Late 19th Century Landscape Prints

This framed reproduction of Claude Monet's immensely popular painting, “The Bridge Over The Seine Near Argenteuil,” comes with a certificate of authenticity on the back and is numbered 1102, making it interesting for several reasons. The artagraphic process used to produce this work in a limited edition of 2900 is considered the state-of-the-art in art reproduction and the most respectful approach to reproducing a painting by a master. In three steps, this technique creates a 3D replica of an original oil painting's color and surface texture. Colors are scanned with a digital laser and then printed separately using oil-based inks on a single sheet. A mold is created from the original painting to reproduce its surface texture and bas-relief brushstrokes. Unlike lithographs and serigraphs, there is a palpable material and relief if you run your fingers over the surface. At the Impressionist group's first exhibition in 1874, Claude Monet demonstrated his deep interest in the motif by working on seven depictions of the Argenteuil bridge and four of the railroad bridge upstream. The artwork depicts Monet's immediate impressions of the scene rather than offering detailed realism. In these series, moored sailboats occupy the foreground, while the fluidity of the river melts harmoniously with the geometrically contrasted presence of the bridge and its imposing pillars. Monet manipulates his palette and complementary color schemes to create the illusion of light and movement through small, separate, and visible brushstrokes, making it one of the artist's most recognizable signatures. The painting displays a diversity of styles, with some elements more solid, having strong and distinct lines and structured forms defined by firm contours, while the water and the sky in the background give off an impression of moving space, floating, and ripples. An original painting of the series can be seen at Musée d'Orsay in Paris, France...

Created by Gustav Buek from an original oil painting made in 1892 by Thomas Moran. The painting is today owned by the Philadelphia Museum of Art in Philadelphia, Pennsylvania. Both w...

Shere Mill Pond, No. II (large plate). 1860. Etching and drypoint. Schneiderman 37.v/ix. 7 x 13 1/8 (sheet 10 3/4 x 16 3/8). This state is prior to publication in Études à l'Eau-Forte. Illustrated: Keppel The Golden Age of Engraving; Print Collector's Quarterly 1 (1911): 18; : Guichard, British Etchers, 1850-1940. A rich, brilliant proof with drypoint burr printed on white laid paper. Signed in pencil. ------------------------------------------------------------------------------------------- Shere Mill Pond, No. II was one of the most highly praised landscape prints of the etching revival. An impression was exhibited at the Royal Academy in 1861 under Haden’s pseudonym, H. Dean. Francis Seymour Haden used this anagram of his own name early in his career as an artist, in order to retain his anonymity and preserve his professional reputation as a surgeon. Biography: Sir Francis Seymour Haden (16 September 1818 - 1 June 1910), was an English surgeon, best known as an etcher. He was born in London, his father, Charles Thomas Haden, being a well-known doctor and lover of music. He was educated at Derby School, Christ's Hospital, and University College, London, and also studied at the Sorbonne, Paris, where he took his degree in 1840. He was admitted as a member of the College of Surgeons in London in 1842. In 1843-1844, with his friends Duval, Le Cannes and Colonel Guibout, he travelled in Italy and made his first sketches from nature. Haden attended no art school and had no art teachers, but between 1845 and 1848 he studied portfolios of prints belonging to a second-hand dealer named Love, who had a shop in Bunhill Row, the old Quaker quarter of London. Arranging the prints in chronological order, he studied the works of the great original engravers, Albrecht Dürer, Lucas van Leyden and Rembrandt. These studies, besides influencing his original work, led to his important monograph on the etched work of Rembrandt. By lecture and book, and with the aid of the memorable exhibition at the Burlington Fine Arts Club in 1877, he tried to give a true reflection of Rembrandt's work, giving a nobler idea of the master's mind by taking away from the list of his works many dull and unseemly plates that had long been included in the lists. His reasons were founded upon the results of a study of the master's works in chronological order, and are clearly expressed in his monograph, The Etched Work of Rembrandt critically reconsidered, privately printed in 1877, and in The Etched Work of Rembrandt True and False (1895). Haden's printmaking was invigorated by his much younger brother-in-law, James Whistler, at the Haden home in Sloane Street in 1855. A press was installed there and for a while Haden and Whistler collaborated on a series of etchings of the Thames. The relationship and project did not last. Haden followed the art of original etching with such vigour that he became not only the foremost British exponent of that art but brought about its revival in England. His strenuous efforts and perseverance, aided by the secretarial ability of Sir WR Drake, resulted in the foundation of the Royal Society of Painter-Etchers and Engravers. As president he ruled the society with a strong hand from its first beginnings in 1880. Notwithstanding his study of the old masters of his art, Haden's own plates were very individual, and are particularly noticeable for a fine original treatment of landscape subjects, free and open in line, clear and well divided in mass, and full of a noble and dignified style of his own. Even when working from a picture his personality dominates the plate, as for example in the large plate he etched after J.M.W. Turner's "Calais Pier," which is a classical example of what interpretative work can do in black and white. Of his original plates, more than 250 in number, one of the most notable was the large "Breaking up of the Agamemnon." An early plate, rare and most beautiful, is "Thames Fisherman". "Mytton Hall" is broad in treatment, and a fine rendering of a shady avenue of yew trees leading to an old manor-house in sunlight. "Sub Tegmine" was etched in Greenwich Park in 1859; and "Early Morning--Richmond", full of the poetry and freshness of the hour, was done, according to Haden, actually at sunrise. One of the rarest and most beautiful of his plates is "A By-Road in Tipperary"; "Combe Bottom" is another; and "Shere Mill Pond" (both the small study and the larger plate), "Sunset in Ireland," "Penton Hook," "Grim Spain" and "Evening Fishing, Longparish," are also notable examples of his genius. A catalogue of his works was begun by Sir William Drake and completed by Harrington in 1880. During later years Haden began to practise the sister art...

Fly Fishing, Saranac Lake. 1889. Etching, aquatint and burnishing. Goodrich 104. 14 1/4 x 20 5/8; sheet 18 1/2 x 24 1/2. Edition unknown but quite possibl...

'Euphorbiaceen' (Euphorbia) German chromolithograph, circa 1895. 240mm by 155mm (sheet)

Saint-Tropez-Le Port Color lithograph, 1897-1898 Signed in pencil lower right (see photo) Numbered in pencil lower right: No. 68 (see photo) From: Album des Peintres-Gravures, 1898 ...

This Winslow Homer woodcut engraving entitled "Making Hay", was published in Harper's Weekly in the July 6, 1872 edition. It depicts a two men hand cutting high grass on a hill. The man in the foreground is looking at a young boy and a girl (presumably his children), who are sitting on the ground with a picnic basket. This beautiful Homer woodcut engraving is presented in a brown wood frame and a light beige fabric mat with a black inner mat. The print is in excellent condition. There are two other Homer woodcut engravings in identical frames and mats that are listed on 1stdibs. See LU117326148332 and LU117326148272. These would make a wonderful display grouping. A discount is available for the purchase of two or all three of these prints. This Winslow Homer engraving...

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...

"Enshoku Sanju-roku Kasen" (Thirty-six Enchanting Flowers) Woodblock on paper Elegant woodblock print by Toyohara Kunuchika (Japanese, 1835-1900). Three women are in talking with each other inside, while a man waits outside holding a bag of some kind. The colors in this piece are rich and saturated, primarily blues, greens, and purple. Mat size: 16"H x 20"W Paper size: 14.75"H x 9.88"W Born in 1835, Toyohara Kunichika grew up in the Kyobashi district of Edo in the midst of merchants and artisans. In 1848, at age 13, he was accepted as an apprentice into the studio of Utagawa Kunisada I...

Copper plate etching with drypoint on cream laid paper with a partial heraldic watermark, 11 x 8 inches (280 x 204 mm), full margins. Toning and some discoloration along the left mar...

Alfred SISLEY (after) The Angelus, 1873 Original Etching Engraved by Flameng under the supervision of SISLEY Printed signature in the plate On laid paper...

London: Gebbie & Husson Co., 1879 Héliogravure and engraving on cream wove paper, 10 1/4 x 12 1/4 inches (258 x 310 mm), full margins. In good condition with some very minor margina...

"Illustrations of the Book of Job" Engraving "The Fire of God is Fallen From Heaven...And the Lord said unto Satan Behold All that he hath is in thy Power" Engraving, third printing...

The Nile is a modern artwork realized d'apres Karl Werner  Mixed colored Chromolithograph.  The artwork is after the watercolors realized by the artist during a trip to Egypt betwe...

Etching "Souvenir d'Italie” by Jean Baptiste Camille printed on laid paper (partial watermark Annonay). rich impression size : sight 11.5 x 9 in. , matted 17 x 14 in. A remarkab...

This is an original John James Audubon hand-colored lithograph entitled "Mango Humming bird, 1. 2. Males. 3. Female. Bignonia grandifolia", No. 51, Plate 251 from Audubon's "Birds of America, lithographed, printed and colored by JT Bowen and published in Philadelphia between 1870-1871. The lithograph depicts an adult male hummingbird, labelled 1, in flight above a beautiful flowering plant, a Chinese Trumpet-vine. Another male, labeled 2, is perched on a flower on the left and a female, labelled 3, is perched on a flower on the right. This hand-colored Audubon bird octavo-size lithograph sheet measures 10.25" high by 6.75" wide. It is in excellent condition. The original text pages, 185-186, from Audubon's 19th century publication 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...

Paris: Sagot, 1889. Wood engraving on cream laid Japon paper with full deckle edges, 8 3/8 x 5 3/4 (212 x 145 mm). Signed, numbered 9/35, and inscribed "1er Etat" in pencil in the l...

In image of the Tokugawa family paying homage to Tosho-gu Shrine in Nikko. Tokyo: Matsuki Heikichi, 1896 Woodcut in ink with embossing and hand-coloring in watercolor on handmade m...

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

Water Mill (after the drawing by J.M.W. Turner, R.A., 1775-1851). 1885. Mezzotint. Hardie 3.ii. With the publication line. 7 x 10 1/8 (sheet 12 1/4 x 16 5/8...

Camille Pissarro (1830-1903), Narrow Street in Rouen (Petite Rue Nationale, a Rouen), etching, drypoint, maniere grise, aquatint, 1896, signed in pencil lower right, numbered (No 6) ...

Goupilgravure (photogravure) was printed in Paris and published April 1, 1896, by Boussod Valadon & Co. Successors to Goupil & Co. Painted by Henry Sandham, 1894. "A BASEBALL GAME" depicts the 1894 "Temple Cup" game between the Baltimore Orioles and the New York Giants...

Fallen Rider  is a modern artwork realized by Max Klinger in 1881. The artwork belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroef...

CAMILLE PISSARRO (French 1830-1903) VACHERE au BORD de l’EAU 1890 (Delteil 93 viii/viii) Etching, unsigned as published in “Gazette des Beaux Arts”, Paris, 1890. On laid paper Very...

This is an original John James Audubon hand-colored lithograph entitled "Golden Eagle", No. 3, Plate 12 from Audubon's "Birds of America, lithographed, printed and colored by JT Bowe...

Artiste polyvalent, Paul Helleu connaît le succès de son vivant avec ses tableaux, ses pastels et ses dessins aux trois crayons, mais également en tant que graveur. En témoigne le ti...

Two Actors - Japanese Woodblock by Toyohara Chikanobu (豊原周延, 1838–1912), better known to his contemporaries as Yōshū Chikanobu (楊洲周延). Colorful and expressive court scene. Two actors...

Image dimensions: 9.3 x 16 cm. Plan de la Nouvelle Orléans is an interesting black and white lithograph on paper, realized in 1880 by an anonymous artist. Original Title: Plan de l...

Woodcut in ink with embossing and hand-coloring in watercolor on laid Japon paper, 16 x 10 inches (406 x 253 mm), ōban tate-e, full margins. Scattered handling wear and toning, other...

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

La Grenouille et le Boeuf is a black and white etching realized by Théophile Chauvel (1831-1909) in 1870s. Titled in the lower. Image size: 15cmx20.5cm. Very Good condition. Sign...

This is an original John James Audubon hand-colored lithograph entitled "Yellow Crowned Night Heron, 1. Adult Male Spring Plumage, 2. Young in October", No. 73, Plate 364 from Audubo...

This framed reproduction of Claude Monet's immensely popular painting, “The Bridge Over The Seine Near Argenteuil,” comes with a certificate of authenticity on the back and is numbered 1102, making it interesting for several reasons. The artagraphic process used to produce this work in a limited edition of 2900 is considered the state-of-the-art in art reproduction and the most respectful approach to reproducing a painting by a master. In three steps, this technique creates a 3D replica of an original oil painting's color and surface texture. Colors are scanned with a digital laser and then printed separately using oil-based inks on a single sheet. A mold is created from the original painting to reproduce its surface texture and bas-relief brushstrokes. Unlike lithographs and serigraphs, there is a palpable material and relief if you run your fingers over the surface. At the Impressionist group's first exhibition in 1874, Claude Monet demonstrated his deep interest in the motif by working on seven depictions of the Argenteuil bridge and four of the railroad bridge upstream. The artwork depicts Monet's immediate impressions of the scene rather than offering detailed realism. In these series, moored sailboats occupy the foreground, while the fluidity of the river melts harmoniously with the geometrically contrasted presence of the bridge and its imposing pillars. Monet manipulates his palette and complementary color schemes to create the illusion of light and movement through small, separate, and visible brushstrokes, making it one of the artist's most recognizable signatures. The painting displays a diversity of styles, with some elements more solid, having strong and distinct lines and structured forms defined by firm contours, while the water and the sky in the background give off an impression of moving space, floating, and ripples. An original painting of the series can be seen at Musée d'Orsay in Paris, France...

Landscape and figures. Signed on plate. Image Dimensions : 15x21 cm. Publisher : Editore Lovera Excellent conditions This artwork is shipped from Italy. Under existing legislation, ...

The Venetian Mast. 1879-80. Etching and drypoint. Kennedy catalog 195 state .vi; Glasgow catalog 219 state x/xii. 13 3/8 x 6 3/8. Glasgow records 53 impressions. A fine, atmospheric...

Society of Iconophiles, 1898. Lithograph on brown wove paper, 10 x 7 1/2 inches (253 x 190 mm), full margins. In good condition with some age tone and the lower left corner dog-eare...

Opus IV, Simplicius in der Waldeinode (Simplicius in the Wilderness) belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. ...

Tokyo: Yokoyama Ryohachi, 1892 Woodcut in ink with embossing and hand-coloring in watercolor on handmade mulberry paper, 14 1/2 x 9 7/8 inches (368 x 251 mm), ōban tate-e, the full ...

"First Horse Day, 1896" - Chiyoda Palace - Japanese Woodblock by Chikanobu Yoshu Colorful and expressive court scne by Toyohara Chikanobu,"Yoshu" (Japanese, 1838-1912). This is the r...

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...

Original vintage poster: Vichy travel poster. This is a stunning stone-lithographic turn-of-the-century poster. It advertises a train route to Vichy, France. The poster has been a...

Paris: Gebbie & Co., 1895. Photogravure and engraving on cream wove paper, 6 11/16 x 9 5/8 inches (169 x 244 mm), full margins. In good condition with minor toning and three scatter...

La rentrée du Berger by Camille Pissarro (1830-1903) Etching 7.6 x 10.9 cm (3 x 4 ¹/₄ inches) Stamped with initials C.P. lower left, and numbered 13/18 lower right This work was crea...

Original Cycles Omnium antique vintage French bicycle poster from the late 1880s-1890s. Printer: N. Weill, Paris, France. Archival linen backed and ready to frame. There was an area in the right-hand sky (creamish yellow) top area that had had some restoration. Touched up the border in the upper right corner. The poster was folded in half, with the fold mark restored during linen backing. Artist is: F. Capelli. Printer: Imp. N. Weill, Paris The image of a couple with their child on a bicycle ride out in the countryside of France, all in art nouveau clothing...

Retriever Crossed with a Setter 1887 Etching 3 x 5

Nishiki-e (woodcut print), in vertical oban format (31x20.5) realized by Mizuno Toshikata in 1893 (Meiji 26). Belongs to the Series "Sanjûroku Kasen" (Thirty-Six Beauties in Compari...

La Pointe de Bretteville Color lithograph, 1899 Signed in the stone upper right Publisher: Sagot, Paris Edition: Edition: about 200 (per Arwas) References And Exhibitions: Arwas 33 2...

'Petits Hotels. Boulevard Berthier 45 et 47, a Paris. Elevations, Coupe et Plans, par Mr Boland, Archte.' French architectural chromolithograph. From 'La Brique Ordinaire', by J Lac...

A beautiful, dark impression of a bucolic cow path. Etching with drypoint on heavy cream wove paper, 6 5/8 x 9 7/8 inches (174 x 248 mm), full margins. Uniform light brown discolorat...

Rue Furstenberg. 1894. Lithograph. Way 59; Levy 90; Tedeschi, Stratis and Spink catalog 97. Only state. 8 7/8 x 6 1/4 (sheet 14 1/4 x 8 7/8). A fine ...

This is an original John James Audubon hand-colored lithograph entitled "Buff-breasted Merganser Goosander, 1. Male 2. Female", No. 83, Plate 411 from Audubon's "Birds of America, li...

London: Gebbie & Husson Co., 1879. Héliogravure and engraving on cream wove paper, 10 1/4 x 12 1/4 inches (258 x 310 mm), full margins. In good condition with some very minor margin...

"Lautrec Book: From Au Pied du Sinai written by Georges Clemenceau" lithographs created by the legendary Henri de Toulouse-Lautrec. This book, Au Pied...

Egyptian barber is a modern artwork realized d'apres Karl Werner  Mixed colored Chromolithograph.  The artwork is after the watercolor realized by the artist during a trip to Egypt...

James Whistler, The Little Putney, 1879, etching and drypoint, signed with the large butterfly lower right (also with the butterfly in the plate). Glasgow 187, third state (of 3). 12...

David Roberts R.A. 1796 - 1864 THEBES - COLOSSAL STATUES OF AMUNOPH III First Edition lithograph Full plate: 137 Presented in a acid free mount Published by F.G. Moon & Son, Londo...

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 an original 19th century Currier and Ives hand-colored lithograph entitled "The Celebrated Trotting Team Edward and Swiveller, Owned by Frank Work Esq. N.Y.: Winning their ma...

Picture of the opening of the temporary Diet building is an original artwork realized in the 1890s by Ginko Adachi (born 1853; active c. 1870 – 1908). Sheet dimensions: 22 x 48 cm. ...

"Fulham A.K.A. Chelsea" is an original etching by James Abbott MacNeill Whistler. The artist signed the piece in the plate with his butterfly monogram in the lower right. IT was publ...

Timber Raft on the Rhine (after the watercolor by J.M.W. Turner in the National Gallery). 1898. Mezzotint. Hardie 66. 8 1/4 x 11 11/16 (sheet 10 5/16 x 13 1/2). Edition 100. A rich, ...