19th Century Engravings of Landscapes

A collection of line engravings featuring landscapes and scenes from the 19th century. The styles range from realistic to romantic, with detailed depictions of nature.

Utrecht, Houtman, Johannes Paulus, Bergen op Zoom, Mourot, Michel, Netherlands, Verhoesen, Albertus, Ruins of the Poterne No. 12 gen.d Stoelemat in Bergen op den Zoom, caused by an explosion that occurred on 29 March 1831, Ruins of the Stoelemat laboratory in Bergen op Zoom, 1831, verso - stamped, Carrying away the victims and clearing away the rubble after the explosion in the gunpowder magazine of the Stoelemat laboratory in Bergen op Zoom, 29 March 1831., print, engraving, prints, engravings, Frederik Muller Historieplaten, height 345 mm, width 452 mm, Dutch, 1806-06-16 - 1881-02-24, print maker, printmaker, 1831 - 1831, paper, papier, lithografie (techniek), 1803-10-11 - 1847-07-27, intermediary draughtsman, naar drawing of, 1803-05-01 - 1841, printer

Utrecht, Houtman, Johannes Paulus, Bergen op Zoom, Mourot, Michel, Netherlands, Verhoesen, Albertus, Ruins of the Poterne No. 12 gen.d Stoelemat in Bergen op den Zoom, caused by an explosion that occurred on 29 March 1831, Ruins of the Stoelemat laboratory in Bergen op Zoom, 1831, verso - stamped, Carrying away the victims and clearing away the rubble after the explosion in the gunpowder magazine of the Stoelemat laboratory in Bergen op Zoom, 29 March 1831., print, engraving, prints, engravings, Frederik Muller Historieplaten, height 345 mm, width 452 mm, Dutch, 1806-06-16 - 1881-02-24, print maker, printmaker, 1831 - 1831, paper, papier, lithografie (techniek), 1803-10-11 - 1847-07-27, intermediary draughtsman, naar drawing of, 1803-05-01 - 1841, printer

James Baylis Allen, 1803-1876, British, St. Germains, 1835. Line engraving, engraver's proof.

James Baylis Allen, 1803-1876, British, St. Germains, 1834. Line engraving, engraver's proof.

James Baylis Allen, 1803-1876, British, Falls of the Rhine, 1832. Line engraving, engraver's proof on moderately thick, slightly textured, beige, wove paper, with gray chine colle.

Published by J & F Harwood, 1820s-1844, British, Sydney, New South Wales, 1842. Line engraving on medium, slightly textured, cream wove paper.

Jacob and Laban (Il Ponti), William Woollett, English, 1735 - 1785, Claude Lorrain, French, 1604 - 1682, Engraving on white paper, A broad landscape, with a river spanned by a seven-arched stone bridge. In the foreground, the schene of Jacob meeting Laban. Below, a coat of arms and engraver's, designer's and publisher's names and dates., England, 1783, figures, Print, Print

W. R. Smith, active 1819-1851, Richmond, Yorkshire, 1827-1838. Line engraving, engraver's proof (touched).

Robert Wallis, 1794-1878, British, St. Germain-en-laye, 1831. Line engraving on medium, smooth, beige, wove paper.

Print made by Samuel Palmer, 1805-1881, British, active in Italy (1837-39), Opening the Fold, 1880. Etching and drypoint, with plate tone on moderately thick, slightly textured, cream wove paper.

Etched by Joseph Mallord William Turner, 1775-1851, British, Ville de Thun, Switzerland, 1816. Etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper.

View of Pozzuoli, Anonymous, After Hendrick van Cleve, 1585 print View of the city of Pozzuoli and the ruins of the Flavian amphitheater. In the background the bay and some ships. The print is part of a series that depicts different places in the Mediterranean. print maker: Antwerpafter design by: Antwerppublisher: Haarlem paper engraving ruin of a building ~ architecture. city-view, and landscape with man-made constructions (+ city(-scape) with figures, staffage) Pozzuoli

William Richardson, active 1842-1877, British, Rouen - Distant View, 1836. Etching and engraving, first published state.

Zoutpannen in Haven Te Trapani, C. Lépine, After Louis Jean Desprez, 1785 print Numbered bottom left: No. 71. Sicile. France paper. ink etching / pen harbour. salt Trapani

William Radclyffe, 1780-1855, British, Nineveh, Moussul on the Tigris, 1835-1836. Line engraving, engraver's proof.

Landscape withh Phulmonon and construction's arcis, slabs Adamsz. Backs, After PSET Paul Rubes, 1596 - 1659 print Mercury and Jupiter stand with an older couple, Philemon and Baucis, on a hill and watch the landscape that is plagued by flooding and thunderstorms. The gods brought the couple to safety just in time. Philemon and Baucis have awakened the favor of the gods because they gave their hospitable recordings into their home and their food. Antwerp paper engraving Philemon and his wife Baucis hospitably entertain Jupiter and Mercury in travellers' guise; possibly a goose, which they try to kill for the occasion, flies to the visitors for refuge

William Byrne, 1743-1805, British, Untitled, 1765. Etching on moderately thick, slightly textured, cream wove paper.

George Cooke, 1781-1834, British, Pendennis Castle and Entrance of Falmouth Harbour, 1814-1826. Etching and line engraving on moderately thick, slightly textured, cream, wove paper.

William Bernard Cooke, 1778-1855, British, Plymouth, from Mount Batten, 1817. Etching and line engraving on thick, moderately textured, cream, wove paper.

James Charles Armytage, 1802-1897, British, Jumieges, 1834. Line engraving, Engraver's proof.

William Bernard Cooke, 1778-1855, British, Plymouth from Mount Batten, 1817. Etching and engraving, Engraver's proof (touched) on thick, slightly textured, cream, wove paper, with cream chine collé.

Sandy Knowe, or Smailholm Tower (Vignette), William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1851, Etching and engraving

Thomas Goff Lupton, 1791-1873, British, Dover, 1826-1828. Engraver's proof (b)(touched).

Kidwelly Castle, South Wales, Thomas Jeavons, ca. 1800-1867, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Line engraving, first published state

The market of Ehrenhausen and the gräb. Leslie's mountain lock. Le Bourg d'Ehrenhausen et Le Chteau des Comtes de Leslie.

Walter Woodbury, 1834-1885, British, Inverary Castle. Photomechanical process.

Voyage of Life: Childhood. James Smillie (Scotland, Edinburgh, active United States, 1807-1885). United States, 1849-1850. Prints; engravings. Engraving and etching

J. C. Varrall, active 1815-1827, Brinkburn Priory, 1832. Line engraving, 3rd state on moderately thick, slightly textured, beige, wove paper.

Terrace of St. Cloud (Terrasse de St. Cloud). Dated: 1833. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: Paul Huet.

Entree du port du Havre. 1640 - 1904. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. New York (State) , History

. Etching and aquatint in sanguine on ivory laid paper . Paul Sandby

Grenoble, from the Fortress, Print made by Samuel Bradshaw, 1830-1869, British, after Thomas Allom, 1804-1872, British, Published by Fisher, Son & Co., active 1821-1848, British, undated, Line engraving on medium, slightly textured, cream wove paper

View of the Carmes de Caussées at Lyon. Unknown Artist; French, 18th-19th centuries. Date: 1807. Dimensions: 208 × 306 mm (image); 242 × 347 mm (plate); 277 × 376 mm (sheet). Etching on paper. Origin: France. Museum: The Chicago Art Institute, USA. Author: UNKNOWN ARTIST.

William Bernard Cooke, 1778-1855, British, Crichton Castle, 1834. Line engraving, first published state.

Paris, Cadart & Luquet, Delâtre, Auguste, France, Appian, Jacques Barthélemy (Adolphe), Le village de Chanaz (Savoie), Riverbank along the city walls of Chanaz, Savoie, recto - embossed, Numbered top right: 229., print, prints, A. Cadart & Luquet, 79 R. Richelieu, Éditeurs, height 156 mm, width 234 mm, 1818 - 1898-04-29, print maker, printmaker, 1866 - 1866, paper, papier, etching, etchings, Frans, 1822 - 1907-07-26, printer, drukker, Publication (Event), Publication, publisher

Print made by James T. Willmore, 1800-1863, British, Mercury and Argus, 1841. Etching and line engraving; fourth state on moderately thick, slightly textured, cream wove paper.

Richmond Hill, Edward Goodall, 1795-1870, British, after Joseph Mallord William Turner, 1775-1851, British, 1826-1832, Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 12 × 17 5/16 inches (30.5 × 44 cm), Plate: 6 × 8 7/8 inches (15.2 × 22.5 cm), Chine collé: 5 5/16 × 8 3/8 inches (13.5 × 21.3 cm), and Image: 2 13/16 × 4 7/16 inches (7.1 × 11.3 cm)

after Clarkson Stanfield, 1793-1867, British, Treport, 1834. Line engraving on medium, slightly textured, cream wove paper.

Rouen - Distant View, William Richardson, active 1842-1877, British, after Joseph Mallord William Turner, 1775-1851, British, 1836, Etching and engraving, first published state

Print made by George Arnald, 1763-1841, British, Bouvignes and Dinant, 1822. Mezzotint and etching, printed in brown ink on moderately thick, moderately textured, cream laid paper.

Drachenfels W: Payne's universe. Presentation and description of the most beautiful areas, cities around the world, of portraits of excellent people, folklit scenes and genre pictures in excellent steel stings VII Tom, I zeszyt Witthoff, J., Payne, Albert Henry (1812 1902), publisher of the English artistry v. AH. Payne in Leipzig

On the Rhine (recto), and Mother and Child (verso) Written 1841 England. Brush and brown and gray wash, heightened with white gouache, over graphite (recto), and graphite (verso), on blue wove paper . Elizabeth Murray

View of Laps, Monogrammist J, After Bergen, 1750 - 1814 print paper etching harbour Genoa

Landing of Madame in Blaye. N ° 9. (IT)

Al pié del monte Catillo, detto monte della Croce a Tivoli. Dated: 1793. Dimensions: plate: 28.5 x 38 cm (11 1/4 x 14 15/16 in.) sheet: 39.2 x 49.2 cm (15 7/16 x 19 3/8 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Albert Christoph Dies.

Bay scene with fishermen in front of a city wall and castle, drawn in black, brown, gray, and blue with white highlights by Philips Koninck, revised by a later hand.

Andreas Pic de Leopold (Lithographer) (After Claude (Lorrain, byname of Claude Gellée)); José de Madrazo y Agudo (Director); Real Establecimiento Litográfico de Madrid (Printer) / 'The Finding of Moses'. 1832 - 1837. Lithographic aquatint, Crayon lithography, Pen lithography, Printing on japon, Scraper on wove paper. Museum: Museo del Prado, Madrid, España.

Robert Wallis, 1794-1878, British, Saumur, 1830. Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, with beige, chine colle.

Abbeville, John Horsburgh, 1791-1869, British, after Joseph Mallord William Turner, 1775-1851, British, 1836, Etching and engraving, engraver's proof

'It's Auld Ailie Hersell', James Charles Armytage, 1802-1897, British, after Joseph Mallord William Turner, 1775-1851, British, 1836, Line engraving, first published state

Pieskowa scale; Misierowicz, Alojzy (Ca 1825-Post 1900), Orda, Napoleon (1807-1883), Fajans, Maksymilian (Warsaw; Litographic and photographic inn; 1853-1892); 1881-1882 (1881-00-00-1882-00-00);Orda, Napoleon (1807-1883). The album of the historical views of Poland (1873-1883), Pieskowa Skała (Lesser Poland Voivodeship), Gothic (archite.), Polish graphics, unknown (provenance), Poland (culture), castles (architect.)

Coastal country chapter Met Perseus en Andromeda, Daniel Rabel, 1588 - 1637 print Numbered at the top right: 5. paper etching Perseus, riding on Pegasus, kills the sea monster

View of Champ-Verd, at Lyon, Jean Jacques de Boissieu, 1764 print France paper etching / drypoint landscapes (+ landscape with figures, staffage) Lyon

Plymouth Dock, from Mount Edgecumbe, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1820, Engraving and etching on moderately thick, slightly textured, cream, wove paper, Sheet: 11 5/16 × 16 13/16 inches (28.7 × 42.7 cm), Plate: 7 3/4 × 10 1/4 inches (19.7 × 26 cm), Chine collé: 7 5/8 × 10 1/4 inches (19.4 × 26 cm), and Image: 6 1/8 × 9 1/16 inches (15.6 × 23 cm)

The collapse of houses and the killing of people and animals in Erichem, by the water flood / l'Ecroulemen des Maisons et la mort's hommes (...), A. Lutz, After G. Groeneveld, 1809 print Flood in the streets of Erichem, January 1809. On the right a family on the ruins of a collapsed farm. Left people and animals in the water. At the bottom of the titles in Dutch and French separated by a blank weapon. Part of a series of four records of the flood of January 1809. print maker: Netherlandsafter drawing by: Netherlandspublisher: Amsterdampublisher: AmsterdamAmsterdam paper etching Dike-Break Erichem

Wild Zwijnenjacht, Jacques-Philippe Le Bas, After Philips Wouwerman, 1741 print Paris paper etching / engraving boar-hunting. hunters hunting (N.B.: In 1988-1990 this notation denoted the concept of 43C11421 'hunters resting during the hunt')

Ivy Bridge, Devonshire, Print made by James C. Allen, active 1821-1831, British, after Joseph Mallord William Turner, 1775-1851, British, 1816, Etching; open etching on medium, slightly textured, cream wove paper, Sheet: 12 1/2 × 17 5/8 inches (31.8 × 44.8 cm), Mount: 10 3/4 × 14 1/4 inches (27.3 × 36.2 cm), and Image: 8 1/4 × 11 3/4 inches (21 × 29.8 cm)

Print made by William Bernard Cooke, 1778-1855, British, Margate, 1822. Etching; open etching on medium, slightly textured, cream wove paper with chine-collé.

Tenczyn (Rudno). Fajans, Maksymilian (Warszawa ; zakład litograficzny ; 1853-1890), lithography atelier, Misierowicz, Alojzy (ca 1825-post 1900), graphic artist, Orda, Napoleon (1807-1883), draughtsman, cartoonist

Etched by Joseph Mallord William Turner, 1775-1851, British, Winchelsea, Sussex, 1812. Etching and mezzotint, printed in brown ink on medium, slightly textured, cream wove paper.

Vernon, James T. Willmore, 1800-1863, British, after Joseph Mallord William Turner, 1775-1851, British, 1835, Line engraving, engraver's proof (early)

East Gate, Winchelsea, Sussex, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by Samuel William Reynolds, 1773-1835, British, after Joseph Mallord William Turner, 1775-1851, British, 1819, Etching and mezzotint, printed in brown ink First published state on medium, slightly textured, cream laid paper, Sheet: 11 × 16 1/4 inches (27.9 × 41.3 cm), Plate: 8 × 11 3/8 inches (20.3 × 28.9 cm), and Image: 6 7/8 × 10 1/8 inches (17.5 × 25.7 cm)

Joseph Mallord William Turner and JC Easling, Hedging and Ditching, published 1812 Hedging and Ditching

Nazareth, Edward Francis Finden, 1791-1857, British, after Joseph Mallord William Turner, 1775-1851, British, 1836, Line engraving, first state

William Bernard Cooke, 1778-1855, British, East & West Looe, Cornwall, 1818. Etching and line engraving, early first proof on thick, slightly textured, cream, wove paper.

Print made by Henry Dawe, 1790-1848, British, River Meuse, undated. Mezzotint and etching on moderately thick, moderately textured, cream wove paper.

Ice cream face with a brick oven, Jacques Aliamet, After Nicolaes Pietersz Berchem, c. 1755 - c. 1760 print print maker: Franceafter painting by: Netherlands paper etching / engraving winter sports. winter landscape; landscape symbolizing winter (the four seasons of the year). bridge. housing

Vernon, James T. Willmore, 1800-1863, British, after Joseph Mallord William Turner, 1775-1851, British, 1835, Line engraving and etching

Kirkstall Abbey, on the River Aire, Print made by James Bromley, (or John ), 1801-1838, British, after Joseph Mallord William Turner, 1775-1851, British, 1823 to 1827, Mezzotint and soft ground etching

Sketches at Home and Abroad: General View of Trento, 1834. James Duffield Harding (British, 1798-1863). Lithograph with tint stone; sheet: 36 x 52.3 cm (14 3/16 x 20 9/16 in.); image: 26.3 x 39.4 cm (10 3/8 x 15 1/2 in.).

Fishermen at the Tiber, Jan Both, 1644 - 1652 print paper etching commercial fishery Tiber

Ehrenbreitstein, Robert Wallis, 1794-1878, British, after Joseph Mallord William Turner, 1775-1851, British, 1828, Line engraving, engraver's proof on thick, slightly textured, beige, wove paper, with gray, chine colle, Sheet: 11 13/16 × 17 3/16 inches (30 × 43.7 cm), Plate: 6 × 8 1/2 inches (15.2 × 21.6 cm), Chine collé: 5 13/16 × 8 3/16 inches (14.8 × 20.8 cm), and Image: 3 15/16 × 5 11/16 inches (10 × 14.4 cm)

River Meuse, Print made by Henry Dawe, 1790-1848, British, after George Arnald, 1763-1841, British, undated, Mezzotint and etching on moderately thick, moderately textured, cream wove paper, Sheet: 8 3/16 × 10 3/8 inches (20.8 × 26.4 cm) and Image: 6 7/16 x 8 13/16 inches (16.3 x 22.4 cm), boats, buildings, cliffs, figures, genre subject, houses, landscape, men, poles, river, riverbanks, rowing, sampans, shore (landform), trees, Europe, Meuse

Fox-hunting set of four: (3) Full Cry / Hounds Crossing the Brighton Road at Mersham, Dean Wolstenholme, 1798-1882, British, after Dean Wolstenholme, 1757-1837, British, no date, Aquatint, hand-colored, Sheet: 9 1/4 x 12 3/4in. (23.5 x 32.4cm)

Joseph Mallord William Turner and JC Easling, Winchelsea, Sussex, published 1812 Winchelsea, Sussex

Della Bella, Stefano (dit Étienne de la Belle) (n.1610-05-18-D.1664-08-22), landscapes and ruins of Rome. The triple waterfall. Seventh issue of a suite of 13 pieces. (A. de Vesme 825; Dutuit 127) (main title). Etching. Petit Palais, Museum of Fine Arts of the City of Paris.

Collection of Prints by Notable Dilettanti, Print made by unknown artist, Annotated by James Chelsum, 1738-1801, British, c. 1780, Etching

Rocky Landscape with a Man Walking to the Right, First Version, Hercules Segers, 1625 - 1630 print First version of the rocky landscape with a walker. Amsterdam paper. linen (material). deck paint etching / brush / drypoint rocks. walking, hiking (recreation)

This 1824 lithograph by Moritz von Schwind depicts a scene from Karl Theodor Körner's poem 'Harras the Springer', showing figures in narrative action.

Robert Brandard, 1805-1862, British, La Chaise de Gargantua near Duclair, 1834. Line engraving.

The Death and taking Say of the Stag, Robert Sheppard, active 1730-1740, British, after Jan Wyck, ca. 1645-1700, Dutch, active in Britain (from ca. 1664), no date, Line engraving, Sheet: 11 5/8 x 17 1/2in. (29.5 x 44.5cm)

William Miller, 1796-1882, British, Paris from Pere-la-Chaise, 1834. Etching and engraving, engraver's proof.

Joseph Mallord William Turner and Thomas Hodgetts, Lauffenbourgh on the Rhine, published 1811 Lauffenbourgh on the Rhine

Mannering, Hazlewood and Smugglers, William Finden, 1787-1852, British, after Joseph Mallord William Turner, 1775-1851, British, 1836, Engraver's proof, touched

Melun, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1835, Line engraving

William Miller, 1796-1882, British, Brussels - Distant View, 1834. Line engraving, engraver's proof.

James T. Willmore, 1800-1863, British, Okehampton, Devonshire, 1827-1838. Line engraving, first published state.

Pharamond Blanchard (Lithographer) (After Giaquinto, Corrado); José de Madrazo y Agudo (Director); Real Establecimiento Litográfico de Madrid (Printer) / 'Landscape with Hunters'. 1826 - 1829. Lithographic aquatint, Crayon lithography, Scraper on wove paper; 1826 - 1829. Lithographic aquatint, Crayon lithography, Scraper on wove paper. Museum: Museo del Prado, Madrid, España.

REPRESENTATION OF MOUNT VESUVIUS, AT THE SURREY ZOOLOGICAL GARDENS, UK, britain, british, europe, united kingdom, great britain, european

William Miller, 1796-1882, British, Rouen, from St. Catherine's Hill, 1834. Line engraving, engraver's proof.

The Fifth Plague of Egypt. Charles Turner (England, Woodstock, 1773-1857). England, 1808. Prints; etchings. Mezzotint and etching

Bliżej Kultury Hellmuth (Fl. CA 1840 1843), Dubois de Montpéreux, Frédéric (1798 1850), lithography of H. Nicolet (Neuchtel)

King William I meets the industrial Cockerill, 1829, Jean-Louis van Hemelryck, 1829 print King William I meets the industrialist John Cockerill and assures him that he always has money for the industry of the country. Standing on the banks of a lake with the former Summer Palace of the Prinsbishops of Liège in Seraing on the other side in which William Cockerill with his sons John and James established a large factory with cokes fired on cokes. With two -way caption. Part of the series of 24 records with meetings with King Willem I, published under the title 'Les RenContres' in 1829-1830. Brussels paper ruler in informal contact with his subjects. director, boss (in modern industry) Sery

At Marino, near Rome, Sir Richard Colt Hoare, 1758-1838, British, 1786 to 1819, Graphite, pen and brown ink, and brown wash on medium, slightly textured, cream laid paper, Sheet: 11 x 16 15/16 inches (27.9 x 43 cm), genre subject, Grand Tour, landscape, Marino, Rome

Solway Moss, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by Thomas Goff Lupton, 1791-1873, British, after Joseph Mallord William Turner, 1775-1851, British, 1816, Etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper, Sheet: 11 × 15 7/8 inches (27.9 × 40.3 cm), Plate: 8 1/4 × 11 1/2 inches (21 × 29.2 cm), and Image: 7 3/8 × 10 5/8 inches (18.7 × 27 cm)

Print made by James T. Willmore, 1800-1863, British, Okehampton. Line engraving; engraver's proof on medium, slightly textured, cream wove paper.

Robert Wallis, 1794-1878, British, Saumur, 1830. Line engraving on medium, slightly textured, cream, wove paper.

Abbotsford, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1847, Line engraving

Bonneville, Savoy (Liber Studiorum, part XIII, plate 64) January 1, 1819 Designed and published by Joseph Mallord William Turner British Turner distilled his ideas about landscape In "Liber Studiorum" (Latin for Book of Studies), a series of seventy prints plus a frontispiece published between 1807 and 1819. To establish the compositions, he made brown watercolor drawings and, usually etched the design onto the printing plate. Here, unusually, Dawe is believed to have undertaken the preliminary etched stage, then turned the plate over to Turner who added the mezzotint tone. The image centers on a stretch of river in a southeastern region of France bordering Switzerland, with the water receding towards an arched bride shadowed by mountains near a medieval town. The artist debated whether to place the design in his EP (Epic Pastoral) or Mountainous category, but eventually decided on the latter, as indicated by the letter "M" in the upper margin.. Bonneville, Savoy (Liber Studiorum, part

Sèvres, Print made by Edward Francis Finden, 1791-1857, British, after Robert Batty, 1789-1848, British, Published by Rodwell & Martin, active 1819-1835, British, 1820, Etching and line engraving on medium, slightly textured, cream wove paper with cream chine-collé

Marine sketch, Henry William Parish, active 1792, 1792, Watercolor, graphite, and pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 3 11/16 × 9 3/16 inches (9.3 × 23.3 cm)

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