Engraved Landscapes and Scenes

Detailed engravings of pastoral landscapes and historical scenes, featuring tranquil settings, architectural elements, and intricate compositions.

Environs of Venice -17. Ricci, Marco, 1676-1729. 1743. D. A. F. (Davide Antonio Fossati), 1708-1780. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

John Pye, 1782-1874, British, Wycliffe, near Rokeby, 1818-1823. Line engraving and etching, engraver's proof on medium, slighlty textured, cream, laid paper.

The Hindoo Worshipper, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by Robert Dunkarton, 1744-1811, British, after Joseph Mallord William Turner, 1775-1851, British, 1811, Etching and aquatint, printed in brown ink First Published State on medium, slightly textured, cream wove paper, Sheet: 11 × 16 1/8 inches (27.9 × 41 cm), Plate: 8 1/8 × 11 3/8 inches (20.6 × 28.9 cm), and Image: 7 1/8 × 10 3/8 inches (18.1 × 26.4 cm), landscape, temple, trees

Landscape with Christ that appears as a gardener to Maria Magdalena (Noli Me Tangere), Richard Earlom, After Claude Lorrain, 1777 print On the right a face on Golgotha. London paper etching mountains. city-view, and landscape with man-made constructions. Mary Magdalene kneeling before Christ, who is usually represented as a gardener with a hoe and/or a spade; 'Noli me tangere'. the cross(es) in the background Golgotha. Jerusalem

Environs of Venice -17. Ricci, Marco, 1676-1729. 1743. D. A. F. (Davide Antonio Fossati), 1708-1780. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

William Miller, 1796-1882, British, Placenza, 1834. Etching and engraving (First Published State).

Amos Green, 1735-1807, British, Views in England, Scotland and Wales: From a Picture in the Duke of Devonshire's House at Londesbro'.

Colchester, Essex, Robert Wallis, 1794-1878, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Engraver's proof (unfinished)

The Italian Mill. Artist: Jean Jacques de Boissieu (French, Lyons 1736-1810 Lyons). Dimensions: Sheet: 7 3/8 × 10 5/16 in. (18.7 × 26.2 cm)Mat: 9 1/4 × 11 3/4 in. (23.5 × 29.8 cm). Date: 1771. Museum: Metropolitan Museum of Art, New York, USA.

Bow and Arrow Castle, Isle of Portland, William Bernard Cooke, 1778-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1814-1826, Etching and engraving, first published state on thick, moderately textured, cream, laid paper, Sheet: 11 5/16 × 17 3/8 inches (28.7 × 44.1 cm), Plate: 9 1/8 × 12 1/8 inches (23.2 × 30.8 cm), and Image: 6 5/16 × 9 9/16 inches (16 × 24.3 cm)

Crossing the Brook, Print made by Robert Brandard, 1805-1862, British, after Joseph Mallord William Turner, 1775-1851, British, 1838, Etching; open etched state on moderately thick, slightly textured, cream wove paper, Sheet: 22 1/2 × 17 1/4 inches (57.2 × 43.8 cm) and Image: 15 3/4 × 15 inches (40 × 38.1 cm)

Landscape with destroyed cemetery of the Van der Capellen family, 1788, Landscape with destroyed cemetery of the Van der Capellen family with two walkers in the foreground. In the background a church tower. In the margin a two-line caption in Dutch and in French and an eight-line poem, in two columns, in Dutch, landscape with other man-made constructions not mentioned above, eg .: graveyards, playgrounds, etc, gunpowder disaster, Gorssel, Pieter Hendrik Jonxis (workshop of), Utrecht, 1788 - 1790, paper, engraving, h 271 mm × w 370 mm

Vue Proche du Mont-Ferrat. Artist: Jean Jacques Le Veau (French, Rouen 1729-1786 Paris); After Joseph Vernet (French, Avignon 1714-1789 Paris). Dimensions: sheet: 15 1/2 x 19 5/8 in. (39.4 x 49.8 cm). Museum: Metropolitan Museum of Art, New York, USA.

Hilly Landscape with Two Cavaliers and Other Figures in the Foreground 1632-90 Romolo Panfi Italian. Hilly Landscape with Two Cavaliers and Other Figures in the Foreground 340428

Stirling, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1836, Etching and engraving, first published state

Expulsion from paradise; Aldest Sceleribus Ultor a Tergo Deus; Emblemata sacra è praecipuis Utrimique Testamenti Historiis Concinnamata (Old Testament); Imagines and Figurae bibliorum. An angel with a flaming sword drives away Adam and Eva from paradise. Adam and Eve are dressed in animal skins and run a hill with trees (Gen. 3:24). Different animals are depicted in the landscape. With a motto in Latin above the performance and a four-line caption in Latin under the print. The print is part of an album.

Odilon Redon, Le Gue (The Ford), 1865 Le Gue (The Ford)

Pejzaż z widokiem utopijnego miasta. Reinhart, Johann Christian (1761-1847), graphic artist

Richard Cooper the Younger, 1740-1814, British, The Ferry, undated. Graphite on medium, moderatley textured, cream wove paper.

Ste Hélène (TI)

River landscape with remains of an aqueduct, Jean Jacques de Boissieu, 1763 print print maker: Franceafter own design by: Francepublisher: Paris paper etching / drypoint landscapes with waters, waterscapes, seascapes (in the temperate zone). landscape with ruins. city-view, and landscape with man-made constructions. landscape with bridge, viaduct or aqueduct

Travelers Approaching a Bridge. Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Gabriel Perelle.

The Ferry, Richard Cooper the Younger, 1740-1814, British, undated, Graphite on medium, moderatley textured, cream wove paper, Sheet: 5 3/4 × 8 5/8 inches (14.6 × 21.9 cm), castle, ferry, horse (animal), marine art, ship, transportation

Edimbourg vu de la Chapelle Saint-Antoine. Dated: 1826. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: Richard Parkes Bonington after Francois Alexandre Pernot.

Winchelsea, Sussex, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by J. C. Easling, fl.1788-1815, after Joseph Mallord William Turner, 1775-1851, British, 1812, Etching and mezzotint, printed in brown ink on medium, slightly textured, cream wove paper, Sheet: 15 1/2 × 10 1/2 inches (39.4 × 26.7 cm), Plate: 11 1/2 × 8 1/4 inches (29.2 × 21 cm), and Image: 10 3/8 × 7 1/4 inches (26.4 × 18.4 cm)

Ansicht von St. Helena und des Schlosses Rauhenstein bey Baden. Dated: 1817. Dimensions: plate: 15.3 x 22.2 cm (6 x 8 3/4 in.) sheet: 20.9 x 26.2 cm (8 1/4 x 10 5/16 in.). Medium: etching on wove paper. Museum: National Gallery of Art, Washington DC. Author: JOHANN ADAM KLEIN.

Baders at antique monument in mountainous landscape, draughtsman: Jacob van Liender, 1706 - 1759, paper, pen, brush, h 183 mm × w 242 mm

View of a part of the stage and the wall behind it from the Theater of Taormine, 1778 drawing Drawing from the album 'Voyage and Italy, and Sicile et à Malte', 1778. paper. chalk. watercolor (paint) brush

Genzano and Lake Nemi. Artist: Josephus Augustus Knip (Dutch, Tilburg 1777-1847 Berlicum). Dimensions: 13 7/8 x 19 3/4 in. (35.3 x 50.2 cm). Date: early 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Pejzaż z wodospadem. Reinhart, Johann Christian (1761-1847), graphic artist

Dresden, Holtzmann, Carl Friedrich, Landscape with ruins and a shepherd with cattle, verso - stamped, print, prints, height 93 mm, width 140 mm, 1740-04-04 - 1811-05-18, print maker, printmaker, 1750 - 1811, paper, papier, etching, etchings, counterproof, tegendruk

Abingdon, Charles Cousen, 1813-1889, British, after Joseph Mallord William Turner, 1775-1851, British, 1859-1879, Steel engraving

Print made by George Cooke, 1781-1834, British, Dover from Shakespeare's Cliff, 1826. Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper.

View of the Castello, Ischia, c. 1820. Florian Grosspietsch (German, 1789-1840). Etching; sheet: 31.6 x 43.5 cm (12 7/16 x 17 1/8 in.); plate: 30.3 x 43 cm (11 15/16 x 16 15/16 in.).

Rochester, Stroud and Chatham, J. C. Varrall, active 1815-1827, after Joseph Mallord William Turner, 1775-1851, British, 1838, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 1/16 × 15 inches (28.1 × 38.1 cm), Plate: 9 1/2 × 12 1/2 inches (24.1 × 31.8 cm), and Image: 6 5/16 × 9 1/2 inches (16 × 24.1 cm)

Virginia Water No. 1, Robert Wallis, 1794-1878, British, after Joseph Mallord William Turner, 1775-1851, British, 1828-1832, Line engraving, first published state on medium, smooth, cream, wove paper, with gray, chine colle, Sheet: 11 3/8 × 16 7/8 inches (28.9 × 42.9 cm), Plate: 6 × 8 1/2 inches (15.2 × 21.6 cm), Chine collé: 5 11/16 × 8 1/8 inches (14.4 × 20.6 cm), and Image: 3 11/16 × 5 1/2 inches (9.4 × 14 cm)

After Dinner 1742 France. Engraving on paper . Jacques Philippe Le Bas

Figures by the sea; Landscapes with fishermen. Seven figures on the edge of a port city. On the right is a man fishing. Another man has a kneeling to burn a fire. On the left is a man with a pipe in the mouth. In the background ships at sea and a port city in the distance. Two verses from Voltaire's poem 'Le Mondain' (1736).

The Woman and Tambourine, plate 3 from Liber Studiorum Published 1807 England. Etching and engraving in brown on ivory laid paper . Joseph Mallord William Turner

View of Spa, Anonymous, 1734 print paper etching city-view in general; 'veduta'. mineral water Spa

Saarburg in the surroundings of Trier, Petrus Johannes Arendzen, 1866 - 1932 print A man, a woman and a child walk on a country road. In the background Saarburg with a large bridge over the Saar. Amsterdam paper letterpress printing river (+ landscape with figures, staffage). landscape with bridge, viaduct or aqueduct. village Saarburg

Vintage Historic Print: "Jacques Cartier, with his fleet sails the St-Lawrence River that he just discovered (sic!)" 1535. Engraving by Chavane

Jonction des deux torrents qui forment la Cascade de Grésy, 1814. Jean-Baptiste Isabey (French, 1767-1855). Brown wash with scraping; borders in black ink; sheet: 20.4 x 25.8 cm (8 1/16 x 10 3/16 in.).

Robert Wallis, 1794-1878, British, Trematon Castle, Cornwall, 1827-1838. Line engraving, first published state.

Figures on the edge of a village, Nicolas Perelle, 1613 - 1657 print In the middle of numbered: 3. Paris paper etching / engraving outskirts of village

Campania Caserta Caserta Palazzo Reale65. Hutzel, Max 1960-1990 Post-medieval: Architecture & architectural sculpture, sculpture, statues, paintings, frescoes, stuccoes, furnishings & decorative art General Notes: Discrepancy in number of prints & negatives. Hutzel notes 824 prints & negatives. Negatives for 1-62 of one batch seem to be missing (would make a total of 824) German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Pfeffer's W: The classic places in Switzerland and their main places in original views marked by Gustaw Adolf Müller, engraved on steel by Henry Winkles and best English artists. Karlsruhe and Leizruhe: Kunstverlag W. Creuzbauer 1836 1838 Winkles, Henry (fl. 1818 1842)

A View near Rome. Dated: 1854. Dimensions: plate: 13.02 × 19.7 cm (5 1/8 × 7 3/4 in.); sheet (irregular): 24 x 31.8 cm (9 7/16 x 12 1/2 in.). Medium: etching in black on Japanese paper. Museum: National Gallery of Art, Washington DC. Author: George Loring Brown.

Copper engraving and etching by Richard Saint-Non from 1781 depicting scenes from the kingdoms of Naples and Sicily, showing landscapes, towns, and coastal views.

Print made by John Cousen, 1804-1880, British, Mercury and Herse, 1842. Etching; open etched state on thick, moderately textured, beige wove paper with cream chine-collé.

Landscape with Antique Ruins. Dated: 1646. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: STEFANO DELLA BELLA.

Dahlberg, Erik Jönssen, Stockholm, Aveele, Johannes Jacobsz van den, Suecia Antiqua et Hodierna, Möendahls fall, View of the waterfalls of Mölndal, The print is part of an album., print, album sheet, prints, height 226 mm, width 340 mm, 1655 - 1727-05-18, print maker, printmaker, 1703 - 1703, paper, papier, etching, etchings, Swedish, 1625-10-10 - 1703-01-16, supervision

Kreshchatik.. Passek, Vadim, 1807-1842. Illustrations, Prints. 1840. General Research Division

Drawing from album with 13 drawings made in Germany by Captain Bagelaar, during the campaign of 1800, Neustadt and Bremberg in 't Odewald., draughtsman: Ernst Willem Jan Bagelaar, 1800, paper, pen, brush, h 85 mm × w 110 mm

The Stream in the Gorge. Rodolphe Bresdin; French, 1825-1885. Date: 1871. Dimensions: 139 × 168 mm (image); 147 × 111 mm (chine); 272 × 360 mm (sheet). Etching on ivory China paper laid down on white wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Etched by Joseph Mallord William Turner, 1775-1851, British, Bonneville, Savoy, 1816. Etching and mezzotint, printed in brown ink Engraver's proof (c) on medium, slightly textured, cream laid paper.

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

La piece en batterie. Dated: 1817. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: Horace Vernet.

Near a rocky road, three men are talking to each other. In the field behind the road, two shepherds are grazing their flock of sheep. In the background a church tower., Landscape with travelers and shepherds, print maker: Jan Lauwryn Krafft (I), (mentioned on object), David Teniers, (mentioned on object), Southern Netherlands, 1704 - 1765, paper, etching, h 206 mm × w 269 mm

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

Landscape with a ruin and a plowing farmer in the rain, Izaak Jansz. de Wit, after Jacob Cats (1741-1799), 1807 print Haarlem paper etching March and its 'labours' (+ with scenes showing human occupations ~ seasons and months). ploughing. downpour, rain shower. landscape with ruins

Leon-Augusto Asselineau (Lithographer) (After Teniers the Younger, David); José de Madrazo y Agudo (Director); Real Establecimiento Litográfico de Madrid (Printer) / 'The Temptations of Saint Anthony'. 1829 - 1832. Lithographic aquatint, Crayon lithography, Pen lithography, Printing on japon, Scraper on wove paper; 1829 - 1832. Lithographic aquatint, Crayon lithography, Pen lithography, Printing on japon, Scraper on wove paper. Museum: Museo del Prado, Madrid, España.

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

Landschap Met Apollo in Marsyas, Richard Van Oryley (II), 1673 - 1732 drawing paper. ink pen / brush punishment of Marsyas: he is flayed by Apollo

Della Bella, Stefano (dit Étienne de la Belle) (n.1610-05-18-D.1664-08-22), landscapes and ruins of Rome. The Campo Vaccino. Second number of a suite of 13 rooms. (A. de Vesme 820; Dutuit 127) (main title). Etching. Petit Palais, Museum of Fine Arts of the City of Paris.

Temple of Minerva Medica, Rome. Date/Period: 1754. Landscape. Black and white chalk on medium, moderately textured, blue laid paper mounted on medium, moderately textured, cream wove paper with border of medium, moderately textured, wove paper with purple wash. Height: 286 mm (11.25 in); Width: 419 mm (16.49 in). Author: RICHARD WILSON.

Mangup-Kole.. Passek, Vadim, 1807-1842. Illustrations, Prints. 1840. General Research Division

Eugène Isabey (French, 1803 - 1886). Chteau de Larderole, 1832. From Voyages Pittoresques et Romantiques dans l'Ancienne France. Lithograph on India paper laid down.

George Cooke, 1781-1834, British, Poole, Dorsetshire, 1814. Line engraving and etching, second published state on moderately thick, slightly textured, cream, wove paper, with cream, chine colle.

XIIeme Vue d'Italie. Le Bas 18th century Joseph Vernet French. XIIeme Vue d'Italie. Le Bas. Joseph Vernet (French, Avignon 1714-1789 Paris). 18th century. intaglio. Prints

Harlech Castle, North Wales, W. R. Smith, active 1819-1851, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Open etching

James T. Willmore, 1800-1863, British, The Laterne of St. Cloud, 1835. Line engraving, engraver's proof.

Everdingen, Visser Bender, Joannes Pieter, Haarlem, Wit, Izaak Jansz. de, View of the Haarlemmermeer, with Haarlem in the background, verso - stamped, print, prints, images, height 228 mm, width 140 mm, Northern Netherlands, 1744-12-09 - 1809-03-13, print maker, printmaker, 1807 - 1807, paper, papier, etching, etchings, Dutch, 1785-11-09 - 1813-12-09, intermediary draughtsman

Print made by George Arnald, 1763-1841, British, Meuse and Sambre, from the Gate of the Sambre, 1822. Mezzotint and etching, printed in brown ink on moderately thick, rough, beige laid paper.

Moonlight scene with figures for a hut, Franz Edmund Weirotter, 1760 print Three people outside with two huts and a few trees, in the moonlight. paper etching moonlight. rural housing, e.g. country-house, villa, cottage

Plymouth Dock, from Mount Edgecumbe, William Bernard Cooke, 1778-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1816, Etching and engraving, first published state on moderately thick, moderately textured, cream, wove paper, Sheet: 11 × 17 1/4 inches (27.9 × 43.8 cm), Plate: 9 × 12 inches (22.9 × 30.5 cm), and Image: 6 3/8 × 9 5/8 inches (16.2 × 24.4 cm)

St. Jerome in the Wilderness (S. Hieronymus in Deserto) from The Large Landscapes ca. 1555-56 Johannes van Doetecum I Netherlandish The figure of Saint Jerome, the monk and church scholar who sought spiritual refuge in the wilderness, forms but a minute part of this composition. Bent over a book in the right foreground with his lion, the saint pays no attention to the magnificent landscape behind him, divided roughly evenly along a diagonal between a rocky mountainside crowned by a fortress and the calm river valley below. Inscribed "Hieronymus in Deserto" (Saint Jerome in the Wilderness), the image was printed after a design by Pieter Bruegel the Elder. It is one of a series of twelve prints known as the Large Landscapes, all of which reflect the deep impression the dramatic mountain vistas made on Bruegel as he traveled through the Alps on his return from Italy around 1554. Carried out primarily in etched lines that have the appearance of engraved ones the unsigned Large Landscapes w

Anthony's Nose.. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Hudson River (N.Y. and N.J.)

Water Mill, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by Robert Dunkarton, 1744-1811, British, after Joseph Mallord William Turner, 1775-1851, British, 1812, Etching and mezzotint, printed in brown ink on medium, slightly textured, cream wove paper, Sheet: 10 3/8 × 16 1/4 inches (26.4 × 41.3 cm), Plate: 8 1/4 × 11 1/2 inches (21 × 29.2 cm), and Image: 7 1/4 × 10 3/8 inches (18.4 × 26.4 cm)

William Woollett (1735-1785). "Ceyx and Alcione", after Richard Wilson (painter) and Londini. Engraving (chisel). Museum of Fine Arts of the City of Paris, Petit Palais. 74202-11 Froz, despair, Falaise, Houle, Mer Déchainee, sea ocean, death, Greek mythology, storm, landscape, romanticism, 18th 18th 18th 18th 18th 18th 18th century, couple, engraving

Thomas Goff Lupton, 1791-1873, British, Dartmouth Castle, on the River Dart, 1823-1827. Mezzotint.

Fortress of San Leo, Italy, Death Place of Alessando di Cagliostro, Book Illustration from Cagliostro, The Splendour and Misery of A Master of Magic”, Chapman and Hall LTD, W.R.H. Trowbridge, 1910

W. R. Smith, active 1819-1851, Lago Maggiore, 1828-1837. Line engraving, first published state on medium, smooth, cream, wove paper, with cream, chine colle.

View of Lichfield, The Birth Place of Dr. Samuel Johnson, Edward Francis Finden, 1791-1857, British, after Clarkson Stanfield, 1793-1867, British, Published by John Murray, 1802-1892, British, 1835, Etching and line engraving on moderately thick, slightly textured, beige wove paper, Sheet: 6 1/4 x 9 5/16 inches (15.9 x 23.7 cm) and Image: 3 3/4 x 5 7/8 inches (9.5 x 15 cm), bonnet, branches, buildings, cathedral, church, city, cityscape, clouds, fences, fishing, genre subject, hats, lake, landscape, leisure, path, peasants, pitcher, river, road, rocks (landforms), stream, talking, trees, woods, England, Lichfield, Staffordshire, Trent, United Kingdom

Nieder-oesterreich, Der Strudel. Jakob Alt (Austrian, 1789-1872). Lithograph;

John Landseer, 1769-1852, British, Fall of the Tees, 1818-1823. Open etching and line engraving on moderately thick, slightly textured, cream, wove paper.

David Lucas, Noon, 1831, printed 1992-93, mezzotint on white wove paper.

Classical Landscape: A Town and a Mountain by the Coast. Artist: Francesco Zuccarelli (Italian, Pitigliano 1702-1788 Florence). Dimensions: 12 1/16 x 18 3/16 in. (30.6 x 46.2 cm). Date: early-late 18th century. Museum: Metropolitan Museum of Art, New York, USA.

The Heights over Foilhummerum Bay, Valentia, the William Corey Heading Seawards, Laying the Shore-end of the Atlantic Telegraph Cable, July 7th, 1866. Artist: Robert Charles Dudley (British, 1826-1909). Dimensions: Sheet: 10 3/8 × 15 3/8 in. (26.3 × 39.1 cm). Date: 1865-66.One of the 19th century's great technological achievements was to lay a telegraphic cable beneath the Atlantic, allowing messages to speed back and forth between North America and Europe in minutes, rather than ten or twelve days by steamer. An initially successful attempt in 1858, led by Cyrus W. Field and financed by the Atlantic Telegraph Company, failed after three weeks. Two working cables were finally laid in July and September 1866, the result of repeated efforts by the indefatigable Field, a cadre of engineers, technicians, and sailors, two groups of financial backers, and significant help from the British and United States navies. Dudley documented the process in a series of watercolors and oils, this examp

Print made by Thomas Higham, 1796-1844, British, Manchester, 1834. Line engraving on medium, slightly textured, cream wove paper.

Resten van Zeus Olympus tempel bij Agrigento. Ruïnes du même temple. Seconde Vue (title on object). Voyage en Italie, en Sicile et à Malte - 1778 (series title). Draughtsman: Louis Ducros. Dating: 1778. Measurements: h 277 mm × w 425 mm. Museum: Rijksmuseum, Amsterdam.

View of Dalkey from the Road. Elizabeth Murray; English, c. 1815-1882. Date: 1843. Dimensions: 176 mm × 254 mm. Watercolor with traces of white gouache over graphite on gray wove paper. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Henry Griffiths, 1835-1849, British, Inverlochy Castle, Invernesshire, 1836. Etching and line engraving on moderately thick, slightly textured, cream wove paper.

Melrose, Print made by William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-collé

Shaklin Chine 1784-1804 England. Color aquatint on paper . Piercy Roberts

W. Biegant (1825-1900); Johan Thomas Lundbye (1818-1848), Sortesteen, (1843)

Photo production of a painting of a face from the Furkapas to the Finsteraarhorn; Auf der Furka. Gegen Das Finsteraarhorn Gesthe. .

Rethel in 1650, vintage engraved illustration. Magasin Pittoresque 1846.

Rovine della villa di Ventidio Basso a Tivoli. Dated: 1793. Dimensions: plate: 28.2 x 37.5 cm (11 1/8 x 14 3/4 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: Johann Christian Reinhart.

Drawing from album with 13 drawings made in Germany by Captain Bagelaar, during the campaign of 1800., The Danube near Linz, draughtsman: Ernst Willem Jan Bagelaar, 1800, paper, pen, brush, h 85 mm × w 110 mm

Ponte antico a Cività Castellana, volgarmente detto ponte Terano. Dated: 1798. Dimensions: plate: 38 x 28.4 cm (14 15/16 x 11 3/16 in.) sheet: 49 x 39 cm (19 5/16 x 15 3/8 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Jacob Wilhelm Mechau.

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