1850s Landscape Prints

JAMES McNEILL WHISTLER (American 1834–1903 London) THAMES WAREHOUSES, 1859 (K 38 ii/ii; Glascow 46 iv/v; Mansfield 37) Etching and drypoint on fine thin laid paper. Plate: 3 × 8 i...

American Crow by J.J. Audubon from his Birds of America folio shows an adult male crow in a Black Walnut bush with a nest of a Ruby-Throated Hummingbird in a branch below the crow. This original chromolithograph plate no. 226 is in good condition with a repairable water mark in the image on the left side as can be seen in the photos. The ” Birds of America” by John James...

Kiyomi Barrier & Seiken Temple Near Okitsu - Japanese Woodcut Print on Rice Paper Woodblock print of boats in a harbor by Utagawa Hiroshige (Japanese, 1797-1858). Originally publish...

David Roberts: 1796-1864. Very important and well Listed 19th century Scottish artist. He has had Auction results for paintings in excess of $1 million. Nevertheless, he is most reco...

Utagawa Hiroshige II (1829-1869), 'Kintai Bridge at Iwakuni in Suo Province' (Suo iwakuni kintai-bashi), from the series 'One Hundred Views of Famous Pla...

The Ayase River and Kanegafuchi, Summer, One Hundred Famous Views of Edo Summer on the Ayase River by Hiroshige (Ando) Utagawa (Japan, 1797 - 1858 ). Woodcut circa 1856. Ima...

Ancient View of San Francisco in November 1848 is an original modern artwork realized in the first half of the 19th Century. Original L...

Utagawa Hiroshige Dawn Inside the Yoshiwara, circa 1857 Woodblock print 11 x 7 inches Utagawa Hiroshige is recognized as a master of the ukiyo-e woodblock printing tradition, havin...

JEAN-BAPTISTE CAMILLE COROT (1876 - 1875) LE PETIT CAVALIER SUR BOIS. 1854 (1921) (Delteil 42) Cliché-verre on thin vellum. Signed in plate at bottom. 8 1/4 x 6 5/16” (sheet size)....

Artist: Utagawa Hiroshige (Hiroshige Ando 1797-1858) Title: No.96 "Meisho Edo Hyakkei" Series: One Hundred Famous Views of Edo (名所江戸百景) Size: O-ban 大判 Age: 1856

Hiroshige (1797-1858) - One Hundred Famous Views of EDO 名所江戸百景 Artist: 広重 Hiroshige (1797-1858) Series: One Hundred Famous Views of EDO (名所江戸百景) Title: The Ferry at Sakasai (逆井のわたし...

Edo Meisho woodblock print of a famous Japanese coastal dock. This woodblock is most likely apart of the series "One Hundred Famous Views of Edo." The woodblock print is printed on r...

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

Genji in the Twelve Months / The Tenth Month (Moto) is a tryptich woodcut print realized by Utagawa Toyokuni III in 1858. Very good condition except for some minor signs of wear.

Pozzolo Battle is a lithograph print on paper realized After Louis Martinet in the 1850s. Titled, signed on the plate. The artwork is in good conditions with aged margins and diffu...

Ancient View of Lago Maggiore is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper...

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

Corot, Jean-Baptiste-Camille. SOUVENIR D'OSTIE. Delteil 57, Melot 57. Cliche Verre, 1855. Second State of two, with the signature of Corot in reverse, low...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London ...

The present woodcut engraving is an original print designed by Winslow Homer, originally published in Harper's Weekly on April 30, 1859. It is an excellent example of the many prints Homer produced of fashionable people engaged in leisurely activities, in this case along a picturesque countryside lane. The sign reading 'Belmont' on the left indicates this is probably near his home in Belmont Massachusetts. The image presents multiple figures, both men and women, riding horseback: Some in the distance gallop away, toward a town marked by a church steeple beyond. Three others in the foreground, including two equestrian women, gather around a group of children who have been gathering flowers and trapping birds...

Lithograph on paper realized by Auguste Raffet in 1859. Signed and dated in the plate. Very good condition. The Siege of Sevastopol was the decisive event of the Crimean War, wher...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London ...

Signed on plate with the Monogram of the artist “CM”. Original Prints. State III/III Passepartout included : 60 x 40 cm Image Dimensions : 24.5 x 18.5 cm This artwork is shipped fro...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London ...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London ...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London ...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape S...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape S...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape S...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape S...

Ancient View of General Post Office is an original modern artwork realized in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in capital letters...

Ancient View of the Forum of Trajan, Rome, is an original modern artwork realized in Italy in the first half of the 19th Century. Original lithog...

Engraving by Albert Emil Kirchner Dutch artist born in 1813 and died on 1885 He have 176 registered auctions. The oldest was in 1989 and the most recent in 2022 The theme of the engraving is one of the most famous castle in Switzerland "le chateau...

Ancient View of Salt Lake City is an original modern artwork realized in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. ...

The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country. 9.5 x 13.5 inches, artwork 20 x 23.38 inches, frame Entitled in the image Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "2 Spruce N.Y." and "No. 1" Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y." Framed to conservation standards using 100 percent rag matting and housed in a gold gilded moulding. 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...

Trees is an original etching on paper, realized by an Anonymous artist of the early XX century. Hand-signed on the lower in pencil and numbered, illegible, with the dedication. The...

Prise de la Ville Pamfili is an artwork realized by Auguste Marie Raffet in the 1852. Etching on paper. Signed on plate on the left margin. Belongs to the series "Souvenir d'Italie...

Ryoanji Temple in the Snow at Sunset is an original artwork realized in 1850 by Hasegawa Sadanobu (1809-1979). Chuban yokoe. From the series "Miyako meisho no uchi", Famous Viws o...

Tsukuda Sumiyoshi no yashiro (Sumiyoshi Shrine on Tsukuda Island) is the original title of this superb ten colour woodblock print on paper, by the Japanese master, Utagawa Hiroshige ...

View of Vallombrosa (ancient name: Valombrosa) is an original artwork realized by Thomas Lupton (1971-1873) in 1833. Original etching. In the lower central part there is the inscri...

Madrid is an etching print on paper realized in the late 19th Century. Titled on the plate Good conditions with slight cutting and folding on margins.

"Iron Steam Ship Great Britain" is an original hand-colored lithographed published by Currier & Ives. It depicts a large British steam ship on the water. The caption below says "3500 Tons. Engine 1000 Horse power. Weight of Iron used in the Ship and Engine is 1500 Tons. THE LARGEST IN THE WORLD. Length from Figurehead to Tafrail 322 Fe3et. Main breadth 50' 6" ... Depth 32' 6" Lieut. Jaf. Hosken R.N. Commander." 8" x 12 3/4" art 17 1/8" x 21 1/2" frame 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...

The Eskimos is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was publish...

Ancient View of Naples is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. In...

Ancient View of Porta Felice and Marina is an original modern artwork realized in Italy in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted ...

View of Vallombrosa (ancient name: Valombrosa) is an original artwork realized by Thomas Lupton (1971-1873) in 1833. Original etching. In the lower central part there is the inscri...

Ancient View of Rock Island City is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper...

Veste Kufstein 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 in Capital Let...

Ancient View of Caldwell's Landing is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in capital...

Ancient View of Salt Lake City is an original modern artwork realized in the first half of the 19th Century. Original Colored Lithograph on Ivory Paper...

Der Grossglockner 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: Der Grossg...

This splendid lithograph Porte de la Treille is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Fontanesi in 1854. Th...

Nonnenwerth is a lithograph of an original artwork by the German painter and lithographer Markus Eberhard Emminger, who lived from 1808 to 1885, representing a view of the island Non...

City of Geneva is an original lithograph, realized by Antonio Fantanesi, hand-signed. Image Dimension: 20.5 x15.5 cm Included a Passepartout. In good conditions. Here the artwor...

This splendid lithograph Interieur de Geneve. L'Hospital is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Fontanesi...

Views of the Ponte della Santa Trinità is an original artwork realized by Thomas Lupton (1791-1873) in 1833. Original etching. In the lower central part there is the inscription "p...

Strada St. Giovanni, Valetta is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in capital lette...

Landscape is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published...

View of Camaldoli is an original artwork realized by Thomas Lupton (1971-1873) in 1833. Original etching. In the lower central part there is the inscription "Camaldoli". Good condition. Thomas Goff Lupton was a mezzotint engraver and miniature painter who was the first artist to use soft steel plates in the art of engraving. He experimented with plates of nickel, steel and other metals before producing a satisfactory steel plate. It was well received, and from 1823, steel engravings superseded copper engravings. This development permitted a printing of up to 1,500 mezzotints of excellent quality. The copper plates formerly used were very soft and could produce only around fifty prints of similar quality. Lupton's works include copies of landscape series by J.M.W. Turner as well as engraved portraits after oil...

View of La Verna is an original artwork realized by Thomas Lupton (1971-1873) in 1833. Original etching. In the lower central part there is the inscription "Laverna". Good condition. Thomas Goff Lupton was a mezzotint engraver and miniature painter who was the first artist to use soft steel plates in the art of engraving. He experimented with plates of nickel, steel and other metals before producing a satisfactory steel plate. It was well received, and from 1823, steel engravings superseded copper engravings. This development permitted a printing of up to 1,500 mezzotints of excellent quality. The copper plates formerly used were very soft and could produce only around fifty prints of similar quality. Lupton's works include copies of landscape series by J.M.W. Turner as well as engraved portraits after oil...