19th Century Prints and Multiples

David Roberts R.A. 1796 - 1864 CALVARY - HOLY SEPULCHRE First Edition lithograph Full plate: 26 Presented in a acid free mount Modern hand-coloured lithograph for the first editi...

Ciociare, vicino a Subiaco; passato Tivoli is a precious hand-colored etching by Bartolomeo Pinelli. The inscriptions appear at the bottom of the artwork, inside the matrix, and just...

Image dimensions: 28.3x22 cm. Egyptian is an original artwork realized by Edmond Romus in 19th century. Black and white etching on parchment after Lawrence Alma-Tadema's painting re...

The Military Portait - The Appearance of Our Lady - The Classroom is an original Lithograph realized by Denis Auguste Marie Raffet. Signed on the center and numbered (9). Edition b...

This is an original 19th century duotone lithograph entitled "Ruins of Kom Ombo" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, published in London by...

A fine early 19th Century engraving, showing the Biblical scene of Balaam's Donkey. The artist has inscribed their name and date in plate at the lower edge, along with an inscription...

Portrait of A.R. Mengs is an original artwork realized by James Neagle (1765 - 1822). Original Etching from J.c. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge ...

Winter is an original Chromolithograph realized by an anonymous artist in 1885. Good condition except for a repaired folding line at the middle. The art is depicted through soft st...

Portrait of Woman is an original artwork realized by Thomas Holloway (1748 - 1827). Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", London, Bensley, 1810. A the bottom center the name of the man portrayed "an angelic Woman...

The Queen's Staircase is an original modern artwork realized in 1836 by the French artist François Alexandre Pernot (1793-1865). Original Lithograph on paper. The sheet is glued on ...

Cyprus 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: Cyprus Hauptstad...

German chromolithograph of native American tribes. Circa 1895. Each portrait is numbered.

Zorn, Anders. S. LOEB (SOLOMON LOEB). H&H76, Asplund 115, Delteil 113. Etching, 1897. Unsigned (signed in the plate). Apparently the 2d or 4th State of 4. All of the states are descr...

Veduta della Gran Caduta dell'Aniene in Tivoli Image dimensions: 63x46 cm. From the series “Le antichità de’ contorni di Roma (...)” an artist's proof of technical virtuosity with sh...

"The Celebrated Clipper Ship Dreadnought" is an original hand-colored lithograph by Currier & Ives. It depicts a sailing ship. 13 1/4" x 17 1/2" art 19" x 23 1/2" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

The Skeleton is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was publis...

The Ram And Sheep is an original colored lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", a...

Portrait of Turkish Sultan Cadi-Lechker is an original Lithograph realized by an anonymous artist in the mid 19th Century. Good conditions. The artwo...

Scêne d'Hippophagie is a b/w lithographed plate (n. 21), from the series containing a total of 120 satiric prints, Croquis Parisiens, realized by Honoré Daumier (France, 1808-1879)....

La Tentation de Saint-Antoine is a complete set of 24 original lithographs realized by Odilon Redon and published by Ambrose Vollard in 1896, This is the...

Edward Donovan (1768–1837) was an Anglo Irish writer, natural history illustrator and amateur zoologist. Born in Cork, Ireland, Donovan was an avid collector of natural history speci...

Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.

This splendid lithograph De Rue de l'Hotel De Ville is part of the series of prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Fontanesi. The s...

Garibald's House is an original lithograph realized by an anonymous artist of the 19th Century. In good condition. Passpartout: 34 x 49 cm. Image Dimensions: 15.5 x 13 cm. The ar...

Decorative Frieze is an original Modern Artwork realized in the Half of the 19th Century in France. Original Colored Etching on paper. Passepartout included (cm 35 x 50). Inscr...

Untitled is an original Modern artwork realized by Cornelis Theodorus Maria 'Kees' van Dongen (26 January 1877 – 28 May 1968). Hand signed and numbered by artist with pencil, with d...

Military Education Institute is a original lithograph by Antonio Zezon. Naples 1853. Interesting colored lithograph which describes some members of the Military Education Institute:...

Triumphal Arches is a beautiful lot of five hand-watercolored lithographs realized by an Italian artist of the XIX century later watercolored, and repre...

Guillaume DUBUFE (1853-1909) Peace : Maternity with a Dove, 1899 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFO...

Marguerite DELORME (1876-1946) Young Girl Playing with a Doll, 1899 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) I...

Original lithograph hand-colored at the time of publication from "Groups of Cattle Drawn from Nature" by Thomas Sydney Cooper. Mounted on artist'...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, 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 view you want. John Bluck after Frederick Mackenzie (1788 - 1854) East Side of St Erasmus' Chapel, Westminster Abbey (1812) Hand-coloured aquatint 28 x 19 cm Published by Rudolph Ackermann...

Adolphe WILLETTE (1857-1926) French Revolution, the Battle of Valmy, 1899 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 ...

The Artist is an original Lithograph realized by Denis Auguste Marie Raffet in 1836. Signature on the lower margin, the artwork represents a gentleman with an artist. Good conditio...

Alfred Pierre AGACHE (1843-1915) Imperia (Caprices of Verlaine), 1899 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) ...

Luc Olivier MERSON (1846-1920) Biblical Mythology: Judith and Holofernes, 1899 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 ...

Lucien Hector MONOD (1867-1957) Symbolism : Spirit of the Water, 1899 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) ...

Autre émotion maritime is a b/w lithograph (n.14) from the satirical print series “Les Trains de Plaisir”, composed of caricatures “de mœurs” (of behaviours), realized by Honoré Daum...

The conversation is an original lithograph artwork on ivory-colored paper, realized by the French draftsman Paul Gavarni (after) (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866...

Umewaka Shrine, from an untitled series of prints depicting Tokyo. A woman braces her umbrella against the rain and a man waits out the storm next to his jinriksha in this view of th...

Mary Sister of Martha is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Love of...

Portraits is an artwork realized by Thomas Holloway (1748 - 1827). Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Man...

Rome, Palatine Hill is a wonderful etching and dry-point on paper by realized by Cesare Biseo in 1898. Hand-signed and dated with the description on the lower in pencil. In very go...

Vampire Spectre is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was pub...

Ninfe Resting is an original etching artwork realized by Eugène Charvot after Narcisse Diaz de la Pena in 1880 ca. Signed on the plate. Titl...

The Hunting Cat is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was pub...

Sheffield 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: Sheffi...

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

Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.

Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.

Wild Pig and Hippopotamus is a color lithograph realized in the late 19th century by an anonymous illustrator representing a wild pig and a hippopotamus. The animals are designated ...

Mr. Cat and Miss. Fox Playing Rope Game With Little Cricket and Beetles is an original lithograph on ivory-colored paper realized by J.J. Grandville from Scènes de la vie privée et p...

Le Buisson is a photogravure realized in the 19th Century. signed. Good condition.

Kabukie - The Province of Rokuoku is an original artwork realized in 1862 by Utagawa Kunikazu (1830 - 1919) Chuban. From the series "Dai Nippon rokuju of Rikuoku" (60 provinces of Glorious Japan), The Province of Rokuoku. Meeting of the two rivals in the forest at night, Tanigoro with sumo apron and fan with the national colours. Signed: Kunikazu. Good impression, backed, glued at corners, oxidation, centrefold, a little bit rubbed. Utagawa Kunikazu (1830 - 1919) was a printmaker from Osaka. He had a famous teacher, the ukiyo-e artist Kunisada Utagawa...

Lips Portrait is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge a...

Artist: Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - Jesus en Croix Entre Deux Larrons (B79), Year: 1878 (of original 1641), Medium: Heliogravure on laid paper, ...

Return of Napoleon From Egypt is an original lithograph on paper realized in about 1846 after Laffite. Sheet dimension: 20 x 25.5 cm The state of preservation is very good except ...

The Bat is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published i...