Historic Landscape Etchings

A collection of etchings depicting British landscapes, rural scenes, and coastal views, characterized by detailed craftsmanship and varying moods from serene to dramatic.

Rispah, 2nd Book of Samuel, Chapter 21 (Liber Studiorum, part IX, plate 46) 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 Dunkarton here added mezzotint to describe a gruesome Old Testament subject. After the death of King Saul, his sons by his concubine Rizpah were executed by the Gibeonites, and left unburied. Their mother here protects the corpses, using a torch to ward off an approaching lion at night. The letter "H" in upper margin indicates Turner's category of Historical landscape.. Rispah, 2nd Book of Samuel, Chapter 21 (Liber Studiorum, part IX, plate 46). Designed and etched by Joseph Mallord Wi

Print made by Robert Wallis, 1794-1878, British, Folkstone, Kent, 1825. Etching; open etching on medium, slightly textured, cream wove paper.

Etching by Robert Laurie depicting a landscape with four people gathered around a water feature, created in 1786.

Print made by Samuel Palmer, 1805-1881, British, active in Italy (1837-39), The Weary Ploughman, 1858. Etching and drypoint on thick, slightly textured, cream wove paper with cream chine collé.

Etching and copper engraving by Carlo Domenico Melini between 1760 and 1795 titled 'The Morning,' representing a thematic allegorical scene.

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

Etching by P. Martenasie depicting a rural drinker in a countryside setting, created between 1750 and 1789.

Rispah, 2nd Book of Samuel, Chapter 21 (Liber Studiorum, part IX, plate 46) 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 Dunkarton here added mezzotint to describe a gruesome Old Testament subject. After the death of King Saul, his sons by his concubine Rizpah were executed by the Gibeonites, and left unburied. Their mother here protects the corpses, using a torch to ward off an approaching lion at night. The letter "H" in upper margin indicates Turner's category of Historical landscape.. Rispah, 2nd Book of Samuel, Chapter 21 (Liber Studiorum, part IX, plate 46). Designed and etched by Joseph Mallord Wi

Lithograph by Gustave Doré titled 'The War', on rolled China paper, circa 1850.

Carl Wilhelm Weisbrod created an etching around 1775 depicting figures returning to a farm with animals and rural buildings.

$Ilfracombe, North Devon, William Bernard Cooke, 1778-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1818, Etching and engraving, first published state on moderately thick, slightly textured, cream, wove paper, with cream, chine collé, Sheet: 11 1/16 × 15 1/8 inches (28.1 × 38.4 cm), Plate: 9 1/16 × 12 inches (23 × 30.5 cm), Chine collé: 8 7/8 × 11 13/16 inches (22.5 × 30 cm), and Image: 6 1/4 × 9 1/2 inches (15.9 × 24.1 cm)$

Le retour du fagotier (2nd plate) (Litho) , Laborers, Trees, Hills, Buildings, Fuelwood, Alphonse Legros (1837-1911)

Print made by Robert Wallis, 1794-1878, British, Folkstone, Kent, 1825. Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-colle`.

Landscape with fishing husband and boy, Charles André Malardot, 1827 - 1879 print print maker: Francepublisher: Metz paper etching / engraving water course. fisherman

Landscape Paesaggio. Dated: before 1915. Dimensions: sheet: 23.5 × 31.7 cm (9 1/4 × 12 1/2 in.) plate: 15.5 × 23.5 cm (6 1/8 × 9 1/4 in.). Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Carlo Paolo Agazzi.

Un coin de forêt en Bourgogne , Forests, Carts & wagons, Alphonse Legros (1837-1911)

Bathing Woman and Death. Rodolphe Bresdin; French, 1825-1885. Date: 1857. Dimensions: 160 × 110 mm (image); 168 × 120 mm (sheet). Lithograph (etching transfer) on light gray chine, laid down on ivory card. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Landscape with two hunters, Johann Sadeler (I), After Ferdinand Lombard, 1580 - 1600 print A landscape with a road to a town. In the foreground two hunters with two dogs. One of the hunters is on a horse. paper engraving public road. hunting dogs. hunter. outskirts of city

Joseph Mallord William Turner, Procris and Cephalus, February 14, 1812, Etching and mezzotint printed in brown inks.

The Weary Ploughman, or The Herdsman, or Tardus Bubulcus begun 1858 Samuel Palmer British. The Weary Ploughman, or The Herdsman, or Tardus Bubulcus 362469

Print made by Samuel Palmer, 1805-1881, British, active in Italy (1837-39), The Bellman, 1879. Etching and drypoint, with plate tone on thick, slightly textured, cream wove paper.

Wolf's Hope, James H. Kernot, active early 19th century, after Joseph Mallord William Turner, 1775-1851, British, 1836, Line engraving, engraver's proof

Copper engraving and etching by Jonas Suyderhoef (1627-1686) depicting a shepherd driving animals over a mountain landscape. The work emphasizes naturalistic terrain, figures, and animal movement in Dutch 17th-century engraving style.

Etching by François Philippe Charpentier depicting shepherds at work, showing figures, flock, tools, and surrounding landscape, created between 1760 and 1817.

Collepardo. Edward Lear; English, 1812-1888. Date: 1841. Dimensions: 243 × 387 mm (stone); 368 × 538 mm (sheet). Tint lithograph on ivory wove paper. Origin: England. Museum: The Chicago Art Institute, USA.

Christian Wilhelm Ernst Dietrich's 18th-century etching depicts a magician, showing detailed facial features, clothing, and gesture.

Elijah Fed by Ravens. The biblical story of Elijah serves here solely as a pretext for rendering a desolate, imaginary landscape. Only by looking closely can the figure of the prophet Elijah be discerned. To escape the wrath of King Achab, he fled into the wilderness, where at Gods command he was fed by two ravens. This print is probably based on one Saverys late paintings.

Half undressed man in the forest, Willem Jacob Hofdijk, 1847 - c. 1863 print The man looks up, he is injured in his side. Possibly a Germanan. At the top left of him is a vulture on a branch. print maker: Netherlandsafter own design by: Netherlandsprinter: The Haguepublisher: The Hague paper forest, wood. infections and wounds (+ lying). extinct, 'historical' peoples: Teutons. predatory birds: vulture

Pencil sketches by Ferdinand Georg Waldmüller including studies of human figures, animals, and landscapes.

Sir Charles Napier persuing the robber tribes in India. Sir Charles James Napier 1782 - 1853 British general and commander-in-chief in India. From a 19th century print

Plate on the title page for: Jan Fokke, history of the Amsterdamschen Schouwburg, 1772. Allegorical album on the title page with the Amsterdam city denaryer sitting on the ruins of the borrowed Amsterdamsese Schouwburg, in the hand the burnt hive. In the background the burning theater. In the clouds Apollo on the parnassus. Part of a group of illustrations about the fire in the Amsterdamse Schouwburg on 11 May 1772.

From Spenser's Fairy Queen (Liber Studiorum, part VII, plate 36) June 1811 Designed and etched by Joseph Mallord William Turner British. From Spenser's Fairy Queen (Liber Studiorum, part VII, plate 36). Designed and etched by Joseph Mallord William Turner (British, London 1775-1851 London). June 1811. Etching and mezzotint; fourth state of four (Finberg). Joseph Mallord William Turner (British, London 1775-1851 London). Thomas Hodgetts (British, active 1801-46). Prints

John Landseer, 1769-1852, British, Fall of the Tees, 1818-1823. Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove paper, with cream, chine colle.

Etching by Pierre Charles Canot, 1759, depicting winter activities, landscapes, and people engaging in seasonal leisure, showing natural and architectural details.

Print made by Samuel Palmer, 1805-1881, British, active in Italy (1837-39), The Vine, 1852. Etching and drypoint, retouched with white watercolor, gouache or chalk on thick, smooth, cream wove paper.

Two people hit by thunder, Noah van der Meer (II), After Dirk Jan van der Laan, 1785 print A Father Bangs his fist to heaven, after his daughter has been struck by lightning. His hat is blowing from his head. Amsterdam paper etching accidents with lightning. arm raised, with fist

Etching by Louis Simon Lempereur from 1748-1807 depicting a love garden, showing figures, vegetation, and landscape elements in a romantic or allegorical setting.

The Opening of the Seventh Seal, John Martin, 1789-1854, British, c.1837, Mezzotint, Sheet: 15 1/2 x 16 inches (39.4 x 40.6 cm)

St. Anne's Hill No. II, Edward Alfred Goodall, 1819-1908, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Line engraving on thick, slightly textured, beige, wove paper, with gray, chine colle, Sheet: 17 7/16 × 12 inches (44.3 × 30.5 cm), Plate: 11 1/2 × 5 15/16 inches (29.2 × 15.1 cm), Chine collé: 11 1/4 × 5 5/8 inches (28.6 × 14.3 cm), and Image: 3 × 3 inches (7.6 × 7.6 cm)

Woman Kneeling 1863-1873 France. Graphite on cream wove paper . Odilon Redon

Dresden, Dietrich, Christian Wilhelm Ernst, Hilly landscape with tower, verso - stamped, print, prints, height 264 mm, width 377 mm, German, 1712-10-30 - 1774-04-23, print maker, printmaker, 1769 - 1769, paper, papier, etching, etchings

Giovanni Battista Borra, 1713-1770, Italian, Scoglio di Silla nel Faro di Mesina, ca. 1750. Gray wash with black ink over graphite on moderately thick, moderately textured, beige laid paper.

Etching by Daniel Nikolaus Chodowiecki from 1781 depicting allegorical works of darkness with figures, gestures, shadows, and symbolic elements in dramatic composition.

Village. Artist: Louis-Adolphe Hervier, French, 1818-1879

Venice, Wagner, Joseph, Bartolozzi, Francesco, Landscape with river, verso - stamped, Landscape with three figures by a river with rapids., print, prints, height 95 mm, width 121 mm, Italian, 1727-09-25 - 1815-03-07, print maker, printmaker, 1739 - 1780, paper, papier, etching, etchings, engraving, engraving (printing process), Publication (Event), Publication, German, 1706 - 1780, publisher

Hut with two sheaves, Cornelis de Kruyff, 1809 - 1854 print To the right of the hut are a tub and a wicker basket. Numbered at the top right: No. 6. This print is part of a cover with thirteen prints. Amsterdam paper hut, cabin, lodge. sheaf

Etching by Rudolf Jettmar from 1919-1920 depicting the way into the desert, showing a barren landscape and figures moving across it.

Ruins of a Castle 1825-1827 Germany. A former banker who trained at the Berlin Arts Academy, Carl Blechen also used his flair for the dramatic as a set designer for theatrical productions. Ruins of a Castle is among the three etchings and 14 lithographs produced by the artist featuring romantic subjects such as ruins, hermits, and pilgrims in darkly evocative landscapes. These works demonstrate the continuing influence on Blechen of Caspar David Friedrich, who staged the natural world as a form of religious allegory.. Lithograph with olive-green tint stone, heightened with white gouache, on ivory wove paper . Carl Blechen

No. 15. Lorrain, Claude, 1600-1682. Prints. 1777 - 1819. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Drawing, French

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

The Early Plowman, before 1861. Samuel Palmer (British, 1805-1881). Etching;

David Lucas after John Constable, Hadleigh Castle (Small Plate), in or after 1831 Hadleigh Castle (Small Plate)

Stage Design, Tomb in a Cave, Romolo Achille Liverani, Italian, 1809 - 1872, Alessandro Sanquirico, Italian, 1777 - 1849, Pen and sepia ink, brush and wash on paper, Horizontal rectangle. Cave with antique tomb at right., Italy, early 19th century, theater, Drawing, Drawing

An etching by Jean Moyreau titled 'La Colation,' created around 1729, depicting a domestic or social scene with figures, table settings, and everyday activities typical of early 18th-century European printmaking.

Breakthrough of the Sint-Antoniesdijk on March 5, 1651, Bernard Picart (workshop of), after Pieter Nolpe, 1728 print Dike breach of the Sint-Antoniesdijk or Diemerzeedijk outside Amsterdam on March 5, 1651, caused by the high water flood and the strong Northwester Storm. The water flows through the hole in the dike, spectators on either side of the hole in panic. In the background the towers of Amsterdam. Amsterdam paper etching / engraving Dike-Break Sint-Antoniesdijk

Ojcowo view; Z: "Tygodnik Ilustrowany" 1879, No. 186 (19 July), p. 48; Brzozowski, Feliks (1836-1892), Krajewski, Jan (fl. 1874-1887), Weekly Ilustrowany (Warsaw; magazine; 1859-1939); 1879 (1879-00-00-1879-00-00);

Lorenz Froelich (1820-1908), Illustration Til "The Dominicale Pray", 1863

Bouvignes siege, Paulus Lauters, 1835 print The siege of the city of Bouvignes in 1554 by the troops of Henry II of France. In the background three women who plunge from a tower: these are the three "ladies of crèvecoeur" who, according to legend, wanted to escape the attack in this way. Brussels paper destruction of conquered city. horrors of war Bouvignes

Bliżej Kultury Franz Hanfstaengl Kunstverlagsanstalt (Monachium), Hanfstaengl (Hanfstängl), Franz (1804 1877)

Taormina from the theatre , Cities & towns, Ruins, Mountains. Joseph Pennell (1857-1926). Prints and Drawings

The Dungeon of Polignac. Artist: Eugène Isabey (French, Paris 1803-1886 Lagny). Dimensions: Sheet: 13 3/4 × 20 7/8 in. (35 × 53 cm)Image: 8 3/16 × 10 5/8 in. (20.8 × 27 cm). Printer: Godefroy Engelmann (German (born France), Mulhouse 1788-1839 Mulhouse). Series/Portfolio: Voyages Pittoresques et Romantiques dans L'Ancienne France. Date: 1831.This is from the series of prints Eugène Isabey made for the 'Auvergne' chapter of the book 'Voyages pittoresques et romantiques dans l'ancienne France'. Museum: Metropolitan Museum of Art, New York, USA.

Etching depicting a man firing a pistol, showing figure, gesture, weapon, and surroundings. Produced between 1638 and 1662, emphasizing action and composition.

Cana, general view, 1842 - 1849, by David Roberts (1796-1864). Published in London by F.G. Moon. Middle East, Description and travel, Lithographs., 6 volumes in 4 illustrations, maps, and plates (some colored); folio size, 33 x 49 cm

Etching by C.W.E. Dietrich, 18th century, depicting Adam in a scene of remorse, showing human figure, posture, and expressive detail in a biblical context.

Photo production of a painting of a face on the Jungfrau; That Jungfrau. Auf Dem Wege Nach Mürren. .

Der Kynast; Müller-Bernburg, Ernst (1874-1941); 1911 (1874-00-00-1935-00-00);

Farm with Hooischelven on the Jaagpad in Amsterdam, Pieter Dupont, c. 1895 print In the foreground a man and a woman who pull a barge. On the right in the background the Silhouette of Amsterdam, including the towers of the Rijksmuseum. paper farm (building). agricultural products and by-products: hay. city-view, and landscape with man-made constructions Towpath

"Etching by Simon Charles Miger depicting the coast at Civita Vecchia, including shoreline, water, buildings, ships, and figures between 1755 and 1820."

Frontispiece (Fisher's `Pilgrim's Progress), Edward Goodall, 1795-1870, British, after Joseph Mallord William Turner, 1775-1851, British, 1836

Vue de la Grotte, 1802., 1802., Paris. Publisher, P. Didot. Engravings

Woman Kneeling. Odilon Redon; French, 1840-1916. Date: 1863-1873. Dimensions: 255 × 205 mm. Graphite on cream wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Henry IV, Part I, Act II, Scene II: ' The Road by Gadshill - Prince Henry, Poins, Peto, Falstaff, etc.', Samuel Middiman, ca. 1750-1831, British, after Robert Smirke, 1752-1845, British, and Joseph Farington, 1747-1821, British, 1803, Engraving, Sheet: 19 5/8 x 24 7/8in. (49.8 x 63.2cm)

Five sailing ships at sea during a storm, Johann Wilhelm Baur, in or after 1809 print print maker: Viennapublisher: Augsburg paper etching storm at sea. sailing-ship, sailing-boat

Print (France)

A drawing by Albrecht Altdorfer of Saint Christopher, executed in black and white pen on green paper around 1509/10, showing figure details and composition.

Gustave Doré (1832-1883), designer and François Rouget (1811-1886), engraver. "The Guardian of Bestes." Illustration for Honoré de Balzac, "Les Contes Drolatiques", Paris: Société Générale de Librairie, 1855 ". Wood engraving. Paris, Maison de Balzac. 101782-10 Wood engraving, illustration of literary work, 19th 19th 19th 19th 19th 19th century, engraving

The Large Thistle, plate three from Les quatres grandes plantes. Eugène Blery; French, 1805-1887. Date: 1843. Dimensions: 390 × 509 mm (plate); 545 × 695 mm (sheet). Etching, roulette, and drypoint on cream chine collé, laid down on cream wove paper. Origin: France. Museum: The Chicago Art Institute, USA.

Simberg, Hugo, Gallen-Kallela with barrel, print made by the artist 1897, technique text: line etching, graphics, PORTRAIT, Gallen-Kallela, bust, side view, barrel, smoking, plate width 6.3 cm, plate height 8.8 cm, leaf width 17.2 cm, leaf height 22.3 cm

Reproduction of drawing: Juliusz Kossak (1824-1899), July; from: "Tygodnik Ilustrowany" 1866, 2, 136. Gorazdowski, Edward (1843-1901), author of a model, Anczyc, Władysław Ludwik i Spółka (Kraków ; drukarnia ; 1875-1948), printing house, Meisenbach Riffarth & Co. (Monachium, Berlin, Lipsk ; zakład graficzno-reprodukcyjny ; 1892-), reproduction atelier, Gebethner i Wolff (Warszawa ; wydawnictwo ; 1857-1950), publishing house

Ridinger, Johann Elias, Augsburg, Spuhren und Fahrten der Animale, Animals with their tracks, Chamois with tracks, verso - stamped, print, prints, height 375 mm, width 301 mm, German, 1698-02-16 - 1767-04-10, print maker, printmaker, 1751 - 1751, paper, papier, etching, etchings, Work conception, after own design by

Bliżej Kultury Robinson, G., Mimikowsky

Exeter, Thomas Jeavons, ca. 1800-1867, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Open etching

The Rising Moon. Dated: 1857. Dimensions: plate: 14.6 x 22.1 cm (5 3/4 x 8 11/16 in.) sheet: 26.5 x 33.5 cm (10 7/16 x 13 3/16 in.). Medium: etching on chine coll. Museum: National Gallery of Art, Washington DC. Author: Samuel Palmer.

The Perilous Situation of Major Mony, When He Fell into the Sea with His Balloon on the 23rd of July, 1785, Off the Coast of Yarmouth; Most Providentially Discovered and Taken Up by the Argus Sloop, After Having Remained in the Water During Five Hours. Artist: After Philip Reinagle (British, Edinburgh or Dover 1749-1833 Chelsea). Dimensions: plate: 19 15/16 x 23 7/8 in. (50.7 x 60.7 cm)sheet: 21 1/4 x 25 9/16 in. (54 x 65 cm). Engraver: John Murphy (British, Ireland ca. 1748-after 1820, active London). Date: June 24, 1789.This mezzotint depicts a dramatic incident of 1785, when Major Mony, a pioneering aeronaut, ascended in a hot-air balloon before 40,000 spectators in Norwich, a city northeast of London. A faulty valve prevented him from making a controlled landing and, after flying for nearly two hundred miles, he crashed just off the Isle of Wight, where he spent five hours in the water before being rescued. (The first manned balloon flight had taken place in France only two years b

J. C. Varrall, active 1815-1827, Launceston, Cornwall, 1827-1838. Line engraving, engraver's proof (early).

"Etching by Michel Honoré Bounieu showing the execution of a Vestal, depicting figures, gestures, instruments, composition, and environment between 1760 and 1814."

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia51. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED 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.

Martello Towers at Bexhill, William Bernard Cooke, 1778-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1817, Etching and engraving, Engraver's proof on thick, slightly textured, cream, wove paper, Sheet: 11 5/8 × 17 5/16 inches (29.5 × 44 cm) and Plate: 6 × 8 3/8 inches (15.2 × 21.3 cm)

Scène première du Rheingold , Fictitious characters, Swimming, Wagner, Richard, 1813-1883. Ring des Nibelungen. Rheingold. Henri Fantin-Latour (1836-1904). Lithographs and Other Prints

Oak and stones. Wyczółkowski, Leon (1852-1936), graphic artist

Monumental figures within the Otuiti crater Date: 1869

Copper engraving print by Hans Collaert the Elder depicting the biblical scene of Moses striking water from the rock, created in 1555.

Flight to Egypt, Hendrick Goudt, After Adam Elsheimer, 1613 print The Virgin Mary and the Christ child drive on a donkey. Joseph guides them through a burning torch. On the right two shepherds with an open fire. On the left a pond with the reflection of the full moon. To a painting by Adam Elsheimer. With Latin caption. print maker: Utrechtafter painting by: Rome paper engraving the flight into Egypt: Mary, Joseph, the child (and sometimes others) on their way; Mary usually riding on an ass

Thomas Jeavons, ca. 1800-1867, British, Lyme Regis, Norfolk, 1827-1838. Open etching.

Die Landschaftmahler auf der Reise. Klein, Johann Adam (1792-1875), graphic artist, Frauenholz, Johann Friedrich (1758-1822), publisher

Islamic rock shrine of Kuragala on Ceylon. Draughtsman: Jan Brandes. Intermediary draughtsman: anonymous. Dating: 10-Oct-1785 - 30-Dec-1785. Place: Sri Lanka. Measurements: h 200 mm × w 270 mm. Museum: Rijksmuseum, Amsterdam.

Samuel Middiman, ca. 1750-1831, British, Weathercote Cave when half filled with Water, 1821. Etching and line engraving on moderately thick, slightly textured, cream, laid paper, with cream, chine colle.

Print made by Robert Wallis, 1794-1878, British, Banditti (vignette), 1830. Etching and line engraving; first published state on medium, slightly textured, cream wove paper.

Photo production of a painting by scene from the Opera Siegfried; Siegfried Aufzug; Richard Wagner Cyklus. .

Draft design for Paradiso, Canto IX, 34 from Dantes Divine Comedy by Franz von Bayros, created around 1920 using gouache, pencil, and wash techniques.

Magazine from Utrecht student almanac, 1859, Anonymous, After C.J. Sickesz, 1859 print Illustration from the Student Almanac of the University of Utrecht of the year 1859. A student who wanted to climb the highest mountain tops is lifeless on the ground with the Banier 'Excelsior' still under control. Illustration in a translation of a poem by Longfellow. print maker: Netherlandsafter design by: Netherlandsprinter: The Hague paper student. mountain climbing, mountaineering Utrecht

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