19th Century Prints and Multiples

Placenta Diseases is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realiz...

Diseases of the Peritoneum is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1843. Signed on p...

Deseaes of the Stomach of  Epiploon is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1843. Si...

Diseases of the Larynx, Trachea and Thyroid Body is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized...

Diseases of the Intestines is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1843. Signed on p...

Diseases of the Esophagus and Intestines is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1843...

Bonnemaison is a Lithograph realized by Antoinette Haudebourt-Lescot. Signed on plate and titled on the lower margin. Passpartout included cm 35x51 Good condition on a yellowed pap...

Medium: etching and drypoint. This is Seymour Haden's etched version of the painting by Thomas Wright of Derby entitled "Edwin the Minstrel". The man in the portrait was actually Sir...

Customs - Persian palanquins is a lithograph on paper realized in 1862. Titled on the lower. The artwork belongs to the Suite Uses and customs of all the peoples of the universe : ...

This is one of the illustrations of "Dizionario di scienze naturali" (Natural sciences dictionary) edited by Battelli nel 1831.  The work was made of 29 volumes, containing hundreds ...

This is one of the illustrations of "Dizionario di scienze naturali" (Natural sciences dictionary) edited by Battelli nel 1831.  The work was made of 29 volumes, containing hundreds ...

This is one of the illustrations of "Dizionario di scienze naturali" (Natural sciences dictionary) edited by Battelli nel 1831.  The work was made of 29 volumes, containing hundreds ...

Lucian Bernhard was an award-winning graphic, interior, and typography designer and highly influential to the world of 20th century graphic and poster ...

"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...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

Medium: original etching. This impression on laid paper was printed in 1875 and published in Paris by L'Art. Image size: 5 1/8 x 9 inches (132 x 225 mm). Signed in the plate; not han...

Medium: etching. Etched by Adrien Didier after the figure by Michelangelo in the Sistine Chapel known as The Libyan Sibyl. This impression on japon paper was printed in 1875 at the A...

Medium: etching. Etched by Jules de Goncourt after Paul Gavarni. This impression on thin japon paper was printed by Francois Lienard in 1875 (before letters were added) and published...

Mielatz, Charles. RAINY DAY, BROADWAY. Etching, 1892. Edition size not known. Signed in oencil and inscribed "imp," and signed and dated in the plate. 9 7/8 x 7 inches. In excelle...

Uterus Diseases is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1843. Signed on plate on the ...

This captivating original lithographic poster, created circa 1890 by the artist H. Colb, promotes seaside tourism along the Breton coast between Granville and Brest, under the banner...

Uterus Diseases is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1843. Signed on plate on the ...

The Waltham Manufacturing Company was co-founded in 1893 in New York by Charles Metz and three business partners. The company's designer, Metz, called his cycles “Orient racing bicycles,” named after the Orient Fire Insurance...

Diseases of the Small Intestine is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal, Human Anatomy, Printers Batelli and Ridolfi, 1843. The work belongs ...

Brain Diseases is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal, Human Anatomy, Printers Batelli and Ridolfi, 1843. The work belongs to the Atlante ge...

Brain Diseases is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal, Human Anatomy, Printers Batelli and Ridolfi, 1843. The work belongs to the Atlante ge...

Diseases of the Ovary is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal, Human Anatomy, Printers Batelli and Ridolfi, 1843. The work belongs to the Atl...

Diseases of the Ovary is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal, Human Anatomy, Printers Batelli and Ridolfi, 1843. The work belongs to the Atl...

Diseases of the Ovary is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal, Human Anatomy, Printers Batelli and Ridolfi, 1843. The work belongs to the Atl...

Diseases of the Ovary is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal, Human Anatomy, Printers Batelli and Ridolfi, 1843. The work belongs to the Atl...

Intestinal Diseases is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal, Human Anatomy, Printers Batelli and Ridolfi, 1843. The work belongs to the Atla...

Small Intestine Disease is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal, Human Anatomy, Printers Batelli and Ridolfi, 1843. The work belongs to the A...

Liver Disease is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal, Human Anatomy, Printers Batelli and Ridolfi, 1843. The work belongs to the Atlante gen...

Intestine Diseases is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal, Human Anatomy, Printers Batelli and Ridolfi, 1843. The work belongs to the Atlant...

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "LA CHAINE SIMPSON" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #60, 1900. Plate #238 Unframed Size: 11 3/8 x 15 3/4” The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. "In her recent excellent biography of Lautrec, Julia Frey indicates that 'Henry, the frustrated athlete, was compulsively familiar with the vocabulary and technical aspects of a variety of sports in which he could participate as a spectator: horse and bicycle racing, wrestling, yachting, bullfighting. He watched them all with the same intensity that he watched a line of dancers or a circus bareback rider, attracted by the beauty of movement, but also by the smells, sounds and excitement of the spectacle (Frey, p.353) His 'insider' knowledge of the cycling field shows up abundantly in this poster for the French agent of the Simpson bicycle chain company. In the foreground is the champion cyclist Constant Huret. In the background are Tristan Bernard, the sports impresario who was a close friend of Lautrec, with Louis Bougle, the French agent who adopted the name 'Spoke.' A touch of levity is added by what appears to be a 'bicycle-built-for-ten' in the upper-left corner, in fact it's two five-seaters, known at the time as 'quints.'"(Rennert, PAI-XXII, 35)Henri de Toulouse-Lautrec came from an aristocratic background, having been born the son of an earl.Even as a schoolboy he showed a talent for drawing. By 14 he had suffered two horse back riding accidents, combined with a serious bone disease which eventually left him crippled for life. His body continued to grow but not his legs, he would remain only five feet tall and suffer pain and embarrassment his entire life.At the age of 18, Lautrec moved to Montmartre in Paris to study art seriously. He worked with artists Louis Anquentin, Emile Bernard, Degas, Van Gogh and others. He became a frequenter of the the cafes, cabarets and brothels of the neighborhood, drawing from them inspirations for his artistic themes. As the artist's stature grew, several magazines wanted to publish his work, including Le Rire. His subjects, as well as street life, included some of the most famous music-hall performers, with whom he became friends, such as Yvette Guilbert, La Goulue Jane Avril, May Milton, May Belfort...

'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...

This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Ap-Pa-Noo-Se, A Saukie Chief", lithographed by J. T. Bowen after a painting ...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art w...

Wood Pigeon is an Etching hand colored realized by Gotthilf Heinrich von Schubert - Johann Friedrich Naumann, Illustration from Natural history of birds in pictures, published by Stu...

Tourtorelle With Necklace is an Etching hand colored realized by Gotthilf Heinrich von Schubert - Johann Friedrich Naumann, Illustration from Natural history of birds in pictures, pu...

Yellow Wagtail is an Etching hand colored realized by Gotthilf Heinrich von Schubert - Johann Friedrich Naumann, Illustration from Natural history of birds in pictures, published by ...

James McNeill Whistler (1834-1903), Bridge, Amsterdam, etching, 1889, printed in brown ink on thin laid paper, signed with the butterfly on the tab and annotated “imp”, also signed with the butterfly on the verso and numbered 11. References: Kennedy 409, Glasgow 447, fifth state (of 5). In very good condition (slight nicks at edges), trimmed by the artist on the plate mark apart from the tab, 6 1/2 x 9 1/2 inches. Provenance: Vivian and Meyer P. Potamkin, Philadelphia; sale, Sotheby’s, New York, May 11, 1989, lot 302 Samuel Josefowitz, Pully, Switzerland A very fine, shimmering impression of this great rarity. This impression is included in the Glasgow inventory, ID number K4090301; only about 11 lifetime impressions in all states are known (three were also printed posthumously by Nathaniel Sparks...

1894 Original before the letter poster by Eugène Grasset created for The Century Magazine this striking artwork depicts Napoleon on his majestic white Wooly Horse rendered with Grass...

Enhance your collection with this exquisite pair of 19th-century Neoclassical black and white etchings by the renowned Italian artist Giovanni Battista Piranesi. These highly detaile...

Blowing Wind is an etching on paper realized by Jeannette Deseglise in the 1950s. Hand-signed and numbered, edition of 60 prints. Very Good conditions. The artwork is realized poe...

The Express Train published by Currier & Ives 152 Nassau Street New York City from the small folio shows a train traveling through the country side wit...

This black and white etching by American painter and print maker of the Hudson River School in New York: Thomas Moran, is a rare Klackner #53 of the catalogue raisonné, depicting "The Harbor of Vera...

'Villagio indiano nell' Isola Quadra-Voncuver / Interno di Una capanna di Vakosei' (Indian Village on Quadra Island, Vancouver / Interior of a Vakosei hut) Italian lithograph, c184...

Le Rire is a vintage Comic Magazine printed on November 1896, with illustration by A. Willette. Good condition on a yellowed paper, except for some torn paper...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art work) by designing architecture, furniture, jewelry, graphics, and tapestries meant to coordinate every detail of an environment. His work transcended the imitative decorative arts of earlier eras and helped to define Modernism for generations to come. Moser achieved a remarkable balance between intellectual structure (often geometric) and hedonistic luxury. Collaborating with Gustav Klimt and Josef Hoffmann, the artist was an editor and active contributor to Ver Sacrum, (Sacred Spring), the journal of the Viennese Secession that was so prized for its aesthetics and high quality production that it was considered a work of art. The magazine featured drawings and designs in the Jugendstil style (Youth) along with literary contributions from distinguished writers from across Europe. It quickly disseminated both the spirit and the style of the Secession. In 1903 Moser and Hoffmann founded and led the Wiener Werkstatte (Viennese Workshop) a collective of artisans that produced elegant decorative arts items, not as industrial prototypes but for the purpose of sale to the public. The plan, as idealistic then as now, was to elevate the lives of consumers by means of beautiful and useful interior surroundings. Moser’s influence has endured throughout the century. His design sensibility is evident from the mid-century modern furniture of the 1950s and ‘60s to the psychedelic rock posters...

Artist: John Latham (English, 1740-1837) Title: "Kamtschatkan Thrush", "Spotted-sided Grosbeak", "Crimson-bellied Flycatcher", and "Black-headed Grosbeak" Portfolio: A General History of Birds Year: 1821-1828 (second edition) Medium: Set of Four Original Hand-Colored Engravings on watermarked wove paper Limited edition: Unknown Printer: Jacob & Johnson, Winchester, UK Publisher: John Latham, Winchester, UK Reference: Brunet III, 872; Lowndes II, page 1314; Fine Bird Books page 87; Nissen IVB 532; Zimmer page 376 Sheet size (each): approx. 11.25" x 8.88" Image size (each): approx. 4.5" x 4.5" Condition: "Kamtschatkan Thrush", "Crimson-bellied Flycatcher", and "Black-headed Grosbeak" have some light offsetting to their sheets. "Spotted-sided Grosbeak" has some minor foxmarks and some light discoloration upper left in margin. They are all otherwise in very good condition with strong colors Rare Notes: Provenance: acquired from Christie's, New York, NY, December 19, 1990. Comes from Latham's famous eleven volume portfolio "A General History of Birds" (1821-1828) (second edition), which consists of 193 hand-colored prints, made from engraved plates. "Kamtschatkan Thrush" and "Crimson-bellied Flycatcher" have an unidentified "1821" watermark lower right and upper right respectively. "Spotted-sided Grosbeak" has a "1820" watermark lower right. Biography: John Latham (27 June 1740 – 4 February 1837) was an English physician, naturalist and author. His main works were A General Synopsis of Birds (1781–1801) and General History of Birds (1821–1828). He was able to examine specimens of Australian birds...

Moran, Mary Nimmo (American 1842-1899). SOLITUDE. Etching, 1880. Initialed and dated in the plate, lower right. 5 1/2 x 7 5/8 inches, plus margins. Framed to 10 1/4 x 13 1/4 inches. ...

R. Havell Jr “Pheasant Shooting” Etching on paper Unsigned Under glass in wooden frame After John Havell Jr. Pheasant Shooting Etching on paper Unsign...

J. Becquet, Sculptor (The Fiddler). 1859. Drypoint. Kennedy 52 state iv; Glasgow 62. state i. 10 1/8 x 7 1/2 (sheet 15 5/16 x 9 3/4). Series: "Sixteen Etchings or Scenes on the Thame...

Alcazar d'Eté, Lidia (Plate 25) is an 1886 lithograph of Jules Chéret's poster, printed at Imprimerie Chaix by Jules Chéret and included in the famed collection of Belle Époque poste...

Woodcut shunga print attributed to Keisai Eisen and realized in the early 19th century. Good condition except for some signs of time.

Blackbird is an Etching hand colored realized by Gotthilf Heinrich von Schubert - Johann Friedrich Naumann, Illustration from Natural history ...

'1. Danaus plexippus 2. Tiramala limniace' Late 19th century colour lithograph of butterflies.

Etching drypoint and aquatint realized by Francisco Goya. Plate 73 from the Series "Los Caprichos". Beautiful proof of 2nd Edition, printed in 1855 ca. Includes a wooden frame cm. ...

The present work is an excellent example of the erotic Shunga prints produced by Utagawa 'Ando' Hioshige and his school. Shunga imagery became especially widespread in Japan with the...