19th Century Landscape Prints

West End of the Four Acre  is an artwork, realized by the artist Joseph Banks in 1837. Colored etching, titled and signed in the plate. Beautiful engraving with contemporary colour...

The Hangsman  Bank is an artwork, realized by the artist Joseph Banks in 1837. Colored etching, titled and signed in the plate. Beautiful engraving with contemporary colouring. Edi...

James Basire & John Carter Floor plan of St Albans Cathedral Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisation ...

Lido (Venice) Etching on chine collee, 1880 Part of the artist's "Venice Set" Signed upper right in plate :Otto H Bacher" (see photo) Signed with the estate stamp, Lugt 2002 recto lower right beneath image. (see photo) Created October 20, 1880 Reference: Andrew Venice No. 29 Provenance: Estate of the Artist Otto H. Bacher (1856-1909) Otto Henry Bacher was born in Cleveland, Ohio, to a family of German descent. He first studied art at the age of sixteen with local genre trompe l'oeil still-life artist, DeScott Evans. Although he studied with Evans for less than one year, Bacher's early work, comprised mainly of still lifes, betrays Evans's influence. After a short period in Philadelphia, where he studied at the Pennsylvania Academy of the Fine Arts, Bacher returned to Cleveland and met Willis Seaver Adams, an artist from Springfield, Massachusetts, who had just recently arrived upon the Cleveland art scene. Soon the two artists were rooming together. Adams was instrumental in the founding of the Cleveland Art Club, as well as the establishment of the Cleveland Academy of the Fine Arts, to the board of which Adams had Bacher appointed. Also during this time, Bacher began to learn the process of etching from local etcher and landscape painter Sion Longley Wenban. In 1878, Bacher and Adams left for Europe. After stopping briefly in Scotland, Bacher went on to Munich, where he enrolled at the Royal Academy. He quickly tired of the rigors of the academy, and soon he was studying with Cincinnati artist Frank Duveneck, the prime American exponent of the Munich School. In 1879, Bacher made a trip to Florence with Duveneck as one of the celebrated "Duveneck Boys." Early the following year, the group proceeded to Venice, where Bacher and several other artists established studios in the Casa Jankovitz. By this time an avid printmaker, Bacher had his etching press sent from Muni ch, and it was in his Venice studio that he taught Duveneck the rudiments of etching. Soon Bacher, Duveneck, and other members of the Duveneck circle were experimenting in printmaking. Among the group's contributions were some of the first American examples of monotypes, which they called "Bachertypes" because they were printed using Bacher's press. It was also in Venice that Bacher met the venerable American expatriate artist, James McNeill Whistler. On learning of Bacher's press and his collection of etchings by Rembrandt, Whistler made himself a regular visitor to Bacher's studio, and he eventually took his own room in the Casa Jankovitz. Bacher spent much of the rest of 1880 with Whistler, the two artists sharing etching techniques. From Whistler, Bacher learned tone and line graduation; from Bacher, Whistler learned his etching techniques, including better ways of using the acid bath which produced less tedious and more efficient work. Bacher visited Whistler occasionally in the years that followed, and in 1908 he published With Whistler in Venice, his famous recollections of his time with the great artist. Bacher spent the next two years traveling extensively throughout Italy, with Venice as the center of his operations, and he produced a number of important etchings of Italian subjects. Bacher sent several of these works to America in 1881 to be included in the Society of American artists exhibition that year, and had a similar group of works shown at the Royal Society of Painter-Etchers' first exhibition at the Hanover Gallery in London. Following the exhibition, Bacher, along with several other of the American contributors, was elected a Fellow of the Society. Bacher collected twelve of his etchings of Venetian subjects and sold them in bound volumes through his New York dealer, Frederick Keppel. Bacher returned to Cleveland in January 1883 as a fully cosmopolitan artist. He set up a lavish studio furnished with exotic items and objets-d'art he had collected on his travels, and began to hold art classes as a means to supplement his income. He soon joined with Joseph De Camp in forming a summer sketch class in Richfield, Ohio. Bacher and De Camp also planned the Cleveland Room for a major loan exhibition in Detroit that year. During this period, Bacher increasingly painted in oil, and he began to produce sun-dappled canvases in an impressionistic mode. Unable to sell any paintings from this early period, however, Bacher left Cleveland for Paris in 1885, where he planned to undertake further studies. Stopping first in London to visit Whistler, Bacher stayed only briefly in Paris before heading to Venice, where he spent the remainder of the year. In January 1886, Bacher returned to Paris and enrolled at the Académie Julian, and also entered the atelier of Emile-Auguste Carolus-Duran. The life of the student seems never to have suited Bacher, as he stayed in Paris only through June, before departing again for Venice. For the next six months he, Robert Blum, and Charles Ulrich...

La Peche is a black and White etching realized by Charles-André Malardot in the 1860s.  Titled in the lower. Image size: 25x17. Very good impression with wide margins and a very f...

Gibbon Falls, Yellow-Stone National Park  is a chromolithograph from c.1880 showing two fisherman at the base of Gibbon Falls.  This chromolithograph is a dramatic view of the powerful Gibbon waterfall that cascades 84 feet into a small, clear pool. The setting is quintessential Yellowstone, with scrubby pine trees and rocky cliffs. The inscription on the bottom left corner below the image says Scenery From Nature on the Northern Pacific R.R.   Established by the U.S. Congress and signed into law by President Ulysses S. Grant on March 1, 1872  Yellowstone was the first national park in the U.S. and is widely held to be the first national park in the world. Native Americans have lived in the Yellowstone  region for at least 11,000 years. The Northern Pacific Railroad...

Ancient View of Eskilstuna is an original modern artwork realized in Germany in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margi...

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...

Beautiful proof on verge, with note “Pl.194” and signed by the artist in pencil. Full margins. Ex-coll. H.H. Benedict (Lugt 1298), with dry stamp not identified. Ref. Cat. Harrington...

Le Port de Monaco is an artwork realized by Appian. Etching, realized in 1874. Sheet 158 x 237 mm.. Curtis and Prouté 36. Meeting of a very beautiful proof on white laid paper, f...

Christo (American-Bulgarian, b. 1935) 5600 Cubicmeter Package (from Monuments), 1968 Medium: Offset lithograph on Bristol board Dimensions: 70 × 54.5 cm (27 3/5 × 21 1/2 in) Edition ...

Rue des Marmousets is a black and White etching realized by Jules Herau in the Late 19th Century.  Titled in the lower. Image Size: 20x26. Very good impression. Realized by Cadar...

View of Paris XV-XVI is a lithograph print on paper realized in the Late 19th century Signed on the plate Good conditions. From the suite of "France Pittoresques, including costum...

Figure of the Bread which they use in the Eucharist is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: ...

Giralda in Sevilla in Cordova is an original lithograph on paper realized by B. Metzeroth in The 19th Century. Signed on the plate on the lower right corner. Original lithograph on...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. James Basire II (1769 - 1822) after Edward Dayes...

Eaton Hall is an original modern artwork realized in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin...

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...

Image dimensions: 7.2 x 12.7 cm. New Orleans is a black and white xylograph on paper, realized in 1890 by anonymous artist, of incredible fineness. Of little dimensions but high meticulousness of sign, this original print presents us a lost and historical view on the New Orleans port...

Dionisio MORETTI Venice, Santa Chiara Island, 1831 Original etching Finely enhanced by hand with watercolor On vellum 26 x 41 cm (c. 10.2 x 16 inc...

"Hyde Park on Sunday" - Hand Colored Etching from "Old and New London" Detailed etching of a typical Sunday in Hyde Park around 1800 after an etching by Ed...

The Village is a lithograph print on paper in the Late 19th century realized by Sarah Green. Signed on the plate Good conditions. From the suite of "France Pittoresques, including...

Rue St. Nicolas a Blois is a black and White etching realized by Emile Louis Vernier in 1863  Titled in the lower Image Size: 31x23 Very good impression. Realized for the "Sociét...

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...

Moses Strikes the Rock Louvre Museum Etching Late 19th Century Remarkable detail in this fine etching done by the Louvre in Paris. The Louvre has the largest collection of original ...

Ile Bourbon is an original map in etching realized by an anonymous engraver of the XIX century. Printed in series of "France Pittoresque" at the top center. The state of preservati...

Views of Plombières and Tournemer is an original lithograph realized by an Anonymous artist of the 19th century, included two images in one sheet. Printed in series of "France Pitto...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), Southern German summer landscape, around 1897. Algraph on strong wove paper, published by Breitkopf und Härtel in Leipzig as ‘Zeitgenössisc...

Sailing on the Nile is a modern artwork realized d'apres Karl Werner. Mixed colored cromolithograph.  The artwork is after the watercolors realized by the artist during a trip to E...

Philippe BENOIST Paris : Saint Paul and Saint Louis Church - 1861 Original two tones stone lithographs Printed name of the artist bottom right On vellum 33.5 x 49 cm (c. 13 x 20 inc...

Une Barque a Maree Basse is a black and White etching realized by Adolphe Hervier in the Late 19th Century.  Titled in the lower Image Size: 24x32 Very good impression. Realized ...

Uses and Customs - Temple of Sofia is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the ...

Image dimensions: 21 x 27 cm. Liber Veritatis - Plate 61 is a beautiful black and white etching and aquatint on paper realized by the Italian artist Ludovico Caracciolo, after Claud...

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...

Royal Palace in Genoa is a lithograph on paper realized in the 19th Century. The artwork is represented in a well-balanced composition with strong strokes. Very good condition.

Red Breasted Merganser PL 58 from a rare black and white edition of Prideaux John Selby’s two volume set of 222 engravings “Illustrations of British Ornithology”. These original...

L’Angelus (The Bell Tower) etching & drypoint, c. 1876 Signed in the plate with the artist's initials (see photo) Condition: Excellent Image/Plate size: 5 7/8 x 4 1/4 inches Sheet s...

Notre Dame is an original modern artwork realized in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin: Notre Dame - Cathedral i...

L'Arc en Ciel is an original print in etching technique on ivory paper, realized by R.P. Grouiller (engraver and sculptor) after by J.F. Millet (French Painter, 1814-1875). Good co...

Strasburg Cathedral is an original modern artwork realized in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin: Strasburg Cathe...

Grand Terrace, Brighton is an original modern artwork realized in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin in Capital L...

Havre is an original modern artwork realized in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin in Capital Letters: Havre. Pa...

Sleeping Dog is an original drawing on paper, realized by an Anonymous artist of the XIX century. There is The state of preservation of the artwork is ver...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. after Dea...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

Ancient View of Rotterdam 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 margi...

Original etching on Ingres laid paper (watermarked, see last photograph) attributed to the hand of the well known Dutch artist, Hermanus Jan Hendrik Rijkelijkhuysen. No visible signature. Sheet size 9.25 by 12 inches. Sight size 7 by 9 inches. Under glass. Circa 1875. Condition is excellent. Professionally matted and framed in a walnut colored frame with gold leaf edge. Overall framed measurements are 12.75 by 14.5 inches. Gallery label verso. Provenance: A Sarasota, Florida collector. Biography: Hermanus Jan Hendrik Rijkelijkhuysen (1813-1883) was a landscape painter and etcher. Rijkelijkhuysen spent most of his life working in the vicinity of his birthplace Utrecht. Inspired by the polders on the one hand and the Utrechtse Heuvelrug on the other, he mainly painted and etched water...

Tomb of Caecilia Metella is an original etching, hand-colored on paper realized by an Anonymous artist of the XIX century, the state of artwork is good with some foxing on the upper ...

Uses and Customs - Ancient Ruins is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the go...

Plants and Animals is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of t...

Ancient View of Segovia in Spain is an original lithograph on paper realized by Eigenthum d. Verleger in The 19th Century. Signed on the plate o...

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 ...

Charming engraving of the market in Aumale, France in Normandy by Charles John Watson (British, 1846-1927), circa 1880. Signed within engraving and below by artist. Presented under g...

An intricate coloured lithograph depicting the view of Tyre, Lebanon from the isthmus. Printed by Vincent Brooks, Day & Son. Published by Cassell & Company, London. Signed in plate. ...

La Rentrée des Bateaux des Pêcheurs is an artwork realized by Léon Gaucherel in the 19th Century . Etching. Signed on Plate.

Fishermen is an original etching realized by Eugène Burnand (1850-1921) in the Late 19th century. Good conditions with foxing. The artwork is realize...

Pancratius is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the laws,...

View of Algiers is an original lithograph on paper realized in 1850 ca. by Anonymous Artist of 19th Century. In very good conditions. Image Dimensions: 13.5 x 17.5 Not signed. Tit...

Venice is an original modern artwork realized in Italy in the half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in Letters on the lower central margin. Pa...

Cyprus is an original modern artwork realized in the mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin in Capital Letters: Cyprus Hauptstad...