18th Century Landscape Prints

View of the Cave known as Bergantino is an etching realized by the italian artist Giovanni Battista Piranesi in 1762. Very precious and rare lifetime impression. Roman edition. C...

Zweytes Konigliches Lust Haufs is a splendid engraving realized in the early XVIII century by the German engraver Georg Schmidt (1712-1775) after an original artwork by the architect Paul Decker. The state of preservation is good. On the left margin of the paper, there are three tears of which a deeper one in the center. Other damages were restored. On the higher right, there is a small hole and brown edge owing to a burn. On the lower center, there is the title and the inscription “P. Decker inv. et fec. / Cum Priv. S. C. Maj”. On the lower right, “Inch. Georg Schmidt Sculps. 31 / Ieremias Wolff excud. Aug. Vind”. The architect Paul Decker, author of the original artwork, was also an important painter, whose artworks embellished many important palaces in Berlin. He wrote an interesting treatise on architecture, published in 1711, and the book Architectura theoricopractica, published in 1720. The engraver Georg Friedrich Schmidt was one of the main representatives of German burin engraving of the XVIII century. He was well-known for making portraits and for illustrating literary works by Federico II...

Ostiakes Engraving, 1718 From: Voyages de Corneille le Brun par la Moscovie, en Perse, et aux Indes Occidentales (French translation, 1718), Chapter XXI The Ostyak are a member of an...

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Cyrilla Scarlet-flowered, Cyrilla pulchella Plate 374 1797 Hand-colored etching Ed. 1st ed. 9 x 5.25 inches

Marvel of Peru Common, Mirabilis jalapa Plate 371 1797 Hand-colored etching Ed. 1st ed. 9 x 5.25 inches

The Tourney is an original print realized by Anonymous artist at the end of XVIII century (about 1760). Titled below "Vue des jeux Tournois dans le Sup be Manege de son ASM le Duc ...

Engraving of Veduta della Piazza di S. Marco, versoil Canale by Pierre van der Aa. Printed in 1722. Unsigned. Unframed. Image size, 11 x 13 5/8 in. Has the original center crease.

"Forest Glen" is an original etching by John Thomas Smith. The piece was initialed in plate. It depicts a small inlet to a lush forest. 3 5/8" x 3 1/2" art 12 7/8" x 12 3/4" frame ...

Franz Weirotter (1730-1771), Suite of 12 Views of Italy, etchings, 1759 [most signed in the plate by Weirotter]. Reference: Nagel 5. 10 printed in pairs on one sheet; one on a small...

Copperplate engraving hand colored map of Northern America. The figures of the mythical figure along the right side and the animals were added in later after the original printing. T...

Fig-marigold Showy, Mesembryanthem spectabile Plate 396 1797 Hand-colored etching Ed. 1st ed. 9 x 5.25 inches

Artist: Francis Drake (English, 1696-1771) Title: "York, from near the Confluence of the Rivers Ouse and Foss" (Plate 20) Portfolio: Eboracum: or The History and Antiquities of the City of York Year: 1736 (First edition) Medium: Original Engraving on light laid paper Limited edition: Unknown Printer: William Bowyer...

Brunfelsia American, Brunfelsia americana Plate 393 1797 Hand-colored etching Ed. 1st ed. 9 x 5.25 inches

18th C. Engraving "Shire of the Seat of Phillip Stanhope, Earl of Chesterfield" C.1724 Bird's eye view of Bredby Hall, in Derbyshire; with formal gardens and landscaped grounds; fro...

Artist: Colen Campbell (Scottish, 1676-1729) Titles: "Plan of the Principal Floor of Wilberry House" (Vol. 1, Plate 51) and "Wilberry House in the County of Wilt" (Vol. 1, Plate 52) ...

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To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." after Samuel Buck (1696 - 1779) and Nathaniel Buck (active 1724 - 1759) The South View of Bindon Abbey, in the County of Dorset (1733) Engraving 20 x 37 cm An engraved view of Bindon Abbey, a Cistercian monastery on the River Frome in Dorset. The monastery was founded in 1149 by William de Glastonia on the site since known as Little Bindon near Bindon Hill. In 1172 the monastery moved to a site near Wool, and was supported by the house of Plantagenet. The abbey was scheduled for Dissolution in 1536, and finally dissolved in 1539. Only ruins remain. Samuel and Nathaniel Buck...

Artist: Treadway Russell Nash (English, 1724-1811) Title: "The South View of the City of Worcester, from Digley Fields" and "Hewell, the Seat of the Right Honorable the Earl of Plymouth" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Two Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Reference: Upcott III, page 1330 Sheet size (each): approx. 10.25" x 16.63" Image size (each): approx. 7" x 12" Condition: "The South View of the City of Worcester, from Digley Fields" has some minor foxmarks in margins. "Hewell, the Seat of the Right Honorable the Earl of Plymouth" has toning and uneven discoloration to its sheet. Have been professionally stored away for decades. They are both otherwise strong impressions, the first in excellent condition, and the second in good condition Notes: Provenance: private collection - Aspen, CO. "The South View of the City of Worcester, from Digley Fields" was engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after a drawing by himself. "Hewell, the Seat of the Right Honorable the Earl of Plymouth" was engraved by English artist Michael Angelo Rooker (1743-1801) after a watercolor painting by English artist Paul Sandby (1731-1809). Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in (1799). And both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". "The South View of the City of Worcester, from Digley Fields" has an unidentified watermark in the center of its sheet resembling "XV". Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

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Artist: Treadway Russell Nash (English, 1724-1811) Title: "Henbury Hall, late the Seat of Thomas Vernon, now of Henry Cecil Esq." and "Ombersley Court, the Seat of Lord Sandys" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Two Original Engravings and Etching with Aquatint on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Reference: Upcott III, page 1330 Sheet size (each): approx. 10.13" x 16.88" Image size (each): approx. 8.13" x 12.63" Condition: "Henbury Hall, late the Seat of Thomas Vernon, now of Henry Cecil Esq." has scattered light foxmarks in margins. The top edge is unevenly trimmed and a small taped tear to lower right corner. "Ombersley Court, the Seat of Lord Sandys" has light toning to sheet and some faint discoloration in right margin. A small light water stain to lower left corner. Have been professionally stored away for decades. They are both otherwise strong impressions in good condition Notes: Provenance: private collection - Aspen, CO. "Henbury Hall, late the Seat of Thomas Vernon, now of Henry Cecil Esq." was likely engraved by English artist James Ross (1745-1821) after a drawing by himself. "Ombersley Court, the Seat of Lord Sandys" was engraved by English artist Valentine Green (1739-1813) and English artist Francis Jukes (1745-1812) after a drawing by an unknown, likely English artist. The first work is an engraving; the second work is an etching with aquatint. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from copper plates in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in (1799). And both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". "Ombersley Court, the Seat of Lord Sandys" has an unidentified watermark in the center of its sheet. "Henbury Hall" is actually incorrectly misnamed; its correct name is "Hanbury Hall". "PLATES, Drawn and engraved by J. Ross, unless otherwise expressed." - "A Bibliographical Account of the Principal Works Relating to English Topography", (1818) - William Upcott. Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

'Chertsey Bridge, Surrey' Aquatint published by Samuel Ireland. From his 'Picturesque Views on the River Thames'. Ireland was an author and engraver who published several series of ...

'Remains of the Tower at Luton, Bedfordshire' Engraving by MA Rooker after Paul Sandby (1731-1809). From Paul Sandby's 'The Virtuosi's Museum, Containing Select Views in England, S...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "St. Martin's Abbey" (Plate 333) and "Lady's Chappel" (Plate 331) Portfolio: Buck's Antiquities or Venerable Remains of Above 400 Castles, Monasteries, Palaces in England and Wales Year: 1726-1739 Medium: Set of Two Original Engravings on watermarked laid paper Limited edition: Unknown Printer: Unknown Publisher: Robert Sayer, London, UK Reference: Lowndes page 303-304; Upcott page 33 Sheet size (each): approx. 11.13" x 18.25" Image size (platemark) (each): approx. 7.5" x 14.5" Condition: "St. Martin's Abbey" has a minor crease to upper left corner and repaired edge wear to lower right corner. "Lady's Chappel" has faint toning to sheet and minor soiling in margins. They are both otherwise strong impressions in excellent condition Notes: Comes from Samuel and Nathaniel Buck's three volume portfolio "Buck's Antiquities" or "Venerable Remains of Above 400 Castles, Monasteries, Palaces in England and Wales" (1726-1739), which consists of 428 engravings. Both "St. Martin's Abbey" and "Lady's Chappel" have unidentified watermarks in the center of their sheets. They both also have "Liverpool Free Public Library" chop mark/blind stamps at bottom center of their sheets. Old price pencil inscribed in margins. Saint Martin's Abbey is a community of Roman Catholic Benedictine monks who follow the Rule of St Benedict...

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This is a hand-colored engraving of a turtledove entitled "Tourterelle du Senegal (Turtledove of Senegal)" by Francois Nicolas Martinet, plate 160 from 'Histoire Naturelle des Oiseau...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." after Samuel Buck (1696 - 1779) and Nathaniel Buck (active 1724 - 1759) The East View of Winchester Palace (1733) Engraving 20 x 37 cm An engraved view of Winchester Palace, a bishop's palace built in the 12th century. It served as the London townhouse of the Bishops of Winchester and remained in use until around 1700, when it was divided up into tenements and warehouses. The building was largely destroyed by fire in 1814. Samuel and Nathaniel Buck...

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Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Cockersand Abbey" (Plate 148) and "Sandal Castle" (Plate 340...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Moor Tower" (Plate 173) and "Kirkham Priory" (Plate 328) Portfolio: Buck's Antiquities or Venerable R...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Sutton Nichols (1668 - 1729) Map of Cambridgeshire Engraving 43 x 36 cm Signed in plate lower left. A beautifully coloured 18th century map engraving of Cambridgeshire. The map was produced by Robert Morden for publication in Edward Gibson's 1695 translation of William Camden's Britannia, a topographical and historical survey of Great Britain and Ireland produced to "restore antiquity to Britaine, and Britain to his antiquity" - a most noble aim. William Camden (1551 - 1623) was an English antiquarian, historian, topographer, and herald, best known as the author of Britannia, the first chorographical survey of the islands of Great Britain and Ireland, and the Annales, the first detailed historical account of the Queen...

signed in plate

"English Country Fisherman by the Cottage" is an original etching by John Thomas Smith. The miniature etching features a country cottage with a thatc...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Pendragon Castle" (Plate 312) and "Lincoln Castle" (Plate 170) Portfolio: Buck's Antiquities or Vener...

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Samuel & Nathaniel Buck Byland Abbey, Yorkshire Engraving “Byland Abbey is an interesting ruin about five miles from Helmsley. It was a fine specimen of ecclesiastical architecture,...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Louth Park Abbey" (Plate 172) and "Easby Abbey" (Plate 324) Portfolio: Buck's Antiquities or Venerabl...

This is a hand-colored engraving of an Icelandic Ger Falcon entitled "Gerfault d''Islande" by Francois Nicolas Martinet, plate 210 from 'Histoire Naturelle des Oiseaux' in associatio...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Oakham Castle" (Plate 242) and "Nottingham Park/Castle" (Plate 226) Portfolio: Buck's Antiquities or Venerable Remains of Above 400 Castles, Monasteries, Palaces in England and Wales Year: 1726-1739 Medium: Set of Two Original Engravings on watermarked laid paper Limited edition: Unknown Printer: Unknown Publisher: Robert Sayer, London, UK Reference: Lowndes page 303-304; Upcott page 33 Sheet size (each): approx. 11" x 18.25" Image size (platemark) (each): approx. 7.75" x 14.75" Condition: "Nottingham Park" has light soiling in margins and scattered light foxmarks across sheet. They are both otherwise strong impressions in very good condition Notes: Comes from Samuel and Nathaniel Buck's three volume portfolio "Buck's Antiquities" or "Venerable Remains of Above 400 Castles, Monasteries, Palaces in England and Wales" (1726-1739), which consists of 428 engravings. Both "Oakham Castle" and "Nottingham Park/Castle" have unidentified watermarks in the center of their sheets. They both also have "Liverpool Free Public Library" chop mark/blind stamps at bottom center of their sheets. Old price pencil inscribed in margins. Oakham Castle is a historic building in Oakham, Rutland. The castle is known for its collection of massive horseshoes and is also recognised as one of the best examples of domestic Norman architecture in England. It is a Grade I listed building. Owned and managed by the Rutland County Council, Oakham Castle is licensed for civil...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Torksey Hall" (Plate 179) and "Newark Castle" (Plate 226) Portfolio: Buck's Antiquities or Venerable ...

"Figure by the Cottage in Forest" is an original etching by John Thomas Smith. The miniature landscape shows a pair of cottages in the woods, nestled back into the trees. A river flo...

Roman Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Filippo De Grado in the 18th Century. Signed on the plate. Good conditions. The etching belongs t...

James Basire & William Turner Davey A chimney piece in the Bishop's Palace at Exeter Engraving 45 x 60 cm This engraving was originally published by the Society of Antiquaries of...

James Basire & Henry Emlyn Plan and Elevation of the Rood Loft in St George's Chapel at Windsor Engraving 47 x 55 cm This engraving was originally published by the Society of Ant...

James Basire & John Carter Stalls in Tiltey Church Essex & Stalls in the Choir of Rochester Cathedral Engraving 50 x 32 cm This engraving was originally published by the Society ...

James Basire, after James Johnson and John Carter The Chancel of Chatham Church, Kent Engraving 50 x 32 cm This engraving was originally published by the Society of Antiquaries of...

"Figures at the Obelisk" is an original etching by Jan Frans van Bloemen. It depicts two people conversing in front of a monument. Behind them, an expansive landscape sprawls. 9 1/4" x 6 3/4" art 21 3/4" x 19 3/8" frame Jan Frans van Bloemen (baptized 12 May 1662 - buried 13 June 1749) was a Flemish landscape painter mainly active in Rome. Here he was able to establish himself as the leading painter of views (vedute) of the Roman countryside depicted in the aesthetic of the classical landscape tradition. Van Bloemen predominantly painted classical landscapes, taking his inspiration from the Roman Campagna. His landscapes, with their recession through a series of planes, soft, warm lightning and classical and religious subject matter, drew on the examples of artists such as Claude Lorrain and Gaspard Dughet. His paintings are exquisitely imbued with that "difficult-to-define pastoral ambience" which helped to make him such a great painter in the eyes of his contemporaries. The technique and subjects of the work of Jan Frans van Bloemen are also related to painters such as Jan Asselijn, Thomas Wyck...

Skeleton is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artis...

Skeleton is an etching realized in 1771 by A-J De Fehrt. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabi...

Skeleton is an etching realized by Jardinier in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Paris: I...

Animals' Digestive System is an etching realized in 1771 by A-J De Fehrt. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la de...

Skeleton is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artis...

Skeleton is an etching realized in 1771 by Bernard Baron. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cab...

Skeleton is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artis...

La Nusaraigne d'Eau is an etching realized in 1771 by A-J De Fehrt. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la descript...

L'Ecureuil Barbaresque is an etching realized in 1771 by A-J De Fehrt. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la desc...

Le Gerfaut is an etching realized in 1771 by Bernard Baron. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du C...

Institutiones Chirurgicae is an etching realized in 1771 by Jacques De Sève. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la...

Le Saia Gorge Blanche is an etching realized in 1771 by Juste Chevillet (1729–1802) Signed in plate.