19th Century Landscape Prints

'Falcon Crag' Aquatint by William Green, 1804 William Green of Ambleside was a Lake District draughtsman, soft ground etcher and aquatint engraver of ...

A charming depiction of a street in San Remo, Italy in fine detail. In the foreground a woman stands with on the steps collecting water from a well. The background captures tall Italian buildings...

Henri de Toulouse-Lautrec (1864–1901) Woman at the Tub (Femme au tub) lithograph, 213/275, signed in print Image: 48.5 x 62.5 cm Frame: 69.5 x 81.5 cm Henri Toulouse-Lautrec (1...

James Whistler (1834-1903), The Traghetto, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”. Reference: Kennedy 19...

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 ...

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

Artist: (after) Joseph William Mallord Turner (English, 1775-1851) Title: "Ancient Rome" Portfolio: The Turner Gallery: A Series of Sixty Engravings From The Principal Works of Josep...

Original “Le Rapide, Grand Journal Quotidien” art nouveau vintage poster. Conservation linen backed and ready to frame. Year: 1892 Artist: Jules Cheret, referred to as the father of the poster. Le Rapide, Grand Journal Quotidien. Jules Cheret (French, 1836-1932) is a well-listed draftsman, printmaker, and designer is best known as a fin de siecle poster designer. Arguably, he is the best-known French poster designer of his age. Figure no 126; No 568; Posters of Jules Cheret. Most people overlook the fact that she is still writing for Le Rapide using a quill instead of an ink pen. Yes, this poster is over 130 years old and still presents itself well. There are telegraph wires in the sky background. The last time this poster was sold in the big NYC poster...

Veduta Generale del Tempio della Sibilla, e Ponte della Cascata di Tivoli Image dimensions: 61x45 cm. From the series “Le antichità de’ contorni di Roma (...)” an artist's proof with...

This is an original John James Audubon hand-colored lithograph entitled "Canvass Back Duck, 1. Male 2. Female, View of Baltimore, Maryland", No. 79, Plate 395 from Audubon's "Birds o...

Arthur Wesley DOW (1857-1922) Modern Art Lithograph Printed signature in the plate On vellum Size 39 x 29 cm (c. 15.3 x 11.4") INFORMATION : Plate 36 of "Les Maîtres de...

This is a framed hand-colored woodcut engraving entitled "Sicilian and Italian Fisherman's Dock - San Francisco", created by Henry François Farny ...

JAMES MCNEILL WHISTLER (1834-1903) Limehouse, from Notes lithotint, on cream Japan paper mounted to plate paper (as issued), 1878, Spink, Stratis & Tedesch 7, second state (of three)...

This beautiful 19th century framed hand-colored engraving is entitled "St. Michael's Mount, Cornwall" by J. Saddler after an original painting by the British artist Myles Birket Fost...

This is a hand-colored engraving depicting the natural history of moths and a lady bug, which is plate 22 from Moses Harris' publication "The Aurelian: or Natural History of English Insects; Namely Moths & Butterflies", first published in London in 1766 and this from an 1840 edition. The engraving depicts the natural history developmental stages of the Burnished Brass Moth, the Dark Gothic...

James Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab (also with an exceedingly light butterfly lower right in the plate). Kennedy 204, probably eighth (final) state; Glasgow 201, probably state 9 (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011), Lochnan 199. Trimmed to the platemark by the artist, h: 11.8 x w: 7.9 in / h: 30 x w: 20.1 cm. A fine impression, printed with subtle tone. The bridge theme occurs repeatedly in Whistler’s vistas. It is also the main focus of more than one of the Venetian prints. While some bridges are seen from below, from where one would see it if approaching in a gondola (for example Ponte del Piovan, Kennedy 209), The Bridge depicts the scene from a high perspective, opening up the view into the far distance. The small boat approaching the arch in the foreground is again, as in the earlier Thames prints, a stock motif that is probably ultimately derived from the Japanese woodcuts of Hokusai and Hiroshige. The bridge here is the Ponte de le Terese over the Rio de l’Arzere in the Santa Marta quarter. The early biography of Whistler by Elizabeth and Joseph Pennell is essential for its “immense quantity of information” but also notorious for “the inherent hyperbole and misinformation” (Eric Denker, Annotated Bibliography, in Fine, p. 184). Still, it is worth quoting from the Pennels’ appraisal of The Bridge: “Simplicity of expression has never been carried further. Probably the finest plate, in its simplicity and directness, is The Bridge. Whistler now obtained the quality of richness by suggesting detail, and also by printing. In The Traghetto...

This is an original rare and extremely collectible first edition John James Audubon hand-colored royal octavo lithograph entitled "Great North Diver or Loon", No. 96, Plate 476, from...

'Cirque de l'Imperatrice aux Champs-Elysses', tinted lithograph by Felix Benoist (1818-1896). From a series of lithographs depicting the famous buildings of Paris - 'Paris dans sa S...

Capri is an original modern artwork realized in Italy in the half of the 19th Century. Original lithograph on Ivory Paper. Inscripted on the lower margin. Good conditions. Some ...

Set of Four Antique Marine engravings plates hand colored. Each measure 18x21x1 framed. Benard Direxit is a French 19Th Century artist, engraver. Benar...

La Répétition is an artwork realized by Edouard Moyse in the 1870s. Etching. Image size:19x29 Good conditions. Realized for the "Société des Aquafortistes. Born on the initiati...

A set of three hand-colored engravings from "Metropolitan Improvements; or London in the Nineteenth Century", published in London, England in 1828. The scenes were drawn by Thomas Ho...

'Waterfall on Fordingdale beck, at the foot of Hawes Water' Aquatint by William Green, 1804 William Green of Ambleside was a Lake District draughtsman...

This is a hand-colored aquatint and engraving entitled "Part of the New City of Alexandria, with the Light House", published in London by R. Bowyer from 1802-1805. The print was crea...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), S. Anton Patenkirchen, 1895. Algraph on strong wove paper, published by Breitkopf und Härtel in Leipzig as ‘Zeitgenössisches Kunstblatt Nr....

An original rare and extremely collectible first octavo edition John James Audubon hand-colored royal octavo lithograph entitled "White-headed Sea Eagle or Bald Eagle", No. 3, Plate ...

Kabuki Actor is an original Woodcut print realized in mid 19 century and attributed to Utagawa Kunisada. Beautiful colored woodblock print, included a cardboard passpartout. Includ...

New Bridge and Bromielaw, Glasgow is a lithograph on paper realized by the artist W.H. Bartlett . Signed on the plate on the lower left. Titled on the lower center. The state of pr...

This is an original framed 19th century hand-colored folio-sized lithograph entitled "Ramphomicron vulcani" (Southern Thorn-Bill Hummingbirds) by John Gould, Pl. 186 from his "Monograph of the Trochilidae, or Family of Hummingbirds", published in London in 1853. The print depicts two Southern Thorn-Bill hummingbirds sitting on branches of a flowering plant. This striking framed Gould hand-colored lithograph is presented in a antiqued gold frame, a gold-colored fillet, and a light tan French mat, embellished with a mint-colored broad band. The frame measures 32" high, 25.5" wide and 1.25" thick. The hand-coloring is enhanced by the use of gum-arabic paint...

Kabuki Actor is a woodcut print realized by Utagawa Kunisada in 1848/49. Lifetime impression in very good condition, except for some very minor sign of time.

This is a framed 19th century color lithograph entitled "Mothu et Doria" created by Theophile Alexandre Steinlen and published between 1896 and 1899 in Paris, France by Jules Cheret in his famous series of miniature colored stone lithographs of popular Belle Epoch posters...

"Various Himochi" Wagashi Festival Japanese Woodblock Print by Utagawa Toyokuni Rare oversized early 19th century 5-tiered woodblock by Utagawa Ichiyosai Toyokuni, (Japan, 1769-1825), a Japanese lord and wife oversee a sekku festival of food, music, and dolls or toys. '"oshi" is the first day of “Mi (Snake)” in the third month of the lunar calendar. This day, known in modern Japan as the Girls' Festival, originated in China as a form of purification ceremony in which water and drinking peach blossom wine were used to drive away evil. Many kinds of hishi-mochi appear in this picture of hina ningyo (dolls associated with Hinamatsuri, or the Girl’s Day) from Omochae. The custom of eating special dishes at events throughout the year and at milestones in people's lives has existed since ancient times. This paragraph specifically focuses on the annual event called sekku, and life events that involve eating sweets. Joshi is the first day of “Mi (Snake)” in the third month of the lunar calendar. This day, known in modern Japan as the Girls' Festival, originated in China as a form of purification ceremony in which water and drinking peach blossom wine were used to drive away evil. According to the Keiso saijiki, in ancient China, on the third day of the third lunar month, people ate “ryuzetsuhan,” which is the juice of gogyo (Jersey cudweed) mixed with rice flour and nectar. In Japan, there is a record in the Heian period history book Nihon Montoku tenno jitsuroku [839-5] that it was an annual event to make kusamochi using gogyo on the third day of the third month of the lunar calendar, which may have been influenced by Chinese customs. The tradition of eating kusamochi on the third day of the third month of the lunar calendar continued after that. By the Edo period, however, hishimochi had come to be used as a sweet to serve on the third day of the third month. A picture of a hishimochi is included in the Morisada manko , which we mentioned in Part 1. According to it, hishimochi in the Edo period were often three layers of green-white-green instead of the now common red-white-green. However, it is possible to see from our collection that not all hishimochi were made in this way. Omochae published in 1857, is a good example. Omochae is a type of ukiyoe print...

Jobs for Fighters. Original post World War 1 vintage poster, linen backed. Artist: Gordon Grant. Printer: United States Department of Labor - United States Employment Service...

Beautifully executed original hand colored lithograph using gouache and watercolor. Scene in Surrey, England. Signedxwith monogram in plate lower left, Myles Birket Foster. Published by M. H. Long. Condition is very good. In original 2 inch wide birdseye maple antique frame with thick museum mat with gold innner edge. Overall 22 by 26 inches. Biography Myles Birket Foster (4 February 1825 – 27 March 1899) was a popular English illustrator, watercolour artist and engraver in the Victorian period. His name is also to be found as Myles Birkett Foster. Life and work Foster was born in North Shields, England of a primarily Quaker family, but his family moved south to London in 1830, where his father founded M. B. Foster & sons — a successful beer-bottling company. He was schooled at Hitchin, Hertfordshire and on leaving initially went into his father's business. However, noticing his talent for art, his father secured an apprenticeship with the notable wood engraver, Ebenezer Landells, where he worked on illustrations for Punch magazine and the Illustrated London News. On leaving Landells' employ, he continued to produce work for the Illustrated London News and the Illustrated London Almanack. He also found work as a book illustrator and, during the 1850s, trained himself to paint in watercolours. His illustrations of Longfellow’s Evangeline and books of poetry by other contemporaries were a great success, and he quickly became a successful artist in watercolours. Birket Foster became an Associate of the "Old" Watercolour Society (Later the Royal Watercolour Society) in 1860 and exhibited some 400 of his paintings at the Royal Academy over more than 2 decades. Birket Foster travelled widely, painting the countryside around Scotland, the Rhine Valley, the Swiss lakes and in Italy, especially Venice. In 1863 he moved to Witley, near Godalming in Surrey where he had a house ("The Hill") built. Being friendly with Edward Burne-Jones and William Morris, he had the house decorated and furnished in contemporary style, with tiles and paintings by Burne-Jones and Morris' firm, Morris and Company. The same year he published a volume of "English Landscapes," with text by Tom Taylor...

Uses and Customs - Cathedral Square in Florence is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " Hi...

This is an original rare and extremely collectible 1st royal octavo edition John James Audubon hand-colored royal octavo lithograph entitled "American Swan", No. 77, Plate 384, from Audubon's "Birds of America". It was lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1840-1844. It depicts an adult white American Swan swimming in a body of water. Plants with yellow flowers are in the foreground and hills are in the background. This original rare first edition hand-colored Audubon bird lithograph has a mildly wavy lower edge of the paper where it was previously bound. It is otherwise in excellent condition. The sheet measures 6.63" x 10.13". The original text pages 226-234 are included. John James Audubon (1785-1851) was a naturalist and artist. He was initially unsuccessful financially prior to the publication of his famous work “The Birds of America”, spending time in debtor’s prison, once stabbing a disgruntled investor in self-defense. However, his obsession with birds and art motivated him to persist in his goal of documenting every bird in America via his watercolor paintings and publishing his works for all to enjoy. Audubon's first illustrations were published in a large elephant folio size. Due to their expense they were purchased in rather small numbers by the wealthy. To reach a larger audience, Audubon, with the help of his sons and J. T. Bowen, published a smaller octavo sized lithograph version, which were much more affordable. With the success of his bird projects, Audubon then turned his attention to four-legged animals. He explored the Missouri River in 1843 sketching the four-legged animals he encountered in their natural setting. His expedition covered some of the same regions recently explored by Lewis and Clark, traveling from present day Alaska to Mexico. Audubon realized that this was an opportunity to document these animals in the still relatively pristine American wilderness, before man encroached on their environment. Between 1845 and 1848, Audubon and his sons John Woodhouse Audubon and Victor Gifford Audubon produced a set of elephant folio sized lithographs that were primarily engraved and hand colored by J. T. Bowen in Philadelphia. The publication, which included text descriptions of the animals was published 3 years before Audubon died. As with the birds, this was followed by a three-volume set of 155 octavo-sized plates entitled “The Quadrupeds of North America” completed and published by Audubon’s sons, John, Jr. and Victor. Audubon prints continue to be popular and a wise investment. The double elephant folio set...

This framed 19th century map of the Louisiana territory was published in "Gray's Atlas of the United States with General Maps of the World, accompanied by Descriptions Geographical, Historical, Scientific and Statistica" published in 1873 in Philadelphia by O.W. Gray and Son and Stedman, Brown and Lyon. It is a highly detailed map of Louisiana...

A ca. 1800 engraving by Pierre Gabriel Berthault, "Vue intérieure de Paris prise du milieu du Pont Royal regardant le Pont Neuf". Artwork size: 16 3/8" x 26". archivally matted to...

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...

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: ...

Veduta di Tivoli mista d'Antico, e moderno (...) From the collection: “Le antichità de' contorni di Roma ossia le più famose città del Lazio. Tivoli, Albano...

Port Glasgow is an etching realized in 1845 by W. H. Bartlett. Signed on the plate. Titled on the lower center, from the series of "Ports of Great Britain". Good conditions with...

Une Rue à Sienne is an original artwork realized by Louis-Auguste Leconte de Roujou in 1863. Original etching. The sheet is glued on cardboard. Titled on the lower margin. The name...

This is an original rare and extremely collectible first edition John James Audubon hand-colored royal octavo lithograph entitled "Trumpeter Swan, Young", No. 77, Plate 383, from Aud...

La Sablière is a drawing in etching technique on paper glued on ivory-colored cardboard, realized after Jean-Baptiste Camille Corot (1796-1875) and Gustave-Marie Greux, a sculptor an...

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.

Ristauro del Tempio della Fortuna Prenestina. From the collection “Le antichità de’ contorni di Roma (...)” a Virtuous proof concerning the restoration of the Fortuna Prenestina Temple, with artchitectural plan, sections and some notes. Signed on plate “Rossini dis. e inc.” lower-left corner, with date and place “Roma, 1826”. In Excellent condition with some light stains. Image Dim: cm 67.5 x 51 , Dim: cm 70 x 53 Luigi Rossini (1790 – 1857) Like Giovanni Battista Piranesi, Luigi Rossini was an architect and his etchings have the same tendency to emphasize the massive constructions of the Ancient Rome. He became famous thanks to his etchings representing Roman landscapes and antique monuments...

An original chromolithograph from the Celebrated Dogs of America by Alexander Pope Jr. and published by S.E. Casino, Boston,1882. This compositio...

Boulevard du Temple, Paris, France - Hand Colored Lithograph Detailed lithograph of a Paris street scene by Louis Valentin Emile de La Tramblais (French, 1821-1892). This piece is f...

"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...

This beautiful, original hand-colored orchid lithograph entitled "Trichosma Suavis" Orchids by John Nugent Fitch is plate 114 in Robert Warner's publication 'The Orchid Album, Compri...

This beautiful, original hand-colored orchid lithograph entitled "Lycaste Harrisoniae Eburnea" Orchids by John Nugent Fitch is plate 100 in Robert Warner's publication 'The Orchid Al...

This is a hand-colored folio sized lithograph entitled "Iyngipicus Gymnophthalamus" (Ceylonese Pygmy Woodpecker) by John Gould from his monograph "The Birds of Asia", published in London in 1850-1883. The print, which was drawn by Gould and W. Hart and lithographed by Hullmandel and Walton, depicts two striped brown and ivory-colored woodpeckers with white and black on their heads. One is perched on a tree limb with pea green-colored leaves and the other on a round rose, brown-colored fruit. Both are pecking at fruit. This beautiful Gould hand-colored woodpecker lithograph measures 21" x 14.13". There is minimal faint focal discoloration in the lower margin. It is otherwise in excellent condition. The original text page is included with a round blindstamp in the right lower corner. There are several other unframed Gould woodpecker and other bird lithographs available via our 1stdibs storefront. Two or more of these would make an attractive display grouping. A discount is available for purchase of a set depending on the number. These additional Gould hummingbirds...

Uses and Customs - Temple of Neptune Pesto 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...

This beautiful, original hand-colored orchid lithograph entitled "Laelia Anceps Williamsii" Orchids by John Nugent Fitch is plate 100 in Robert Warner's publication 'The Orchid Album...

View of Avellino is a print realized by Tommaso Piroli in the mid-19th century. Etching Hand-watercolored on paper. Signed and titled on the plate. Good conditions with foxing

Ancient View of Granada is an original lithograph on paper realized by an anonymous artist in The 19th Century. Original lithograph on paper. Titled on the lower center. Good conditions. An impressive landscape...

This is an original 1st edition John James Audubon hand-colored lithograph entitled "Harlan's Buzzard", No. 2, Plate 8 from Audubon's "Birds of America, lithographed, printed and col...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), Boy at the source, 1897. Algraph on strong wove paper after a drawing from 1897, published by Breitkopf und Härtel in Leipzig as ‘Zeitgenös...

'Australia' With decorative border surrounds and vignettes including a view of Sydney, Kangaroos, Natives of Australia Felix, Australian Parrots and Cockatoos and Natives of the Tri...