Late 19th Century Prints and Multiples

'Hunde I' (Dogs) German chromolithograph, circa 1895. Central vertical fold as issued. 240mm by 305mm (sheet)

'Einsiedlerkrebse' (Hermit crabs) German wood-engraving, circa 1895. 240mm by 155mm (sheet)

This is an original John James Audubon hand-colored lithograph entitled "Yellow Crowned Night Heron, 1. Adult Male Spring Plumage, 2. Young in October", No. 73, Plate 364 from Audubo...

Woodcut in ink with embossing and hand-coloring in watercolor on laid Japon paper, 16 x 10 inches (406 x 253 mm), ōban tate-e, full margins. Scattered handling wear and toning, other...

Signed with the artist's initials lower left From: Les Douze Mois de 1889 As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui. Published by Sagot, Paris Proof before letters...

Hand signed, also signed on plate. Passepartout included : 49 x 34 cm Image Dimensions : 8 x 12 cm Catalogue Deteil n. 99.  This artwork is shipped from Italy. Under existing legisl...

Image dimensions: 9.3 x 16 cm. Plan de la Nouvelle Orléans is an interesting black and white lithograph on paper, realized in 1880 by an anonymous artist. Original Title: Plan de l...

'Keramik' (Ceramics) German chromolithograph, circa 1895. Central vertical fold as issued. 240mm by 305mm (sheet)

Henri EVENEPOEL (1862 - 899) Going to the Park, 1897 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lit...

Giclée print 20 1/4"x 15 1/2" art 34 5/8"x 29 7/8" frame Renowned Post-Impressionist painter, lithographer, and illustrator Henri de Toulouse-Lautrec captured the elegance and exc...

James Whistler (1834-1903), The Traghetto, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”. Reference: Kennedy 19...

"Bénédictine" original 1898 advertising poster for Bénédictine de L'Abbaye de Fécamp liqueur by Lucian Lopes Silva.

Medium: etching. Etched by C. Bertaut after Corot and published in 1890 in an edition of 200. This is a nice impression printed on a japon-style paper. The image measures 4 1/4 x 6 1...

'Brontops Robustus, Marsh 1/4' Lithograph by Emil Crisand after the drawing by Frederick Berger, under the supervision of Othniel Charles Marsh. Depicts dinosaur fossil...

'Tacsonia' Process print from Frederick William Hulme’s ‘Familiar Wild Flowers’, circa 1890. Hulme was known as a teacher and an amateur botanist. He was the Professor of Freehand ...

The Venetian Mast. 1879-80. Etching and drypoint. Kennedy catalog 195 state .vi; Glasgow catalog 219 state x/xii. 13 3/8 x 6 3/8. Glasgow records 53 impressions. A fine, atmospheric...

Medium: original etching and drypoint. Executed in 1885 and printed on thin china paper, this is an exceptionally rare state with the figure study of a child etched at the bottom lef...

This framed reproduction of Claude Monet's immensely popular painting, “The Bridge Over The Seine Near Argenteuil,” comes with a certificate of authenticity on the back and is numbered 1102, making it interesting for several reasons. The artagraphic process used to produce this work in a limited edition of 2900 is considered the state-of-the-art in art reproduction and the most respectful approach to reproducing a painting by a master. In three steps, this technique creates a 3D replica of an original oil painting's color and surface texture. Colors are scanned with a digital laser and then printed separately using oil-based inks on a single sheet. A mold is created from the original painting to reproduce its surface texture and bas-relief brushstrokes. Unlike lithographs and serigraphs, there is a palpable material and relief if you run your fingers over the surface. At the Impressionist group's first exhibition in 1874, Claude Monet demonstrated his deep interest in the motif by working on seven depictions of the Argenteuil bridge and four of the railroad bridge upstream. The artwork depicts Monet's immediate impressions of the scene rather than offering detailed realism. In these series, moored sailboats occupy the foreground, while the fluidity of the river melts harmoniously with the geometrically contrasted presence of the bridge and its imposing pillars. Monet manipulates his palette and complementary color schemes to create the illusion of light and movement through small, separate, and visible brushstrokes, making it one of the artist's most recognizable signatures. The painting displays a diversity of styles, with some elements more solid, having strong and distinct lines and structured forms defined by firm contours, while the water and the sky in the background give off an impression of moving space, floating, and ripples. An original painting of the series can be seen at Musée d'Orsay in Paris, France...

The original poster by Firmin Bouisset for Chocolat Menier, featured as Plate 47 in the prestigious Les Maîtres de l'Affiche series, is an iconic work of late 19th-century advertisin...

Medium: etching. Etched by C. Bertaut after Corot and published in 1890 in an edition of 200. This is a nice impression printed on a japon-style paper. The...

Landscape and figures. Signed on plate. Image Dimensions : 15x21 cm. Publisher : Editore Lovera Excellent conditions This artwork is shipped from Italy. Under existing legislation, ...

Jules Chéret Lidia (Alcazar d'été), 1895 Stone ithograph Printed signature in the plate On vellum Size 39 x 29 cm (c. 15.3 x 11.4") INFORMATION : Plate 25 of "Les Maîtres de...

Alphonse Mucha worked mainly as a poster artist and became an influential figure of Art Nouveau in late 1890s, when poster illustrations were emerging as popular art form and new pri...

Le Calvaire is an original etching, soft ground and colour héliogravure on Japanese paper, realized by Félicien Rops in 1882, signed on plate, plate from Les Sataniques In very ...

"Fernand Clément & Cie" framed lithograph poster by Pal (Jean de Paléologue.) Inscription on side reads Imp. Paul Dupont, 4 Rue du Bouloi, Paris. Recreation 84 Wannabe Affiche, Ltd. ...

'Carnations and Picotees' Flowers are numbered with a key to the varieties below the image. Antique English flower botanical chromolithograph.

'Auge des Menschen' (Human Eye) German wood-engraving, circa 1895. Central vertical fold as issued. 240mm by 305mm (sheet)

'Augenkrankheiten' (Eye Diseases) German chromolithograph, circa 1895. Central vertical fold as issued. 240mm by 305mm (sheet)

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable p...

The 1897 original exhibition poster by Henry Thiriet for Pierrefort Estampes et affiches is a beautiful example of late 19th-century French graphic design. Created to promote an exhi...

Maternal Delight III, or Mothers Joy III, (In Swedish Modersglädje III) by Anders Zorn depicting a young woman lovingly playing with her child. A small amusing detail is the small child face visible on the lower left side, just outside the oval. This is an extremely rare etching and is one of two or possibly three known in existence of a so called cancellation proof. A cancellation proof etching of the Maternal Delight III is in the Boston Public Library Collection, USA. Signed Zorn in the plate. When Zorn decided that the vey limited number of prints were all done he took his burin, (the steel cutting tool used in engraving also, back in history, called graver), and made cross hatched lines across the figures on the original plate, after which he made a couple of after proofs or cancellation proofs and the present etching is one of them. This gives the present work a special and interesting image of one of Zorns best and rarest etchings. Created in London 1883, the first year he made etchings. Etching 276 x 406mm Sheet circa 33,5 x 48cm Literature Asplund 6. Delteil. 5. Hjert & Hjert 6. Lidbeck 6. Unfortunately some reflexes in the photos. Anders Zorn (1860-1920) was a Swedish artist who attained international success as a painter, sculptor, and etching artist. He was to become one of Swedens foremost artists ever. No technique was foreign to him, he worked equally well with watercolors, wash technique or oil painting. The etching technique also attracted this virtuoso and the etchings contributed greatly to his success. Between 1875 to 1880, Zorn studied at the Royal Swedish Academy of Arts in Stockholm, where he amazed his teachers with his talent. Members of the Stockholm Society approached him with commissions. In early 1881, Zorn met Emma Lamm, whose background was quite different from his. Emma Lamm was from a wealthy Jewish merchant family. She was interested in art and culture and, after a long engagement, they were married in 1885. During the 1880s Zorn traveled extensively, to London, Paris, the Balkans, Spain, Italy, and the United States. In the 1890s when he was in Paris, he spent much time with Albert Edelfelt. He quickly became an international success and one of the most highly regarded painters of his era. In the beginning of Zorns career, it was primarily his skill as a portrait painter that gained him international acclaim, based principally upon his incisive ability to depict the individual character of his model, he came to portray many great people including three American Presidents: Grover Cleveland, William H. Taft, and Theodore Roosevelt. Zorn also depicted Swedish dignitaries, for example King Oscar II in 1898, King Gustaf V in 1909, Queen Sophia in 1909, Prince Eugen in 1891, fellow artist Carl Larsson in 1897 and August Strindberg in 1910. In the late 1880s, Zorn began working in the genre that is probably his hallmark for the general public, nude studies in the open air. Zorn had long been fascinated by the movements of water and the reflections of light on the water surface. Now Zorn chose to place a nude model by or in the water, with the aim of depicting people in nature. When Zorn started the art of etching, he developed a technique with Rembrandt as a model, where he built up the motif with bursts of lines. The first etching was created in London in 1883, the same year as our Maternal Delight. Axel Herman Hägg, then active in London, was Zorn's teacher in this special technique. Hägg was the person Zorn depicted in his first etching. Zorn quickly mastered the etching technique itself and a unanimous art expert was able to conclude early on that Rembrandt had now found his equal. At the age of 29, he was made a Chevalier de la Légion d'honneur at the Exposition Universelle 1889 Paris World Fair. Zorn's reputation as an etcher spread across the world. Soon he could find his etchings in the major world metropolises in Europe and the USA. Zorn produced 289 different etchings, including portraits, genre studies and nude studies. The motifs on Anders Zorn's graphic sheets are most often based on his own paintings, as ours, which is based on a watercolor he made in 1882 on his first trip to Spain. Even during Zorn's lifetime, his etchings were considered to be artistically superior to his paintings. As a result, his graphics quickly became sought after on the international art market. He was compared to Rembrandt, who as mentioned earlier was Zorn's great role model in the art of etching. Zorn was able to combine the old technique with his personal form of impressionism and the temporary and everyday with the universal. On the printing plates, one can study his outstanding etching technique, his characteristic play with parallel lines drawn in different directions, with varying degrees of force and intensity. Zorn's art made him wealthy and he was thus able to build up a considerable collection of art. In their joint will, Anders and Emma Zorn donated their entire holdings to the Swedish State. Some of his most important works can be seen at the National Museum of Fine Arts in Stockholm. Other museums holding major works by Zorn include the Musée d'Orsay in Paris, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts, Boston. The Zorn Collections located in Mora and Garberg, Älvdalen, consist of four museums dedicated to the life and works of Anders Zorn. Shown there are extensive works of Zorn and his collected art. The Bellman Prize (Bellmanpriset) is a literature prize for "an outstanding Swedish poet", every year awarded by the Swedish Academy. The prize was established by Anders Zorn and his wife Emma in 1920. The motif: The present etching is based on a central and important work from Zorns first important trip to Spain, 1881-1882. After visiting Madrid and Seville, Zorn set off for Cádiz, tempted by the sea and the city’s women who were reputed to be the most beautiful in all of Spain. In Maternal Delight, also translated to Mothers Joy and Mothers Pride...

Medium: original etching. From the rare 1897 portfolio "Art et Nature" by Leon Roger-Miles, published in Paris by Boudet in an edition of 525. A beautiful impression on Marais wove p...

James Abbott McNeill Whistler (1834 - 1903, British) "Fulham (Chelsea Church)" Etching Year 1865 8" x 5 1/8 unframed 13.75 x 17.25" framed

Two Actors - Japanese Woodblock by Toyohara Chikanobu (豊原周延, 1838–1912), better known to his contemporaries as Yōshū Chikanobu (楊洲周延). Colorful and expressive court scene. Two actors...

Marco Dente, After by Amand Durand, Italian (1493 - 1527) - La Vierge au Poisson (d'apres Raphael), Year: circa 1878, Medium: Heliogravure, Image Size: 10...

Colour lithograph, 1890. 210mm by 285mm (sheet). From W Peck's 'A Handbook and Atlas of Astronomy', 1890. Sir William Peck FRSE FRAS (1862 – 1925) was a Scottish astronomer and scien...

'Brontops Robustus, Marsh 1/4' Lithograph by Emil Crisand after the drawing by Frederick Berger, under the supervision of Othniel Charles Marsh. Depicts dinosaur fossil...

Society of Iconophiles, 1898. Lithograph on brown wove paper, 10 x 7 1/2 inches (253 x 190 mm), full margins. In good condition with some age tone and the lower left corner dog-eare...

Soplones is a black and White aquatint, drypoint and etching printed in blue-black ink on laid paper from Caprichos realized after Francisco Goya in 1881-1886 . 6th Edition.Very goo...

Casino De Paris has a long history as an entertainment venue in Paris dating back to the 18th century. In the early 20th century the music hall adopted their famous revue format whic...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable p...

'Auslandische Cikaden' (Foreign cicadas) German chromolithograph, circa 1895. 240mm by 155mm (sheet)

Tsukioka Yoshitoshi (Japanese, 1839 - 1892) 'The Spirit of the Komachi Cherry Tree', or 'Komachi-Zakura no Sei' 1889 From the series '36 Supernatural Beings in New Forms' or 'Shinga...

La Grenouille et le Boeuf is a black and white etching realized by Théophile Chauvel (1831-1909) in 1870s. Titled in the lower. Image size: 15cmx20.5cm. Very Good condition. Sign...

Le Sommeil is a black and white lithograph realized by Odilon Redon in 1898. The artwork is a beautiful and fresh artist's proof on China paper, with full margins. Bibliography : C...

Medium: original etching. Executed by Tissot for the "Rene Mauperin" suite of etchings, published in Paris in 1884 by Charpentier in a limited edition of 550. This is a nice impressi...

'Rinder' (Cattle Breeds) German chromolithograph, circa 1895. Key to animals in German below the image. 245mm by 305mm (sheet). Central vertical fold as issued.

'Coral Bank in the Red Sea' Antique English late 19th century chromolithograph. Sheet 18cm by 26cm, image 12cm by 20cm.

Medium: original etching. This bucolic landscape is located in what is now the borough of Queens in New York City. Printed on laid paper in 1880 and published by The American Art Rev...

Opus IV, Simplicius in der Waldeinode (Simplicius in the Wilderness) belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. ...

Nishiki-e (woodcut print), in vertical oban format (31x20.5) realized by Mizuno Toshikata in 1893 (Meiji 26). Belongs to the Series "Sanjûroku Kasen" (Thirty-Six Beauties in Compari...

Artist: Lucas van Leyden, After by Amand Durand, Dutch (1494 - 1533) - Le Calvaire, Year: 1873, Medium: Heliogravure, Size: 12 x 16.5 in. (30.48 x 41.91 cm), Printer: Amand Durand,...

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

Lithograph. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable plants o...

Lithograph. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable plants o...