Natural and Architectural Sketches

Graphite sketches of landscapes and architectural sights, capturing natural beauty and historical structures in a loose and expressive style from the 19th century.

Segers, Hercules, Netherlands, Valley surrounded by mountains, The Enclosed Valley, print, prints, height 108 mm, width 194 mm, 1590 - 1640, print maker, printmaker, 1625 - 1630, first quarter 17th century, second quarter 17th century, linen (material), linen, etching, etchings, hand coloring, Work conception, after own design by

Appuldercombe, 6 June 1833, Capt. Thomas Hastings, 1778-1854, British, 1833, Graphite on medium, slightly textured, cream wove paper, Sheet: 3 1/2 × 6 1/4 inches (8.9 × 15.9 cm)

Peter DeWint, 1784-1849, British, The Long Walk, Windsor, undated. Graphite, black and white chalk on medium, smooth, blue wove paper.

John Sell Cotman, 1782-1842, British, Bridge and Ruin, after Richard Wilson; On the Tiber, ca. 1820. Graphite and black chalk on medium slightly textured, cream wove paper.

Jean Baptiste Camille Corot, Souvenir Roman Landscape with the Colosseum, 1865 1870 Souvenir: Roman Landscape with the Colosseum

Ruin on a Lake, in the Manner of Richard Wilson, John Sell Cotman, 1782-1842, British, after Richard Wilson RA, 1714-1782, British, active in Italy (1750-56), ca. 1820, Graphite on medium smooth cream wove paper, Sheet: 4 x 6 1/2 inches (10.2 x 16.5 cm), architectural subject, figures, lake, landscape, ruins

Segers, Hercules, Netherlands, Valley surrounded by mountains, The Enclosed Valley, print, prints, height 108 mm, width 194 mm, 1590 - 1640, print maker, printmaker, 1625 - 1630, first quarter 17th century, second quarter 17th century, linen (material), linen, etching, etchings, hand coloring, Work conception, after own design by

Krajobraz z Apeninów z fragmentem miasteczka. Blaschnik, Arthur (1823-1918), draughtsman, cartoonist

John Varley, 1778-1842, British, The Fisherman, undated. Graphite, gray wash and brown wash on thin, slightly textured, cream wove paper.

View of Castle Crayenhof in Zwijndrecht, 1606, Peter Paul Rubens (attributed to), 1606 drawing Southern Netherlands paper. watercolor (paint) brush castle Zwijndrecht. Castle Crayenhof

George Morland, 1763-1804, British, Two Men on a Country Road, 1793. Graphite on moderately thick, slightly textured, beige wove paper.

Landscapes with villages near Amsterdam. Plate 4. De Zeekant van Muyderbergh., Geertruydt Roghman, etcher, Mid 17th century, Netherlands, etching, Geertruydt Roghman (1625-1657) was a Dutch Golden Age painter, engraver and printmaker. She was born in Amsterdam to family of artists, the daughter of engraver Henrick Lambertsz Roghman (1602-c. 1660) and Maria Jacobs Savery. Geertruyd was the oldest sister of Roelant (1627-1692) and Magdalena Roghman (1637-c. 1669) and the grandniece of the well-known painter Roelant Savery (1576-1639) through her mother.

Artist: Edwin Austin Abbey, American, 1852-1911, M.A., 1897, Beach scene withdory, Graphite and Chinese white, Brown wove, 24.8 × 34.9 cm (9 3/4 × 13 3/4in.), Made in United States, American, 19thcentury, Works on Paper - Drawings andWatercolors

The Little Longparish, 1896. Francis Seymour Haden (British, 1818-1910). Drypoint;

Capt. Thomas Hastings, 1778-1854, British, On the Killarney Road Leading to Ross Castle, 4 September 1841, 1841. Graphite and pen and brown ink on medium, slightly textured, cream wove paper.

Capt. Thomas Hastings, 1778-1854, British, South East Bastion of Carisbrooke Castle, 14 June 1830, 1830. Graphite on medium, slightly textured, cream wove paper.

Design for a Stage Set. Artist: Eugène Cicéri (French, Paris 1813-1890 Fontainebleau). Date: 1830-90. Museum: Metropolitan Museum of Art, New York, USA.

Isis. Dated: published 1819. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: JOSEPH MALLORD WILLIAM TURNER.

Out of Studio Window, 1859. Francis Seymour Haden (British, 1818-1910). Etching with drypoint;

Landscape with Fortification Between Marino and Frascati, c. 1650. Jacob van der Ulft (Dutch, 1627-1689), or Gaspard Dughet (French, 1615-1675), possibly by Nicolas Poussin (French, 1594-1665). Pen and brown ink and brush and brown wash; sheet: 12.3 x 20.3 cm (4 13/16 x 8 in.).

Abklatsch of the chalk drawing on page 46, 1875 - 1934 Page 45 from sketchbook XLV with 85 pages. Paris (possibly) paper

Twelve Views of Tiger Hill, Suzhou: The Nodding Stone Terrace, Tiger Hill, and the Thousand-Man Seat, after 1490. Shen Zhou (Chinese, 1427-1509). Album leaf, ink on paper or ink and slight color on paper; image: 31.2 x 42.3 cm (12 5/16 x 16 5/8 in.); overall: 36.5 x 49.9 cm (14 3/8 x 19 5/8 in.).

A View of Castel di Cesare, Rome, c. 1778-1779, Richard Cooper II, English, 1740 - c.1814, 8 15/16 x 11 5/8 in. (22.7 x 29.53 cm) (sheet), Brush with gray wash over graphite, England, 18th century

Everdingen, Allart van, work, Rock in water, (1000 - 2000), line etching, graphics, image width 13.3 cm, image height 8.7 cm

Remote Valleys and Deep Forests. Artist: Liu Yu (Chinese, 1620-after 1689). Culture: China. Dimensions: 10 5/8 x 144 1/8 in. (27 x 366 cm). Date: dated 1678.Liu Yu, a Nanjing native, is not listed among the Eight Masters of Jinling (Nanjing), but he belonged to the same circle of leading collectors and artists active in the city during the late seventeenth century, when it was a vital center for the arts. Liu developed an eclectic style that combined the dry, linear brushwork of the Nanjing individualist Gong Xian (1619-1689) with the landscape forms and brush idioms of the Orthodox master Wang Hui (1632-1717). Liu further enlivened his integration of stylistic sources with playful shifts in scale and spatial distortions--visual effects intended to convey his "scholarly amateurism." Like other Nanjing masters of the time, Liu balanced his commitment to calligraphic abstraction with the desire to make his pictures visually appealing.Here, alternating familiar scenes of human habitatio

The Pantheon from the Terrace, Luxembourg Gardens 1893-1894 United States. Etching with foul biting in black ink on ivory laid paper . James McNeill Whistler

A brown pen drawing by Jean-Baptiste Camille Corot from 1828 depicting the Gulf of Naples with Vesuvius in the background, on thin paper with folds and laminated on cardboard.

Edward Lear, 1812-1888, British, Luxor, 7:00 am, 20 January 1867 (198), 1867. Watercolor with pen and brown ink and gouache over graphite on moderately thick, slightly textured, gray-green wove paper.

Wide landscape with two women in the foreground (from portfolio with 26 landscape drawings), mountains, geographical names of countries, regions, rivers, etc. (ITALY) (ITALY), names of cities and villages, LA CAVA, Christoph Heinrich Kniep, 1818, paper, pencil, chalk, h 252 mm × w 325 mm

Approach to Antioch From Aleppo. Date/Period: 1843 - 1845. Print. Etching. Height: 126 mm (4.96 in); Width: 191 mm (7.51 in). Author: William Henry Barrett.

Carmarthen Castle, Wales 1797 Thomas Rowlandson British Rowlandson produced this expansive view of the rivertown Carmarthen as he toured Wales in 1797. He traveled with the caricaturist Henry Wigstead and they later published "Remarks on a Tour to North and South Wales in the Year 1797 by Henry Wigstead with plates from Rowlandson" (1800). This is one of a series of watercolors Rowlandson made across an open sketchbook to record notable sites.In the related book, Wigstead describes Carmarthen as "a very handsome town...The goal jail...situated within the ancient walls of the castle. A stone bridge crosses the river Tovy Towy; which is very narrow and inconvenient here. People are seen on the banks of the river, launching their corricles, which they carry, as Indians do their canoes, on their backs, from place to place.This kind of boat is made of light wood, with horse's hide; and each contains just one fisherman, who, with a paddle, guides the vehicle with wonderful dexterity thro

The Duke of Bracciano is bathing with friends at Lago di Bracciano, Duke of Bracciano at Lago di Bracciano., draughtsman: Bartholomeus Breenbergh, 1620 - 1629, paper, pen, brush, h 266 mm × w 419 mm

Landscape with figures. Draughtsman: anonymous. Dating: 1750 - 1799. Place: Netherlands. Measurements: h 82 mm × w 132 mm. Museum: Rijksmuseum, Amsterdam.

Cromer Pier, unknown artist, 1815, Black chalk and white chalk on moderately thick, slightly textured, gray wove paper, Sheet: 4 3/8 × 6 3/8 inches (11.1 × 16.2 cm), Cromer, England, Europe, Norfolk, United Kingdom

Caister Castle, John Sell Cotman (Norwich, England, 1782 - 1842) 1818

Woman Gathering Firewood (La ramasseuse de fagots). Dimensions: 60.5 cm x 42.8 cm, 28.6 cm x 19.1 cm, 27.1 cm x 16.8 cm. Museum: Van Gogh Museum, Amsterdam. Author: FELICIEN ROPS.

Arcadia, Sir Robert Smirke the younger, 1781-1867, British, 1802-1804, Graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 8 15/16 × 11 1/4 inches (22.7 × 28.6 cm), Greece, Peloponnese

Agrigento, Italy, To the West, Sir Robert Smirke the younger, 1781-1867, British, 1802-1804, Brown wash and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 8 15/16 × 11 1/4 inches (22.7 × 28.6 cm)

The washroom at Marino, Drawing from a group of drawings of landscapes and cityscapes in Italy (Rome, Tivoli, Civita Castellana and Pozzuoli)., River, Marino, Hendrik Voogd, Italy, c. 1778 - c. 1839, paper, chalk, h 433 mm × w 584 mm

Alphonse Legros, Near Nordkerque (Pres de Nordkerque) Near Nordkerque (Pres de Nordkerque)

Ferry over the river Vulturnus, between Naples and Isernia. Sept.r 1790, Sir Richard Colt Hoare, 1758-1838, British, 1790, Graphite and brown wash on moderately thick, moderately textured, cream laid paper mounted on medium, slightly textured, cream laid paper, Sheet: 16 1/16 x 22 1/8 inches (40.8 x 56.2 cm) and Contemporary drawn border: 17 x 23 1/8 inches (43.2 x 58.7 cm), ferry, genre subject, Grand Tour, landscape, river, Isernia, Naples, Volturno

Josi, Christiaan, Both, Jan, Brouwer, Cornelis, Wooded landscape with cattle driver, verso cardboard and verso print - stamped, A landscape with trees and a road. A man walks on the road behind a cow., print, prints, height 173 mm, width 262 mm, Northern Netherlands, 1735 - 1803-03-31, print maker, printmaker, 1795 - 1821, paper, paper drawing, etching, etchings, carbon copy, Dutchman, 1622 - 1652-08-09, intermediary draughtsman, after a drawing by, Dutch, 1768 - 1828-11, supervision

Henry Swinburne, 1743-1803, British, La Source, undated. Pen and brown ink, over graphite on medium, moderately textured, blued white, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper.

Barbara Bodichon, 1827-1891, British, Sketchbook, 1861.

Capt. Thomas Hastings, 1778-1854, British, Near Bonchurch, Isle of Wight, 28 May 1829, 1829. Graphite on medium, slightly textured, cream wove paper.

James William Giles, 1801-1870, British, The Villa Adrianna, Rome, 1824. Brown wash and pen and brown ink with touches of white gouache on medium, slightly textured, brown laid paper.

Sketchbook of American and Italian Subjects William Trost Richards (American, 1833-1905). Sketchbook of American and Italian Subjects, 1855-1856. Sketchbook containing drawings in graphite on wove paper, 4 1/16 x 6 5/8 x 3/8 in. (10.3 x 16.8 x 1 cm). Richards first traveled to Europe in 1855, remaining abroad for a year and spending most of the time in Italy. Like so many artists before him, Richards was overjoyed to be in Florence: I have not as yet realized that I am in Italy that all the dreams of a boyhood are fulfilled.” Richards carried this small sketchbook on a walking tour in the Apennine mountains in October 1855. The carefully drawn vista shown here of the broad valley through which the Arno river winds reminded Richards, always quick to compare American and European landscape scenery, of the view of the Hudson from the Catskill Mountain House. American Art 1855-1856

Capt. Thomas Hastings, 1778-1854, British, West Cowes, Isle of Wight, 1827. Graphite on medium, slightly textured, cream wove paper.

Shipwrecked, circa 1868-1869, by Petrus van der Velden. Gift of the New Zealand Academy of Fine Arts, 1936.

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Theodore Wilkens, c. 1690-1748, Figures by a Ruined Temple on a Rocky Promontory, 1739. Pen and brown ink on medium, slightly textured, cream laid paper.

Figure of a faun in uniform, carrying a large sword, which he holds forward with a mailed glove at his feet, faces a violently movemented figure who holds the tablets of the Divine Law before him. Other figures at right. Pen and bistre ink on paper. Date: 1820-1850. Museum: Cooper Hewitt, Smithsonian Design Museum.

Print made by unknown artist, Collection of Prints by Notable Dilettanti, ca. 1780. Etching.

Capt. Thomas Hastings, 1778-1854, British, Windermere, 1836. Graphite on medium, slightly textured, cream wove paper.

Italian landscape

Knotwilligen at the waterfront in Loosdrecht, draughtsman: Willem Roelofs (I), after: Gaston Bernheim, 1889, paper, brush, h 71 mm × w 122 mm

Sir George Howland Beaumont seventh Baronet, 1753-1827, British, Between Llangollen and Oswestry, 1790. Graphite on medium, slightly textured, cream laid paper.

Oculi there are , Designation to The Schnepfensträstr, satire for the revolution , Peter Johann Nepomuk Geiger -, drawer

Sketch of fishermen in boats and detail of a fisherman, French Arnold Breuhaus de Groot (attributed to), 1834 - 1872 drawing paper. ink. pencil pen / brush sailing-ship, sailing-boat

Abklatsch of the chalk drawing on page 5 Recto, 1875 - 1934 Leaf 4 Verso from sketchbook XXI with 19 sheets. The Hague paper

Hugh William "Grecian" Williams, 1773-1829, British, Taormina, Sicily, undated. Graphite with white gouache on medium, slightly textured, cream wove paper.

Landscape with a horseman and a windmill in the distance c. 1650 Anton Crussens Amateur artist Anthonie Crussens was active in Brussels from 1652 to 1665. He specialized in drawings in brown ink on vellum with a technique that evokes the tapering, cross-hatched lines of engravings.. Landscape with a horseman and a windmill in the distance. Anton Crussens (Flemish, active Brussels, mid-17th century). c. 1650. Pen and brown ink on vellum, brown ink framing lines. Drawings

Design for Rock-work at Virginia Water, Windsor Great Park 1780s () Thomas Sandby British Thomas Sandby, together with his better-known brother Paul Sandby, had an important influence on the early development of British watercolor practice. He was appointed as the Royal Academy's first professor of architecture and also worked at Windsor as a deputy ranger and architect of the king's works. In the latter capacity, he was responsible for the rock works around Virginia Water, a lake at the south end of the Windsor Great Park. After floods damaged the rock works in 1768 and 1782, Sandby designed a new cascade and grotto and supervised repairs. These lively wash and ink drawings relate to that restoration program, which was part of a broad effort to upgrade the castle and grounds after George III decided to make Windsor his primary country retreat about 1776.. Design for Rock-work at Virginia Water, Windsor Great Park. Thomas Sandby (British, baptized Nottingham 1723-1798 Windsor). 1780s

Album Drawing, Thomas Rowlandson, 1756-1827, British, undated, Graphite and pen and ink on medium, slightly textured, cream wove paper, Sheet: 8 3/4 × 6 1/2 inches (22.2 × 16.5 cm) and Binding: 8 3/4 inches (22.2 cm)

Madras, Thomas Daniell, 1749-1840, British, active in India, William Daniell, 1769-1837, British, undated, Graphite on medium, moderately textured, cream laid paper; mounted on, moderatelly thick, slightly textured, cream, wove paper, Sheet: 12 13/16 × 19 1/2 inches (32.5 × 49.5 cm), Contemporary drawn border: 13 7/16 × 20 3/16 inches (34.1 × 51.3 cm), and Mount: 14 7/8 × 21 1/4 inches (37.8 × 54 cm), arches, columns (architectural elements), figures, hills, landscape, Asia, Bharat, Madras, Tamil Nadu

Haystacks. Jasiński, Feliks Stanisław (1862-1901), draughtsman, cartoonist

Richard Wilson RA, 1714-1782, British, active in Italy (1750-56), The Via Nomentana, 1754. Black and white chalk with stumping on medium, moderately textured, blue laid paper mounted on medium, moderately textured, cream wove paper with a border of medium, moderately-textured wove paper with purple wash.

A fan-shaped print representing a chariot race between two female figures. (TF)

A drawing by Stefano della Bella depicting a wide landscape with two figures and a castle ruin positioned to the right in the middle, executed in red chalk around 1633/34.

Widok Sihmla ze zbocza wzgórza. Hohenzollern, Waldemar von (książę pruski ; 1817-1849), draughtsman, cartoonist

Chart of Nantucket Island and the eastern half of Martha's Vineyard. Relief shown by hachures. Depths shown by soundings. Includes navigational notes. Appears in the author's Atlantic Neptune. London : J.F.W. Des Barres, 1777-1781.... , Massachusetts , Dukes ,county , Martha's Vineyard ,island Massachusetts , Nantucket ,county , Nantucket Island ,island

Monument in the Garden of the Villa Altichiero Near Padua, Sir Robert Smirke the younger, 1781-1867, British, 1802-1804, Brown wash and graphite on moderatly thick, moderately textured, beige, wove paper, Sheet: 5 1/2 × 8 7/16 inches (14 × 21.4 cm)

Rapids with Overhanging Branches (verso). Dated: 1704/1714. Dimensions: sheet: 21.7 x 40.3 cm (8 9/16 x 15 7/8 in.). Medium: pen and black ink, with gray wash and watercolor, heightened with white gouache on blue laid paper. Museum: National Gallery of Art, Washington DC. Author: Joachim Franz Beich.

John Webber, 1752-1793, British, A View in Annamooka, ca. 1790. Graphite, squared for transfer on medium, slightly textured, cream wove paper.

Tableau, presumably ceramics, with a rural performance with a house with people in the foreground and in the background mountains and Asian punctuation marks, c. 1875 - c. 1900 photograph cardboard. photographic support albumen print rural life. Asiatic races and peoples. mountains

Wide landscape with the temptation of Christ, draughtsman: Herman Saftleven, 1619 - 1685, paper, pen, brush, h 427 mm × w 551 mm

Church tower and figures. Leaf 38 Recto from a sketchbook with 44 sheets.

Genoels, Abraham, Rome, Landscape with river, verso center bottom - stamped, A landscape with a river. In the background a bridge., print, prent, prints, prenten, height 61 mm, width 76 mm, 1640 - 1723-05-10, print maker, prentmaker, 1690 - 1690, paper, papier, etching, etsen, Work conception

Bridge over the Arc in Savoie, Jan Vincentz. van der Vinne, After Vincent Laurensz. van der Vinne (II), 1688 - 1721 print A bridge with two arches over the river Arc in Savoie. Several travelers with cattle and a woman on a donkey in the landscape. Haarlem paper etching river. landscape with bridge, viaduct or aqueduct. rapids. herd, flock. herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc. Savoy

Capt. Thomas Hastings, 1778-1854, British, The Jaws of Borrowdale, Saturday 27 June 1835, 1835. Graphite on medium, slightly textured, cream wove paper.

Isola Borromea, Lago Maggiore, John Robert Cozens, 1752-1797, British, ca. 1783, Graphite and red chalk on thin, slightly textured, cream wove paper, Sheet: 7 5/8 x 9 5/8 inches (19.4 x 24.4 cm), Grand Tour, hills, landscape, mountains, trees, villas, Borromean Islands, Europe, Italy, Maggiore, Lago

Battle of the Haarlemmermeer, 1573, Leonaert Bramer, 1606 - 1674 drawing Landscape with face through trees on a sea battle between rowing boats on the Haarlemmermeer, 26 May 1573. In the distance the church in Hillegom. Design for a wall decoration. paper. ink brush / pen battle (+ naval force) Haarlemmermeer. Hillegom

Heuvellandschap met figuren.Page 43 from a sketchbook with 74 pages.

Sir Robert Smirke the younger, 1781-1867, British, Inn Beyond Unken, Austria, 1802-1804. Gray wash and graphite on moderatly thick, moderately textured, beige, wove paper.

Montagne Saint-Victoire (The Arc Valley). Paul Cézanne; French, 1839-1906. Date: 1880-1890. Dimensions: 354 × 537 mm. Watercolor, over graphite, heightened with white gouache, on buff wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Pijnacker, Adam, Josi, Christiaan, Forest landscape with animal, verso cardboard and verso print - stamped, Forest landscape with a bull in the foreground, along a rapid., print, prints, height 168 mm, width 256 mm, Dutch, 1768 - 1828-11, print maker, printmaker, 1795 - 1821, paper, print drawing, etching, etchings, throughprint, Northern Netherlands, 1622-02-15 - 1673-03-28, intermediary draughtsman

The Hague, Beeck, Anna, Hoefnagel, Joris, Keulen, Hogenberg, Frans, Novelanus, Symon, Bornnes, View of Bornos, View of the city of Bornos. On the left in the foreground a hunter with hunting dogs. Print is part of an album., print, picture, book illustration, album page, prints, pictures, height 347 mm, width 465 mm, height 531 mm, width 630 mm, South Netherlandish, German, print maker, printmaker, 1596 - 1596, paper, etching, etchings, engraving, engraving (printing process), hand colouring, letterpress printing, tearing, Dutch, 1540 - 1590, 1542 - 1600-09-09, intermediary draughtsman, after a drawing by, 1657 - 1717, colourist

Miasto Nainital u podnóża Himalajów. Hohenzollern, Waldemar von (książę pruski ; 1817-1849), draughtsman, cartoonist

A brown ink drawing by Hans Bol showing Mercury slaying Argus, including figures, wings, sword, and landscape elements, on brownish tinted paper, executed in 1587.

The Cassia Grove Studio ca. 1532 Wen Zhengming Chinese Wen Zhengming painted The Cassia Grove Studio to celebrate the success of a fellow scholar, Zheng Zichong, at passing the civil-service examination. "Plucking the cassia" was a metaphor for such success. A fall flower, the cassia was usually associated with the provincial examinations, traditionally held in the autumn. The red vine leaves identify this as an autumnal scene.The painting presents Zheng Zichong in his garden. Half hidden by the wall of his studio, he appears in rapt contemplation of the scenery. The rustic structures and fence indicate the simple but elegant taste of the Ming scholar; a cabinet full of scrolls visible through the window shows his appreciation of the arts. As both a depiction of a garden studio and a portrait of its owner, Wen's gemlike painting portrays the pleasures of a scholarly life devoted to the arts and to the pursuit of learning.. The Cassia Grove Studio. Wen Zhengming (Chinese, 1470-1559). Ch

View of Venice, 1500. Jacopo de' Barbari (Italian, 1440/50-before 1515). Woodcut from six blocks on six sheets of paper; By the end of the 15th century, Venice had emerged as the major printing center in Europe, where books were printed in various languages to be shipped around the world. The city also became the great emporium for prints, and the woodcut developed beyond its humble origins as a popular art for simple pious imagery, playing cards, and later for book illustration. View of Venice epitomizes this new ambitious scope for the woodcut. This monumental print can be compared in scale only to a mural decoration and presumably served as a less expensive surrogate for paintings. The six sheets that make up the design would have been pasted either onto a canvas or the wall itself, resulting in the survival of few fine impressions like this one. The goal of the print was to depict Venice as seen from above. No single vantage point would have been sufficient, so a large team of sur

Rome, Reinhart, Johann Christian, Emissär des Albaner Sees, View of a ruin on Lake Albano, verso - stamped, print, picture, prints, pictures, height 131 mm, width 174 mm, German, 1761-01-24 - 1847-06-09, print maker, printmaker, 1809 - 1809, paper, etching, etchings, plate tone

The sight of Krakow from the end of St. Mary's in the distance; Bricks, Julian (1827-1910); 1852 (1852-00-00-1852-00-00);Krakow (Lesser Poland Voivodeship), Witke-Jeżewski, Dominik (1862-1944)-collection, purchase (provenance)

Presentation ,the famous ,veteran cave , The veteran cave Vetrani cave on the iron gate of the Danube in Romania battle on August , Heinrich Hugo Cöntgen -, Copper Engraver

Attributed to Edward Dayes, 1763-1804, British, Harrow Common, Middlesex, 1791. Gray wash, blue wash, and graphite on medium, slightly textured, cream wove paper (three pieces joined).

Jacques Callot (1592-1635). "Headquarters of the Citadel of Saint Martin in the Ile de Ré, second leaf of the top, in the middle" (Lieure 654, Meaume 522). Etching. 1629-1630. Museum of Fine Arts of the City of Paris, Petit Palais. 99597-13 Etching, engraving

Jupiter returns to the Olympus, c. 1547 - c. 1550 print Landscape with rock and caves. At the top left, Jupiter is visible on an eagle visible in a cloud party. He holds three lightning bolts in his left hand. Right front is a young deciduous tree. whole: Paper etching (story of) Jupiter (Zeus)

Speculum Romanae Magnificentiae, Antonio Lafreri, 1512-1577, French, 1546-1590, Line engraving on medium, slightly textured, cream laid paper

Edo, Tsutaya Juzaburo (Koshodo), Utamaro, Kitagawa, Rowing boat on the Sumida river in winter landscape, The banks of Sumida river in snow, Ninth and tenth pages of the book Ginsekai by Utamaro., page, prints, Japan (collection), height 257 mm, width 191 mm, Japanese, 1753 - 1806, print maker, printmaker, 1790 - 1790, fourth quarter 18th century, paper, color woodcut, Publication (Event), Publication, publisher

Stone Fences, Land of Nod. Dated: 1918. Dimensions: image (irregular): 22.23 × 29.53 cm (8 3/4 × 11 5/8 in.) sheet: 29.05 × 43.82 cm (11 7/16 × 17 1/4 in.). Medium: lithograph in black on wove paper. Museum: National Gallery of Art, Washington DC. Author: Childe Hassam.

Landscape with Trees, Ruin and Three Figures, 18th-19th century, Carlo Labruzzi, Italian, 1748 - 1817, 14 9/16 x 21 in. (36.99 x 53.34 cm) (sight)22 1/2 x 28 5/16 in. (57.15 x 71.91 cm) (outer frame), Watercolor over black chalk, Italy, 18th-19th century

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