Historic Street Views

Prints featuring detailed etchings of urban scenes in historic settings, highlighting architecture, crowds, and daily life in various cities.

The Rialto. Whistler, James McNeill (1834-1903). Avery, Samuel Putnam, 1822-1904. Prints. 1879 - 1880. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

View of the Assistance Street in Brussels, James Ensor, 1887 print paper etching / drypoint city-view in general; 'veduta'. public road Brussels

The Rialto. James Abbott McNeill Whistler (United States, 1834-1903). United States, 1879/1880. Prints; etchings. Etching and drypoint

The Rialto. Whistler, James McNeill (1834-1903). Avery, Samuel Putnam, 1822-1904. Prints. 1879 - 1880. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

A coal drawing by August Xaver Karl von Pettenkofen illustrating a scene from Gil Blas.

Court of the Monastery of St Augustine, Bourges. James McNeill Whistler; American, 1834-1903. Date: 1887-1888. Dimensions: 129 x 219 mm (image, trimmed within plate mark); 133 x 219 mm (sheet). Etching with foul biting in dark brown ink on ivory laid paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

The Rokin , City & town life. Sir David Young Cameron (1865-1945). Prints

Charlemagne Street in Paris. Pankiewicz, Józef (1866-1940), graphic artist

Street in Istanbul. Jabłczyński, Feliks (1865-1928), graphic artist

Victoria Club 1879 James McNeill Whistler American. Victoria Club 372794

An etching and aquatint by Max Klinger from 1883 titled 'A Mother I' (Opus IX, sheet 3), representing a maternal figure with child in a symbolic and narrative composition.

The Bridge, Santa Marta 1879-1880 United States. Etching and drypoint with foul biting, with drypoint cancellation, in black ink on ivory laid paper . James McNeill Whistler

Demolition de la Maison de Sabra, 1909. Auguste Louis Lepère (French, 1849-1918). Etching;

The Seal Pool, Fairmount Park , Parks, Bodies of water, Memorial arches. Joseph Pennell (1857-1926). Prints and Drawings

Tour St. Antoine, Loches. Dated: 1888. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: JAMES ABBOTT MCNEILL WHISTLER.

Figures in a street or rose in Amsterdam. Page 15 From a sketchbook with 13 sheets.

James McNeill Whistler, Little Court, c 1880 1881 Little Court

The piazzetta , Plazas, Doves, Basilicas, Basilica di San Marco Venice, Italy. James McNeill Whistler (1834-1903). Lithographs

San Biagio 1880 United States. Etching and drypoint with foul biting, with drypoint cancellation, in brown ink on ivory laid paper . James McNeill Whistler

Moreau, Pierre Louis, rue Beethoven. (Faithful title), 1898. Carnavalet Museum, History of Paris.

James McNeill Whistler (American, 1834-1903), San Biagio, 1879-1880, etching

Antique Shop, New York. Dated: c. 1916. Dimensions: plate: 189 x 175 mm sheet: 234 x 228 mm. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Earl Horter.

San Trovasso Canal, Venice, 1883. Frank Duveneck (American, 1848-1919). Etching;

Toledo, Street of the Arch 1898-1908 United States. Oiled charcoal with stumping and erasing, heightened with white chalk, on cream wove paper, perimeter mounted on off-white wood pulp laminate board . Joseph Pennell

James McNeill Whistler (American, 1834 - 1903), Little Court, c. 1880-1881, etching

Raindag in Venice, 1920 print Moored gondola in a Venetian channel. Print is part of a book. paper etching / drypoint gondola. canals, waters (in city) Venice

The Balcony, 1886. James McNeill Whistler (American, 1834-1903). Etching;

Railway Arch, American Square. James McNeill Whistler; American, 1834-1903. Date: 1886-1887. Dimensions: 70 x 163 mm (image, trimmed within plate mark); 73 x 163 mm (sheet). Etching with foul biting in black ink on off-white laid paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

James McNeill Whistler, The Balcony, 1879 1880 The Balcony

City Canal. George Hadfield; American, born England, c. 1767-1826. Date: 1778. Dimensions: 319 x 240 mm. Black chalk and crayon, on ivory laid paper, laid down on ivory laid paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Giovanni Battista Piranesi, The Well, published 1749 1750 The Well

The Owl, 1883, Félix Buhot, French, 1847-1898, 17 9/16 x 12 7/8 in. (44.61 x 32.7 cm) (plate)19 7/16 x 14 1/4 in. (49.37 x 36.2 cm) (sheet), Etching and drypoint on ivory paper with inscriptions in red crayon, France, 19th century, The nocturnal world of darkness and dreams kept a firm grip on Félix Buhot. His personal emblem was an owl, which in Spanishbúhosounds like his name. Here the owl's shadow takes the form of Buhot’s silhouette. Vignettes surround the central image: Paris street scenes, a ship, an artist's palette, a train on a viaduct, and so on. Such borders were a hallmark of Buhot’s work. He called them 'marges symphoniques' (symphonic margins) for both their complexity and their similarity to the images that music stimulates in the imagination.

View of the Place Pigalle in Paris, Félix Hilaire Buhot, 1878 print paper etching / drypoint city-view, and landscape with man-made constructions. four-wheeled, animal-drawn vehicle, e.g.: cab, carriage, coach. umbrella. ornamental fountain. street lighting PIGALLE PLACE

James McNeill Whistler (American, 1834 - 1903), The Swan, Chelsea, 1872, etching

Grosse Horloge, Rouen 1907 United States. Etching on ivory laid paper . Joseph Pennell

Sir David Young Cameron, 1865-1945, British, Siena, 1900. Etching and drypoint.

Ink, feather, and laved illustration by August Xaver Karl von Pettenkofen depicting a Gil Blas scene with figures, gestures, and interaction.

Venice. Ospedale - Scuola di S. Marco; Weiss, Wojciech (1875-1950); 1925 (1925-00-00-1925-00-00);Scuola Grande di San Marco (Venice), Weiss, Irena (1888-1981), Weiss, Irena (1888-1981)-collection, Venice (Italy), Italy (state), Polish graphics, channels, Poland (culture), hospitals , purchase (provenance)

Entrance Gate 1887 James McNeill Whistler American. Entrance Gate 372799

Design for wallpaper painting. Draughtsman: Jurriaan Andriessen. Dating: c. 1752 - c. 1819. Measurements: h 269 mm × w 182 mm. Museum: Rijksmuseum, Amsterdam.

Toledo. Joseph Pennell; American, 1857-1926. Date: 1903. Dimensions: 254 x 191 mm. Oiled charcoal with stumping and erasing, on cream wove paper, perimeter mounted on off-white wood pulp laminate board. Origin: United States. Museum: The Chicago Art Institute, USA.

The balcony. Whistler, James McNeill (1834-1903). Avery, Samuel Putnam, 1822-1904. Prints. 1879 - 1880. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

The Riva, No. 1, 1880. James McNeill Whistler (American, 1834-1903). Etching and drypoint;

Drawing, Studies from a Bridge in Florence, Italy; Walter Shirlaw (American, b. Scotland, 1838-1909); USA; black crayon on cream laid paper; 22.4 × 30.2 cm (8 13/16 × 11 7/8 in.)

Women under a sunshade on the quay; Fruit stall; A Set of Twenty-Six Etchings. On the quay a canal in Venice, under a fabric overvoltage a group of women with two children.

Gästrikland, Ockelbo sn., Åmots Chapel Assembly. "German hearth at Åmots mill". Drawing by Ferdinand Boberg. Nordic

The bridge. Whistler, James McNeill (1834-1903). Avery, Samuel Putnam, 1822-1904. Prints. 1879 - 1880. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

The Church - Brussels (Adoration). James McNeill Whistler; American, 1834-1903. Date: 1887. Dimensions: 126 x 178 mm (image, trimmed within plate mark); 129 x 178 mm (sheet). Etching and drypoint with foul biting in black ink on cream Japanese paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Second Street Market, Philadelphia , Markets, City & town life. Joseph Pennell (1857-1926). Prints and Drawings

The Venetian Mast. James McNeill Whistler; American, 1834-1903. Date: 1879-1880. Dimensions: 344 x 165 mm (plate); 354 x 167 mm (sheet). Etching and drypoint in black ink on ivory laid paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Figures on the street, possibly in Paris, 1887 - 1934 Page 27 and Page 28 from sketchbook XXXIX with 51 pages. Paris paper. chalk street (+ city(-scape) with figures, staffage) Paris

Gate of the Zocodovar, Toledo. Joseph Pennell; American, 1857-1926. Date: 1904. Dimensions: 252 x 201 mm (image); 274 x 216 mm (sheet). Etching on ivory wove paper. Origin: United States. Museum: The Chicago Art Institute, USA.

Temple Bar. Artist: Alfred-Louis Brunet-Debaines (French, Le Havre 1845-1939 Hyères). Dimensions: Sheet: 9 3/4 × 7 3/16 in. (24.7 × 18.3 cm)Plate: 8 3/8 × 6 in. (21.2 × 15.2 cm). Date: 1877. Museum: Metropolitan Museum of Art, New York, USA.

The Kurza Stopka" (Hen’s Foot) turret. Cotty, Jan (Warszawa ; drukarnia i zakład litograficzny ; 1863-1939), lithography atelier, Wyczółkowski, Leon (1852-1936), graphic artist, Warszawskie Towarzystwo Artystyczne (Warszawa ; wydawnictwo ; fl. 1899-ca 1918), publisher

James McNeill Whistler (American, 1834 - 1903), Ponte del Piovan, 1880, etching and drypoint

Nel Villaggio In the Village. Dated: before 1871. Dimensions: sheet: 35.8 × 26.6 cm (14 1/8 × 10 1/2 in.) plate: 25.5 × 15.4 cm (10 1/16 × 6 1/16 in.). Medium: etching on wove paper proof before letters. Museum: National Gallery of Art, Washington DC. Author: after Serafin de Avendano Domenico Casella.

Nocturne: Palaces. James McNeill Whistler; American, 1834-1903. Date: 1879-1880. Dimensions: 290 x 195 mm (sight-through mat window). Cancelled copper plate. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Fleur-de-lys Passage. James McNeill Whistler; American, 1834-1903. Date: 1887. Dimensions: 183 x 82 mm (image, trimmed within plate mark); 185 x 82 mm (sheet). Etching and drypoint with foul biting in black ink on ivory laid paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Joseph Pennell, The Great Chimney, the Motor Park, 1916 The Great Chimney, the Motor Park

The Crane. Chart 3 from the portfolio Gdansk". Mycielski, Jan Kazimierz (1864-1913), graphic artist

In Mr. Nash's, East Cowes, Isle of Wight, Capt. Thomas Hastings, 1778-1854, British, 1828, Graphite on medium, slightly textured, cream wove paper, Sheet: 6 7/8 × 4 1/2 inches (17.5 × 11.4 cm), architectural subject

Normandy. Artist: Jean-François Millet, French, 1814-1875

Vismarkt in Antwerp, Egidius Linnig, 1841 print paper etching / counterproof stall, booth (~ market) Antwerp

'Antwerp. Fountain of Love'. Belgium, 1975. Dimensions: 41,3x23,7 cm. Museum: State Hermitage, St. Petersburg. Author: Alexander Zhitomirsky.

"The Swan," Chelsea (The Old Swan Brewery, Chelsea) 1872-73 James McNeill Whistler American. "The Swan," Chelsea (The Old Swan Brewery, Chelsea) 372688

Clothes-Exchange, Houndsditch, No 1 1887 United States. Etching and drypoint with foul biting in dark brown ink on buff laid paper . James McNeill Whistler

Auguste Louis Lepère (French, 1849 - 1918). Image from La Bièvre, Les Gobelins, Saint-Séverin”, ca. 1901. Wood engraving on wove paper. Sheet: 289 mm x 201 mm (11.38 in. x 7.91 in.) (sheet dimensions are approximate for each print).

'Crimea, Gurzuf'. USSR, 1986. Dimensions: 56,7x41,2 cm; 61,5x53,3 cm. Museum: State Hermitage, St. Petersburg. Author: Alexander Zhitomirsky.

Drawing, The Invention of the Compass; Jan van der Straet, called Stradanus (Flemish, 1523-1605); Engraved by Theodor Galle; Client: Luigi Alamanni (Italian, 1558-1603); Netherlands; pen and brown ink, brush and gray and brown wash, black chalk on laid paper; 10.7 × 14.6 cm (4 3/16 × 5 3/4 in.)

Face from the Osjesluis to the Grimnessesluis in Amsterdam, Joris van der Haagen, 1661 drawing paper. chalk brush canals, waters (in city) Grimnessesluis. Osshessluis

Drawing by Ferdinand Boberg. Västmanland, Snevringe hd., Kolbäcks sn., Trångfors Nordic

Rue des Peupliers, 1899 (dummy title)

Spring in Annapolis, 1929 (The Back of the Chase House). Artist: Childe Hassam (American, Dorchester, Massachusetts 1859-1935 East Hampton, New York). Dimensions: Plate: 9 x 12 in. (22.8 x 30.5 cm)Sheet: 12 5/16 x 15 5/16 in. (31.3 x 38.9 cm). Date: 1929. Museum: Metropolitan Museum of Art, New York, USA.

Garden with pond, in the foreground garden tools. Draughtsman: Dionys van Nijmegen (possibly). Dating: 1715 - 1798. Measurements: h 248 mm × w 140 mm. Museum: Rijksmuseum, Amsterdam.

Figures in the Baanbrugsteeg in Amsterdam, George Hendrik Breitner, 1917 Page 4 from a sketchbook with 44 sheets. Amsterdam paper. chalk civic architecture; edifices; dwellings. lane, alley (+ city(-scape) with figures, staffage) Baanbrugsteeg

King's Road, Chelsea. Dated: c. 1886/1888. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: JAMES ABBOTT MCNEILL WHISTLER.

Abbéville Made 1905 England. Etching in brownish black ink on cream laid paper . Charles John Watson

St. James Street. Artist: After James McNeill Whistler (American, Lowell, Massachusetts 1834-1903 London). Dimensions: sheet: 15 9/16 x 10 11/16 in. (39.5 x 27.2 cm)image: 11 x 6 in. (28 x 15.3 cm). Date: 1878. Museum: Metropolitan Museum of Art, New York, USA.

Edouard Vuillard, Une répétition à L'Oeuvre, Program for L'Oasis, 1903 Une répétition à L'Oeuvre, Program for L'Oasis

The Great War: the effort and ideal of Great Britain represented in a series of lithographs. Convalescence in England Claude Alin Shepperson (1867-1921). The Great War: the effort and ideal of Great Britain represented in a series of lithographs - convalescence in England. Lithograph, 1914-1917.

Pierre Bonnard (1867-1947). "Street corner from above". Color lithography. Museum of Fine Arts of the City of Paris, Petit Palais. 25526-1 Lithography, small job, street scene, high view

James McNeill Whistler, Bead Stringers, 1879 1880 Bead-Stringers

Sir David Young Cameron, 1865-1945, British, Venetian Convent North Italian Set: No. 4, 1895. Etching on laid paper.

Emilia-Romagna Ravenna Bagnacavallo Museo Civico1. Hutzel, Max 1960-1990 Post-medieval: Paintings on canvas; manuscripts Antiquities: cippi (Gracchi), cippi fragments, bipedal bricks, terracotta amphorae 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.

Sketch Book. Artist: Ernest Flagg (American, Brooklyn, New York 1857-1947). Dimensions: 8 5/8 x 11 x 1/2 in. (21.9 x 28 x 1.2 cm). Date: ca. 1890. Museum: Metropolitan Museum of Art, New York, USA.

Artist Court, Passage Jouas F. Laughing. "Courtyard Court, Passage Jouas". Feather, 1895.

Herodias: Page 7, The sun made the cliffs of white marble glitter, and the golden rays on its roof, 1928. William Walcot (British, 1874-1943). Etching; sheet: 30.7 x 23.7 cm (12 1/16 x 9 5/16 in.); platemark: 20.7 x 17.4 cm (8 1/8 x 6 7/8 in.).

Holmberg, Werner, work, Sketch book, pencil and marker engraving, drawing, 17.5 cm x 26 cm, Holmberg, Werner, pencil and marker engraving

Flower Market, Brussels 1887 United States. Etching and drypoint in black on cream laid paper (discolored to tan) . James McNeill Whistler

Rome. Dated: 1857. Dimensions: sheet: 14.4 × 8.9 cm (5 11/16 × 3 1/2 in.). Medium: graphite on wove paper. Museum: National Gallery of Art, Washington DC. Author: Elihu Vedder.

Outside Walls, Porte de Versailles. Louis Auguste Lepère; French, 1849-1918. Date: 1898. Dimensions: 120 × 236 mm (image); 162 × 127 mm (plate); 177 × 281 mm (sheet). Etching on cream laid Japanese paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Statue d'un Grand Homme. Auguste Louis Lepère (French, 1849-1918). Wood engraving;

Ink and feather drawing by Stephanie Hollenstein depicting women gathered at a fountain, showing posture and interaction.

Roofs and Steeple Charles Demuth (American, 1883-1935). , 1921. Watercolor and graphite on textured wove paper, 14 3/8 x 10 7/16 in. (36.5 x 26.5 cm). After encountering French Cubism in Paris, Charles Demuth produced a large body of still-life and architectural watercolors based in a Cubist-inspired faceting of forms. Particularly drawn to the small-town American architecture of his native Lancaster, Pennsylvania, where he continued to spend a significant amount of time, Demuth transposed the architectural volumes into two-dimensional designs of selected planes set off by precisely ruled lines. Within these compositions, the tones and density of his washes suggest spatial depth while areas of unpainted paper reassert the two-dimensional surface. American Art 1921

Ruins of the Old Tuileries, Paris. Gustave Leheutre; French, 1861-1932. Date: 1903. Dimensions: 308 × 135 mm (image/plate); 421 × 207 mm (sheet). Etching and plate tone on ivory laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Liverdun 1858 James McNeill Whistler American Whistler visited Liverdun, a town on the Moselle, near the start of a summer Rhineland tour in 1858. He traveled by train between Nancy and Strasbourg, making sketches and a few etchings, including the present work. Here, old farm buildings frame a yard and establish what would become a favorite formal arrangement. Roofs and walls are punctuated with shadowed openings to create a play of lights and darks enlivened with the lightly etched forms of farm workers, ladders and a cart. A white cow walks out of the space at right, and broad expanses below and above suggest ground and sky. This composition was one included in "Douze eau-fortes d'apres Nature" (known as the "French Set"), the artist's first published work, issued in November 1858.. Liverdun 372695

James McNeill Whistler, Little Steps, Chelsea, c 1884 1886 Little Steps, Chelsea

The Traghetto, 1880. James McNeill Whistler (American, 1834-1903). Etching;

Arcadia, Sir Robert Smirke the younger, 1781-1867, British, 1802-1804, Graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 8 15/16 × 4 1/8 inches (22.7 × 10.5 cm)

Grande Gallery of the Louvre; The Long Gallery, Louvre. The Grande Gallery in the Louvre with many visitors. On the right a painter at work.

Impasse of oxen.

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