Historical Landscapes

Engravings of scenic landscapes, featuring coastal views, rivers, and mountains, with a focus on the interplay of light and nature from different eras.

Malta W: Oskar Ludwig Bernhard Wolff New elegant conversation lexicon for educated from all stands Tom 3 Art Verlag Creuzbauer in Carlsruhe, Kollmann, Carl Ivanovitch (1788 1846)

Malta W: Oskar Ludwig Bernhard Wolff New elegant conversation lexicon for educated from all stands Tom 3 Art Verlag Creuzbauer in Carlsruhe, Kollmann, Carl Ivanovitch (1788 1846)

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

Print made by Thomas Jeavons, ca. 1800-1867, British, Distant View of St. Michel, 1834. Etching and line engraving on medium, slightly textured, cream wove paper.

Robert Wallis, 1794-1878, British, Colchester, Essex, 1827-1838. Engraver's proof (unfinished).

James T. Willmore, 1800-1863, British, Llanthony, Monmouthshire, 1836. Line engraving and stipple engraving, 2nd state on moderately thick, slightly textured, cream, wove paper, with cream, chine colle.

Chateau Gaillard, from the South, John Cousen, 1804-1880, British, after Joseph Mallord William Turner, 1775-1851, British, 1835, Line engraving, engraver's proof

Rye, Sussex, Print made by Edward Alfred Goodall, 1819-1908, British, after Joseph Mallord William Turner, 1775-1851, British, 1814 to 1826, Etching; open etching on medium, slightly textured, cream wove paper with chine-collé, Sheet: 11 3/8 × 16 3/4 inches (28.9 × 42.5 cm), Plate: 10 × 12 1/4 inches (25.4 × 31.1 cm), Chine collé: 9 1/2 × 11 3/4 inches (24.1 × 29.8 cm), and Image: 6 × 9 1/4 inches (15.2 × 23.5 cm)

W. R. Smith, active 1819-1851, Richmond, Yorkshire, 1827-1838. Line engraving, engraver's proof, touched.

View of the Falls of Niagara, Isaac Weld, 1774-1856, Irish, between 1795 and 1797, Pen, and black ink, gray ink, gray wash and graphite on medium, slightly textured, cream, wove paper, mounted on very thick, slightly textured, beige, wove paper, Mount: 10 11/16 × 13 3/16 inches (27.1 × 33.5 cm), Contemporary drawn border: 8 3/8 × 10 13/16 inches (21.3 × 27.5 cm), and Sheet: 6 3/8 x 8 7/8in. (16.2 x 22.5cm)

Coombe-Martin, Devonshire, Print made by William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1814 to 1826, Etching and line engraving; first published state india paper on medium, slightly textured, cream wove paper with chine-collé, Sheet: 11 3/4 × 17 3/8 inches (29.8 × 44.1 cm), Plate: 9 × 12 inches (22.9 × 30.5 cm), Chine collé: 8 1/2 × 11 1/2 inches (21.6 × 29.2 cm), and Image: 6 × 9 1/2 inches (15.2 × 24.1 cm)

The Lake of Nemi called Speculum Diane, Sir Richard Colt Hoare, 1758-1838, British, 1786 to 1819, Graphite, pen and brown ink, and brown wash on medium, slightly textured, cream laid paper, Sheet: 13 3/16 x 20 1/8 inches (33.5 x 51.1 cm), genre subject, Grand Tour, landscape, Nemi, Lago di

Giant's Causeway. John Clevely, II; English, 1747-1786. Date: 1772. Dimensions: 219 × 291 mm. Pen and black ink and brush and gray wash over traces of graphite, on cream laid paper. Origin: England. Museum: The Chicago Art Institute, Chicago, USA. Author: John Clevely, II.

Mount Lebanon and the Convert of St. Antonio, William Finden, 1787-1852, British, after Joseph Mallord William Turner, 1775-1851, British, 1836, Line engraving

Breakthrough of the Sint-Anthonisdijk near Amsterdam, Jean Jacques de Boissieu, after Jan Asselijn, 1782 print print maker: Franceafter painting by: Amsterdam paper. etching / drypoint dike-break. storm Sint-Antoniesdijk. Diemerzeedijk

Vue d'Aqua Pendente sur la route de Sienne a Rome. Dated: 1773. Dimensions: plate: 25.8 x 35 cm (10 3/16 x 13 3/4 in.) sheet: 26.8 x 36.2 cm (10 9/16 x 14 1/4 in.). Medium: etching and drypoint on laid paper. Museum: National Gallery of Art, Washington DC. Author: Jean-Jacques de Boissieu.

Thomas Jeavons, ca. 1800-1867, British, Knaresborough, Yorkshire, 1827-1838. Line engraving, engraver's proof.

Ludlow Castle, Shropshire, Robert Wallis, 1794-1878, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Line engraving, engraver's proof

Print made by William Le Petit, early 1800s, Caldron Snout, Teesdale, Durham, 1834. Line engraving on medium, slightly textured, cream wove paper.

Invasie van Quiberon, François Louis Cuté, after Jean Duplessis -Bertaux, 1795 - 1849 print paper etching battle. revolution, revolt Quiberon

Ville de Thun, Switzerland, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by Thomas Hodgetts, active 1801-1846, after Joseph Mallord William Turner, 1775-1851, British, 1816, Etching and mezzotint, printed in brown ink First published state on medium, slightly textured, cream laid paper, Sheet: 11 5/8 × 17 1/8 inches (29.5 × 43.5 cm), Plate: 8 1/4 × 11 1/2 inches (21 × 29.2 cm), and Image: 7 × 10 3/8 inches (17.8 × 26.4 cm)

Brienne, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Etching and engraving, with scraping out and touched with graphite (Early Engraver's Proof)

James Baylis Allen, 1803-1876, British, Caudebec, 1833. Etching and line engraving, Engraver's proof.

AFGHAN SKETCHES

Folkstone, Kent, Print made by Robert Wallis, 1794-1878, British, after Joseph Mallord William Turner, 1775-1851, British, 1825, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-colle`, Sheet: 9 3/8 × 12 inches (23.8 × 30.5 cm), Chine collé: 9 1/4 × 11 7/8 inches (23.5 × 30.2 cm), and Image: 6 × 9 5/8 inches (15.2 × 24.4 cm)

Maria Zell. Under Steyermark.

Saumur, Robert Wallis, 1794-1878, British, after Joseph Mallord William Turner, 1775-1851, British, 1830, Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, with beige, chine colle, Sheet: 12 × 17 1/16 inches (30.5 × 43.3 cm), Plate: 6 1/16 × 8 9/16 inches (15.4 × 21.7 cm), Chine collé: 5 3/4 × 8 1/4 inches (14.6 × 21 cm), and Image: 3 3/4 × 5 5/8 inches (9.5 × 14.3 cm)

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

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

Mechios River near the mills : a sketch of Mechios mills. Appears in the author's Atlantic Neptune, published for the use of the Royal Navy of Great Britain. London : Joseph F.W. Des Barres, 1777-1781.. This engraving of the Machias area in the Boston Public Library's Atlantic Neptune collection was struck from the plate held by the Massachusetts Historical Society. By 1770, several mills were built on the Machias River, as the region was ideal for producing lumber. Conflict erupted between the residents and the British Navy in 1775, and a number of sailors lost their lives. In early August of 1777, mere days after this image was engraved, the British attacked the town of Machias, and burned the settlement in retaliation for the uprising two years earlier.. Sketch of Mechios mills. Sketch of Mechios mills, Maine , Aroostook ,county , Machias

Richmond, Yorkshire, W. R. Smith, active 1819-1851, after Joseph Mallord William Turner, 1775-1851, British, 1827, Line engraving and etching, 2nd state on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 10 1/2 × 14 1/2 inches (26.7 × 36.8 cm), Plate: 9 5/8 × 11 3/4 inches (24.4 × 29.8 cm), Chine collé: 9 3/8 × 11 5/8 inches (23.8 × 29.5 cm), and Image: 6 11/16 × 9 3/8 inches (17 × 23.8 cm)

Brienne, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Etching and engraving, touched with graphite (Engraver's Proof)

Print made by Richard Earlom, 1743-1822, British, A Study, 1817. Mezzotint and etching in brown ink on moderately thick, slightly textured, cream wove paper.

Rev. William Gilpin, 1724-1804, British, Two Figures on a Road with Castle in Center Distance, between 1745 and 1748. Gray and brown wash with pen and brown ink over graphite on medium, moderately textured, cream laid paper, prepared with orange wash.

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

Landscape with a Ruined Castle. John Martin; English, 1789-1854. Date: 1819. Dimensions: 251 × 387 mm. Brush and brown ink and wash, over traces of graphite on cream wove paper, laid down on tan board. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Florence (vignette), Print made by Edward Goodall, 1795-1870, British, after Joseph Mallord William Turner, 1775-1851, British, 1830, Etching and line engraving with graphite; engraver's proof on medium, slightly textured, cream wove paper

Smailholme, Print made by Edward Goodall, 1795-1870, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-collé

Sepolcro antico in via nomentana; Frauenholz, Johann Friedrich (1758-1822), Reinhart, Johann Christian (1761-1847); 1792 (1792-00-00-1792-00-00);

A Cività Castellana. Dated: 1794. Dimensions: plate: 28.2 x 38.1 cm (11 1/8 x 15 in.) sheet: 39.1 x 49.1 cm (15 3/8 x 19 5/16 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Johann Christian Reinhart.

Etched by Joseph Mallord William Turner, 1775-1851, British, The Fifth Plague of Egypt, 1808. Etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper.

Rome from Monte Mario, John Byrne, 1796-1847, British, after Joseph Mallord William Turner, 1775-1851, British, 1818-1820, Etching and engraving on moderately thick, smooth, cream, wove paper, with cream, chine colle, Sheet: 11 × 15 3/8 inches (27.9 × 39.1 cm), Plate: 10 1/16 × 13 1/8 inches (25.6 × 33.3 cm), Chine collé: 9 3/8 × 12 9/16 inches (23.8 × 31.9 cm), and Image: 5 1/2 × 8 1/2 inches (14 × 21.6 cm)

Choquer, Print made by George Arnald, 1763-1841, British, after George Arnald, 1763-1841, British, 1821, Mezzotint and etching, printed in brown ink on moderately thick, moderately textured, cream laid paper, Sheet: 8 11/16 × 11 1/8 inches (22 × 28.2 cm) and Image: 7 1/4 x 9 7/8 inches (18.4 x 25.1 cm), basket, boats, castle, children, cliffs, cottages, dresses, farmer, farming, fields, genre subject, harvest, hats, hills, houses, labor, landscape, man, path, reeds, river, road, smoke, staffs, towers (building divisions), trees, turrets, walking, wheat, women, workers, working

William Finden, 1787-1852, British, Assos, 1836. Line engraving.

Print made by Edward Alfred Goodall, 1819-1908, British, Rye, Sussex, 1814 to 1826. Etching; open etching on medium, slightly textured, cream wove paper with chine-collé.

Robert Wallis, 1794-1878, British, Coteaux de Mauves, 1831. Line engraving, engraver's proof on moderately thick, moderately textured, beige, wove paper.

Landscape with destroyed cemetery of the Van der Capellen family, 1788, Izaak Jansz. de Wit, after Johan Antonie Kaldenbach, 1788 - 1790 print Landscape with destroyed cemetery of the Van der Capellen family with two walkers in the foreground. A church tower in the background. Amsterdam paper etching / engraving landscape with other man-made constructions not mentioned above, e.g.: graveyards, playgrounds, etc.. gunpowder disaster Gorssel

James Baylis Allen, 1803-1876, British, Santa Sabas and the Brook Kidron, 1836. Line engraving.

The Cold Gang Bey Gutenstein.

Between Clairmont and Mauves, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1833, Line engraving

Vue des Envions de Nerva; Le Prince, Jean-Baptiste (1734-1781); 1773 (1773-00-00-1773-00-00);Estonia, collection from Sucha - collection, Narwa (Estonia), French (culture), landscapes, landscapes

Der Drachenfels. Angerer, Ludwig (Londyn, Berlin, Wiedeń ; wydawnictwo ; fl. 1849-1930), printing house, Mannfeld, Bernhard (1848-1925), graphic artist, Verlag Emil Strauss (Bonn ; wydawnictwo ; fl. ca 1850-1905), publishing house

An etching by Matthias Pfenninger depicting Baden in the Aargau Castle with figures and cloud effects, executed in gray-laved technique with pencil details before 1789.

(Elle est Morte. Elégie) ,. Paul Gavarni (1804-1866). Lithographs and Other Works

Edward Francis Finden, 1791-1857, British, Lebanon from Tripoli, 1836. Line engraving.

St. Mawes, Cornwall, Print made by James C. Allen, active 1821-1831, British, after Joseph Mallord William Turner, 1775-1851, British, 1814 to 1826, Etching and line engraving; first published state india paper on medium, slightly textured, cream wove paper with chine-collé, Sheet: 10 3/8 × 13 7/8 inches (26.4 × 35.2 cm), Plate: 9 × 12 inches (22.9 × 30.5 cm), Chine collé: 8 5/8 × 11 5/8 inches (21.9 × 29.5 cm), and Image: 5 3/4 × 8 3/4 inches (14.6 × 22.2 cm)

S. Fisher, active 1831-1844, Coventry, Warwickshire, 1827-1838. Line engraving, first published state.

Coln. Mannering, Hazlewood and Smugglers / Coln. Mannering, Hazelwood et Les Contrebandiers, William Finden, 1787-1852, British, after Joseph Mallord William Turner, 1775-1851, British, 1836, Line engraving

William Bernard Cooke, 1778-1855, British, Lulworth Cove, Dorset, 1811-1812. Line engraving, open etching, first state (touched) on moderately thick, moderately textured, cream, wove paper.

Tynemouth, Northumberland, W. R. Smith, active 1819-1851, after Joseph Mallord William Turner, 1775-1851, British, 1831, Etching and line engraving, Engraver's proof on moderately thick, smooth, cream, wove paper, with gray, chine colle, Sheet: 11 3/16 × 14 13/16 inches (28.4 × 37.6 cm), Plate: 9 11/16 × 12 7/16 inches (24.6 × 31.6 cm), Chine collé: 9 3/8 × 12 inches (23.8 × 30.5 cm), and Image: 6 9/16 × 9 inches (16.7 × 22.9 cm)

Veduta della Cascata di Tivoli (View of the Grand Cascade at Tivoli), from Vedute diRoma. Artist: Giovanni Battista Piranesi, Italian, 1720-1778

Triport, Print made by James T. Willmore, 1800-1863, British, after Clarkson Stanfield, 1793-1867, British, Published by Longman, active 1804-1914, British, 1834, Line engraving on medium, slightly textured, cream wove paper

Landscape after Claude ca. 1811 Johan Baptist Stuntz Swiss. Landscape after Claude. Johan Baptist Stuntz (Swiss, Arlesheim 1753-1836 Munich). ca. 1811. Lithograph. Prints

View of the Surroundings of Regio in Calabria ca. 1770 After Joseph Vernet. View of the Surroundings of Regio in Calabria. After Joseph Vernet (French, Avignon 1714-1789 Paris). ca. 1770. Engraving. Charles Nicolas Dufour (French, born Abbeville 1724-1818). Prints

Lago Maggiore, W. R. Smith, active 1819-1851, after Joseph Mallord William Turner, 1775-1851, British, 1828-1837, Line engraving, first published state on medium, smooth, cream, wove paper, with cream, chine colle, Sheet: 8 15/16 × 11 7/8 inches (22.7 × 30.2 cm), Plate: 6 × 8 1/2 inches (15.2 × 21.6 cm), Chine collé: 5 3/4 × 8 1/16 inches (14.6 × 20.5 cm), and Image: 3 1/2 × 5 3/16 inches (8.9 × 13.2 cm)

J. C. Varrall, active 1815-1827, Launceston, Cornwall, 1827-1838. Line engraving, first published state.

Santa Sabas and the Brook Kidron, James Baylis Allen, 1803-1876, British, after Joseph Mallord William Turner, 1775-1851, British, 1836, Line engraving

Douvouement de cutius. Anonymous. Press cartoon. "Degotment of Curtius". Board published in "caricature" of August 11, 1831. Lithograph. Paris, House of Balzac.

Vernon, James T. Willmore, 1800-1863, British, after Joseph Mallord William Turner, 1775-1851, British, 1835, Line engraving

Woman sewing at a table, on the wall a birdcage, print maker: Johann Wilhelm Baumann, München, 1825 - 1900, paper, steel engraving, h 232 mm - w 140 mm

Carlisle, Print made by Edward Goodall, 1795-1870, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Etching on medium, slightly textured, cream wove paper with chine-collé

Fifth Plague of Egypt (Liber Studiorum, part III, plate 16) 1808 Designed and etched by Joseph Mallord William Turner 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. Here we see his preliminary work on a plate that Charles Turner later completed using mezzotint. The subject comes from "Exodus" 9, a chapter that describes three of the ten plagues involked by Moses to persuade Egypt's pharoah to release the Hebrews from bondage. Curiously, the title mentions the fifth plague, directed against domestic animals, but the print focuses on the seventh, an apocalypic storm of hail and fire. The latter effects have yet to be developed, but the prophet stands at right with arms raised towards the pyramids. Published states of the print include the letter "H" in the

Coast of Yorkshire, plate 24 from Liber Stuidorum. Joseph Mallord William Turner (English, 1775-1851); Engraved by William Say (English, 1768-1834). Date: 1811. Dimensions: 179 × 265 mm (image) 207.5 × 292 mm (plate); 301 × 447 mm (sheet). Etching and engraving in brown ink on ivory wove paper. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

View of Ouren, Alle, Mouzaive and Chairière, Martinus Antonius Kuytenbrouwer Jr., 1831 - 1897 print Leaf with four medallions with faces on Belgian villages. At the top left a medallion with a face on the village of Ouren on the river Our and at the top right the village all with the contours of the Sint-Mauruskerk. Bottom left a medallion with a face on Mouzaive on the River Semois and below the village of Chairière and the Eglise Saint-Walfroid church. In the middle of the medallions a four -way jump, with the village names. There is a walker at the Viersprong. Netherlands paper etching / drypoint village. mountains. church (exterior). river. 'en route', traveller under way. prospect of village, silhouette of village

William Radclyffe, 1780-1855, British, Mantes, 1835. Line engraving, engraver's proof (unfinished).

Print made by Richard Parkes Bonington, 1802-1828, British, Brackline, 1826. Lithograph on moderately thick, smooth, cream wove paper.

View of Marseille, Jacques Aliamet, After Claude Joseph Vernet, 1750 - 1788 print print maker: Franceafter painting by: Francepublisher: Paris paper etching / engraving coast. sailing-ship, sailing-boat. prospect of city, town panorama, silhouette of city Marseille

Artist: Hendrick Goltzius, Dutch, 1558-1617, Landscape with Cliff on theSeashore, ca.1597-1600, Chiaroscuro woodcut, block: 11.43 × 14.29 cm (4 1/2 × 5 5/8in.), Made in The Netherlands, Dutch, 16thcentury, Works on Paper -Prints

The Great Bridge over the Taafe, Pierre Charles Canot, ca. 1710-1777, French, active in Britain, after Richard Wilson RA, 1714-1782, British, active in Italy (1750-56), 1775, Line engraving and etching with hand coloring on moderately thick, moderately textured, cream laid paper, Sheet: 17 5/8 x 24 5/8 inches (44.8 x 62.5 cm) and Plate: 16 x 21 3/8 inches (40.6 x 54.3 cm), bridge (built work), clouds, hills, houses, islands, rivers, Taff

"Etching and copper engraving by Pieter Bruegel the Elder from 1555-1556 depicting a bird catcher in a rural setting, showing human figure, birds, traps, and landscape elements."

The Destruction of Sodom and Gomorrah, from Illustrations of the Bible. John Martin; English, 1789-1854. Date: 1832. Dimensions: 190 × 290 mm (image); 268 × 357 mm (plate); 329 × 416 mm (sheet). Mezzotint with etching in black on ivory wove paper. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Joseph Mallord William Turner, Winchelsea, Sussex, April 23, 1812, Etching and mezzotint printed in brown inks.

Monuments of the Island of Vaihou, or Easter Island, engraving by Danvin and Casenave from Oceanie ou Cinquieme partie du Monde, Revue Geographique et Ethnographique de la Malaisie, de la Micronesie, de la Polynesie et de la Melanesie, by Louis Gabriel Domeny de Rienzi (1789-1843), L'Univers pittoresque, published by Firmin Didot Freres, Paris, 1836.

Tantallon Castle, William Bernard Cooke, 1778-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Line engraving

The Penitent Magdalene (Magdalena poenitens) from The Large Landscapes ca. 1555-56 Johannes van Doetecum I Netherlandish. The Penitent Magdalene (Magdalena poenitens) from The Large Landscapes 415700

Florence (tabl. XIX) in: Meyra Universum, i.e. describing the most convenient visions and comments of objects of nature and art all over the earth, vol unknown

William Miller, 1796-1882, British, Fort Augustus, 1836. Etching and engraving,, first published state.

The Goddess of Discord, Thomas Abiel Prior, 1809-1886, British, after Joseph Mallord William Turner, 1775-1851, British, 1859-1879, Steel engraving

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

Print (France)

Print made by Samuel Palmer, 1805-1881, British, active in Italy (1837-39), The Rising Moon, 1857. Etching and drypoint, with plate tone on thick, slightly textured, cream wove paper with cream chine collé.

Design for an Illustration for Walter Scott's "Lady of the Lake", Loch Achray. Date/Period: Ca. 1832. Drawing. Watercolor, graphite, and pen and brown ink on medium, slightly textured, cream wove paper, mounted on thick, slightly textured, cream wove paper. Height: 356 mm (14.01 in); Width: 276 mm (10.86 in). Author: J. M. W. Turner.

Bron Bij Divonne, Célestin François Nanteuil, 1856 print One of the sources at the town of Divonne. A few figures are on the bridge above the water. paper letterpress printing spring (fluids extracted from the earth). river Divonne-les-Bains

Robert Wallis, 1794-1878, British, Virginia Water No. 11, 1828. Line engraving, first published state on moderately thick, slightly textured, cream, wove paper, with cream, chine colle.

Remains of Zeus Olympus Temple at Agrigento, 1778 drawing Drawing from the album 'Voyage and Italy, and Sicile et à Malte', 1778. paper. chalk. watercolor (paint) brush / pen

The Devil's Bridge at Gotthard Pass, Switzerland, and the 12th century bridge over the Rhone at St. Maurice, Switzerland. Handcoloured copperplate engraving from Bertuch's "Bilderbuch fur Kinder" (Picture Book for Children), Weimar, 1805. Friedrich Johann Bertuch (1747-1822) was a German publisher and man of arts most famous for his 12-volume encyclopedia for children illustrated with 1,200 engraved plates on natural history, science, costume, mythology, etc., published from 1790-1830.

Mandela. Ernest Barrias (French, 1841 - 1905)

Titian, France, Caylus, Anne Claude Philippe, Cabinet du Roy, Mountain landscape with shepherds and in the background a village with a water mill, verso - stamped, Numbered top right: 142., print, prent, prints, prenten, height 328 mm, width 454 mm, 1692 - 1765-09-05, print maker, prentmaker, 1702 - 1765, paper, papier, etching, etchings, Italian, 1488 - 1576-08-27, intermediary draughtsman

Squelettes, ruines et poussière! les révolutions humaines ont tout renversé ; mais les étoiles sont toujours là Motty. still image. Allegorical prints, Book illustrations. 1884. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection. Moonlight, Night, Antiquities, Skeletons, Sculpture , To 499, Time

William Miller, 1796-1882, British, Hougomont, 1834. Etching and engraving, first published state.

Waterfall. Dated: 1795-1821. Dimensions: image: 40.7 × 33.6 cm (16 × 13 1/4 in.) sheet: 63.4 × 46 cm (24 15/16 × 18 1/8 in.). Medium: lithograph on wove paper. Museum: National Gallery of Art, Washington DC. Author: after Johann Jakob Dorner Kaspar Auer II.

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