Mid-19th Century Landscape Prints

Ancient View of Innsbruck 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: In...

Florenz 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 in Capital Lette...

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

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

This is a 19th century hand-colored folio-sized lithograph entitled "Dendrortyx Leucophrys" (White Eye-browed Partridges) by John Gould, published in his monograph 'A Monograph of the Odontophorinae, or Partridges of America' in London between 1844-1850. Reportedly only 250 copies were printed. The print depicts two partridges, one standing and the other lying apparently on sand, surrounded by high grass. A landscape of plants and possibly water is seen in the background. This beautiful hand-colored lithograph is presented in a double cream-colored mat. There is one tiny spot in the left lower corner, faint spots in the right upper print and mild toning about the periphery which is covered by the mat. It is otherwise in excellent condition. It is accompanied by the original text page. John Gould (1841-1881) was an English contemporary of the American John James Audubon. Gould published his first illustrated book on birds in 1831 entitled "A Century of Birds from the Himalaya Mountains", followed by "Ramphastidae" and "Birds of Europe". He then extended the scope of his travels and research to include Australia, New Zealand and New Guinea, drawing birds in their natural habitat. Artists, such as his wife Elizabeth Gould, Henry Richter and Edward Lear, transferred his drawings to hand printed and hand colored stone lithographs, which are known for their beauty, detail and accuracy. As well as an exceptional and prolific artist, Gould was an outstanding scientific naturalist. In approximately 50 years he created approximately 3,000 lithographs of birds...

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

Utagawa Hiroshige II (1829-1869), 'Kintai Bridge at Iwakuni in Suo Province' (Suo iwakuni kintai-bashi), from the series 'One Hundred Views of Famous Pla...

This is an original John James Audubon hand colored lithograph entitled "Severn River Flying Squirrel & Rocky Mountain Flying Squirrel", No. 29, P...

La Valetta 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 ma...

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

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

Chamouni in der Schweiz is an original modern artwork realized in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin in capital l...

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

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

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

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

Ancient View of Salt Lake City is an original modern artwork realized in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. ...

Ancient View of the Doge Palace in Venice (original title: Der Dogenpallast) is an original modern artwork realized in the first half of the 19th C...

This is a hand-colored folio sized lithograph entitled "Hemicircus Cordatus" (Heart Spotted Woodpecker) by John Gould from his monograph "The Birds of Asia", published in London in 1...

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

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

Ancient View of Caldwell's Landing is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in capital...

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

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

Ancient View of Alexandria is an original modern artwork realized in the mid-19th Century Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin in Capital Letters...

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

Stoke Pogis is an original modern artwork realized in Germany in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower c...

The Head is an original Woodcut from ""quaderni dell'Eroica", realized by Giorgio Wenter Marini in 1925. Good conditions. The artwork is depict...

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

Pont pour le passage des Troupes is an original modern artwork realized in France in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central ...

Gullo Fall is an original modern artwork realized in Germany in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin in Capital Let...

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

The Interior of Geneve is an original Lithograph by Antonio Fontanesi in the mid 19th Century. The state of preservation of the artwork is excellent. The signature is engraved on the plate the lower left. At the top of the paper, the inscription “Interieur de Geneve”, while at the bottom, below the image, the inscription “JMP Pilet & Cougnard Editeurs Geneve”. Antonio Fontanesi (Reggio Emilia, 1818 - Turin, 1882) was an Italian painter, engraver, teacher, and soldier. He was one of the most important 19th-century Italian painters, though somewhat unknown. After fighting in the I Independence War...

Anciens Monuments Sepuloraua de l'Alsace is an original modern artwork realized in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central ma...

The Old Pier at Littlehampton is an original modern artwork realized by John Cousen in the middle of the XIX Century. Original colored print on paper. Inscripted on the lower margi...

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

Image dimensions: 15.5x22.5 cm. Defense of the Cemetery in Magenta is a beautiful artwork realized by Carlo Perrin in 1860. Hand colored litograph, published in Turin by Carlo Perr...

Ancient View of Philadelphia is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in capital lette...

L'Iser à Munich is an original modern artwork realized in France in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin: L'Iser à ...

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

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

The present hand-colored lithograph was produced as part of the funeral and mourning culture in the United States during the 19th century. Images like this were popular as ways of remembering loved ones, an alternative to portraiture of the deceased. This lithograph shows a man, woman and child in morning clothes next to an urn-topped stone monument. Behind are additional putto-topped headstones beneath weeping willows, with a steepled church beyond. The monument contains a space where a family could inscribe the name and death dates of a deceased loved one. In this case, it has been inscribed to a young Civil War soldier: William W. Peabody Died at Fairfax Seminary, VA December 18th, 1864 Aged 18 years The young Mr. Peabody probably died in service for the Union during the American Civil War. Farifax Seminary was a Union hospital and military headquarters in Alexandria, Virginia. The hospital served nearly two thousand soldiers during the war time. Five hundred were also buried on the Seminary's grounds. 13.75 x 9.5 inches, artwork 23 x 19 inches, frame Published before 1864 Inscribed bottom center "Lith. & Pub. by N. Currier. 2 Spruce St. N.Y." Framed to conservation standards using 100 percent rag matting and TruVue Conservation Clear glass, housed in a gold gilded moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Ancient View of Porta Felice and Marina is an original modern artwork realized in Italy in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted ...

Blue Grosbeak is an original chromolithograph from the rare Bien edition 1860 by J.J. Audubon and shows a male and female adult Grosbeak with a young Grosbeak perched on the edge of the nest. This group of colorful birds are seen on a Dogwood cornus florida tree. This print is in good condition. The paper is evenly age toned throughout. The ” Birds of America” by John James...

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...

Three hand-colored lithographs from John Gould's seven volume book "The Birds of Australia", which included New Zealand, depicting: pairs of "Eudyptes Chrysocome" (New Zealand Rock-hopper Crested Penguins), "Diomedea O Thalassarche Cauta" (Australian Shy Albatross) and "Sula Fusca" (Brown Gannets). These beautiful sea bird prints are presented in identical very attractive brown wood frames, embellished with gold highlights in the corners and gold inner trim, along with light cream-colored French mats, each with a medium cream-colored band and a gold highlight line. There is scattered spotting. There is a small tear in the lower right corner of the penguin lithograph...

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

Moti - Musjet is an original modern artwork realized in Germany in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lowet margin in Capital Letters:...

Port de la Nouvelle-Orléans s a beautiful black and white xylograph on paper, realized by François Pannemaker, after a drawing from a photograph by E. de Berard, as the caption under the image suggests and the signature under the print on sides " E. de Berard / Pannemaker=Ligny". Realized in 1865, this original print offers us a wonderful and historical view on the lively New Orleans port...

Terni is an original modern artwork realized in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lowet margin: Terni. Engraved by A.H. Payne. Tota...

Florenz 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 in Capital Lette...

Arnheim is an original modern artwork realized in Italy in the mid of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin: Arnheim. Engraved b...

View on the Amstel is an original modern artwork realized in Italy in the mid of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin: Vien on ...

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...

Rotterdam 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: Rotterdam. Sheet d...

An original rare and extremely collectible first edition John James Audubon hand colored royal octavo lithograph entitled "Black-throated Diver", No. 96, Plate 477, 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 three Black-throated Divers; an adult male (1), an adult female (2) and a young Diver (3). The male sits on the bank, while the young Diver floats in the water and the female watches...

Ancient View of General Post Office is an original modern artwork realized in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in capital letters...

Ancient View of Rock Island City is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper...