1850s Landscape Prints

Schiras in Persien is an original modern artwork realized in Italy in the mid of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin in capita...

Valletta From the Quarantine Harbour is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in capit...

La Valetta is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in capital letters on the lower ma...

Composition is an original Woodcut from ""quaderni dell'Eroica", realized by Giorgio Wenter Marini in 1925. Good conditions. The artwork is dep...

Milan Cathedral is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted on the lower margin: Milan C...

Ancient View of Monte Pellegrino is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted on the lowe...

Veste Kufstein is an original modern artwork realized in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin in Capital Let...

Ancient View of Villa Doria is an original modern artwork realized in Italy in the first half of the XIX Century. Original Lithograph on Ivory Paper. Inscripted on the lower marg...

Trees is an original etching on paper, realized by an Anonymous artist of the early XX century. Hand-signed on the lower in pencil and numbered, illegible, with the dedication. The...

View of Algiers is an original lithograph on paper realized in 1850 ca. by Anonymous Artist of 19th Century. In very good conditions. Image Dimensions: 13.5 x 17.5 Not signed. Tit...

Battle Scene of "Chemin De Ronde" is an original lithography artwork realized by Raffet in 1859. Signed on the plate on the lower left, dated, titled on the lower center with descr...

This splendid lithograph Interieur de Geneve. Bourg De Four is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Fontan...

This splendid lithograph Interieur de Geneve. L'Hospital is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Fontanesi...

This splendid lithograph View of Geneve is part of the series of prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Fontanesi. The state of pres...

Battle of Melegnano is original Hand-colored lithograph on paper, realized by Carlo Perrin in 1850 ca. Titled in Italian" Battglia di Melegnano", on the lower center, signed on the ...

Image dimensions: 15.7 x 22.3 cm. This splendid lithograph Interieur de Geneve. Fontaine de Beauregard is part of the series of 20 prints dedicated to views of the city of Geneva, e...

In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole. This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' In particular, the print comes from the northern survey, commanded by Isaac Stevens, which explored the regions between the 47th and 49th parallels. In this image, Stanley shows an encampment of the people known as the Red River of the North hunters. They were generations of European and mixed-race trappers who lived on the frontier and had Indian wives and mixed-race children. They had come to the area for bison hunting, as the herds were still vast on the prairies. In the image, the figures and their encampment are dwarfed by the vast landscape around them, indicating the sublimity of these new American territories. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 17 x 20 inches, frame Artist 'Stanley Del.' lower left Entitled 'Camp Red River Hunters' lower center margin Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left Inscribed 'GENERAL REPORT — PLATE XII' upper right Framed to conservation standards using 100 percent rag matting with French accents; glazed with UV5 Plexiglas to inhibit fading; housed in a gold reverse ogee moulding. Print in overall good condition; some localized foxing and discoloration; minor surface abrasions to frame. John Mix Stanley...

Artist: Utagawa Hiroshige (Hiroshige Ando 1797-1858) Title: No.12 Ueno Yamashita Series: One Hundred Famous Views of Edo (名所江戸百景) Size: O-ban 大判 Age: 1858

In Cemetery is a Lithograph realized by Auguste Raffet in 1854. Signed in the plate. Good condition with foxing.

Charles Meryon (1821-1868), La Tour de L’Horloge (The Clock Tower, Paris), 1852, etching with engraving. Reference: Schneiderman 23, Delteil 28. Third state (of 10). On very thin Jap...

Three women in the Saruwaka-machi District with a view of Kinryûzan Temple seen from the famous landmark Matsuchiyama. The woodblock print is from the series "Famous Places in Edo". ...

The Leaflet of the Italian Risorgimento is an original Propaganda leaflet realized in the 1850s. Good conditions with slight foxing.

In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole. This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' When it came to depicting the Columbia River, as seen in the present print, Stanley chose to depict the river's characteristic rock formations and choppy waters. The figures in the image give the viewer a sense of the vase scale of the imposing landscape. Other explorers that reached the site years before the Pacific Railroad Survey, such as Lewis and Clark, observed this scene with wonder and awe – and it is clear Stanley felt the same way. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 13.25 x 16.25 inches, frame Artist 'Stanley Del.' lower left Entitled 'Kettle Falls, Columbia River' lower center margin Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left Inscribed 'GENERAL REPORT — PLATE XLVII' upper right Framed to conservation standards using 100 percent rag matting and Museum Glass to inhibit fading; housed in a brass-surface aluminium moulding. Print in overall good condition; wrinkles in upper margin and upper right corner; frame in excellent condition. John Mix Stanley...

Sir Francis Seymour Haden (1818-1910), Kensington Gardens (The Small Plate), drypoint, 1859, signed in pencil lower right. References: Harrington 12...

In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole. This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' Along with the image, Stanley also noted in the report of the Maple River: "It would be an excellent plan for an emigrant travelling through the country, before reaching one of these rivers on which he expects to camp, to catch a few frogs, for the purpose of fishing in these streams, which abound pike, picarel, and large catfish. Frogs are by far the best bait that can be used." This note from the artist perhaps describes some of the actions of the figures in the camp in the foreground of the image. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 13.25 x 16.25 inches, frame Artist 'Stanley Del.' lower left Entitled 'Maple River' lower center margin Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left Inscribed 'GENERAL REPORT — PLATE VIII' upper right Framed to conservation standards using 100 percent rag matting and Museum Glass to inhibit fading; housed in a brass-surface aluminium moulding. John Mix...

Landscape is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published...

Grotte à Elephanta is an original modern artwork realized by Jacob Rudisuhli (1835-1918) in the late 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower ...

Le Bucentaure is an original artwork realized by Eugene Huot between 1845-1847. Black and white etching After Antonio Canaletto depicting Palazzo Ducale in Venice. Printed by Paul ...

View of Camaldoli is an original artwork realized by Thomas Lupton (1971-1873) in 1833. Original etching. In the lower central part there is the inscription "Camaldoli". Good cond...

Florenz is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted on the lower margin in Capital Lette...

Ancient View of the Doge Palace in Venice (original title: Der Dogenpallast) is an original modern artwork realized in the first half of the 19th C...

La Valetta is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in capital letters on the lower ma...

Ancient View of Niagara Falls is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in capital lett...

Ancient View of Moscow is an original modern artwork realized in France in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower marg...

Der Keiserliche Sommerpallast is an original modern artwork realized in Germany in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the l...

Florenz is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted on the lower margin in Capital Lette...

Bregrenz is an original modern artwork realized in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin: Bregrenz Lake Costa...

Ancient View of Innsbruck is an original modern artwork realized in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin: In...

Brünn is an original modern artwork realized in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin: Brünn. Engraved by Ver...

Ancient View of Castel Sant'Angelo is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted on the lo...

Messina is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted on the lower margin in Capital Lette...

Ancient View of the Bay of Bay of Naples is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in ...

La Tour Penchante is an original modern artwork realized in Italy in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin: D...

Chapel of Santa Rosalia is an original modern artwork realized in Italy in the first half of the 19th Century. Original Colored Lithograph on Ivory Paper. Inscripted on the lower...

The Bay is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted on the lower margin in Capital Lette...

Augustus Arch is an original modern artwork realized in the first half of the 19th Century. Original Lithograph on paper. Inscripted on the lower margin in Capital Letters, in Ger...

Castle Ischia is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted on the lower margin in Letters...

In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole. This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' In particular, the print comes from the northern survey, commanded by Isaac Stevens, which explored the regions between the 47th and 49th parallels. Stanley shows here the stop the Stanley Party made at the junction of the Bitterroot and Hell Gate, in present day Montana. While there, the Party met with the Flathead Chief by the name Victor, as is shown in the image. The figures and their encampment are dwarfed by the vast landscape around them, indicating the sublimity of these new American territories. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 17 x 20 inches, frame Artist 'Stanley Del.' lower left Entitled 'Victor's Camp - Hell Gate Ronde' lower center margin Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left Inscribed 'GENERAL REPORT — PLATE XXXI' upper right Framed to conservation standards using 100 percent rag matting with French accents; glazed with UV5 Plexiglas to inhibit fading; housed in a gold reverse ogee moulding. Print in overall good condition; some localized foxing and discoloration; minor surface abrasions to frame. John Mix Stanley...

This splendid lithograph Interieur de Geneve. Place de la Grenette is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio...

This splendid lithograph Interieur de Geneve. Fontaine de l'Hotel De Ville is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist...

Gene is a beautiful original lithograph realized by Eugène Flandin (1809-1889) in 1850 ca. Signed on the plate by the artist on the lower left margin, lithographed by Jules Collign...

Image dimensions: M-109655 cm. This splendid lithograph View of Geneve is part of the series of prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Fontanesi. The state of preservation of the artwork is excellent. The signature is engraved on the plate the lower left. At the top of the paper, the inscription “Interieur de Geneve”, while at the bottom, below the image, the inscription “JMP Pilet & Cougnard Editeurs Geneve”. Antonio Fontanesi (Reggio Emilia, 1818 - Turin, 1882) was an Italian painter, engraver, teacher, and soldier. He was one of the most important 19th-century Italian painters, though somewhat unknown. After fighting in the I Independence War...

This splendid lithograph L'hopital is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Fontanesi in 1854. The lithogra...

This splendid lithograph Rue de l'hotel de Ville is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Fontanesi in 1854...

Image dimensions: 20.5 x 15 cm. This splendid lithograph Interieur de Geneve. Rue De L'Hôtel De Ville is part of the series of 20 prints dedicated to views of the city of Geneva, en...

This splendid lithograph Interieur de Geneve. Cour Du Collège is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Font...

Image dimensions: 15 x 22 cm. This splendid lithograph Interieur de Geneve. Porte Neuve is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the ...

Image dimensions: 15.3 x 20.8 cm. This splendid lithograph Interieur de Geneve. Un Coin De La Treille is part of the series of 20 prints dedicated to views of the city of Geneva, en...

Image dimensions: 15.7 x 20.6 cm. This splendid lithograph Interieur de Geneve. Fontaine et Rue de Coutance is part of the series of 20 prints dedicated to views of the city of Gene...

In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole. This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' When it came to depicting the Assiniboine people, as seen in the present print, Stanley chose to juxtapose their encampment, marked by tipis in the distance, with the encampment of the Isaac Stevens survey party. In the foreground, commemorating this moment, Isaac Stevens can be seen presenting trade goods, which are known to include thirty two dressed skins and two robes. The survey leader Isaac Stevens noted being grateful for the generosity of the Assiniboine, commenting: "I felt very grateful indeed to those Indians, for their kindness to my men, their proffer of kind feeling and hospitality to myself and the survey." This description and this image, however, are arguably depicted through rose-colored glasses: to the Assiniboine people, this meeting may well have included stressful diplomatic relationships and have indicated a threat to the sovereignty over the territories agreed to be theirs by the 1851 Treaty of Fort Laramie. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 17 x 19.75 inches, frame Artist 'Stanley Del.' lower left Entitled 'Distribution of Goods to the Assiniboines' lower center margin Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left Inscribed 'GENERAL REPORT — PLATE XIV' upper right Framed to conservation standards using 100 percent rag matting with French accents; glazed with UV5 Plexiglas to inhibit fading; housed in a gold reverse ogee moulding. Print in overall good condition; some localized foxing and discoloration; frame in excellent condition. John Mix Stanley...