19th Century Landscape Prints

'Dept. du Var', steel engraving with original outline hand-colouring., 1856, from Levasseur's Atlas National Illustre. Var covers the heart of the French Riviera or Cote d'Azur., and includes the resort cities of Cannes, Nice and San Tropez...

'Dept. d'Indre et Loire', steel engraving with original outline hand-colouring., 1856, from Levasseur's 'Atlas National Illustre'. This area is known for its production of Chenin b...

'Dept. du Jura', steel engraving with original outline hand-colouring., 1856, from Levasseur's 'Atlas National Illustre'. The Jura wines are very distinctive and unusual, such as V...

'Dept. de L'Isere', Steel engraving with original outline hand-colouring., 1856, from Levasseur's 'Atlas National Illustre'. This area is known for its production of Bleu du Vercor...

Mielatz, Charles. IN THE BOWERY. Etching, 1891. Edition size not known. Signed and dated in the plate. 9 7/8 x 7 inches. In excellent condition. Mielatz, taught etching at the Nation...

Westminster Palace Etching, Drypoint, Aquatint, roulette and salt ground lift 1884 Depicts the Houses of Parliament, Big Ben Clock and Tower and the...

David Roberts RA Approach to Mt Sinai 1796 - 1864 Subscription and first edition lithographs in stock Full plate: 122 Presented in a acid free mount

David Roberts RA Chapel of the Convent of St. Catherine 1796 - 1864 First Edition lithograph Full plate: 112 Presented in a acid free mount

Artist: John Sell Cotman (English, 1782-1842) Title: "Entrance to the Castle at Tancarville" (Vol. 2, Plate 86) Portfolio: Architectural Antiquities of Normandy Year: 1822 Medium: Or...

Bacher, Otto (American, 1856-1909. FONDAMENTA DEL TOLENTI.Andrews 28, State 2 of 2. Etching, 1880. Inscribed and signed "From yours truly Otto H. Bacher / Present state of Plate." Nu...

Work on paper Dimension of the "passe-partout" frame 27 x 37.5 cm

Revue is a Lithograph realized by Auguste Raffet in 1837. Signed on the plate. Good condition

Meryon, Charles. LE PONT AU CHANGE. S.40(v), DW.34. Etching with drypoint, 1854. Fifth State of twelve, with the inscriptions in cursive, "C. Meryon del. sculp. mdcccliiii," lower l...

Square Drives is a Lithograph realized by Auguste Raffet in the 1830s. Signed on the plate. Good condition with foxing.

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

David Roberts RA Fortress of Akaba 1796 - 1864 First Edition lithograph Half plate: 107 Presented in a acid free mount

The present artwork is an excellent example of the woodcut engravings of Auguste-Louis Lepère (1849 - 1918). He was the son of the sculptor Francois Lepère, a...

A superb, richly-inked impression of this etching and drypoint, printed in dark brownish black on antique cream laid paper. Second state (of 3). Edition of approximately 30. Signed w...

James Pollard 1892-1867, was an English painter, watercolourist and engraver whose artistic talents were the depiction of coaching, hunting, fishing and horse racing scenes. He is fa...

David Roberts RA The Holy Tree Of Metereah 1796 - 1864 First Edition lithograph Half plate: 227 Presented in a acid free mount

Brendan Neiland (b.1941) R.A. (Expelled) Hampton Court (1984) Screenprint 74 x 51 cm Signed, dated, titled, and numbered 152/250 in pencil. A print of one of Hampton Court's magnificent facades, reflected in its fountain. Reflected architecture is one of Neiland's most recurring themes. The Fountain Court was designed by Sir Christopher Wren; he began remodelled the palace in the baroque style for William III and Mary II...

DAVID ROBERTS RA Sebaste, Ancient Samaria 1796 - 1864 First Edition lithograph Full plate: 44 Presented in a acid free mount Modern hand-coloured lithograph for the first edition o...

a very fine impression

"Deer Shooting in the Northern Woods" is an original hand-colored lithograph by Currier & Ives. It depicts a landscape with a hunter aiming his gun at a deer on a winter day. 10" x 14" art 19 1/2" x 23 1/4" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives. In 1907, faced with competitive pressures from advancements in offset printing and photo engraving, Chauncey closed the venerable lithography business and sold the printing equipment and lithographic stones to his shop foreman, Daniel W. Logan. Nathaniel Currier and James Merritt Ives are laid to rest along with their families at the Greenwood Cemetery...

"Traveling on the Liverpool & Manchester Railroad, 1831" is a color lithograph by Raphael Tuck & Sons. It depicts two trains carrying various cargo. 8" x 24 1/2" art 17 1/2" x 33 3...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. after Dea...

John Sloan's Westminster Abbey portfolio is among the most rare of his printmaking output, and a complete set like this is even more unusual. Etched in dark brown ink in on a sturdy ...

Marais de la Canche is an artwork realized by A. Segé in the 1870s. Etching. Image size:21x30 Good conditions. Realized for the "Société des Aquafortistes. Born on the initiati...

Puer Expossitus is an artwork realized by E. Ulm in the 1870s. Etching. Image size:31x23 Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of...

Vue de Longueville is an artwork realized by C.De Cok in the 1870s. Etching. Image size:23x31 Good conditions. Realized for the "Société des Aquafortistes. Born on the initiati...

Intérieur de Ferme is an artwork realized by Léon Jacque in the 1870s. Etching. Image size:16x22 Good conditions. Realized for the "Société des Aquafortistes. Born on the initi...

Campagne de Rome is an artwork realized by Pontus Cinier in the 1870s. Etching. Image size: 23 x 17.  Good condition.  Realized for the "Société des Aquafortistes. Born on the ...

Rue Souk El Selah au Caire is an artwork realized by Edouard Dufeu in the 1870s. Etching. Image size:23x12 Good conditions. Realized for the "Société des Aquafortistes. Born on...

Environs de Rix is an artwork realized by A.Appian in the 1870s. Etching. Image size:9x17 and 9x17 Good conditions. Realized for the "Société des Aquafortistes. Born on the ini...

Le Bac is an artwork realized by J.Veyrassat in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of the publisher Alfred ...

Batterie de New-York is an artwork realized by Anatole De Bonsonge in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of...

Rue Du Canal à Figeac is an artwork realized by E.Mazas in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of the publis...

Château de Neuvie is an artwork realized by Henri de Gourcy in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of the pu...

Vue de Monaco is an artwork realized by P. Borol in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of the publisher Alf...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. James Basire II (1769 - 1822) after Edward Dayes...

Subscription and first edition lithographs in stock Half plate: 9 Presented in a acid free mount Published by F.G. Moon & Son, London 1842-49.

Environs De Varennes En Argonne  is an artwork realized by Alphonse Beaujouint in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the ini...

La chasse du Beau Pécopin is an artwork realized by Charles Amédée De Boret in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initia...

Ruine de la Villa Adrienne is an artwork realized by Joseph-Charles Nigote in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initi...

Nature Morte is an artwork realized by Jules Chervier in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of the publishe...

Femmes de l'Île de Batz Attendant la Chaloupe de Passage is an artwork realized in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the ...

The Gugler Lithograph Co. Chromolithograph 37 x 120 cm. (image with accompanying text)

From a series of large and impressive prints of St George's Chapel, the location for the Royal Wedding of Prince Harry and Megan Markle; to see some other...

Maxime Lalanne (1827 - 1886) Traditional Village, Church of Essome Original etching Printed signature in the plate On vellum 32 x 48 cm (c. 13 x 19 in) Very good condition, minor d...

DAVID ROBERTS RA Beit Jebrin, or Eleutheroplis 1796 - 1864 First Edition lithographs Half plate: 54 Presented in a acid free mount Modern hand-coloured lithograph for the first edi...

JOSEPH PENNELL (1857-1926) The Thames, 1894 Signed Aquatint Plate size 20.5 by 26.5 cm., 8 by 10 ½ in. (frame size 42 by 46 cm., 16 ½ by 18 in.) Pennell was born in Philadelphia where he studied at School of Industrial Art and the Academy of Fine Arts. In 1884 he was commissioned by the Century Magazine to supply a series of drawings of London...

From a series of large and impressive prints of St George's Chapel, the location for the Royal Wedding of Prince Harry and Meghan Markle; to see some ...

"The Farmers in boat with vegetables"  is an Artwork realized in 1860. Etching on ivory old paper. The state of preservation of the artwork is good except some stains and imperfect...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Samuel Sparrow (active 1800) after John Kirby Baldrey (1750 - 1823) Emmanuel College...

Salone Square in Padua is a print realized by G. Riccio in the 19th century. Etching Hand-watercolored on paper. titled on the plate. Good conditions with foxing

Die Letzte Gabre is an Etching realized in the 19th Century by Adolphe Lalauze. Good condition.

Un Bal Public is a black and white etching realized by Edme Penauille (1840-1871) in 1870s. Titled in the lower. Image size: 28.5cmx20cm. Very Good condition. Realized by Cadart ...

DAVID ROBERTS RA Tiberias Looking Towards Hermon 1796 - 1864 First Edition lithographs Full plate: 38 Presented in a acid free mount Modern hand-coloured lithograph for the first e...

DAVID ROBERTS RA Tomb of Joseph at Shechem 1796 - 1864 First Edition lithograph Half plate: 39 Presented in a acid free mount Modern hand-coloured lithograph for the first edition ...

David Roberts RA Town of Tiberias Looking Towards Lebanon 1796 - 1864 First Edition lithograph Half plate: 35 Presented in a acid free mount Modern hand-coloured lithograph for the...