanced composition.

Bamborough is an original etching realized in 1845 by W.Finden. Signed in plate. The artwork is realized in a well-balanced composition.

Robin Hood's Bay is an original etching realized in 1845 by E.Finden. Signed in plate. The artwork is realized in a well-balanced composition.

Martlepool is an etching realized in 1845 by W.Finden. Signed in plate. The artwork is realized in a well-balanced composition.

Sunderland is an etching realized in 1845 by E. Finden. Signed on plate. The artwork is realized in a well-balanced composition.

Canning Dock and Custom House, Liverpool is an etching realized in 1845 by T.Higham. Signed in plate. The artwork is realized in a well-balanced composition.

The Mersey at Liverpool is an etching realized in 1845 by J.C.Armytage. Signed in plate. The artwork is realized in a well-balanced composition.

The Menai Bridge, Bangor is an etching realized in 1845 by J.Rogers. Signed in plate. The artwork is realized in a well-balanced composition.

Beaumaris is an etching realized in 1845 by J.C.Armytage. Signed in plate. The artwork is realized in a well-balanced composition.

Port Penryn and Bagor is an etching realized in 1845 by J.C.Armytage. Signed in plate. The artwork is realized in a well-balanced composition.

St.Bees Head is an etching realized in 1845 by W.Mosemann. Signed in plate. The artwork is realized in a well-balanced composition.

St.Bees College is an etching realized in 1845 by R. Wallis. Signed in plate. The artwork is realized in a well-balanced composition.

Conway Quay is an etching realized in 1845 by J.C. Armytage. Signed in plate. The artwork is realized in a well-balanced composition.

Dunstanborough Castle is an engraving realized in 1845 by E.Finden. Signed in plate. The artwork is realized in a well-balanced composition.

Dunstanborough Castle is an engraving realized in 1845 by W.Finden. Signed in plate. The artwork is realized in a well-balanced composition.

Newcastle - Upon - Tyne is an engraving realized in 1845 by E. Finden. Signed in plate. The artwork is realized in a well-balanced composition.

Blowing Wind is an etching on paper realized by Jeannette Deseglise in the 1950s. Hand-signed and numbered, edition of 60 prints. Very Good conditions. The artwork is realized poe...

View of Bucarest is an Original Lithograph realized by an unknown artist in 1840. The little artwork is in good condition. No signature, title and dated.

David Roberts 1796 - 1864 Facade of the Pronaos of the Temple of Edfou First Edition lithograph Full plate: 208 Presented in a acid free mount We have all 250 of the Lithograph set...

Image dimensions: 12.5 x 19.5 cm. Fonte Canapina (Canapina Fount) is an original work realized by Luigi Bartolini in 1940. Original etching on China paper applied. Hand-signed in ...

The Jolly Flat Boat Men, 1847 After George Caleb Bingham (American, 1811-1879) Engraved by Thomas Doney (French, active New York 1844-1849) Engraving with Hand-Coloring Published by The American Art-Union, New York (1838-1851) Printed by Powell and Co. 18 x 24 inches 32 x 38 inches with frame In 1847, the American Art-Union purchased Bingham’s painting "The Jolly Flat Boat Men" (1846; National Gallery of Art) directly from the artist. The subscription-based organization, founded in 1838 as the Apollo Association, boasted nearly ten-thousand members at this date. For an annual fee of five dollars, each received a large reproductive engraving and was entered in a lottery to win original artworks exhibited at the Art-Union’s Free Gallery. Aimed at educating the public about contemporary American art, the organization developed an impressive distribution network that reached members in every state. The broad circulation of the Art-Union's print helped to establish Bingham's reputation and made his river scene famous. Born in Augusta County, Virginia in the Shenandoah River Valley, George Caleb Bingham became known for classically rendered western genre, especially Missouri and Mississippi River scenes of boatmen bringing cargo to the American West and politicians seeking to influence frontier life. One of his most famous river genre paintings was The Jolly Flatboatmen completed in several versions in 1846. This first version of this painting is in the Manoogian Collection at the National Gallery of Art. Fame resulted for this work when it was exhibited in New York at the American Art Union whose organizers made an engraving of 10,000 copies and distributed it to all of their members. Paintings such as Country Politician (1849) and County Election (1852) and Stump Speaking (1854) reflected Bingham's political interests. In 1819, as an eight-year old, he moved to Boon's Lick, Missouri with his parents and grandfather who had been farmers and inn keepers in the Shenandoah Valley near Rockingham, Virginia. Reportedly as a child there, he took every opportunity to escape supervision to travel the River and watch the marine activity. His father died in 1827, when his son was sixteen years old. His mother had encouraged his art talent, but art lessons were not easily obtainable. In order to earn money, he apprenticed to a cabinet maker but determined to become an artist. By 1835, he had a modest reputation as a frontier painter and successfully charged twenty dollars per portrait in St. Louis. "His portraits had become standard decorations in prosperous Missouri homes." (Samuels 46). In 1836, he moved to Natchez, Mississippi and there had the same kind of career, only was able to charge forty dollars per portrait. He remained largely self taught until 1837, when he, age 26 and using the proceeds from his portraiture, studied several months at the Pennsylvania Academy of the Fine Arts. He later said that he learned much of his atmospheric style and classically balanced composition by copying paintings in collections in St. Louis and Philadelphia and that among his most admired painters were Thomas Cole, John Vanderlyn, and William Sidney Mount. Between 1856 and 1859, Bingham traveled back and forth to Dusseldorf, Germany, where he studied the work of genre painters. Some critics think these influences were negative on his work because during that time period, he abandoned his luminist style that had brought him so much public affirmation. Bingham credited Chester Harding (1792-1866) as being the earliest and one of the most lasting influences on his work. Harding,a leading portraitists when Bingham was a young man, had a studio in Franklin, near Bingham's home town. In 1822, when Bingham was ten years old, he watched Harding finish a portrait of Daniel Boone. Bingham recalled that watching Harding with the Boone portrait was a lasting inspiration and that it was the first time he had ever seen a painting in progress. Harding suggested to Bingham that he begin doing portraiture by finding subjects in the river men, which, of course, opened the subject matter that established fame and financial success for Bingham. Harding also encouraged Bingham to copy with paint engravings. He later painted two portraits of Boone but, contrary to the assertions of some scholars, he did not do Boone portraits in the company of Harding. Bingham's portraits of Boone are not located, but one of them, a wood signboard for a hotel in Boonville circa 1828 to 1830, showed a likeness of Boone in buckskin dress...