19th Century Landscape Engravings

Detailed engravings showcasing British landscapes, architectural ruins, and natural scenery, emphasizing tonal contrasts and atmospheric effects.

Plate 8: A the bow of a galley at left and another galley at right, seen from behind, two rowboats in center, a hill with a fortress in the background, from 'Various landscapes' (Divers paysages) ca. 1641 Stefano della Bella Italian. Plate 8: A the bow of a galley at left and another galley at right, seen from behind, two rowboats in center, a hill with a fortress in the background, from 'Various landscapes' (Divers paysages). 'Various landscapes' (Divers paysages). Stefano della Bella (Italian, Florence 1610-1664 Florence). ca. 1641. Etching; second state of two. Israël Henriet (French, Nancy ca. 1590-1661 Paris). Prints

Edward Goodall, 1795-1870, British, Rievaulx Abbey, Yorkshire, 1827-1838. Open etching.

St. Mawes, Cornwall, Print made by James C. Allen, active 1821-1831, British, after Joseph Mallord William Turner, 1775-1851, British, 1814 to 1826, Etching; open etching on medium, slightly textured, cream wove paper with chine-collé, Sheet: 10 3/4 × 15 1/2 inches (27.3 × 39.4 cm), Plate: 9 × 12 inches (22.9 × 30.5 cm), and Image: 5 3/4 × 8 5/8 inches (14.6 × 21.9 cm)

Richmond, Yorkshire, W. R. Smith, active 1819-1851, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Line engraving, engraver's proof (touched)

Robert Wallis, 1794-1878, British, Trematon Castle, Cornwall, 1827-1838. Line engraving, engraver's proof (touched).

Print made by Frederick Christian Lewis the Elder, 1779-1856, British, New Weir on the Wye (replica reversed), 1825. Mezzotint and etching.

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

Print made by William Miller, 1796-1882, British, Modern Italy, 1842. Etching and line engraving with graphite; early engraver's proof, touched on thick, slightly textured, beige wove paper with cream chine-collé.

"Etching and copper engraving by Pieter Bruegel the Elder from 1555-1556 depicting rural trade, showing market stalls, vendors, goods, animals, and villagers in a village setting."

Plate 8: A the bow of a galley at left and another galley at right, seen from behind, two rowboats in center, a hill with a fortress in the background, from 'Various landscapes' (Divers paysages) ca. 1641 Stefano della Bella Italian. Plate 8: A the bow of a galley at left and another galley at right, seen from behind, two rowboats in center, a hill with a fortress in the background, from 'Various landscapes' (Divers paysages). 'Various landscapes' (Divers paysages). Stefano della Bella (Italian, Florence 1610-1664 Florence). ca. 1641. Etching; second state of two. Israël Henriet (French, Nancy ca. 1590-1661 Paris). Prints

Hythe, Kent, Print made by George Cooke, 1781-1834, British, after Joseph Mallord William Turner, 1775-1851, British, 1824, Etching and line engraving; first published state india paper on medium, slightly textured, cream wove paper with chine-collé, Sheet: 11 1/2 × 16 7/8 inches (29.2 × 42.9 cm), Plate: 9 1/2 × 12 1/4 inches (24.1 × 31.1 cm), Chine collé: 9 3/8 × 12 1/8 inches (23.8 × 30.8 cm), and Image: 6 × 9 1/4 inches (15.2 × 23.5 cm)

Dughet, Gaspard, unknown, Glauber, Johannes, Landscapes after Gaspar Poussin, Hilly landscape with two bathers, verso under - stamped, Hilly landscape with a house in the distance. In the foreground two bathers enjoying the sun. The print is part of a series of landscapes after paintings by Gaspar Poussin., print, prent, prints, prenten, height 294 mm, width 389 mm, 1646 - 1726, print maker, prentmaker, 1656 - 1726, paper, papier, etching, etchings, French, Italian, 1615-06-07 - 1675-05-25

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

Print made by William Miller, 1796-1882, British, Coombe-Martin, Devonshire, 1814 to 1826. Etching and line engraving; first published state india paper on medium, slightly textured, cream wove paper with chine-collé.

Bridge of Salaro. Jacob Wilhelm Mechau; German, 1745-1808. Date: 1793. Dimensions: 245 x 356 mm (image); 280 x 380 mm (plate); 329 x 452 mm (sheet). Etching on paper. Origin: Germany. Museum: The Chicago Art Institute, USA.

William Finden, 1787-1852, British, Mount Lebanon and the Convert of St. Antonio, 1836. Line engraving.

Crickieth Catle, North Wales, S. Fisher, active 1831-1844, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Line engraving, first published state

Pharamond Blanchard (Lithographer) (After Both, Jan); José de Madrazo y Agudo (Director); Real Establecimiento Litográfico de Madrid (Printer) / 'Taking the Cattle out'. 1826 - 1829. Lithographic aquatint, Crayon lithography, Printing on japon, Scraper on wove paper; 1826 - 1829. Lithographic aquatint, Crayon lithography, Printing on japon, Scraper on wove paper. Museum: Museo del Prado, Madrid, España.

The Dromos, Athens. Dated: 1758. Dimensions: sheet: 30.9 x 46.4 cm (12 3/16 x 18 1/4 in.). Medium: etching on laid paper proof. Museum: National Gallery of Art, Washington DC. Author: Jacques Philippe LeBas after Julien David Le Roy.

Print made by William Miller, 1796-1882, British, Dryburgh, 1834. Line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-collé.

Artists at work at River near Ruins, Nicolas Perelle, After Jan Asselijn, 1627 - 1655 print Numbered in the bottom right: 3. paper etching / engraving landscape with ruins (+ city(-scape) with figures, staffage). artist at work, in his workshop - BB - out of doors Temple of the Tiburtine Sibille

Oval landscape near Rome, woman with basket on her head in the left foreground. 1863. Chapman, J. G. (John Gadsby), 1808-1889. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

No title. (Landscape with ferry crossing river.) prints, etchings, landscapes, works on paper

Blenheim, Oxfordshire, William Radclyffe, 1780-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Line engraving, first published state

The Tour-sans-Venin, Dauphiné Region Artist's working dates 1818-1863 England. Lithotint on paper . James Duffield Harding

River Wye (Liber Studiorum, part X, plate 48) May 23, 1812 Designed and etched 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, then etched outlines onto copper plates. Professional engravers usually developed the tone under Turner's direction, and Annis here added mezzotint to evoke a peaceful evening on the River Wye with the sun settng behind Chepstow Castle (the latter also appears in "The Junction of the Severn and the Wye," no. 28 in the Liber). It is as though the artist decided to produce a perfect example of the Picturesque, a kind of landscape much debated in eighteenth-century Britain. Characteristic elements include the pleasing irregularity of the ruined castle over the looping river, and smudge of smoke produced by a charcoal burner, as placid c

Voyages pittoresques et romantique dans l'ancienne France: Vue generale de Riom, Auvergne, 1829. Adrien Dauzats (French, 1804-1868). Lithograph;

$William Bernard Cooke, 1778-1855, British, Ilfracombe, North Devon, 1818. Etching and line engraving on moderately thick, moderately textuerd, cream, wove paper.$

Addingham Mill on the Warfe, James C. Allen, active 1821-1831, British, after Joseph Mallord William Turner, 1775-1851, British, 1821, Open etching and line engraving on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 12 × 17 1/4 inches (30.5 × 43.8 cm), Plate: 7 1/4 × 9 inches (18.4 × 22.9 cm), Chine collé: 7 × 8 7/8 inches (17.8 × 22.5 cm), and Image: 5 1/8 × 7 1/4 inches (13 × 18.4 cm)

None, Print made by Edward Francis Finden, 1791-1857, British, after Clarkson Stanfield, 1793-1867, British, Published by Charles Tilt, active c.1815-1853, British, 1832, Line engraving and etching on medium, slightly textured, cream wove paper

Joseph C. Bentley, 1809-1851, British, Rievaulx Abbey - from LIII - 'The Gallery of Modern British Artists' 1834-1836, 1834-1836. Line engraving.

S. Fisher, active 1831-1844, Crickieth Castle, North Wales, 1827-1838. Line engraving, engraver's proof (touched).

Elle estMorte. Artist: Paul Gavarni, French, 1804-1866

James Baylis Allen, 1803-1876, British, Loch-Leven Castle, 1844. Line engraving.

Saint Beat, Upper Garonne, Print made by Arthur Willmore, 1814-1888, British, after Thomas Allom, 1804-1872, British, undated, Line engraving on medium, slightly textured, cream wove paper

The Fountain, No. 1: The Wounded Indian Slaking His Death Thirst 1843 Thomas Cole American Cole, the founder of the Hudson River School of landscape painting, drew this study for a series (never realized) of paintings based on William Cullen Bryants poem “The Fountain” (1839). The poem evokes several eras of American civilization through incidents that occur at a forest stream. In this scene, a wounded brave (modeled after the Hellenistic sculpture known as the "Dying Gaul," which Cole had seen in Rome) symbolizes the plight of many American Indians in an era of forced relocation.Bryants verse reads in part: "I behold/The Indian warrior, whom a hand unseen/Has smitten with his death-wound in the woods,/Creep slowly to thy well-known rivulet,/And slake his death-thirst.". The Fountain, No. 1: The Wounded Indian Slaking His Death Thirst. Thomas Cole (American, Lancashire 1801-1848 Catskill, New York). American. 1843. Graphite and white gouache on green wove paper

Print, Second View of Pyrmont in Waldeck; England; engraving on paper; Plate: 37.8 × 45.7 cm (14 7/8 in. × 18 in.) Paper: 40.6 × 48.5 cm (16 in. × 19 1/8 in.); 1957-41-180

Print made by William Woollett, 1735-1785, British, Celadon and Amelia, 1766. Line engraving and etching on moderately thick, moderately textured, cream wove paper.

Second View of Mount Cenia ca. 1750-1800 After Joseph Vernet. Second View of Mount Cenia. After Joseph Vernet (French, Avignon 1714-1789 Paris). ca. 1750-1800. Engraving. Jacques II Chereau (French, Blois 1688-1776 Paris). Prints

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

William Bernard Cooke, 1778-1855, British, Falmouth, Cornwall, 1815. Etching and engraving, engraver's Proof on thick, moderately textured, cream, laid paper.

Voyages pittoresques et romantiques dans l'ancienne France, Franche-Comté: Ruines du chteau d'Arlay, 1825. Richard Parkes Bonington (British, 1802-1828). Lithograph;

Francois Vivares, 1709-1780, French, Untitled. Engraving.

Italianate Mountain Landscape with Herders and Cattle, and Two Figures in a Boat Crossing the River, Hendrik van der Straaten (attributed to), c. 1687 - c. 1689 drawing Haarlem (possibly) paper. ink. chalk brush landscapes with waters, waterscapes, seascapes (in the temperate zone). cattle driving, cattle driver

James T. Willmore, 1800-1863, British, Montjen, 1833. Line engraving, engraver's proof.

Whale flushed between Zandvoort and Wijk aan Zee, 1762; Showing a Cachelot the Feb 20. 1762 Driven between Zandvoort and Wyk at sea. Large 61 feet 6 Duym. The body of a sperm whale washed up on the beach between Zandvoort and district by the sea, 20 February 1762. A man has climbed on the animal to measure it. With a few visitors, right makes a draftsman a drawing of the animal. On the left the dunes. At the bottom of a nurse drapery on which the title and signature.

Grobowiec antyczny, na pierwszym planie pasące się stado. Reinhart, Johann Christian (1761-1847), graphic artist

Rocking with the city of Vernon-sur-Seine in the distance, Franz Edmund Weirotter, 1740-1771 print Landscape with a group of figures at a rock in the foreground. A man Meert near his rowing boat. Behind this man, the city of Vernon-sur-Seine is visible. paper engraving / etching river. prospect of city, town panorama, silhouette of city Vernon

James C. Allen, active 1821-1831, British, Dunwich, Suffolk, 1819-1826. Etching and engraving on moderately thick, slightly textured, cream, wove paper, with gray chine colle.

Plate 13: ruins of a temple in a Roman landscape, from 'Roman landscapes and ruins' (Paysages et ruines de Rome) ca. 1646 Stefano della Bella Italian For comments on the series, see 17.50.17-234.. Plate 13: ruins of a temple in a Roman landscape, from 'Roman landscapes and ruins' (Paysages et ruines de Rome). Stefano della Bella (Italian, Florence 1610-1664 Florence). ca. 1646. Etching; fourth state of nine (Talbierska). François Langlois (French, baptized Chartres, 1588-1647 Paris). Prints

Etched by Joseph Mallord William Turner, 1775-1851, British, Bonneville, Savoy, 1816. Etching and mezzotint, printed in brown ink First published state on medium, slightly textured, cream laid paper.

Landscape with Two Figures Anonymous, French, 17th century French. Landscape with Two Figures 343669

William Bernard Cooke, 1778-1855, British, Parnassus, 1821. Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove paper, with cream, chine colle.

Giovanni Battista Borra, 1713-1770, Italian, Aquedotto Angolare, ca. 1750. Gray wash with black and brown ink over graphite on moderately thick, moderately textured, beige laid paper.

Loch Leven Castle, James Baylis Allen, 1803-1876, British, after Joseph Mallord William Turner, 1775-1851, British, 1836-1837, Engraving

W. R. Smith, active 1819-1851, Lago Maggiore, 1828-1837. Line engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, with cream, chine colle.

Norham Castle on the Tweed, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by Charles Turner, 1774-1857, 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 1/4 × 16 7/8 inches (28.6 × 42.9 cm), Plate: 8 1/4 × 11 1/2 inches (21 × 29.2 cm), and Image: 7 × 10 1/4 inches (17.8 × 26 cm)

Pieskowa Skała View Pieskowey Skały Vue de Pieskowa Skała Frey, Johann Zachariasz (1769 1829)

Etched by Joseph Mallord William Turner, 1775-1851, British, Mt. St. Gothard, 1808. Etching and mezzotint, printed in brown ink Engraver's proof (a) on medium, slightly textured, cream laid paper.

Edinbourgh vu de la Chapelle S. Antoine, Print made by Richard Parkes Bonington, 1802-1828, British, after Francois Alexandre Pernot, 1793-1865, French, Printed by François le Villain, active 1824-1835, French, ca. 1826, Lithograph on moderately thick, smooth, cream wove paper, Sheet: 10 7/16 x 13 3/16 inches (26.5 x 33.5 cm) and Image: 6 5/16 x 9 inches (16 x 22.8 cm), arches, bridge (built work), buildings, city, cityscape, clouds, cows, farmers, hills, homes, landscape, men, mountains, paths, peasants, plants, rocks (landforms), smoke, spires, staffs (walking sticks), view, women, Edinburgh, Scotland, United Kingdom

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

Face by Chatsworth in Derbyshire, draughtsman: Jan Siberechts, , 1694, paper, brush, h 212 mm × w 364 mm

Ruins of Castle-Gloom, Print made by Thomas Medland, 1755-1823, British, Published by Longman, active 1804-1914, British, after Alexander Campbell, 1764-1824, British, 1802, Aquatint on medium, slightly textured, cream wove paper

Pont forme par deux pierres curvilignes. 3e Expédition, Planche VI. Prints. 1834 - 1836. General Research Division

Three Figures in a Hilly Landscape with Ruins, beyond, Rev. William Gilpin, 1724-1804, British, between 1745 and 1748, Gray wash with pen and brown ink over graphite on medium, moderately textured, cream laid paper, Sheet: 4 7/16 x 6 3/4 inches (11.3 x 17.1 cm), figures, hills, landscape, mountains, ruins

Monuments in Easter Island, circa 1777, London, by William Woollett, William Hodges. Bequest of Charles Rooking Carter, 1896.

Hedging and Ditching, plate 47 from Liber Studiorum Published 1812 England. Etching and engraving in brown on ivory laid paper . Joseph Mallord William Turner

Old Sarum 1830 David Lucas British In 1827, Constable began work on the project that would occupy his attention until his death seven years later: the publication of a series of prints based on his paintings that would stand as a summary of his achievements. The painter collaborated closely with the engraver David Lucas to create prints that would illustrate Constable's didactic intentionto illustrate the "chiaroscuro of nature." The medium of mezzotint, in which the design is developed from dark to light using a wide range of velvety tones, was eminently suited to the project.. Old Sarum. David Lucas (British, Northamptonshire 1802-1881 London). 1830. Mezzotint with drypoint; proof before published state. Prints

Landscape with a tunnel, Pieter Nolpe, Claes Jansz. Visscher (II), 1623 - 1653

Robert Brandard, 1805-1862, British, Graville, 1834. Line engraving.

FortBenton. Artist: John Mix Stanley, American, 1814-1872

Anonymous 18th-century drawing depicts the Rhine with the Ehrenbreitstein fortress and part of Coblenz, executed in black, gray, and light brown ink and wash on brownish paper.

Travelers raided by a storm at Castle Doorwerth. Draughtsman: Cornelis van Hardenbergh (mentioned on object). Dating: 1765 - 1843. Measurements: h 320 mm × w 441 mm. Museum: Rijksmuseum, Amsterdam.

Dartmouth, Devon, William Bernard Cooke, 1778-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1814, Etching and engraving, 1st state on moderately thick, slightly textured, cream, wove paper, Sheet: 8 1/2 × 12 inches (21.6 × 30.5 cm) and Image: 5 13/16 × 8 9/16 inches (14.8 × 21.7 cm)

Print made by James C. Allen, active 1821-1831, British, St. Mawes, Cornwall, 1814 to 1826. Etching; open etching on medium, slightly textured, cream wove paper with chine-collé.

W. R. Smith, active 1819-1851, Dartmouth Cove, 1827-1838. Line engraving, engraver's proof.

Drawing, Stage Design, Rocky Valley with Buildings; Designed by Romolo Achille Liverani (Italian, 1809 - 1872); After Alessandro Sanquirico (Italian, 1777 - 1849); Italy; pen and sepia ink, brush and wash on paper

Jacob More, 1740-1793, British, A View at Terracina, 1778. Watercolor with pen and black ink over graphite on moderately thick, slightly textured, cream laid paper in contemporary laid paper insert with pen and black ink, and gray wash boader.

Amsterdam, Gogh, Cornelis Marinus van, The Hague, Lankhout & Co, Samuel, Netherlands, Bauer, Marius, The Sirocco blows, Cartoon on the Italian losses in the battle of Adowa on 1 March 1896 during the war with Ethiopia (Abyssinia). In the centre the Italian king Umberto I almost loses his crown in the wind, on the right lies defeated on the ground the Italian prime minister Franceso Crispi. On the left in the clouds the victorious Ethiopian Negus. Published in the supplement of 'De Kroniek' of March 15, 1896., print, prent, cartoon, prints, prenten, height 305 mm, width 405 mm, Dutch, 1867-01-25 - 1932-07-18, print maker, printmaker, 1896-03-15 - 1896-03-15, fourth quarter 19th century, paper, papier, lithografie (techniek), printer, drukker, Publication (Event), Publicatie, 1824-03-15 - 1908-09-03, publisher

Teled op Bad Schwalbach, Ludwig Friedrich Schnell, after Ernst Fries, 1800 - 1834 print print maker: Germanypublisher: Heidelberg paper steel engraving / etching landscapes Bad Schwalbach

The Death of Aeschylus 1576-before 1606 Tobias Verhaecht Netherlandish According to legend, the Greek playwright Aeschylus met a tragic death: one day, an eagle that had just caught a tortoise mistook Aeschyluss bald head for a shiny rock, and accidentally killed the author by dropping the animal onto him. Tobias Verhaecht depicted this bizarre event in this drawing that was probably intended as a design for a stained glass window. In the upper left, the eagle hovers above the unsuspecting writer, sitting by the waterside.The narrative occupies only a small part of the composition, for the circular drawing is dominated mainly by the outstretched coastal landscape. This is typical feature of the art of the time, as landscape was increasingly given greater prominence relative to biblical or historical narratives, and would eventually develop into an independent genre. The birds eye perspective with its high horizon equally was a common compositional structure in sixteenth-century Nethe

View of Houston. Date/Period: 1844/1848. Watercolor on wove rag paper with gelatin highlights on secondary support of wove paper. Author: J. Kick.

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

W. R. Smith, active 1819-1851, Richmond, Yorkshire, 1819. Etching and line engraving on moderateely thick, slightlyt extured, cream, wove paper, with cream, chine colle.

Reproduction of a painting: Brzozowski, Feliks (1836-1892), Small church in the Tatra mountains; from: "Kłosy" 1878, II, 129. unknown, draughtsman, cartoonist, Kłosy (Warszawa ; drzeworytnia ; 1865-1890), publisher, Telakowski, Jan (fl. ca 1876-ca 1898), woodcutter

Joseph Mallord William Turner, The Fifth Plague of Egypt, June 10, 1808, Etching and mezzotint printed in brown inks.

Rhodes, S. Fisher, active 1831-1844, after Joseph Mallord William Turner, 1775-1851, British, 1835-1836, Line engraving, engraver's proof

Johann Christoph Erhard and Johann Adam Klein after Carl Ludwig Friedrich Viehbeck, Radstadt near Tauern, 1818 Radstadt near Tauern

Albert Christoph Dies, Cascatella di Tivoli, 1792 Cascatella di Tivoli

Robert Wallis, 1794-1878, British, Barnard Castle, Durham, 1827. Line engraving and etching, 3rd state on moderately thick, slightly textured, cream, wove paper.

Etched by Joseph Mallord William Turner, 1775-1851, British, Little Devil's Bridge over the Russ above Altdorft, Switzerland, 1809. Etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper.

The Fifth Plague of Egypt, plate 16 from Liber Studiorum Published 1808 England. J. M. W. Turnerís paintings epitomized the sublime, a sense of awe-inspiring beauty beyond simple loveliness. His evocative etching and mezzotint print series, the Liber Studiorum (1807ñ19), was just as influential. Printed in sepia lines and tonal areas evoking Old Master drawing ink and modeling, Turnerís series of 71 prints is an extended ode to the landscape. The letters above each work designate the subject type, including architectural (A), pastoral (P) and elevated pastoral (EP), and historical (H), marine (M), and mountainous (M). Turnerís exhaustive categories inspired John Constable to produce a further-specialized mezzotint series of 22 English landscapes.. Mezzotint and etching in brown on ivory wove paper . Joseph Mallord William Turner

Ehrenbreitstein, John Pye, 1782-1874, British, after Joseph Mallord William Turner, 1775-1851, British, 1828, Line engraving, engraver's proof on moderately thick, slightly textured, beige, wove paper, Sheet: 11 3/8 × 16 15/16 inches (28.9 × 43 cm), Plate: 5 × 7 1/2 inches (12.7 × 19.1 cm), and Image: 2 3/4 × 4 1/4 inches (7 × 10.8 cm)

Egypt and Nubia, Volume II: Hermont, Ancient Hermonthis, 1848. Louis Haghe (British, 1806-1885), F.G.Moon, 20 Threadneedle Street, London, after David Roberts (Scottish, 1796-1864). Color lithograph; sheet: 36.9 x 43 cm (14 1/2 x 16 15/16 in.); image: 25.5 x 35.2 cm (10 1/16 x 13 7/8 in.).

Le Rocher du Moine. Zaleski, Bronisław (1820-1880), graphic artist, Beillet (Paryż ; wydawnictwo ; ca 1850-ca 1875), publishing house, Szewczenko, Taras (1814-1861), draughtsman, cartoonist

Noah's ark and all its compartments displayed. Etching by J. Mynde.

Samuel Davis, 1757-1819, British, Two Men with Telescope Looking Across A River, 1777. Watercolor, pen and black ink, gray ink and graphite on moderately thick, moderately textured, blued white, laid paper, mounted on, moderately thick, moderately textured, cream, laid paper.

Clairmont, James T. Willmore, 1800-1863, British, after Joseph Mallord William Turner, 1775-1851, British, 1833, Line engraving, engraver's proof

Gezicht op Kus van Gaeta en mausoleum van Munatius Plancus (Lucio Munazio Planco), 1778 drawing Drawing from the album 'Voyage and Italy, and Sicile et à Malte', 1778. paper. chalk. watercolor (paint) brush

Loch Leven Castle, James Baylis Allen, 1803-1876, British, after Joseph Mallord William Turner, 1775-1851, British, 1836-1837, Line engraving, engraver's proof, touched

Clinton Fire Company, No. 41. Dated: 1826. Dimensions: image: 189 x 173 mm sheet: 246 x 195 mm. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: William H. Tuthill.

of 3