Classic Landscapes with Figures

Etchings of serene landscapes featuring people interacting with nature, showcasing ruins, rivers, and rural settings from historical periods.

Large Landscape with Jakob and Laban, William Woollett, After Claude Lorrain, After Joseph Farington, 1783 print Landscape with a large bridge. print maker: Englandpublisher: London paper etching / engraving the partnership with Laban ~ story of Jacob (Genesis 30:25-43)

Landscape with walking man and wife at Ruins, Nicolas Perelle, 1613 - 1695 print publisher: Parispublisher: ParisFrance paper etching / engraving landscape with ruins

Artist: Fabio Berardi, Italian, 1728-1788, After: Francesco Zuccarelli, Italian, 1702-1788, Luso che mai non puo!…., Etching, image: 30.9 × 45.5 cm (12 3/16 × 17 15/16 in.), Italian, 18th century, Works on Paper - Prints

Sorge il Mattino, e ad util opre invita. Reinhart, Johann Christian (1761-1847), graphic artist

Landscape with the sentence: Sorge il mattino, e ad util opre invita; Reinhart, Johann Christian (1761-1847); 1795 (1795-00-00-1795-00-00);Schlesisches Museum der Bildenen Künste (Wrocław - 1880-1945) - collection, architectural fantasies, landscapes, shepherds, landscapes, mountain landscapes, herds, staff, relay, water

Large Landscape with Jakob and Laban, William Woollett, After Claude Lorrain, After Joseph Farington, 1783 print Landscape with a large bridge. print maker: Englandpublisher: London paper etching / engraving the partnership with Laban ~ story of Jacob (Genesis 30:25-43)

Dido and Aeneas; The Morning of the Chase, Print made by W. R. Smith, active 1819-1851, after Joseph Mallord William Turner, 1775-1851, British, 1842, Etching and line engraving with graphite; engraver's proof (a), touched on thick, slightly textured, cream wove paper with cream chine-collé, Sheet: 21 1/8 × 28 1/8 inches (53.7 × 71.4 cm), Chine collé: 20 3/8 × 27 3/4 inches (51.8 × 70.5 cm), and Image: 16 1/8 × 24 1/8 inches (41 × 61.3 cm), arches, bridges, buildings, cityscape, columns, horses (animals), landscape, men, religious and mythological subject, river, spears, trees, vegetation, women

Aquiles Parboni (Lithographer) (After Claude (Lorrain, byname of Claude Gellée)); José de Madrazo y Agudo (Director); Real Establecimiento Litográfico de Madrid (Printer) / 'Ford of a River'. 1826 - 1829. Lithographic aquatint, Crayon lithography, Pen lithography, Printing on japon, Scraper on wove paper; 1826 - 1829. Lithographic aquatint, Crayon lithography, Pen lithography, Printing on japon, Scraper on wove paper. Museum: Museo del Prado, Madrid, España.

A Fishing Smack with a Boat (Dutch Boat in a Gale), James Fittler, 1758-1835, British, after Joseph Mallord William Turner, 1775-1851, British, 1808-1818, Engraving, engraver's proof, Sheet: 9 1/4 x 12in. (23.5 x 30.5cm)

Shepherds and rider at a bridge, Nicolas Perelle, 1613 - 1695 print Numbered in the bottom right: 2. publisher: Parispublisher: ParisFrance paper etching / engraving landscape with bridge, viaduct or aqueduct. herd, flock

Landscape with musician shepherds and goats that fall from a cliff, Richard Earlom, After Claude Lorrain, 1774 print London paper etching making music; musician with instrument - CC - out of doors. landscape with tower or castle. landscape with bridge, viaduct or aqueduct. inland cliff face (+ landscape with figures, staffage)

Landscape with stone bridge and four figures that consume their meal, Richard Earlom, after Claude Lorrain, 1774 print London paper etching picnic, alfresco, 'déjeuner sur l'herbe'. landscape with bridge, viaduct or aqueduct. river

Print made by James C. Allen, active 1821-1831, British, Ivy Bridge, Devonshire, 1816. Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-collé.

Landscape with Ruins, from a series of4. Artist: Fabio Berardi, Italian, 1728-1788 After: Giuseppe Zais, Italian, 1709-1781

No. 65. Lorrain, Claude, 1600-1682. Prints. 1777 - 1819. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Drawing, French

Blenheim, Oxfordshire, William Radclyffe, 1780-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Open etching

No. 82. Lorrain, Claude, 1600-1682. Prints. 1777 - 1819. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Drawing, French

Sir George Howland Beaumont seventh Baronet, 1753-1827, British, Larici, 1782. Graphite and gray wash on medium, slightly textured, blued white laid paper, mounted on moderately thick, slightly textured, cream, wove paper.

Etched by Joseph Mallord William Turner, 1775-1851, British, Bridge and Cows, 1807. Etching and mezzotint, printed in brown ink First published state on medium, slightly textured, cream laid paper.

Heuvellandschap with two shepherds who visit a grave, Maria Catharina Prestel, After Thomas Gainsborough, 1790 print Text in English in the lower margin. London paper churchyard, cemetery. low hill country (+ landscape with figures, staffage). herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.

Jacob More, 1740-1793, British, View Near the Mill Looking Toward Licenza: Horace's Villa on the Left, 1783. Gray wash with pen and black ink, watercolor and graphite on moderately thick, slightly textured, cream laid paper, in contemporary wove paper insert with wash boader.

No. 124. Lorrain, Claude, 1600-1682. Prints. 1777 - 1819. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Drawing, French

Artist: James Newton, American, After: William Pierrie, American, A View of Boston taken on the road toDorchester, Line engraving, black and white, sheet: 58.5 × 83.5 cm (23 1/16 × 32 7/8in.), Made in United States, American, 18thcentury, Works on Paper -Prints

Landscape with a view of ruins of Corinthe, Claude-Félix-Théodore Caruelle d'Aligny, 1845 print France paper. etching landscape with ruins Corinth.

Classical Landscape with Hunters in the Foreground. Artist: Giovanni Battista ("Titta") Lusieri (Italian, Rome 1754-1821 Athens). Dimensions: 13-9/16 x 19-5/16 in. (34.5 x 49.0 cm) (overall)32.4 x 46.7 cm. (the drawing, excluding the border). Date: 1755-1821. Museum: Metropolitan Museum of Art, New York, USA.

A Boy with Three Goats. Artist: Johann Christoph Erhard (German, Nuremberg 1795-1822 Rome). Dimensions: plate: 6 1/8 x 7 11/16 in. sheet: 9 3/8 x 12 1/2 in.. Date: 1815. Museum: Metropolitan Museum of Art, New York, USA. Author: Johann Christoph Erhard.

No. 53. Lorrain, Claude, 1600-1682. Prints. 1777 - 1819. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Drawing, French

Mountainous landscape with hunter and shepherd at sunset, Richard Earlom, after Claude Lorrain, 1775 print London paper etching hunter. herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.. sunset. watermill in landscape. mountains - HH - ideal landscapes

Leaving Home, Edward Alfred Goodall, 1819-1908, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Line engraving on moderately thick, slightly textured, beige, wove paper, with beige, chine colle, Sheet: 17 1/4 × 11 7/8 inches (43.8 × 30.2 cm), Plate: 11 1/2 × 5 15/16 inches (29.2 × 15.1 cm), Chine collé: 11 3/16 × 5 5/8 inches (28.4 × 14.3 cm), and Image: 2 3/4 × 3 1/2 inches (7 × 8.9 cm)

View of Philadelphia. 28 Nov. 1777. Robertson, Archibald, approximately 1745-1813. 1778. Drawings. Spencer Collection. Armies , British , To 1799, Military officers , Personal narratives, War in art, United States , History , Revolution, 1775-1783, Campaigns & battles, Philadelphia (Pa.), Harbors, Artists , United States

unknown, France, Langlois, François, Bella, Stefano della, Paysages et ruines de Rome, Landscapes and ruins at Rome, Landscape with herd and Corinthian capital, verso - stamped, A landscape with two shepherds, goats, cows and a horse by a fountain. In the foreground is a Corinthian capital. In the background ruins., print, prints, height 134 mm, width 134 mm, Italian, 1610-05-18 - 1664-07-27, print maker, printmaker, 1620 - 1664, paper, papier, etching, etchings, Work conception, after own design by, Publication (Event), Publication, French, 1589-05-12 - 1647-01-14, publisher, uitgever van privilege

Etching by James Mason depicting a fisherman at work, created in 1777.

St. Germains, James Baylis Allen, 1803-1876, British, after Joseph Mallord William Turner, 1775-1851, British, 1835, Line engraving, engraver's proof, touched

Chatham, Kent, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1832, Line engraving and etching, 3rd state on moderately thick, smooth, beige, wove paper, Sheet: 10 5/8 × 14 3/4 inches (27 × 37.5 cm), Plate: 9 3/4 × 12 inches (24.8 × 30.5 cm), and Image: 5 7/8 × 9 5/16 inches (14.9 × 23.7 cm)

Junction of the Greta and Tees at Rokeby, Samuel Middiman, ca. 1750-1831, British, after Joseph Mallord William Turner, 1775-1851, British, 1819, Etching and line engraving on medium, slightly textured, cream, laid paper, Sheet: 10 3/4 × 14 3/4 inches (27.3 × 37.5 cm) and Image: 7 5/16 × 10 5/8 inches (18.6 × 27 cm)

Peterskoi Palast Moscow 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 Bydgoszcz, D., Payne, Albert Henry (1812 1902), publisher of the English artistry v. AH. Payne in Leipzig

View of Höchst, at Frankfurt, Johann Goll van Frankenstein (I), 1732 - 1785 drawing paper. chalk brush prospect of city, town panorama, silhouette of city Maximum. Germany

Landscape with figures on rock, Nicolas Perelle, 1613 - 1666 print publisher: ParisFrance paper etching rocks

Print made by Richard Earlom, 1743-1822, British, A Landscape, with the Story of Apollo and Marsyas, 1775. Mezzotint and etching, printed in brown ink on moderately thick, slightly textured, cream wove paper.

Sir Richard Colt Hoare, 1758-1838, British, View on the Liris at Isola di Sora, 1790. Graphite, pen and brown ink, brown wash and gray wash on moderately thick, moderately textured, cream laid paper mounted on medium, slightly textured, cream laid paper.

Pejzaż neapolitański z wizerunkiem podróżującego na osiołku.. Reinhart, Johann Christian (1761-1847), graphic artist

L'entrée du champ (The gate) , Gates, Fences, Meadows, Alphonse Legros (1837-1911)

Moses is retrieved from the Nile by Egyptian women. Engraving by S. Smith, 1786, after G. Robertson after F. Zuccarelli.

Figures on a Stone Bridge, Antoni Waterloo, 1618-1677, Etching on paper, Three figures are seen on a stone bridge, across a small canal, while another approaches from the left. A man in a skiff, right foreground., Europe, Amsterdam, Netherlands, ca. 1650, Print, Print

The Two Statues. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Abraham Genoels II after Adam Frans van der Meulen.

A drawing by Johann Heinrich Roos from 1661 depicting a peasant woman with a child in a shallow stream bed, executed in stone chalk with gray and gray-brown lavings, showing figures and natural surroundings.

Joseph Mallord William Turner, The Castle above the Meadows, February 20, 1808, Etching and mezzotint printed in brown inks.

Veduta della Valle Aricina' by Francesco Capo, created between 1701 and 1800. This engraving has a plate mark measuring 15 3/16 x 10 3/4 inches (38.6 x 27.3 cm) and is printed on cream wove paper with dimensions of 18 7/8 x 13 3/8 inches (48 x 34 cm)

James Mason, 1710-1783, British, The Happy Peasants, 1775. Engraving.

Landscape with elegant company, Hendrick Hondius (I), 1622 print In a wide landscape with a river, castles in the horizon and a water mill left, the lost son is on the right in an elegant dressed woman and a servant. The Hague paper engraving the prodigal son in the midst of prostitutes feasting and dissipating his patrimony, usually in a brothel or inn. landscapes with waters, waterscapes, seascapes (in the temperate zone)

Bagelaar, Ernst Willem Jan, Netherlands, Landscape with two walkers, print, prints, height 74 mm, width 128 mm, Dutch, 1775-09-16 - 1837-02-08, print maker, printmaker, 1798 - 1837, fourth quarter 18th century, first quarter 19th century, second quarter 19th century, paper, papier, etching, etchings, drypoint, dry needle, intermediary draughtsman

No. 93. Lorrain, Claude, 1600-1682. Prints. 1777 - 1819. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Drawing, French

Arcadian landscape with antique buildings and some figures, Louis Fabritius Dubourg, 1745 drawing paper. ink pen / brush

Drawing

Rievaulx Abbey, Yorkshire, Edward Goodall, 1795-1870, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Line engraving, engraver's proof

Print made by William Miller, 1796-1882, British, Modern Italy, 1842. Etching and line engraving, with graphite and scraping out; engraver's proof (a) on thick, sightly textured, cream wove paper.

Mountain Landscape with Five Bridges, from the Vedute(Views). Artist: Canaletto (Giovanni Antonio Canal), Italian, 1697-1768

The Straw Yard, plate 7 from Liber Studiorum. Joseph Mallord William Turner (English, 1775-1851); Engraved by Charles Turner (English, 1773-1857). Date: 1808. Dimensions: 193 × 255 mm (image); 205 × 290 mm (plate); 266 × 332 mm (sheet). Etching and engraving in brown on ivory laid paper. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

The Salutation, Charles Nicolas Ransonnette, French, 1793 - 1877, Graphite, brush and brown watercolor on paper, The corner of a park terrace is at right, whose will rises from a ditch. A road wings around its foot. A man stands on it looking at or speaking with a woman upon the terrace. He holds his hand in his left hand., France, 1830-1840, Drawing, Drawing

Landscape with Actaeon and Diana and her nymphs, Richard Earlom, After Claude Lorrain, 1774 print London paper etching landscape with ruins. lake. Actaeon changed into a stag: as punishment for seeing her bathe, Diana changes Actaeon, the hunter, into a stag (Ovid, Metamorphoses III 193)

Landscape with shepherdess with her flock, print maker: Jacobus Cornelis Gaal, Pieter Gaal, 1852

Salon de 1850-51. Landscape along the shores of the river Oullins. Artist: After Charles-François Daubigny (French, Paris 1817-1878 Paris). Dimensions: sheet: 5 13/16 x 7 in. (14.7 x 17.8 cm). Date: 1850-51. Museum: Metropolitan Museum of Art, New York, USA. Author: after Charles-François Daubigny.

Junction of Severn and Wye. Dated: published 1811. Medium: etching, mezzotint, and aquatint. Museum: National Gallery of Art, Washington DC. Author: JOSEPH MALLORD WILLIAM TURNER.

Landscape with fountain near Meulan, Franz Edmund Weirotter, after Johann Georg Wille, c. 1760 print Paris paper etching city-view, and landscape with man-made constructions. riding a horse, ass, or mule; rider, horseman. (high) hill Meulan-en-Yvelines

View of the Amstel at Herberg Het Kalfje, Matthijs Pool, 1708 - 1740 print View of the Amstel at the height of the Herberg Het Kalfje, located on the first running field at the Hofstede Kostverloren in Amstelveen. Numbered in the bottom right: 13 paper etching / engraving river. castle. boat propelled by man or animal. sailing-ship, sailing-boat. hotel, hostelry, inn Amstel (river). House Kostverloren

Image reproduction: Walery Brochocki (1847-1923), spring; Z: "Kłosy" 1877, No. 620 (May 17), p. 316; Brochocki, Walery (1847-1923), Krajewski, Jan (Fl. 1874-1887), Kłosy (Warsaw; Drzewytownia; 1865-1890); 1877 (1877-00-00-1877-00-00);

No. 50. Lorrain, Claude, 1600-1682. Prints. 1777 - 1819. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Drawing, French

Landscape with woman, lion and sheep Paese Landscapes , print maker: Achille Parboni, (mentioned on object), intermediary draughtsman: L. Corsi, (mentioned on object), after: Salvator Rosa, (mentioned on object), Italy, 1800 - 1899, paper, etching, h 265 mm × w 377 mm

France, French Crown, Paris, Henriet, Israel, Bella, Stefano della, Diverses paisages, Various landscapes, Two pilgrims near a ruin, verso - stamped, A landscape with two pilgrims near a ruin. In the background a shepherd with a herd of cattle and sheep., print, prints, height 115 mm, width 259 mm, Italian, 1610-05-18 - 1664-07-27, print maker, printmaker, 1620 - 1664, paper, papier, etching, etchings, Publication (Event), Publication, French, 1590 - 1661, publisher, uitgever van privilege

Opening the Fold Artist's working dates 1825-1881 England. Etching in black on paper . Samuel Palmer

Jan van Huysum drawing of an Arcadian landscape with a sacrificial celebration before a round temple, executed with pen in gray and watercolor.

Scene in the Compagna, plate 38 from Liber Studiorum Published 1812 England. Etching and engraving in brown on ivory wove paper . Joseph Mallord William Turner

Christ and the Woman of Samaria (Liber Studiorum, part XIV, plate 71) January 1, 1819 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 Reynolds here added mezzotint to describe a scene from the Gospel of John 4:4-26, where Jesus encounters a Samitarian woman by a well. After asking for a drink, he reveals that his teachings offers sustenance of a different type. Approaching figures on the road represent the disciples returning from town with food, while the classical setting derives from a work by Poussin, and the letter "H" in the upper margin places the work within Turner's category of Historical landscape.. Christ and

Ruin of the cemetery of the Van der Capellen family, 1788, Izaak Jansz. de Wit, after Johan Antonie Kaldenbach, 1788 - 1790 print View of the ruins of the family grave of the Van der Capellen family in the Gorsselse Veld near Zutphen, after the destruction by Buskruit, 7 August 1788. With eight -line verse in the caption. paper etching grave-building, monumental tomb. devastated, ruined place or city (~ warfare). gunpowder disaster Gorssel

William Radclyffe, 1780-1855, British, Blenheim, Oxfordshire, 1827-1838. Etching and engraving, with scraping out and touched with graphite (Engraver's Proof a).

Coastal landscape with lighthouse and ships for anchor in Bay, Giuliano Giampiccoli, after Marco Ricci, 1739 - 1740 print Venice paper etching coast. lighthouse, lightship. harbouring

La Riccia, John Pye, 1782-1874, British, Samuel Middiman, ca. 1750-1831, British, after Joseph Mallord William Turner, 1775-1851, British, 1819, Etching and engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 10 1/2 × 14 3/8 inches (26.7 × 36.5 cm), Plate: 9 × 11 7/8 inches (22.9 × 30.2 cm), and Image: 5 5/8 × 8 11/16 inches (14.3 × 22.1 cm)

Landscape with ruin and tranquility during the flight to Egypt, Richard Earlom, After Claude Lorrain, 1776 print London paper etching landscape with bridge, viaduct or aqueduct - II - ideal landscapes. river - HH - ideal landscapes. landscape with ruins - II - ideal landscapes. rest on the flight into Egypt - BB - landscape predominant (+angel(s))

Stoke-by-Neyland 1829 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.. Stoke-by-Neyland. David Lucas (British, Northamptonshire 1802-1881 London). 1829. Mezzotint; proof before published state. Prints

The Head of Ullswater. Dated: 1790s. Dimensions: overall: 25.7 x 40.2 cm (10 1/8 x 15 13/16 in.). Medium: watercolor over graphite on wove paper. Museum: National Gallery of Art, Washington DC. Author: Edward Dayes.

J. C. Varrall, active 1815-1827, Brinkburn Priory, Northumberland, 1827-1838. Line engraving, engraver's proof.

Zomer, Jean Pesne, After Nicolas Poussin, 1682 - 1700 print Ruth in the field of Boaz, where the landscape symbolizes the summer. France paper etching / engraving summer landscape; landscape symbolizing summer (the four seasons of the year). Ruth in the field of Boaz (Ruth 2:3-17)

Franz Innocenz Josef Kobell black ink and brown brush landscape depicting ruins and a bay, with reddish pencil traces and black edging line, showing terrain, architecture, and spatial perspective.

Etched by Joseph Mallord William Turner, 1775-1851, British, St. Catherine's Hill near Guildford, 1811. Etching and mezzotint, printed in brown ink on medium, slightly textured, cream wove paper.

View of Tivoli. Claude Thiénon (French, 1772-1846); printed by Comte de Charles Philibert Lasteyrie du Saillant (French, 1759-1849). Date: 1817. Dimensions: 200 × 286 mm (image); 275 × 365 mm (sheet). Lithograph in black on ivory wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

W. R. Smith, active 1819-1851, Richmond, Yorkshire, 1827. Line engraving and etching, 1st state on moderately thick, slightly textured, cream, wove paper, with cream, chine colle.

Christ and the Woman of Samaria (Liber Studiorum, part XIV, plate 71). Artist: Designed and etched by Joseph Mallord William Turner (British, London 1775-1851 London). Dimensions: plate: 7 1/4 x 10 3/8 in. (18.4 x 26.4 cm)sheet: 8 1/4 x 11 7/16 in. (21 x 29.1 cm). Engraver: Samuel William Reynolds, the elder (British, London 1773-1835 London). Publisher: Joseph Mallord William Turner (British, London 1775-1851 London). Date: January 1, 1819.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 Reynolds here added mezzotint to describe a scene from the Gospel of John 4:4-26, where Jesus encounters a Samitarian woman by a well. After asking for a drink, he reveals that his teachings off

Gainsborough's first sight of the young lady who 1830 England. Pen and brown ink, with brush and watercolor and graphite, on ivory wove card, tipped onto board . Samuel John Stump

Windsor Castle from near Brocas Meadows, William Daniell, 1769-1837, British, 1827, Watercolor, with pen, in brown ink, gray ink, graphite, gouache and scratching out on medium, slighly textured, cream wove paper, mounted on, thick, slightly textured, beige, wove card paper, Mount: 18 3/16 × 25 15/16 inches (46.2 × 65.9 cm), Contemporary drawn border: 12 5/16 × 20 1/8 inches (31.3 × 51.1 cm), and Sheet: 12 1/8 × 19 7/8 inches (30.8 × 50.5 cm), architectural subject, castles, landscape, trees, Windsor Castle

Depiction of a park with a large pond, statue, carriage, and riders, executed in black chalk and gray wash.

Vue generale d' Athenes, Grandes vues pittoresques des principaux sites et monumens de la Grèce et de la Sicile, et des sept collines de Rome, Bence, Jacques Martin Sylvestre, b. 1770, Cassas, Louis François, 1756-1827, Etching, 1813

Joseph Mallord William Turner and Thomas Hodgetts, British (1775-1851), Ville de Thun, published 1816, etching and mezzotint

A Country Churchyard. Verse from Gray's Elegy, Marie C. Prestel, 1747-1794, German, after Thomas Gainsborough RA, 1727-1788, British, 1790, Aquatint on moderately thick, moderately textured, cream, laid paper, mounted on, moderately thick, smooth, cream, wove paper, Sheet: 21 1/2 × 26 7/8 inches (54.6 × 68.3 cm) and Image: 18 3/8 × 25 inches (46.7 × 63.5 cm)

Etched by Joseph Mallord William Turner, 1775-1851, British, Rispah: 2nd Book of Samuel, Chap. 21, 1812. Etching and mezzotint, printed in brown ink on medium, slightly textured, cream wove paper.

Francesco Bartolozzi RA, 1728-1815, Italian, active in Britain (1764-99), The Rural Italian's Wedding, 1775. Engraving.

Liber Veritatis: No. 200, A View on the Sea Shore, with the Story of Jesus, 1777. Richard Earlom (British, 1743-1822), after Claude Lorrain (French, 1604-1682), John Boydell (British, 1720-1804). Etching and mezzotint printed in brown; sheet: 27.2 x 40.7 cm (10 11/16 x 16 in.); platemark: 21.1 x 25.9 cm (8 5/16 x 10 3/16 in.).

View of the spring house in Krimpen to the leak, 1756; Shrink at the Leck, 1756. View of the Veerhuis in the village of Krimpen on the leak with figures and animals in the yard. On the leak a ferry and rowing boat, the village center is on the other side. Print Legal under numbered: 4.

Blenheim, Oxfordshire, William Radclyffe, 1780-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Etching and engraving, with scraping out and touched with graphite (Engraver's Proof a)

Face in Katwijk Inside, Paulus Constantijn La Fargue, 1778 drawing paper. ink pen / brush prospect of village, silhouette of village Katwijk aan den Rijn

March. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Jan Van de Velde II.

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