Late 19th Century Landscape Prints

Etang de la Canau is a black and White etching realized by Leo Drouyn in the Late 19th Century.  Titled in the lower Image Size: 24x32 Very good impression. Realized by Cadart fo...

Scene in the Campagna, also known as Woman at a Tank and Hindu Ablutions. (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Hardie 4.ii. Mezzotint. 8 1/2 x 11 3/8 (sheet 1...

Night at Abu Simbel 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...

Fujieda Station is a modern artwork realized after Utagawa Hiroshige (1797 – 12 October 1858) in the Late 19th Century. Original Woodcut Print Oban Yoko...

This is a mid 19th century etching entitled "Point de Depart de Guillaume de Normandie, Beuzeval, Emboucher de la Dives Calvados (The point of departure of William of Normandy (William the Conqueror)), created by Maxime Lalanne and published in 'L'Illustration Nouvelle' in 1868 by Alfred Cadart. The etching depicts the beach at Beuzeval in Normandy; with the shore in the foreground on the right lined by a row of houses, the sea at the left, and an expansive sky above. There are people on the beach and sailboats in the water. This is the point of departure of William the Conqueror for his voyage to England in 1066, resulting in his victory over the Anglo-Saxons at the Battle of Hastings and the establishment of Norman rule. The events are memorialized in the Bayeux tapestry, created by William's wife. This etching is presented in a white mat that is suitable for framing. This excellent impression is printed on thick chain-linked, laid cream-colored paper with wide margins. It is signed in plate in the lower right and titled in the plate in the lower left. There is a collector's stamp (either an "NC" or a "CN") in the lower right corner. The sheet measures 9.5" high by 12.75" wide and the mat measures 13.5" high by 16" wide. There are two tiny faint spots in the periphery of the upper margin, but the print is otherwise in excellent condition. This etching is held by many museums and institutions, including The British Museum, The Yale University Art Gallery, The Cleveland Museum of Art, The Philadelphia Museum of Art, Columbia University Libraries and The William Morris Gallery...

Cover illustration for Die Graphischen Kunste, Volume 22 Color lithograph, 1899 Signed with the artist's initials lower center (see photo) From: The Graphic Arts, Volume 22, 1899 ...

Beautiful engraving of a late 19th Century painting by Frederic Arthur Bridgman (American, 1847 - 1928) titled "A Hot Bargain," (see image) engraved by James D. Smillie (American, 1833-1909), circa 1900. Signed lower right edge. Edition 64/225 with attribution to piece and artist on verso. Presented in with new mat. Original mat on verso. Condition: Good, minor foxing on edge. Image size: 5.88"H x 9"W. A native of New York and the son of an engraver, James David Smillie earned his early reputation for his etching skills but later for watercolor landscapes. He began etching at age 8, learning from his father, James Smillie...

Bird’s Eye View of Glascow original 1888 wood engraving is from The Graphic by H.W. Brewer who was well known for his aerial views of topographical panoramas. He was also the fa...

This Map of Denmark and Sweden is an etching realized by an anonymous artist. The state of preservation of the artwork is good with some small diffused stains. Sheet dimension: 27x...

La Mare dans la clairière is an original etching realized after a painting by Narcisse Diaz de la Pena in 1880 ca. Signed on the plate. Title...

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 ...

Etching on a zinc plate. Very Good conditions. Ref. - A. Baboni, L'Ottocento: le incisioni di Giovanni Fattori, Pacini Editore, 2001. p. 128, n.106 Giovanni Fattori was an Italian ...

"Barmaid, " a Dwarf Beagle 1887 Etching 3 x 5

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...

Original etching realized by James Ensor in 1889. Hand signed and dated. Good conditions, small stain lower right. Image Dimensions : 15 x 23 cm References: Delteil, Taevernier 74.

Shimada is an original modern artwork realized after Utagawa Hiroshige, in the Late 19th Century. Original Woodcut print from the series "53 Stations of t...

Un Debarquement en Angleterre (A Disembarking in England) etching, drypoint, aquatint, roulette and spirit ground, 1879 Signed with the artist’s red owl stamp, Lugt 977 (see photo) ...

The Body of Tee a chief as preferred after Death in Otaheite (Tahiti) is from the 1784 First Edition Atlas Accompanying Capt. James Cook and King; Third and Final Voyage of Capt...

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

Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Greyhounds D France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) 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 ...

Fantaisies is a black and White etching realized by A. Constantin in the Late 19th Century.  Titled in the lower Image Size: 24x31 Very good impression. Realized by Cadart for th...

Signed and titled on plate. Etching and aquatint print. Good condition.

Old Battersea Bridge View, Chelsea, 1879 - Etching on Paper Black and white 1897 etching titled "Old Battersea Bridge View" by Charles John Watson (British, 1846-1947). View at Chelsea from the bank of the Thames, with boats moored in foreground at left, Old Battersea Bridge in background, and Chelsea Old Church beyond. Signed and dated "Charles J Watson...

Pierre PUVIS DE CHAVANNES (after) Hope, 1873 Original Etching Engraved by Boilvin under the supervision of PUVIS DE CHAVANNES Printed signature in the plate On laid paper 20,5 x 30 cm (c. 8 x 12 in) INFORMATION : This etchings was edited in 1873 by Galerie Durand Ruel...

Camille Pissarro (1830-1903), Le Pont de Pierre, a Rouen, etching and drypoint, 1887. Reference: Delteil 66, second state (of 2). Signed lower right in pencil, annotated lower left ...

Views of Yokohama is a set of eight original vintage Albumen prints on single cardboard: 26 x 34 cm. They were realized between the 1880s and th...

Mariko Station, a Mad Caricature (Mariko shukuba no kyoga) Color woodcut, 1872 Signed in cartouche lower left corner (see photo) From the series: "53 Stations by Calligraphy and Pain...

"Hecate, " Second Cross from the Bulldog 1887 Etching 3 x 5

Ancient  Costume - Mulhouse is an etching print on paper in the Late 19th century. Good conditions. From the suite of "France Pittoresques, including costume of the world.

Battle of Sedyman is an etching print on paper in the Late 19th century. Good conditions. From the suite of "France Pittoresques, including costume of the world.

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...

Spagna Square - Italy is an etching print on paper in the Late 19th century. Titled on the plate Good conditions with slight foxing and folding.

Etching and drypoint. Hand signed. Very good condition.

La Nouvelle Orléans is a wonderful black and white xilograph on paper, realized in 1876 by an unknown artist, whose signature is not completely readable on lower right corner, after the German artist and marine painter Theodore Alexander Weber (1838-1907). With high meticulousness of sign this original print describes the new port...

Dora Riparia at Alpignano is an original etching realized in the late 19th Century by the italian painter and engraver Ernesto Rayper (1840-1873). Ernesto Rayper is known as founder...

Dalmation & Bull Terrier 1883-84 Chromolithograph 8.5 x 11 inches

Oriental scene 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 ...

Venice is a beautiful etching on paper realized after Tintoretto in 1870. Titled on the lower center. In good condition, except for some cutting along the margins and foxing. The a...

A superb, richly-inked impression of this etching and drypoint, printed in dark brownish black on antique cream laid paper. Second state (of 3). Edition of approximately 30. Signed w...

View of Mount Fuji is a modern artwork realized after Katsushika Hokusai (31 October 1760 – 10 May 1849). Woodcut print from the series "Fugaku hyakkei" (100 views of Mount Fuji). ...

India. Jodpoor - Mach 2nd, 1893 - is an original vintage black and white photo realized during a journey throughout the world performed by prince Franz Ferdinand von Osterreich Este ...

"Old Barns" is an original etching signed by the artist Stephen Parrish. This etching depicts two barns in a rocky forest-edge landscape. The scene suggests nature's gentle and slow ...

Minaret 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...

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

Ancient Hang Cheong Photograph is an original vintage albumen print on single cardboard. It is realized in the 1890s. Fair condition with missi...

Conversations 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 Egypt b...

"The Boat House" is a signed (lower center) etching by Edward Loyal Field. It depicts a scene across a river in the foreground, where a quaint set of houses sits in black and white.1...

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...

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...

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

Fontainebleau Forest is an original Modern artwork realized by Luca Beltrami (1854 - 1933) in 1877. Original B/W Etching on ivory cardboard. Mint con...

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...

The Bridge of Salamanca is a lithograph on paper realized by John Godfrey in The 19th Century. Signed on the plate on the lower right corner. Titled on the lower center. Good condition with minor foxing. An impressive landscape...

Beautiful proof on vergé crème, signed by the artist in pencil. Full margins. Ex-coll. H.H. Benedict (Lugt 1298). Ref. Cat. Harrington 221; Schneiderman 208.

Chambre des Députés is an artwork realized by Alfred Cadart in the 1870s. Etching. Image size:19x25 Good conditions. Realized for the "Société des Aquafortistes. Born on the in...

Campagne de Rome is an artwork realized by Pontus Cinier in the 1870s. Etching. Image size: 23 x 17.  Good condition.  Realized for the "Société des Aquafortistes. Born on the ...

James Whistler (1830-1903), Battersea Morn (also Battersea Dawn), drypoint, 1875, Kennedy 155, signed in pencil with the butterfly and inscribed “imp”. Kennedy 155, first state (of ...

Currier & Ives Newport Beach Hand-colored lithograph Sheet 10 x 13 1/4 inches After undertaking apprenticeships in Boston and Philadelphia, Currier set up a print publishing compan...

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...