19th Century Landscape Prints

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Image dimensions: 10 x 14.5 cm. Tesoreria d'Atrée is a hand-colored lithograph on paper, representing the Treasure of Atreus, sometimes called Tomb of Agamemnon, the impressive tholos tomb located in Mycenae, Greece (on the hill called Panagitsa) and built around 1250 BC., discovered by the archaeologist Heinrich Schliemann...

View of Ancient Turin is a beautiful artwork realized in the half of 19th Century. Original lithograph. Title and author on plate. Realized by G. Riccio as reported on plate

View of Castle of Nemours is an Original Etching realized by Eugène Blery (1805-1886). Good condition, included a white cardboard passpartout (48.5x35 cm). Late draw, no signature, titled on the lower margin. Eugène Stanislas Alexandre Bléry (3 March 1805, Fontainebleau - 10 June 1887, Paris) was a French engraver and draftsman. He began his study of engraving at a young age, and from 1835 to 1840 he created in pen and pencil views of places in the Dauphiné, Switzerland and Auvergne. He also made large collections of etchings, such as Forests and Landscapes and the Surroundings of Fontainebleau, from his drawings or works by Dutch authors such as Meindert Hobbema and Jacob van Ruisdael.

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Altra Veduta presa sotto il grand' Arco dell'interno dell'Emissario di Albano is an original etching belonging to the series "Le Antichità di contorni di Roma” (…)". Beautiful proof...

Rue Du Canal à Figeac is an artwork realized by E.Mazas in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of the publis...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Amersfoort is an original modern artwork realized in Italy in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted in capital letters on the lowe...

Sistow in Bulgarien is an Original Litograph realized by an unknown artist in 19th century. The little artwork is in good condition. No signature, title in Yugoslawien.

Ancient View of Caucasus is an original modern artwork realized in Germany in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower m...

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: ...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Ancient View of the Ghetto in Rome is an original modern artwork realized in the first half of the 19th Century. Original Lithograph on paper. Inscripted on the lower margin. Fai...

Ancient View of Damascus is an original modern artwork realizedin the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin: Damas...

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...

The British Residency at Hyderabad is an original modern artwork realized in Italy in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin:...

Riding is an original print realized by an Anonymous artists of the 19th Century. Mixed colored lithograph. Good conditions except for some prepared rips. This lithograph represen...

Ponte Lucano is an original etching realized by L.Cavalieri in the XIX century. signed on the plate on the lower right corner. Tav.123 Good conditions except for margins that are a...

Ancient View of the Bosphorus 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...

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...

Lima 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 central ...

Scene at Colgong on the Ganges 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...

Imperial Guards is an original print on paper realized by an Anonymous. titled on the lower of image. In very good conditions. Sheet dimension: 18 x 25.5 cm The artwork represents...

From a series of large and impressive prints of St George's Chapel, the location for the Royal Wedding of Prince Harry and Meghan Markle; to see some ...

Milan Cathedral 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 margin: Milan C...

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 ...

Carriages is an original drawing in pencil and watercolor, realized by an anonymous artist of the XIX century. Monogrammed "FB". Sheet Dimension: 21.5 x 26 cm Passepartout includ...

La Roxerie is an original modern artwork realized by the English artist Sir Francis Seymour Haden (1818 – 1910) in 1867. Original Etching on paper. Signed and dated on plate on th...

Landscape is a reprint of a woodblock realized after Shuko Yishi (1564- ?) The State of preservation is very good. Included a passepartout: 50 x 32.5 cm The artwork represents a p...

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...

Vue de Monaco is an artwork realized by P. Borol in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of the publisher Alf...

Château de Neuvie is an artwork realized by Henri de Gourcy in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of the pu...

Foret De Fontainebleau is an artwork realized by Pontus Cinier in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of the p...

Abstract Composition is an original Lithograph on paper realized After Godefroy Jadin in the Late 19th Century. Good conditions. Signed on the plate. The artwork is depicted throu...

The Interior of Geneve is an original Lithpgrapg by Antonio Fontanesi in the 19th Century. The state of preservation of the artwork is excellent. Image Dimensions: 15 x 21.5 cm T...

Les Marais 1880s is an original drawing in etching technique on paper, realized and by Maillart, a French engraver and sculptor after Theodore Rousseau...

Battle Scene of "Chemin De Ronde" is an original lithography artwork realized by Raffet in 1859. Signed on the plate on the lower left, dated, titled on the lower center with descr...

The Interior of Geneve is an original Lithograph realized by Antonio Fontanesi in the 19th Century. The state of preservation of the artwork is excellent. Image Dimensions: 15.5 x ...

London is an original etching realized by an unknown artist of the 19th Century. The artwork represent London pays tribute to G. Garibaldi, from "The Illustrated London News". Yell...

Intérieur de Forêt is an original etching realized after N. Diaz de la Pena in 1880 ca. Engraved by P. Leterrier. Titled on the lower center. The state of preservation is good. Th...

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...

The Battle of Magenta is original Hand-colored lithography on paper, realized by Carlo Bossoli in the XIX century. Titled on the lower center, signed on ...

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...

S. Giovanni a Carbonara is an original etching on paper, realized by Antonio Fornari. At the top left margin the printed inscription: "ITALIA"; top center: "Napoli"; top right: "TAV...

"Bellman, " an Otter-Hound 1887 Etching 3 x 5

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Landscape is an original lithograph on paper realized by an Anonymous artist of the XIX century. Printed in series of "France Pittoresque" at the top center. Titled in French on t...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

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...

Signed the plate with the artist's monogram “TS”lower left. Inscription “C. Lovera imp” lower right. Very rare print from “L'Art in Italia”, 1871.Original Prints. Image Dimensions : ...

Ancient View of Sultan Selims Moschee in Costantinople is an original modern artwork realized in the first half of the 19th Century. Original Black and W...

Pau - France Pittoresque is an original lithograph realized by an Anonymous artist of the 19th Century. Printed in series of "France Pittoresque" at the top center. Titled in Franc...

Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Mastiff C France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) inches Six lithographs of dog portraits. ...

"Deer Shooting in the Northern Woods" is an original hand-colored lithograph by Currier & Ives. It depicts a landscape with a hunter aiming his gun at a deer on a winter day. 10" x 14" art 19 1/2" x 23 1/4" frame 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. In 1907, faced with competitive pressures from advancements in offset printing and photo engraving, Chauncey closed the venerable lithography business and sold the printing equipment and lithographic stones to his shop foreman, Daniel W. Logan. Nathaniel Currier and James Merritt Ives are laid to rest along with their families at the Greenwood Cemetery...

This splendid lithograph L'hopital 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. The lithogra...

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 ...

Spahis is an original lithograph realized by Jules Renard in 19th Century. It is part of the collection "Soldiers of the Republic". Hand-signed. Good condition. Draner, actually ...

Ancient View of Cordova in Spain is an original lithograph on paper realized by Eigenthum d. Verleger in The 19th Century. Signed on the plate on the lower right corner. Original lithograph on paper. Titled on the lower center. Good conditions with foxing. An impressive landscape...

Maison is an original lithograph realized by an anonymous engraver of the XIX century. Printed in series of "France Pittoresque" at the top center. Titled in France on the lower ce...