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19th Century Prints and Multiples

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Period: 19th Century
"Bit of a River Bank" original etching
Located in Henderson, NV
Medium: original etching. This impression on laid paper was printed in 1868 for Philip Gilbert Hamerton's very scarce first volume of "Etching and Etchers". Image size: 4 x 6 1/4 inc...
Category

19th Century Prints and Multiples

Materials

Etching

Shimada - Woodcut by Utagawa Hiroshige - 1833
Located in Roma, IT
Asagiri is a woodcut print realized by Utagawa Hiroshige in 1832.  It is part of the suite "The Fifty-three Stations of Tokaido". Very good condition.
Category

Modern 19th Century Prints and Multiples

Materials

Woodcut

Corrine
Located in New York, NY
Maurice Realier-Dumas Corrine.Plate from May 1897 issue of L'Estampe Modern. Color Lithograph. Sheet Size: 16 x 12". L'Estampe Moderne was a brilliant portfolio printed betwe...
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Art Nouveau 19th Century Prints and Multiples

Materials

Lithograph

Allegory of Paris : Lutece - Original lithograph - 1898
Located in Paris, IDF
Adolphe Giraldon Lutece, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithograph created for the...
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Art Nouveau 19th Century Prints and Multiples

Materials

Lithograph

"Hippodrome des Art", Maitre de l'affiche lithograph
By François Duyck
Located in Hinsdale, IL
DUYCK, EDOUARD (1872 -1897) CRESPIN, ADOLPH (1859 –1944) "Hippodrome des Art" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #6, 1894. Plate #28 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. "...Posters were created by the team of Duyck & Crespin, whose close collaborative efforts garnered them the nickname 'the Siamese twins.' Between their first joint attempt at poster-making in 1885-1886 and Duyck's death in 1897, the duo produced a large corpus of works... as well as set designs and costumes for the theatre " (Brussels p.76) This is a Belgian poster for the Ferme de Frahinfaz, on the Hippodrome des Art road near Spa. "Accommodations for riders and pedestrians. Fork and knife lunches, fresh milk, real "Faro" beer from Brussels and English beers"
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Art Nouveau 19th Century Prints and Multiples

Materials

Lithograph

Original Poster by Victor Spahn - Polo Players c1985
Located in Boca Raton, FL
Victor Spahn (1949- ) is a French photographer of Russian heritage. Born on March 20, 1949 in Paris, France, he studied under the Lyrical Abstractionist André Lanskoy. After his stud...
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19th Century Prints and Multiples

Materials

Lithograph

Interior of the Great Temple of Aboo Simbel - Orientalist - David Roberts
Located in London, GB
David Roberts R.A. 1796 - 1864 Interior of the Great Temple of Aboo Simbel Subscription edition and First edition lithographs available Full plate: 139 Acid free mount With David ...
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Victorian 19th Century Prints and Multiples

Materials

Lithograph

Mr. Ginguelino
Located in New York, NY
Color etching. Image Size: 8 ¼ x6.” Full margins. Signed lower right Son of the famous publisher and etcher Auguste Delâtre, Eugène Delâtre was to bec...
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Art Nouveau 19th Century Prints and Multiples

Materials

Etching

Lover, Portrait after a Poem of Ronsard - Original lithograph - 1899
Located in Paris, IDF
Félix BRACQUEMOND (1833-1914) Lover, Portrait after a Poem of Ronsard, 1899 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 1...
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Art Nouveau 19th Century Prints and Multiples

Materials

Lithograph

Entrance to the Citadel of Cairo, Egypt: A 19th C. Lithograph by David Roberts
Located in Alamo, CA
This is an original 19th century duotone lithograph entitled "The Entrance to the Citadel of Cairo" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, pub...
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Realist 19th Century Prints and Multiples

Materials

Lithograph

La Grosse Horloge (Côté de la Fontaine) by C.H. Toussaint - 1880
Located in Middletown, NY
Rouen: Rouen Augé, 1880. Etching and engraving on Arches laid paper with a partial watermark, 9 3/4 x 6 1/4 inches (241 x 157 mm), full margins. In very good condition with an exper...
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French School 19th Century Prints and Multiples

Materials

Handmade Paper, Etching

Melancolic Seascape with Sailboats - Original Lithograph, 1898
Located in Paris, IDF
Francis JOURDAIN Melancolic Seascape with Sailboats, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION...
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Symbolist 19th Century Prints and Multiples

Materials

Lithograph

Hunting the Camelopard (Giraffe), antique African hunting engraving print, 1813
Located in Melbourne, Victoria
Colour aquatint after Samuel Howitt (1756/7-1822). From Samuel Howitt's 'Foreign Field Sports' Samuel Howitt was an English painter, illustrator and etch...
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Naturalistic 19th Century Prints and Multiples

Materials

Aquatint

Les Trophées
Located in Middletown, NY
London: The Studio, 1898. Wood engraving on blue wove paper, 8 x 5 3/8 inches (202 x 137 mm), full margins. As published in The Studio, Volume 12, 1898, with the blindstamp in the l...
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French School 19th Century Prints and Multiples

Materials

Handmade Paper, Woodcut

'Jeune Femme des Iles Sandwich dansant', Hawaii, antique lithograph print
Located in Melbourne, Victoria
'Jeune Femme des Iles Sandwich dansant' (Young woman of the Sandwich Islands dancing) Shows a tattooed and bare-breasted young woman, seated on the ground among her skirts. Her cur...
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Naturalistic 19th Century Prints and Multiples

Materials

Lithograph

"Invocation (L'Estampe Moderne I), " Original Color Lithograph by Marcel Lenoir
Located in Milwaukee, WI
"Invocation" is an original lithograph with the blindstamp of L'Estampe Moderne in the bottom right corner. L'Estampe Moderne commissioned Marcel Lenoir ...
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Art Nouveau 19th Century Prints and Multiples

Materials

Lithograph

At the Buttes-Chaumont (Plate 169)
Located in Greenwich, CT
At the Buttes-Chaumont (Plate 169) is an 1899 lithograph of Jules Chéret's poster, printed at Imprimerie Chaix by Jules Chéret and included in the famed collection of Belle Époque po...
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Art Nouveau 19th Century Prints and Multiples

Materials

Paper, Lithograph

Le Soldat Prussien (The Prussian Soldier)
Located in Middletown, NY
Paris: Sagot, 1898. Wood engraving on cream wove paper, 8 1/2 x 6 1/4 inches (216 x 158 mm), full margins. Signed and numbered 11/25 in pencil, lower right. With the blindstamp of t...
Category

French School 19th Century Prints and Multiples

Materials

Handmade Paper, Woodcut

Nymphe dansante
Located in New York, NY
Nymphe dansante, decorative panel, two-color lithograph, 1899, signed in the stone. One corner defective but not affecting image. Ref: Berthon and Grasset p. No.5. The early works...
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Art Nouveau 19th Century Prints and Multiples

Materials

Lithograph

Kom Ombo - David Roberts - Orientalist
Located in London, GB
David Roberts 1796 - 1864 Kom Ombo First Edition lithograph Full plate: 210 Presented in an acid free mount
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19th Century Prints and Multiples

Materials

Lithograph

"Barque de pecheurs" original etching
Located in Henderson, NV
Medium: original etching. This impression on cream laid paper is from the edition printed for "French Etchers", published in New York in 1884. Plate size: 6 3/8 x 9 1/8 inches (158 x...
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19th Century Prints and Multiples

Materials

Etching

Gaza, Palestine, Holy Land. David Roberts lithograph, 1843.
Located in Melbourne, Victoria
'Gaza', tinted lithograph by Louis Haghe (1806-1885) after David Roberts RA. David Roberts (1796-1864) traveled throughout Egypt and the Holy Land in the late 1830s producing waterc...
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Victorian 19th Century Prints and Multiples

Materials

Lithograph

Campagne boisée (Wooded countryside)
Located in Middletown, NY
1866 Etching on cream wove paper. 5 1/2 x 4 3/8 inches (138 x 110 mm), full margins. Third state (of 4). Light scattered age tone, and time stain. Scattered extremely light areas of ...
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Barbizon School 19th Century Prints and Multiples

Materials

Etching

Yamabe-no-Akahito / One Hundred Poems by One Hundred Poets 百人一首絵抄
Located in BRUCE, ACT
Toyokuni-III (1786-1864) Title: Yamabe-no-Akahito 山部赤人 From Series: One Hundred Poems by One Hundred Poets 百人一首絵抄 Size: O-ban 大判 Age: 1843-47 FREE SHIPPING
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19th Century Prints and Multiples

Materials

Woodcut

La paix, Heliogravure by Marcantonio Raimondi
By Marcantonio Raimondi
Located in Long Island City, NY
Marcantonio Raimondi, After by Amand Durand, Italian (1480 - 1534) - La paix, Year: 1875, Medium: Heliogravure, Size: 9.5 x 5 in. (24.13 x 12.7 cm), Printer: Amand Durand, Descrip...
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Old Masters 19th Century Prints and Multiples

Materials

Etching

L'Enlevement d'Amymone, Heliogravure by Albrecht Dürer
Located in Long Island City, NY
Albrecht Durer, After by Amand Durand, German (1471 - 1528) - L'Enlevement d'Amymone, Year: 1873, Medium: Heliogravure, Size: 10.5 x 7.5 in. (26.67 x 19.05 cm), Printer: Amand Du...
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Old Masters 19th Century Prints and Multiples

Materials

Etching

Sedans used by the Japanese Ladies of Quality – English School, 19th century
Located in Middletown, NY
Sedans used by the Japanese Ladies of Quality; One plate from Drake's Voyages London: circa 1860. Engraving with hand coloring in watercolor on cream laid paper; 7 1/2 x 10 3/4 inch...
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English School 19th Century Prints and Multiples

Materials

Handmade Paper, Watercolor, Engraving

Castle Hill - Etching by Joseph Banks - 1837
Located in Roma, IT
Castle Hill is an artwork, realized by the artist Joseph Banks in 1837. Colore etching, titled and signed in the plate. Beautiful engraving with contemporary colouring. Edition by ...
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Modern 19th Century Prints and Multiples

Materials

Etching

Butterflies, late 19th century antique natural history colour lithograph
Located in Melbourne, Victoria
'1. 2. Helicopis acis 3. Zeonia chorinceus' Late 19th century colour lithograph of butterflies.
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Victorian 19th Century Prints and Multiples

Materials

Lithograph

Little Devils Bridge over the Russ, above Alt Dorft Swiss
Located in Fairlawn, OH
Little Devils Bridge over the Russ, above Alt Dorft Swiss From: Liber Studiorum Etching and mezzotint, 1809 Signed in the plate by JMW Turner and Charles Turner who applied the mezz...
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Romantic 19th Century Prints and Multiples

Materials

Mezzotint

Beauties on the Beach with view of Mount Fuji
Located in Burbank, CA
Shichirigahama, Sagami Province. A beauty in the foreground waves to her young companions, who run towards her on the beach. The beauty at left wears a western-style golden ring. We ...
Category

Edo 19th Century Prints and Multiples

Materials

Handmade Paper, Mulberry Paper, Woodcut

Mosque of Sultan Hassan, Cairo, Egypt. David Robert's Oriental lithograph, 1848.
Located in Melbourne, Victoria
'Mosque of Sultan Hassan, Cairo', tinted lithograph by Louis Haghe (1806-1885) after David Roberts RA. David Roberts (1796-1864) traveled throughout Egypt and the Holy Land in the l...
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Victorian 19th Century Prints and Multiples

Materials

Lithograph

Collies Squirrel: An Original 19th Century Hand-colored Lithograph by Audubon
Located in Alamo, CA
This is an original John James Audubon hand-colored lithograph entitled "Collies Squirrel, No. 21, Plate CIV", from John James Audubon's Quadrupeds of North America, published in Phi...
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Naturalistic 19th Century Prints and Multiples

Materials

Lithograph

"The Gaiety Girl" from "Les Maitres de L'Affiche" series
Located in Hinsdale, IL
HARDY, DUDLEY (1867 – 1922) "A Gaiety Girl" Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #...
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Art Nouveau 19th Century Prints and Multiples

Materials

Lithograph

Late 19th century color lithograph art nouveau floral ornate bookplate verso
Located in Milwaukee, WI
"From: Ilsée, Princess of Tripoli Recto: "Jaufre's Entrance" Verso: "Father Scolds Son" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs f...
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Art Nouveau 19th Century Prints and Multiples

Materials

Lithograph

Rare and exquisite 1896 calendar by Eugène Grasset - La Belle Jardinière
Located in PARIS, FR
This rare and exquisite 1896 calendar by Swiss-born French illustrator Eugène Grasset, created for the Parisian department store La Belle Jardinière, is a masterpiece of Art Nouveau ...
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19th Century Prints and Multiples

Materials

Lithograph, Paper

(after) John Constable mezzotint "Summer Evening"
Located in Henderson, NV
Medium: mezzotint (engraved by David Lucas after the John Constable painting). This impression was printed in 1831 on laid paper for the "English Landscape" series. Image size: 5 1/2...
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19th Century Prints and Multiples

Materials

Mezzotint

19th century color lithograph birds landscape nature grass sky water figure
Located in Milwaukee, WI
"Shooting on the Prairie" is an original hand-colored lithograph by Currier & Ives. It depicts a hunter shooting at fowl in an open field. 8 1/2" x 12 1/2" art 20 1/4" x 23 3/4" 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...
Category

Other Art Style 19th Century Prints and Multiples

Materials

Lithograph

Paul Berthon Original Color Lithograph, 1897. Lecon de Violon
Located in Phoenix, AZ
Wonderful original color lithograph by Paul Berthon (1872-1909). In excellent condition with great color. Unframed. Presents in a 2-Ply Museum Mat. Titled: "Lecon de Violon." Maitre ...
Category

19th Century Prints and Multiples

Materials

Paper

Umewaka Shrine in the Rain
By Kobayashi Kiyochika
Located in Burbank, CA
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...
Category

Edo 19th Century Prints and Multiples

Materials

Handmade Paper, Mulberry Paper, Woodcut

Jaffra Looking South. David Roberts Holy Land lithograph, 1843.
Located in Melbourne, Victoria
'Jaffra', tinted lithograph by Louis Haghe (1806-1885) after David Roberts RA. David Roberts (1796-1864) traveled throughout Egypt and the Holy Land in the late 1830s producing wate...
Category

Victorian 19th Century Prints and Multiples

Materials

Lithograph

Kish-Ke-Kosh, Fox Brave: Original Hand-colored McKenney & Hall Lithograph
Located in Alamo, CA
This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Kish-Ke-Kosh, Fox Brave", lithographed by J. T. Bowen after a painting by Charles Bird King and published by Rice and Hart & Co. in Philadelphia in 1848. Kish-Ke-Kosh, means 'The Man with One Leg' or 'He with a Cut Hoof'. He had a reputation for being a fierce warrior. He was a representative of the delegation of Sioux and Fox and Sauk chiefs who attended the gathering with the War Department in 1837. The Fox tribe lived in the Great Lakes region of the United States and merged with the Sauk tribe. This original McKenney and Hall hand-colored lithograph is printed on a sheet measuring 10.38" high and 7" wide. There are tiny spots in the lower left margin, another in the right lower margin and mild smudging in the left margin, but the print is otherwise in very good condition. The original descriptive text pages, 119-120, from McKenney and Hall's 19th century publication are included. Col. Thomas J. McKenney was Superintendant of The Bureau of Indian Affairs from 1816 until 1830. He was one of a very few government officials to defend American Indian interests and attempt to preserve their culture. He travelled to Indian lands meeting the Native American leaders. He brought with him an accomplished artist, James Otto Lewis...
Category

Naturalistic 19th Century Prints and Multiples

Materials

Lithograph

April: Otsuyu of Yanagibashi in Wisteria Arbor at Kameido
Located in Fairlawn, OH
April: Otsuyu of Yanagibashi in Wisteria Arbor at Kameido Color woodcut, 1880 From the series: "Pride of Tokyo's Twelve Months" (Tokyo jiman juni kagetsu) Signed and sealed lower rig...
Category

Other Art Style 19th Century Prints and Multiples

Materials

Woodcut

Downy Squirrel: An Original 19th Century Hand-colored Lithograph by Audubon
Located in Alamo, CA
This is an original John James Audubon hand-colored lithograph entitled "Downy Squirrel, No. 5, Plate XXV", from John James Audubon's Quadrupeds of North America, published in Philad...
Category

Naturalistic 19th Century Prints and Multiples

Materials

Lithograph

Constantinople
Located in London, GB
Anton Ignaz Melling 1763-1831 Constantinople Etching, hand coloured Image size: 26 x13 inches (66 x 33cm) Acid free mount This etching of Constantinople offers a captivating panoram...
Category

19th Century Prints and Multiples

Materials

Etching

"The Falls of Tivoli" original etching
Located in Henderson, NV
Medium: original etching. This impression on wove paper was printed in 1885 for the Sylvester R. Koehler portfolio of etchings and published by Cassell & Company. Plate size: 8 1/2 x...
Category

19th Century Prints and Multiples

Materials

Etching

The Favorite Between the Heats - Etching by Henry Alken - 1822
Located in Roma, IT
Etching and aquatint realized by Henry Alken in 1822. Table from "The Sporting Repository", first edition. Very good condition. Henry Alken (1765-1851) was en english painter and e...
Category

Modern 19th Century Prints and Multiples

Materials

Etching

Young Mahaskah, An Ioway Chief: Original Hand-colored McKenney & Hall Lithograph
Located in Alamo, CA
This an original 19th century hand colored McKenney and Hall engraving of a Native American entitled "Young Mahaskah, An Ioway Chief, No. 80", published by Rice, Rutter & Co. in 1865...
Category

Naturalistic 19th Century Prints and Multiples

Materials

Lithograph

Jan Six by Pierre François Basan, after Rembrandt
Located in Middletown, NY
Etching on thin laid paper laid down to mid-weight Japon paper, 9 5/8 x 7 9/16 inches (244 x 190 mm), narrow to thread margins. Lettered below the image in the lower right margin wit...
Category

Old Masters 19th Century Prints and Multiples

Materials

Laid Paper, Etching, Handmade Paper

Utagawa Hiroshige -- Looking toward Ikenohata from the Hill of the Yushima Tenji
Located in BRUCE, ACT
Utagawa Hiroshige (Ando Hiroshige) Looking toward Ikenohata from the Hill of the Yushima Tenjin Shrine (Yushima Tenjin sakaue yori Ikenohata o miru zu), from the series Famous Places...
Category

19th Century Prints and Multiples

Materials

Woodcut

Le-Soldat-Du, An Osage Chief: Original Hand-colored McKenney & Hall Lithograph
Located in Alamo, CA
This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Le Soldat-Du-Chene, An Osage Chief", lithographed by J. T. Bowen after a pai...
Category

Naturalistic 19th Century Prints and Multiples

Materials

Lithograph

Shere Mill Pond II (Large Plate)
Located in New York, NY
Seymour Haden (1818-1910), Shere Mill Pond II (Large Plate), etching and drypoint, 1860, signed in pencil lower right [also signed in the plate lower right]. Schneiderman 37, sixth state (of 9). In generally good condition (see note below) with margins, on a cream/ivory laid paper, 7 x 13 1/2, the sheet 8 1/8 x 13 3/4 inches. A very good impression, with rich burr especially in the reeds toward the right. Provenance: Frederick Keppel and Co., New York, NY. Illustrated: Guichard, British...
Category

Impressionist 19th Century Prints and Multiples

Materials

Drypoint, Etching

Running - Etching by Henry Alken - 1822
Located in Roma, IT
Etching and aquatint realized by Henry Alken in 1822. Table from "The Sporting Repository", first edition. Very good condition. Henry Alken (1765-1851) was en english painter and e...
Category

Modern 19th Century Prints and Multiples

Materials

Etching

"Village en Suede" etching
Located in Henderson, NV
Medium: etching (etched by Theophile Narcisse Chauvel after the Wilhelm von Gegerfelt painting). This impression on japon paper was printed in 1875 (before letters were added) and pu...
Category

19th Century Prints and Multiples

Materials

Etching

The Gate, Chelsea
Located in New York, NY
Theodore Roussel (1847-1926), The Gate, Chelsea; etching and drypoint, 1889-1890, signed on the tab and inscribed imp [also signed in the plate lowere right]. Reference: Hausberg 33, fourth state (of 4), from the total printing of about 43 impressions. In excellent condition, trimmed by the artist all around on the plate mark except for the tab, 8 1/8 x 6 1/2 inches. A fine impression, printed on a light cream wove paper with plate tone (wiped to brighten the gate and doorway area) and substantial burr in the drypoint work. According to Hausberg, “The gate and house behind it still stand today at No. 4 Cheyne Walk...
Category

Impressionist 19th Century Prints and Multiples

Materials

Drypoint, Etching

Native North Americans, German chromolithograph, circa 1895
Located in Melbourne, Victoria
German chromolithograph of native American tribes. Circa 1895. Each portrait is numbered.
Category

Naturalistic 19th Century Prints and Multiples

Materials

Lithograph

Art Nouveau Woman Praying - Original lithograph (1897/98)
Located in Paris, IDF
Marcel Lenoir Art Nouveau Woman Praying (Invocation à la Madone d'onyx vert), 1897 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c....
Category

Art Nouveau 19th Century Prints and Multiples

Materials

Lithograph

A Monmartre (Moulin Rouge).
Located in New York, NY
Ca 1895. Printed and stamped by Eugene's father, August Delatre. Signed in pencil lower right, and signed in the plate. Sheet size 13 3/4 x 9". Image size 10 x 4" Eugène Delâtre...
Category

Art Nouveau 19th Century Prints and Multiples

Materials

Etching

Venise sauvee, play in five acts by Thomas Otway. 1895.
Located in New York, NY
Venise sauvee, play in five acts by Thomas Otway. 1895. Lithograph on simili Japan Framed. .Very good condition with the exception of a slight center fold. Framed. Rare Ref: Artis...
Category

Art Nouveau 19th Century Prints and Multiples

Materials

Lithograph

Jules Chéret 1896 lithograph Pantomimes lumineuses théâtre optique de E. Reynaud
Located in PARIS, FR
A dazzling celebration of early cinema, Jules Chéret’s 1896 lithograph for Émile Reynaud’s Pantomimes Lumineuses at the Musée Grévin is one of the most iconic images in the celebrate...
Category

19th Century Prints and Multiples

Materials

Paper, Lithograph

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