Rhine River Landscapes

Various historical prints depict scenic views along the Rhine River, featuring castles, towns, and dramatic landscapes, reflecting artistic styles from different eras.

Tolburcht Pfalzgrafenstein in the Rhine seen from the north, Jan van Call (II), 1694 - 1697 print View of the Tolburcht Pfalzgrafenstein in the Rhine. In the background the city of Kaub with Gutenfels on the top of the hill. Print from a series of 71 prints with Rhine landscapes, faces on royal palaces and cityscapes from The Hague and Amsterdam. Amsterdam paper etching castle. toll gate. river Kaub. Pfaffenporte **. Rhine

Tolburcht Pfalzgrafenstein in the Rhine seen from the north, Jan van Call (II), 1694 - 1697 print View of the Tolburcht Pfalzgrafenstein in the Rhine. In the background the city of Kaub with Gutenfels on the top of the hill. Print from a series of 71 prints with Rhine landscapes, faces on royal palaces and cityscapes from The Hague and Amsterdam. Amsterdam paper etching castle. toll gate. river Kaub. Pfaffenporte **. Rhine

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

James Baylis Allen, 1803-1876, British, St. Germains, 1835. Line engraving, engraver's proof.

Veue de la Fontaine de Vaucluse. Joseph Parrocel; French, 1646-1704. Date: 1666-1704. Dimensions: 445 × 970 mm (image); 403 × 1,001 mm (plate); 645 × 1,037 mm (sheet). Etching on ivory laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Edward Goodall, 1795-1870, British, Prudoe Castle, Northumberland, 1827-1838. Line engraving, first published state.

Der Lattenberg bei Salzburg (The Lattenberg near Salzburg). Dated: 1830. Dimensions: plate: 16.8 x 21.6 cm (6 5/8 x 8 1/2 in.) sheet: 22.5 x 28.8 cm (8 7/8 x 11 5/16 in.). Medium: etching on wove paper. Museum: National Gallery of Art, Washington DC. Author: Ludwig Richter.

A Hurricane in the Desert, Edward Alfred Goodall, 1819-1908, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Line engraving on thick, slightly textured, beige, wove paper, with beige, chine colle, Sheet: 17 1/4 × 11 3/4 inches (43.8 × 29.8 cm), Plate: 11 1/2 × 5 15/16 inches (29.2 × 15.1 cm), Chine collé: 11 1/4 × 5 13/16 inches (28.6 × 14.8 cm), and Image: 3 1/4 × 3 1/4 inches (8.3 × 8.3 cm)

Traitor's Gate, Tower of London, Edward Alfred Goodall, 1819-1908, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Line engraving on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 17 3/8 × 11 inches (44.1 × 27.9 cm), Plate: 11 1/2 × 6 inches (29.2 × 15.2 cm), Chine collé: 10 15/16 × 5 11/16 inches (27.8 × 14.4 cm), and Image: 3 1/2 × 3 1/4 inches (8.9 × 8.3 cm)

Print made by unknown artist, nineteenth century, The Bay of Baiae - Apollo and the Sibyl, undated. Line engraving.

Stirling, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1836, Etching and engraving

Aquiles Parboni (Lithographer) (After Spierinckx, Pieter); José de Madrazo y Agudo (Director); Real Establecimiento Litográfico de Madrid (Printer) / 'Italian Landscape'. 1829 - 1832. Lithographic aquatint, Crayon lithography, Printing on japon, Scraper on wove paper; 1829 - 1832. Lithographic aquatint, Crayon lithography, Printing on japon, Scraper on wove paper. Museum: Museo del Prado, Madrid, España.

Aberglaslyn Bridge (North Wales). Paul Sandby; English, 1731-1809. Date: 1776. Dimensions: 237 × 314 mm (plate); 320 × 463 mm (sheet). Aquatint on cream laid paper. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

View of Albano 1817 France. Lithograph in black on ivory wove paper . Claude Thiénon

Wolkenstein, from the series: Zehn Ansichten Merkwürdiger Gegenden in Sachsen; Richter, Ludwig (1803-1884), Arnoldische Buch- und Kunsthandlung (Dresden, Leipzig; Publisher; Ca 1801-Ca 1881); 1839 (1800-00-00-1850-00-00);

William Miller, 1796-1882, British, Placenza, 1834. Etching and engraving, engraver's proof.

Verona, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1835, Etching and engraving, first published state

Jacques Philippe LeBas after Julien David Le Roy, French (1707-1783), The Dromos, Athens, 1758, etching on laid paper proof

Group of men on banks of more pounding; Castello di Mitylin; Vista Di Mitylin, Jan Luyken, 1659 - 1712 print paper etching

James T. Willmore, 1800-1863, British, Okehampton, Devonshire, 1828. Line engraving, 3rd state on moderately thick, moderately textured, cream, wove paper.

About 100 Years Before Christ's Birth, anonymous, c. 1789 - c. 1810, draughtsman: anonymous, draughtsman: Jacques Kuyper, (rejected attribution), Netherlands, c. 1789 - c. 1810, paper, pen, brush, h 65 mm × w 55 mm

The Crafty Bird-Catcher (Insidiosus auceps) from The Large Landscapes ca. 1555-56 Johannes van Doetecum I Netherlandish. The Crafty Bird-Catcher (Insidiosus auceps) from The Large Landscapes 415671

Bonneville. Dated: published 1816. Medium: etching and mezzotint. Museum: National Gallery of Art, Washington DC. Author: Joseph Mallord William Turner and Henry Edward Dawe.

Drawing (Italy)

Sir Richard Colt Hoare, 1758-1838, British, View in Abruzzo, May 1791, 1791. Graphite, pen and brown ink, and brown wash on moderately thick, moderately textured, cream laid paper mounted on medium, slightly textured, cream laid paper.

Group Travelers rest at the Jacobsbron in Sichem, François Stroobant, After Louis Haghe, 1852 print Brussels paper mountains (+ landscape with figures, staffage). hoofed animals: dromedary. (traveller) resting in the open air. well Shechem

Ponte Celio a Cività Castellana. Dated: 1794. Dimensions: plate: 28 x 37.5 cm (11 x 14 3/4 in.) sheet: 39 x 49 cm (15 3/8 x 19 5/16 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Jacob Wilhelm Mechau.

No. 49. Lorrain, Claude, 1600-1682. Prints. 1777 - 1819. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Drawing, French

View of Europe Point, Gibraltar, John Pye (I), After Adam Pijnacker, 1773 print London paper etching rocky coast. rowing-boat, canoe, etc.. sailing-ship, sailing-boat Gibraltar

View of the Temple of the Tiburtine Sibyl. Artist: Jean Jacques de Boissieu (French, Lyons 1736-1810 Lyons). Dimensions: Sheet: 14 1/16 × 19 1/8 in. (35.7 × 48.5 cm)Plate: 12 9/16 × 16 7/16 in. (31.9 × 41.8 cm). Date: 1809. Museum: Metropolitan Museum of Art, New York, USA. Author: Jean Jacques de Boissieu.

J. C. Varrall, active 1815-1827, Rochester, Stroud and Chatham, 1838. Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper.

Water in the valley of the Tech, print maker: Louis Charles Hora Siccama, Louis Charles Hora Siccama, 1869.

Print made by Charles Turner, 1774-1857, British, Totnes, on the Dart, 1823 to 1827. Mezzotint; engraver's proof (b).

Vissers in the Scheveningen Duinen near Pavilion von Wied, Abraham Johannes Couwenberg, Anthony Jacobus Offermans, 1809 - 1844 print A company of men, women, children and a dog with baskets with fish on a dune north of the royal pavilion (later pavilion von Wied) in Scheveningen. In the background the pavilion and boats at sea. Netherlands paper dune coast. family group, especially parents with their child(ren) Scheveningen. Pavilion von Wied

Richard Parkes Bonington after Francois Alexandre Pernot, Edimbourg vu de la Chapelle Saint Antoine, 1826 Edimbourg vu de la Chapelle Saint-Antoine

James C. Allen, active 1821-1831, British, Addingham Mill on the Warfe, 1821. Open etching and line engraving on moderately thick, slightly textured, cream, wove paper, with cream, chine colle.

Jean-Claude Richard, abbot of Saint-Non (1727-1791) / Hubert Robert for drawing / Guttenberg for engraving. Picturesque journey or description of the kingdoms of Naples and Sicily, volume 2. "View of invention of the excavations of Herculanum", p.4, volume II, (printed in Paris). Book, Red and golden morocco. Museum of Fine Arts of the City of Paris, Petit Palais. Picturesque journey or description of the kingdoms of Naples and Sicily, volume 2 "View of invention of the excavations of Herculanum Description, Dore, excavation, excavation, invention, Kingdom naples, book, red morocco, page 4, picturesque trip, red and gilded morocco leather, kingdom naples, sicily, sicily, travel, volume 2, volume II, picturesque journey, view , scene

View in Abruzzo, May 1791, Sir Richard Colt Hoare, 1758-1838, British, 1791, Graphite, pen and brown ink, and brown wash on moderately thick, moderately textured, cream laid paper mounted on medium, slightly textured, cream laid paper, Sheet: 16 5/16 x 22 9/16 inches (41.4 x 57.3 cm) and Contemporary drawn border: 17 1/8 x 23 1/2 inches (43.5 x 59.7 cm), castle, genre subject, Grand Tour, landscape, Abruzzo

Landscape with ox cart and funeral, Giuliano Giampiccoli, After Marco Ricci, 1739 - 1740 print Venice paper etching funerary ceremonial. mountains

Suspension and tow bridges in America, and a rock bridge in Virginia. 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.

Pejzaż górski z nadrzeczną osadą. Bellermann, Ferdinand (1814-1889), draughtsman, cartoonist, Hohenzollern, Waldemar von (książę pruski ; 1817-1849), draughtsman, cartoonist

Fontainebleau, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1835, Etching and engrving, engraver's proof

Il ponte Salaro. Dated: 1793. Dimensions: plate: 27.9 x 37.9 cm (11 x 14 15/16 in.) sheet: 39.1 x 49 cm (15 3/8 x 19 5/16 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Jacob Wilhelm Mechau.

Plymouth, Devonshire, William Bernard Cooke, 1778-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1832, Line engraving, 3rd state on thick, smooth, beige, wove paper, Sheet: 10 5/8 × 14 13/16 inches (27 × 37.6 cm), Plate: 9 15/16 × 11 13/16 inches (25.2 × 30 cm), and Image: 6 3/8 × 9 1/4 inches (16.2 × 23.5 cm)

Le Paysan et son chien. Artist: Jean Morin (French, Paris ca. 1605-1650 Paris). Dimensions: sheet: 7 11/16 x 7 5/16 in. (19.5 x 18.5 cm)image: 6 1/8 x 5 1/2 in. (15.5 x 14 cm). Museum: Metropolitan Museum of Art, New York, USA.

Georg Mathias Fuchs (1721-1797); Adrian Zingg (1734-1816), Fjeldparty at a SOE, 1785

The Straw Yard (Liber Studiorum, part II, plate 7) February 20, 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 describe a rustic scene, which the artist himself referred to as "The White Horse." In front of a thatched barn, men load bales onto a haystack near resting horses. The letter "P" in the upper margin indicates Turner's category of Pastoral landscape.. The Straw Yard (Liber Studiorum, part II, plate 7) 382912

St. Germains, James Baylis Allen, 1803-1876, British, after Joseph Mallord William Turner, 1775-1851, British, 1835, Etching and engraving (First Published State)

Passage du Crati, principal fleuve de la Calabre citerieure, Vuë d'un Pont Rustique sur le fleuve Sybaris, Passage du Crati, principal fleuve de la Calabre citerieure, Voyage pittoresque, ou, Description des royaumes de Naples et de Sicile, Chastelet, Claude-Louis, 1753-1794, Choffard, Pierre-Philippe, 1730-1809, Clousier, Desprez, Jean Louis, 1743-1804, Saint Non, Jean Claude Richard de, 1727-1791, Engraving, 1781-1786, Two s, plate 47, drawn by Desprez, and plate 46, drawn by Chastelet. Both plates face page 90.

Minerva visits the Muzen on Mount Helicon, Richard Earlom, After Claude Lorrain, 1777 print London paper etching mountains - HH - ideal landscapes. Helicon, sacred to the Muses. Minerva visits the Muses on Mount Helicon to see the fountain Hippocrene, which Pegasus had just brought forth. temple, shrine ~ Roman religion

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

Landscape with travelers; Entreteen the Voyage. Landscape with in the foreground travelers on a path, caught in an oval. Title in undermarge.

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

Martigny (vignette), Print made by William Bernard Cooke, 1778-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-collé, Sheet: 17 3/8 × 11 5/8 inches (44.1 × 29.5 cm), Frame: 10 × 5 5/8 inches (25.4 × 14.3 cm), Chine collé: 9 5/8 × 5 3/8 inches (24.4 × 13.7 cm), and Image: 2 1/2 × 3 inches (6.4 × 7.6 cm)

Ruins of the castle and monastery in Korets, Volhynia. Lemercier, Rose Joseph (Paryż ; zakład litograficzny ; 1827-post 1899), lithography atelier, Jacottet, Louis Julien (1806-1880), graphic artist, Wilczyński, Józef Władysław (fl. ca 1850), draughtsman, cartoonist, Bayot, Adolphe Jean Baptiste (1810-1866), draughtsman, cartoonist, Wilczyński, Jan Kazimierz (1806-1885), publisher

Saint Jerome Made 1840 France. Etching on ivory wove paper . Charles François Daubigny

Print made by Samuel Bradshaw, 1830-1869, British, Grenoble, from the Fortress, undated. Line engraving on medium, slightly textured, cream wove paper.

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

Near Wellington, Shropshire. Francis Nicholson; English, 1753-1844. Date: 1821. Dimensions: . Lithograph on paper. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Moses is found by the daughter of the Pharaoh, Nicolaes de Bruyn, after Gilles of Coninxloo (II), 1601 print The river Nile with the daughter of the Pharaoh and her maid on the banks. In the foreground a soldier with the cradle with the child Moses in his hands. A mountainous landscape in the background. The print has a Latin caption with an explanation. Antwerp paper engraving the finding of Moses: Pharaoh's daughter comes to bathe with her maidens in the river and discovers the child floating on the water. Moses is pulled out of the water by the servants. mountains (+ landscape with figures, staffage)

Months of the year: June. Engraving after P. Stevens.

Painting of the French explorer maritime explorer Jacques Cartier with boats and native Indians in the Saint Lawrence River in 1535

Anthony Devis, Zahara Zahara

Jumieges, James Charles Armytage, 1802-1897, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Line engraving, engraver's proof, touched

Landscape with horsemen at a bridge Courier de Flandres (title on object), riding a horse, ass, or mule, rider, horseman, landscape with bridge, viaduct or aqueduct, Jacques-Philippe Le Bas (mentioned on object), 1743, paper, etching, h 317 mm × w 370 mm

Robert Wallis, 1794-1878, British, Virginia Water. No. I, 1828. Line engraving, 1st state on moderately thick, slightly textured cream, wove paper, with cream, chine colle.

Abraham and the King of Sodom, 1613 The king of Sodom meets Abraham in the Sawevallei, or the Koningsvallei (Gen. 14:22). With a motto in Latin above the performance and a four -line caption in Latin under the print. The print is part of an album. print maker: Antwerppublisher: Amsterdam paper letterpress printing / etching The king of Sodom meets Abraham in the Sawevallei, or the Koningsvallei (Gen. 14:22). With a motto in Latin above the performance and a four -line caption in Latin under the print. The print is part of an album. print maker: Antwerppublisher: Amsterdam paper letterpress printing / etching

The Iron Forge between Dolgelli and Barmouth in Merioneth Shire. Paul Sandby; English, 1731-1809. Date: 1776. Dimensions: 239 × 315 mm (plate); 320 × 463 mm (sheet). Etching and aquatint in sanguine ink on ivory laid paper. Origin: England. Museum: The Chicago Art Institute, USA.

Hedging and Ditching (Liber Studiorum, part X, plate 47) May 23, 1812 Designed and etched by Joseph Mallord William Turner British Turner distilled his ideas about landscape In "Liber Studiorum" (Latin for Book of Studies), a series of seventy prints plus a frontispiece published between 1807 and 1819. To establish the compositions, he made brown watercolor drawings, then etched outlines onto copper plates. Professional engravers usually developed the tone under Turner's direction, and Easling here added mezzotint to detail an agricultural subject based on sketches made during a return journey from Portsmouth in 1807. Careful husbandry had patriotic overtones during Britain's extended war with Napoleonic France. and, despite a realistic veneer, the image evokes passing time by placing the winter activity of hedge building next to the warm weather one of ditch clearing. The letter "P" above the image indicates Turner's category of Pastoral landscape.. Hedging and Ditching (Liber Studior

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

Danube views, Sereths discharge, Border divorce of gelding and Moldova, After, Ludwig Erminy, Drawer, Alois von Saar -, Lithographer, Adolf Friedrich Kunike -, editor

Newburg Newburgh (No. 14 of The Hudson River Portfolio). Artist: after William Guy Wall (Irish, Dublin 1792-after 1864 Ireland (active America)). Dimensions: Image: 14 1/16 x 20 3/16 in. (35.7 x 51.3 cm)Sheet: 19 x 24 1/2 in. (48.3 x 62.2 cm). Etcher: John Hill (American (born England), London 1770-1850 Clarksville, New York). Publisher: Henry J. Megarey (American, 1818-1845 New York). Series/Portfolio: The Hudson River Portfolio. Date: 1825.Newburgh sits on the west bank of the river, about sixty-six miles south of Hudson and within the Higlands. John Agg's related text notes that, "no site could have been selected for a village, which possesses so many striking advantages. A very great and profitable trade has been consequently established here, which is also the depository and outlet for large quantities of produce constantly arriving from the interior," giving employment to about fifty vessels.The print comes from the Hudson River Portfolio, a monument of American printmaking p

Most linowy nad rzeką Alaknanda. Bellermann, Ferdinand (1814-1889), draughtsman, cartoonist, Hohenzollern, Waldemar von (książę pruski ; 1817-1849), draughtsman, cartoonist

Johannes and Lucas van Doetechum after Pieter Bruegel the Elder, Insidiosus Auceps (The Crafty Bird Catcher), c 1555 1557 Insidiosus Auceps (The Crafty Bird-Catcher)

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 on medium, slightly textured, cream wove paper with chine-collé, Sheet: 12 × 17 1/8 inches (30.5 × 43.5 cm), Plate: 9 × 12 1/8 inches (22.9 × 30.8 cm), Chine collé: 8 1/2 × 11 1/2 inches (21.6 × 29.2 cm), and Image: 5 3/4 × 8 5/8 inches (14.6 × 21.8 cm)

Val d'Ema Made 1909 United States. Etching in black on cream laid paper . Donald Shaw MacLaughlan

The Crafty Bird-Catcher (Insidiosus auceps) from The Large Landscapes ca. 1555-56 Johannes van Doetecum I Netherlandish. The Crafty Bird-Catcher (Insidiosus auceps) from The Large Landscapes 415675

ILE Ste Hélène (IT)

Oberwesel, Print made by James T. Willmore, 1800-1863, British, after Joseph Mallord William Turner, 1775-1851, British, 1838-1852, Etching; open etching on medium, slightly textured, cream wove paper with chine-collé

Harborough Sands, James C. Allen, active 1821-1831, British, after Joseph Mallord William Turner, 1775-1851, British, 1819-1826, Etching and engraving, 1st stte on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 13 11/16 × 9 9/16 inches (34.8 × 24.3 cm), Plate: 6 11/16 × 5 1/8 inches (17 × 13 cm), Chine collé: 6 3/8 × 4 13/16 inches (16.2 × 12.2 cm), and Image: 4 3/4 × 4 inches (12.1 × 10.2 cm)

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

Wycliffe, near Rokeby, John Pye, 1782-1874, British, after Joseph Mallord William Turner, 1775-1851, British, 1818-1823, Line engraving and etching, engraver's proof on medium, slighlty textured, cream, laid paper, Sheet: 8 1/2 × 11 7/16 inches (21.6 × 29.1 cm) and Image: 7 9/16 × 10 11/16 inches (19.2 × 27.1 cm)

The Four Elements: Terra, c. 1648. Stefano Della Bella (Italian, 1610-1664). Etching;

View of St. Peter's and the Vatican from the Janiculum 1754 Richard Wilson British, Welsh In 1750, Richard Wilson traveled to Italy, where he hoped to advance his career by winning portrait commissions from young British aristocrats making the Grand Tour, and to widen his knowledge of art by studying ancient works of sculpture and architecture. Instead, he would achieve success during his seven-year sojourn in Italy by painting views of that country's distinctive landscape. He made this drawing in 1754 for William Legge, second earl of Dartmouth (1731-1801), as part of a large group depicting views in Rome.Wilson appears to have painted his landscapes primarily in the studio, incorporating studies made on the spot (in oils, graphite, or chalks) with conventional motifs and methods of composition inspired by Claude Lorrain. Here, Wilson frames a prospect terminating in Michelangelo's great dome of St. Peter's with picturesque trees and travelers, and juxtaposes the precisely described a

James H. Kernot, active early 19th century, St. Catherine's Hill, near Guildford, Surrey, 1832. Line engraving and etching, 2nd state on thick, slightly textured, beige, wove paper, with cream, chine colle.

Der Fall des Liris bei Isola di Sora. The fall of Liris at Isola di Sora.. Fries, Ernst, 1801-1833. Prints. 1837 - 1842. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection. Painting , Germany , Munich, Lithography, German, Waterfalls, Dirt roads

Etching by Thomas Major (1730-1799) depicting a carousel, showing horses, riders, mechanical structure, decorations, and motion in 18th-century Europe.

Landscape with a river and a windmill, Adriaen Collaert, after Jacob Grimmer, 1578 - 1618 print Landscape with a river and a village. In the background a hill with a windmill. The print is part of a twelve -part series with landscapes around Antwerp. print maker: Antwerpafter design by: Antwerppublisher: Amsterdam paper engraving windmill in landscape (+ city(-scape) with figures, staffage). river bank (+ landscape with figures, staffage)

See von Nemi. Reinhart, Johann Christian (1761-1847), graphic artist

Genoels, Abraham, Paris, Seascape with round tower, verso center bottom - stamped, A seascape with some fishermen on the beach in the foreground. A round tower in the background., print, prent, prints, prenten, height 81 mm, width 161 mm, 1640 - 1723-05-10, print maker, prentmaker, 1650 - 1723, paper, papier, etching, etsen, Work conception

Inverary Pier, Loch Fyne, Morning, Etched and engraved by Joseph Mallord William Turner, 1775-1851, British, after Joseph Mallord William Turner, 1775-1851, British, 1811, Etching and mezzotint, printed in brown ink Engraver's proof (b)(touched) on medium, slightly textured, cream wove paper, Sheet: 9 1/4 × 12 3/8 inches (23.5 × 31.4 cm), Plate: 8 1/2 × 11 1/2 inches (21.6 × 29.2 cm), and Image: 7 1/8 × 10 3/8 inches (18.1 × 26.4 cm)

Russia, Moscow, Tretyakov Gallery Moscow, Vorobiev Maxim (1787-1855), Road to Franciscan monastery Santa Maria di Gesu in Palermo, 1845-46, Watercolor brush pen and ink pencil on paper

Campagna di Roma. Dated: 1884/1885. Dimensions: sheet: 9.4 x 14.5 cm (3 11/16 x 5 11/16 in.). Medium: gray wash over traces of graphite on card. Museum: National Gallery of Art, Washington DC. Author: Edward Lear.

Das Tännengebirge bei Salzburg (The Tännengebirge near Salzburg). Dated: 1830. Dimensions: plate: 16 x 20.3 cm (6 5/16 x 8 in.) sheet: 22.6 x 28.4 cm (8 7/8 x 11 3/16 in.). Medium: etching on wove paper. Museum: National Gallery of Art, Washington DC. Author: Ludwig Richter.

Arundel Castle and Town, Print made by Thomas Jeavons, ca. 1800-1867, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Etching and engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 7/8 × 14 7/8 inches (27.6 × 37.8 cm), Plate: 10 1/4 × 12 3/4 inches (26 × 32.4 cm), and Image: 6 5/8 × 9 5/8 inches (16.8 × 24.4 cm)

Bliżej Kultury Kiebisiński, Kajetan Wincenty (1808 1849), Jaroczyński, Marian Jakub Ignacy (1819 1901), Żupański, Jan Konstanty (1804 1883)

Tan y Bwlch, North Wales. Dated: c. 1810/1815. Dimensions: plate: 12.5 x 17.7 cm (4 15/16 x 6 15/16 in.) sheet: 13 x 18.2 cm (5 1/8 x 7 3/16 in.). Medium: softground etching touched with graphite on light brown wove paper. Museum: National Gallery of Art, Washington DC. Author: John Sell Cotman.

George Cooke, 1781-1834, British, Poole, Dorsetshire, 1814-1826. Etching and line engraving, 1st state on moderately thick, moderately textured, cream, wove paper.

Sir Richard Colt Hoare, 1758-1838, British, View on the River Liris at Isola di Sora, 1791. Graphite, pen and brown ink, and brown wash on moderately thick, moderately textured, cream laid paper mounted on medium, slightly textured, cream laid paper.

Entry to the Village of Bains. Artist: Eugène Cicéri (French, Paris 1813-1890 Fontainebleau); Eugène Isabey (French, Paris 1803-1886 Lagny). Dimensions: Sheet: 14 in. × 9 7/16 in. (35.5 × 24 cm)Image: 10 13/16 × 13 11/16 in. (27.5 × 34.7 cm). Printer: Godefroy Engelmann (German (born France), Mulhouse 1788-1839 Mulhouse). Series/Portfolio: Voyages Pittoresques et Romantiques dans L'Ancienne France. Date: 1831.This is from the series of prints Eugène Isabey made for the 'Auvergne' chapter of the book 'Voyages pittoresques et romantiques dans l'ancienne France'. This particular plate was included in volume I of the series. The composition resembles that of a watercolor painted during the same period, with the same title, attributed to Isabey which is now in the Collection Destailleur held by the Bibliothèque Nationale.Curtis suggested in his catalogue raisonné of Eugène Isabey's work that the watercolor seems more likely to be by the artist's nephew, Eugène Cicéri, which would explain

Les Grandes Chaumières. Dated: 1881. Dimensions: plate: 14.1 x 27.5 cm (5 9/16 x 10 13/16 in.) sheet: 25.1 x 37.8 cm (9 7/8 x 14 7/8 in.). Medium: etching and drypoint on antique laid paper. Museum: National Gallery of Art, Washington DC. Author: Félix-Hilaire Buhot.

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