Pastoral Landscapes

Ethereal landscapes featuring shepherds and pastoral scenes, characterized by serene rivers and rural wildlife, conveying tranquility and harmony.

Shepherds with herd at a fordable place, Gabriel Huquier, After Nicolaes Pietersz Berchem, 1772 print print maker: Parispublisher: ParisFrance paper etching herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.. ford

Shepherds with herd at a fordable place, Gabriel Huquier, After Nicolaes Pietersz Berchem, 1772 print print maker: Parispublisher: ParisFrance paper etching herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.. ford

Landscape near a city with shepherds and cattle crossing a stream, Richard Earlom, After Claude Lorrain, 1775 print London paper etching cattle. crossing a river. city-view, and landscape with man-made constructions - II - ideal landscapes. river. pastorals, Arcadian scenes

Newbury From Speen Hill, Print made by William Byrne, 1743-1805, British, after Joseph Mallord William Turner, 1775-1851, British, Published by William Byrne, 1743-1805, British, 1805, Etching and line engraving

Landscape with aDraw-Well. Artist: Schelte Adams Bolswert, Flemish, 1586-1659 After: Peter Paul Rubens, Flemish, 1577-1640

The Castle above the Meadows (Liber Studiorum, part II, plate 8) 1808 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 Charles Turner here added mezzotint to detail peaceful meadows near a ruined castle on a rocky hill, with the foreground enlivened by boy piping near cows. Published states of the print include the letters "EP" in the upper margin, applied by Turner to landscapes within the set that echo the Arcadian sensibility of Claude and likely standing for Elevated Pastoral, but they are lacking from this first state.. The Castle above the Meadows (Liber Studiorum, part II, plate 8). Designed and etched by Joseph M

Ponte Molle. Dated: 1792. Dimensions: plate: 27.4 x 36.7 cm (10 13/16 x 14 7/16 in.) sheet: 39.2 x 49.1 cm (15 7/16 x 19 5/16 in.). Medium: etching on laid paper proof. Museum: National Gallery of Art, Washington DC. Author: Jacob Wilhelm Mechau.

Print made by George Cooke, 1781-1834, British, Hythe, Kent, 1824. Etching and line engraving; first published state india paper on medium, slightly textured, cream wove paper with chine-collé.

Landscape with five talking shepherds, sheep and ruins, Richard Earlom, After Claude Lorrain, 1777 print London paper etching herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.. cattle. landscape with ruins - II - ideal landscapes. pastorals, Arcadian scenes

Plymouth Dock from Mount Edgecumbe, William Bernard Cooke, 1778-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1816, Etching and engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 14 3/16 × 15 15/16 inches (36 × 40.5 cm), Plate: 8 15/16 × 11 15/16 inches (22.7 × 30.3 cm), and Image: 6 1/4 × 9 5/8 inches (15.9 × 24.4 cm)

View of the Tiber, Jacques Bacheley, After Bartholomeus Breenbergh, 1722 - 1781 print print maker: Francepublisher: Paris paper etching river bank - HH - ideal landscapes. landscape with ruins - II - ideal landscapes. sheep Tiber

No. 97. Lorrain, Claude, 1600-1682. Prints. 1777 - 1819. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Drawing, French

J. C. Varrall, active 1815-1827, Rochester, Stroud and Chatham, 1838. Line engraving, 1st state on thick, smooth, cream, wove paper, with, cream chine colle.

Print made by James Bromley, (or John ), 1801-1838, British, Kirkstall Abbey, on the River Aire, 1823 to 1827. Mezzotint, and soft ground etching.

Beulah Spa, Norwood, Surrey. Lithograph by A. Harrison after himself.

Charles Cousen, 1813-1889, British, Abingdon, 1859-1879. Steel engraving.

Landscape with cattle, Herderin and Shepherd who points to a village, Richard Earlom, After Claude Lorrain, 1775 print London paper etching herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.. cattle. city-view, and landscape with man-made constructions - II - ideal landscapes. river - HH - ideal landscapes. pastorals, Arcadian scenes

Print made by Edward Goodall, 1795-1870, British, Oxford from North Hinksey, 1841. Etching and line engraving; first published state on moderately thick, slightly textured, cream wove paper with cream chine-collé.

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

Ivy Bridge, Devonshire, Print made by James C. Allen, active 1821-1831, British, after Joseph Mallord William Turner, 1775-1851, British, 1816, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-collé, Sheet: 12 1/2 × 17 1/2 inches (31.8 × 44.5 cm), Plate: 10 3/4 × 14 3/8 inches (27.3 × 36.5 cm), Chine collé: 10 1/4 × 14 1/4 inches (26 × 36.2 cm), and Image: 8 1/8 × 11 3/8 inches (20.6 × 28.9 cm)

Artist: Canaletto (Giovanni Antonio Canal), Italian, 1697-1768, View of a Town on a River Bank, from the series Vedute(Views), Etching, platemark: 29.6 × 42.6 cm (11 5/8 × 16 3/4in.), Made in Italy, Italian, 18thcentury, Works on Paper -Prints

Kustlandschap Met Aeneas en de Sibille Van Cumae, Richard Earlom, after Claude Lorrain, 1777 print London paper etching temple, shrine ~ Roman religion. gulf, bay. coast - HH - ideal landscapes. the arrival of Aeneas at Cumae, where they consult Deiphobe, the Cumaean Sibyl, who foretells of Aeneas' wars in Latium

Jacques Philippe LeBas after Julien David Le Roy, The Dromos, Athens, 1758 The Dromos, Athens

. Drawing from the album 'Travel in Italy, Sicily and Malta', 1778.

Walzen, Print made by Charles Turner, 1774-1857, British, after George Arnald, 1763-1841, British, and William Frederick Witherington, 1785-1865, British, undated, Mezzotint on moderately thick, moderately textured, cream, laid paper, Sheet: 9 1/4 × 11 7/16 inches (23.5 × 29.1 cm) and Image: 7 3/16 × 9 11/16 inches (18.3 × 24.6 cm)

Landscape with elegant company; Lost son exhibits his money with light cages; Parable from the lost son. In a wide landscape with a river, castles in the view and a water mill, left, the lost son is on the right the lost son at an elegantly dressed woman and a servant.

Niobe, from Ovid's Metamorphoses, William Woollett, English, 1735 - 1785, Richard Wilson, English, 1713/14 - 1782, Engraving (etching) on paper, Europe, 1761, Print, Print

William Radclyffe, 1780-1855, British, Bridges of St. Cloud and Seures, 1835. Line engraving, third state.

Artist: Adolphe Appian, French, 1819-1898, Un rocher dans les communaux de Rix(Ain), Etching, image: 12.5 × 23.8 cm (4 15/16 × 9 3/8in.), Made in France, French, 19thcentury, Works on Paper -Prints

Evening, Leyden 1765, Captain William Baillie (Kilbride,Co. Carlow, Ireland, 1723 - 1792) 1765

No. 79. Lorrain, Claude, 1600-1682. Prints. 1777 - 1819. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Drawing, French

John Scott, 1774-1828, British, Aske Hall, 1821. Line engraving and etching on medium, smooth, cream, wove paper.

Landscape with Christ and the Emmausgoers, Richard Earlom, After Claude Lorrain, 1776 print London paper etching landscape with ruins - II - ideal landscapes. Cleopas and Peter meet Christ (sometimes they are dressed as pilgrims)

Joseph Mallord William Turner and Charles Turner, Dunstanborough Castle, published 1808 Dunstanborough Castle

Figures transport baskets with fruit over a river, Izaak Jansz. de Wit, after Jacob Cats (1741-1799), 1807 print paper etching September and its 'labours' (+ with scenes showing human occupations ~ seasons and months). transporting ~ harvest. rowing-boat, canoe, etc.. carrying something in basket, bag, rucksack, etc.. container made of plant material other than wood: basket

Scene in the Campagna (Liber Studiorum, part VIII, plate 38) February 1, 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 Say here added mezzotint to describe a timeless scene near Rome where a woman, stripped to the waist, dips her hands into a water tank near figures that tend sheep. At right a river flows towards a tower, a classical temple and bridge. The letters "EP" in the upper margin likely stand for Elevated Pastoral and were applied by Turner to landscapes within the set that echo the Arcadian sensibility of Claude.. Scene in the Campagna (Liber Studiorum, part VIII, plate 38) 382941

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

Print made by George Simon Harcourt, 1736-1809, British, Collection of Prints by Notable Dilettanti, 1764. Etching.

Part of Warwick Castel from the Southeast, plate 4 1776 England. Etching and aquatint, printed in bistre ink on heavy cream laid paper . Paul Sandby

Hildburghausen, Bibliographisches Institut, Reiss, Carl, Germany, Wallis, W., Batavia, View of Batavia with figures in the foreground, verso - stamped, Title in bottom margin., print, prints, Doublet, height 183 mm, width 259 mm, print maker, printmaker, 1828 - 1874, third quarter 17th century, paper, steel engraving, intermediary draughtsman, after a drawing by, Publication (Event), Publication, German, publisher

Meuse and Sambre, from the Gate of the Sambre, Print made by George Arnald, 1763-1841, British, after George Arnald, 1763-1841, British, 1822, Etching on moderately thick, slightly textured, cream wove paper, Sheet: 8 9/16 × 10 15/16 inches (21.8 × 27.8 cm) and Image: 7 1/2 x 10 1/16 inches (19.1 x 25.5 cm), basket, boats, bonnets, canoe, cliffs, fort, genre subject, hills, houses, jug, labor, landscape, leisure, men, mob caps, mountains, rain, riverbanks, rivers, sailboats, sampan, shore (landform), swimming, trees, tub, walking, walls, women, workers, working, Belgium, Europe, Meuse, Sambre

Stentan le braccia ed e tranquillo il core. Pacini, Sante, 1735-approximately 1800. 1762. Berardi, Fabio (Italian painter and printmaker, born 1728). Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Ber See von Albano bei Rom 1796 Germany. Etching on paper . Friedrich-Wilhelm Gmelin

Landscape with farmhouse and resting figures, François Collignon (attributed to), after Stefano della Bella, c. 1643 print print maker: Franceafter design by: Italypublisher: Paris paper etching coast. rural housing, e.g. country-house, villa, cottage. herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.

Print made by James C. Allen, active 1821-1831, British, The Ivy Bridge, Devonshire, 1816. Etching; engraver's proof, open etched state on moderately thick, slightly textured, cream wove paper.

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; first state of five (touched). Prints

Gledhow, Print made by George Cooke, 1781-1834, British, after Joseph Mallord William Turner, 1775-1851, British, 1816, Etching and line engraving on medium, slightly textured, cream wove paper, Sheet: 15 1/8 × 21 3/8 inches (38.4 × 54.3 cm), Plate: 11 1/8 × 17 3/8 inches (28.3 × 44.1 cm), Chine collé: 11 × 16 1/2 inches (27.9 × 41.9 cm), and Image: 7 3/8 × 10 5/8 inches (18.7 × 27 cm)

Vue Generale des Ruines du Chateau d'Arlay, Print made by Richard Parkes Bonington, 1802-1828, British, Printed by Godefroy Engelmann, 1788-1839, French, 1827, Lithograph on moderately thick, smooth, cream wove paper with cream chine collé, Sheet: 18 11/16 x 13 7/16 inches (47.5 x 34.1 cm), Sheet: 7 7/8 x 9 11/16 inches (20 x 24.6 cm), and Image: 6 9/16 x 8 7/16 inches (16.7 x 21.5 cm), animals, architectural subject, castle, clouds, cows, farmers, grass, hills, landscape, peasants, ruins, trees, trunks, Bletterans, Chteau d'Arlay, Europe, France, Franche-Comté, Jura

Landscape with destroyed cemetery of family van der Capellen, 1788, Pieter Hendrik Jonxis (workshop of), 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. In the margin a two -way caption in Dutch and in French and an eight -line poem, in two columns, in Dutch. Utrecht paper etching / engraving landscape with other man-made constructions not mentioned above, e.g.: graveyards, playgrounds, etc.. gunpowder disaster Gorssel

Colchester, Essex, Robert Wallis, 1794-1878, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Line engraving, second published state

View of the Hofstede Sparenhout in Haarlem, Jan Vincentz. van der Vinne, After Laurens Vincentz. van der Vinne, 1688 - 1690 print View of the Hofstede Sparenhout in Haarlem. Two sailing ships and a rowing boat with four figures on the water. Numbered in the bottom right: 8. Haarlem paper etching landscapes (+ landscape with figures, staffage). outskirts of village (+ city(-scape) with figures, staffage). sailing-ship, sailing-boat Hofstede saving wood

Palace of La Belle Gabrielle, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1828-1837, Line engraving, engraver's proof on thick, slightlly textured, beige, wove paper, with gray, chine colle, Sheet: 11 3/8 × 17 inches (28.9 × 43.2 cm), Plate: 6 × 8 1/2 inches (15.2 × 21.6 cm), Chine collé: 5 9/16 × 8 1/8 inches (14.1 × 20.6 cm), and Image: 3 7/8 × 5 1/4 inches (9.8 × 13.3 cm)

Print made by David Lucas, 1802-1881, British, A Lock on the Stour, Suffolk, 1831. Mezzotint on medium, slightly textured, cream laid paper.

Black brush and wash drawing by Jean Jacques de Boissieu depicting a landscape with a chapel and working men, 1782, emphasizing figures and setting.

Bliżej Kultury Ferdinand Schenk Verlag für Kunst und Kunstfäwer, Vienna, Molijn, Pieter de (1595 1661)

Print made by Richard Parkes Bonington, 1802-1828, British, Vue Generale des Ruines du Chateau d'Arlay, 1827. Lithograph on moderately thick, smooth, cream wove paper with cream chine collé.

James H. Kernot, active early 19th century, St. Catherine's Hill, near Guildford, Surrey, 1827-1838. Line engraving, engraver's proof, touched.

Giovanni Battista Borra, 1713-1770, Italian, Reggio di Calabria, ca. 1750. Gray wash with black and brown ink over graphite on moderately thick, moderately textured, beige laid paper.

Ville de Thun, Switzerland (Liber Studiorum, part XII, plate 59) January 1, 1816 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 Hodgetts here added mezzotint to describe a a peaceful Swiss lakeside town distinguished by towered buildings on a hill, and a view of distant snowcapped alps. Close at hand, figures wait on a pier for an approaching boat, and Turner applied the letter "A" in the upper margin to indicate his category of Architectural landscape.. Ville de Thun, Switzerland (Liber Studiorum, part XII, plate 59). Designed and etched by Joseph Mallord William Turner (British, London 1775-1851 London). January 1, 1

Modern Italy, Print made by William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1842, Etching and line engraving, with graphite and scraping out; engraver's proof (a) on thick, sightly textured, cream wove paper, Sheet: 22 × 27 7/8 inches (55.9 × 70.8 cm), Chine collé: 21 3/8 × 27 1/8 inches (54.3 × 68.9 cm), and Image: 17 × 23 7/8 inches (43.2 × 60.6 cm)

W. R. Smith, active 1819-1851, Richmond, Yorkshire, 1818-1823. Line engraving and etching, engraver's proof (touched) on moderately thick, smooth, cream, wove paper, with cream, chine colle.

Robert Wallis, 1794-1878, British, St. Germain-en-Laye, 1828-1837. Line engraving, engraver's proof (touched) on thick, slightly textured, beige, wove paper, with cream, chine colle.

Anonymous early 19th-century drawing showing barrels being discharged, executed with pen in black and watercolor.

Celadon and Amelie after Wilson, 1st state William Woollett (1735-1785) and John Browne (1741-1801). Celadon and Amelie (1st state), according to Richard Wilson. Engraving (Floor). 1766.

HAVEN VAN BAYONNE, Yves Marie Le Gouaz, After Nicolas Marie Ozanne, 1776 - 1816 print Numbered in the bottom right: 23. print maker: Francepublisher: Paris paper etching / engraving harbour Bayonne

Lac Georges Charlotte Bonaparte French Intermediary draftsman Michel-Ghislain Stapleaux Belgian 1824 View more. Lac Georges. Vues pittoresques de l'Amerique dessinées par la Comtesse Charlotte de Survillier. Charlotte Bonaparte (French, Mortefontaine 1802-1839 Sarzana). 1824. Lithograph. Prints

Baiern, Stepberg. Jakob Alt (Austrian, 1789-1872). Lithograph;

Etching by Danker Danckerts depicting farmers loading a horse-drawn cart in a Harbus scene, produced between 1648 and 1666, showing rural activity and agricultural life.

Etched by Joseph Mallord William Turner, 1775-1851, British, Dumbarton Rock, between 1813 and 1823. Etching and mezzotint, printed in brown ink Engraver's proof (e) on moderately thick, slightly textured, cream laid paper.

Phaeton, William Woollett, English, 1735 - 1785, Richard Wilson, English, 1713/14 - 1782, Engraving (etching) on paper, Europe, 1735-1785, Print, Print

W. R. Smith, active 1819-1851, Richmond, Yorkshire, 1827. Line engraving and etching, 2nd state on moderately thick, slightly textured, cream, wove paper, with cream, chine colle.

No. 89. Lorrain, Claude, 1600-1682. Prints. 1777 - 1819. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Drawing, French

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

John Pye, 1782-1874, British, Junction of the Greta and Tees at Rokeby, 1818-1823. Line engraving, engraver's proof on moderately thick, moderately textured, cream, laid paper.

Charles Westwood, Active 1819-1838, Hampton Court Palace, 1827-1838. Open etching.

Trematon Castle, Cornwall, Robert Wallis, 1794-1878, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Open etching

Pieskowa Skała View Pieskowey Skały Vue de Pieskowa Skała Frey, Jan Zachariasz (1771 1829), Vogel, Zygmunt (1764 1826)

Okehampton, Devonshire, James T. Willmore, 1800-1863, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Open etching

Eul, Looking towards Triport, Print made by J. C. Varrall, active 1815-1827, after Clarkson Stanfield, 1793-1867, British, Published by Longman, active 1804-1914, British, undated, Line engraving on medium, slightly textured, cream wove paper

View of an Italian harbor, Pierre Jacques Duret, After Claude Joseph Vernet, 1739 - 1829 print print maker: Francepublisher: Paris paper etching / engraving harbour. ships (in general) Italy

J. C. Varrall, active 1815-1827, Brinkburn Priory, Northumberland, 1827-1838. Etching and engraving, with scraping out and touched with graphite (Engraver's Proof a).

Thomas Jeavons, ca. 1800-1867, British, Arundel Castle and Town, Sussex, 1827-1838. Etching and engraving, first published state.

Robert Havell, 1769-1832, British, Crofton, 1813. Aquatint with etching, hand-colored on thick, moderately textured, beige wove paper.

James H. Kernot, active early 19th century, St. Caterine's Hill, near Guildford, Surrey, 1827-1838. Etching and engraving, first published state.

Kamianets-Podilskyi. Fajans, Maksymilian (Warszawa ; zakład litograficzny ; 1853-1890), lithography atelier, Misierowicz, Alojzy (ca 1825-post 1900), graphic artist, Orda, Napoleon (1807-1883), draughtsman, cartoonist

Jerusalem, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Etching and engraving, engraver's proof

Wide landscape with two figures and sailing ships, Izaak Jansz. de Wit, After Paulus van Liender, 1799 print Face from the Rhenense mountain over the Betuwe in Gelderland. Sailing ships on the water and on the front grod two figures, one of which is with vast arm. Haarlem paper etching sailing-ship, sailing-boat. index finger forwards, pointing, indicating. water course Rhenense Berg. Betuwe

Edward Goodall, 1795-1870, British, Richmond Hill, 1826-1832. Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove paper, with cream, chine colle.

Samuel Ireland, active 1760-died 1800, British, Design for a New Order of Architecture, May 1, 1799.

Sonnenuntergang. Sunset.. Lorrain, Claude. Prints. 1837 - 1842. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection. Painting , Germany , Munich, Lithography, German, Cattle, Trees, Bodies of water

The Alcove, Isleworth (Liber Studiorum, part XIII, plate 63) January 1, 1819 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 Dawe here added mezzotint to describe a classical pavilion which he may relate to one at Syon Park. Turner lived at Sion (or Syon) Ferry House, Isleworth, on the Thames between 1805 and 1806, and this image derives from sketches he made along the river. Naturalistic observations of the English countrside are combined with idealized classical elements, and the scene bathed in a golden evening light. A bright reflected sail on the far shore recalls "White House, Chelsea," a famous watercolor by Turn

Mantes, William Radclyffe, 1780-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1835, Line engraving, engraver's proof

Landscape with figures drinking at Fontein, Nicolas Perelle, after Jan Asselijn, 1627 - 1655 print Numbered in the bottom right: 5. France paper etching / engraving landscape with ruins. well. utilitarian, public pump or water fountain

Out of Study Window. Dated: 1859. Dimensions: plate: 10.7 x 26 cm (4 3/16 x 10 1/4 in.) sheet: 15.1 x 29.8 cm (5 15/16 x 11 3/4 in.). Medium: etching and drypoint on laid paper. Museum: National Gallery of Art, Washington DC. Author: Francis Seymour Haden.

unknown artist, eighteenth century, Collection of Prints by Notable Dilettanti, c. 1780. Graphite and watercolor.

James Baylis Allen, 1803-1876, British, St. Germains, 1835. Line engraving.

Chatham, Kent, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Line engraving, first published state

Claire de lune à Valmondois (Moonlight inValmondois). Artist: Charles-François Daubigny, French, 1817-1878

Paysage Italien (ItalianLandscape). Artist: Maxime Lalanne, French, 1827-1886 After: Claude Gellée, called Claude Lorrain, French, active Rome, 1604-1682

Junction of Severn and Wye. Dated: published 1811. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: JOSEPH MALLORD WILLIAM TURNER.

Wszyscy Święci w MNK French, William (1815 1898), Lorrain, Claude (1600 1682)

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