Dramatic Landscapes and Architecture

Engravings depicting dramatic natural landscapes and architectural elements, illustrating scenes of historic sites and stage settings with dynamic compositions.

Della Bella, Stefano (dit Étienne de la Belle) (n.1610-05-18-D.1664-08-22), six animal subjects. Two engraved women, one of whom is a child, pass a stream. Fourth issue of a suite of 6 rooms. (A. de Vesme 717; Dutuit 128) (main title). Etching. Petit Palais, Museum of Fine Arts of the City of Paris.

George Cooke, 1781-1834, British, Tintagel Castle, Cornwall, 1818. Etching and engraving, first published state on medium, slightly textured, cream, wove paper, with cream chine collé.

Design for a Stage Set (recto); Architectural Design (verso). Artist: Francesco Navone (Italian, died 1804). Dimensions: 9 x 13 9/16in. (22.8 x 34.4cm). Date: 1780-1804. Museum: Metropolitan Museum of Art, New York, USA.

Figures and a dog at an open door in a mountain wall, Isaac Weissenbruch, 1836 - 1912 print Netherlands paper mountains (+ landscape with figures, staffage). open door. dog

Tintagel Castle, Cornwall, George Cooke, 1781-1834, British, after Joseph Mallord William Turner, 1775-1851, British, 1818, Etching and engraving, first published state on medium, slightly textured, cream, wove paper, with cream chine collé, Sheet: 11 7/8 × 17 7/16 inches (30.2 × 44.3 cm), Plate: 9 × 12 inches (22.9 × 30.5 cm), Chine collé: 8 3/4 × 11 7/8 inches (22.2 × 30.2 cm), and Image: 6 3/8 × 9 1/2 inches (16.2 × 24.1 cm)

Naval battle with ruined ship and smoking battlements, from 'Italian landscapes' (Diverse vedute designate in Fiorenza / Paysages italiens) ca. 1618-35 Jacques Callot French This print is from a series of twelve entitled Diverse vedute designate in Fiorenza / Paysages Italiens” (Different views of Italian Landscapes designed in Florence) that has generally been attributed to Jacques Callot’s apprentice, François Collignon. The set was first published after 1630 by Israël Henriet, whose name appears on these prints. But the date of the execution of the plates themselves, and indeed their attribution to Callot, has been called into question. Callot may have designed the landscapes while he was in Italy, but it is also possible that the drawings were made and etched by French artist Israel Silvestre after Callot’s death, based on ideas found in drawings in the possession of Henriet. The uncertainty surrounding the prints’ attribution demonstrates Callot’s fame and the popularity of his w

Harlech, No II 1880 England. Mezzotint with etching and drypoint on copper printed on cream wove paper . Francis Seymour Haden

Print made by James T. Willmore, 1800-1863, British, Oberwesel, 1838-1854. Line engraving on medium, slightly textured, cream wove paper.

Landscape with a Figure Herding Cattle Along a Road Beside a Cottage, a Hillside at Left, a Forest in the Valley Below at Right. Artist: After Thomas Gainsborough (British, Sudbury 1727-1788 London). Dimensions: Plate: 10 7/8 x 14 7/8 in. (27.7 x 37.8 cm)Sheet: 12 3/8 x 18 1/2 in. (31.5 x 47 cm). Etcher: Thomas Rowlandson (British, London 1757-1827 London). Published in: London. Series/Portfolio: Imitations of Modern Drawings. Date: 1784-88. Museum: Metropolitan Museum of Art, New York, USA.

Collection of Prints by Notable Dilettanti, Print made by unknown artist, Annotated by James Chelsum, 1738-1801, British, c. 1780, Etching

Della Bella, Stefano (dit Étienne de la Belle) (n.1610-05-18-D.1664-08-22), six animal subjects. Two engraved women, one of whom is a child, pass a stream. Fourth issue of a suite of 6 rooms. (A. de Vesme 717; Dutuit 128) (main title). Etching. Petit Palais, Museum of Fine Arts of the City of Paris.

The Battle of Arcul 1767-74 Benoit Louis Prevost This print shows the Battle of Arcul. The Khoja, after having lost the battle of Qoš-qulaq, fled to Arcul and were once again defeated by Chinese troops, mostly cavalry, who are shown here routing the enemy.Part of a set of sixteen, "The Battle of Arcul" was commissioned by the Qianlong Emperor in 1765 to commemorate Manchu victories (1755-59) over the Eleuths, the Dzungars, and other Central Asian peoples in the present-day region of Xinjiang. Made under the direction of Charles-Nicolas Cochin (1715-1790), the prints, which follow reduced-scale copies of paintings by Jesuit artists working in Beijing, were etched and engraved in France from 1767 to 1774 by the finest printmakers at the court of Louis XV. The Chinese merchants of Canton (present-day Guangzhou) paid for the copper plates and two hundred sets of prints to be delivered to China, with only a few sets retained in Paris.The prints exemplify the fusion of Eastern and Western re

Navarais guerrillas. / 5 (title registered) | Sketch by Charlet. (Title of all)

First View Close to Nice ca. 1775 After Joseph Vernet. First View Close to Nice. After Joseph Vernet (French, Avignon 1714-1789 Paris). ca. 1775. Engraving. Pierre François Basan (French, Paris 1723-1797 Paris ()). Prints

Campi Flegrei; Vestigi delle Antichita di Roma, Tivoli, Pozzuolo et Altri Luochi. The Campi Flegrei (burning fields) or phlegreic fields, north of Naples. The Solfatara volcano or forum Vulcani is part of this. In the foreground men and horses. In the underwear three lines text in Italian. The print is part of an album.

Landscape with the Pilgrim at Prayer, from the series Vedute(Views). Artist: Canaletto (Giovanni Antonio Canal), Italian, 1697-1768

Temple of Minerva, Cape Colonna, Edward Francis Finden, 1791-1857, British, after Joseph Mallord William Turner, 1775-1851, British, ca. 1832, Etching and engraving on thick, moderately textured, beige, vove paper, with gray chine colle, Sheet: 11 7/8 × 17 3/16 inches (30.2 × 43.7 cm), Plate: 7 3/16 × 9 13/16 inches (18.3 × 24.9 cm), Chine collé: 6 7/8 × 9 3/16 inches (17.5 × 23.3 cm), and Image: 3 5/8 × 5 3/8 inches (9.2 × 13.7 cm), Cape Colonna

Man and Woman at the Mouth of a Cave. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: HERMAN VAN SWANEVELT.

The village on the river, on the right, the church is partly visible; Doetecum, Joannes Van I (1528/1532-1605), Doetecum, Lucas Van ( -1584/1589), Cock, Hieronymus (Ca 1510-1570), Bol, Hans (1534-1593); 1562 (1562-00-00-1562-00-00);

Print, Tenaya Cañon, from Glacier Point, Yosemite; James D. Smillie (American, 1833-1909); Engraved by John Filmer (American, active 1870-1880); USA; wood engraving on off-white wove paper; Mat: 45.7 x 35.6 cm (18 x 14 in.); 1/2 in. depth

Castle on a rock Castle in Tyrol (title on object), print maker: Joseph Hartogensis, (mentioned on object), Lambertus Hardenberg (1822-1900), (mentioned on object), The Hague, 26-Jan-1854, paper, etching, h 150 mm × w 92 mm

Le Gue (The Ford). Dated: 1865. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Odilon Redon.

Rock on a coast, Hendrick Goltzius, 1597 - 1600 print A big rock on a sea coast. A church next to the rock. This print is part of a series of four small woodcuts with landscapes. paper. deck paint sea (seascape)

unknown, France, Langlois, François, Bella, Stefano della, Paysages et ruines de Rome, Landscapes and ruins at Rome, Two shepherds with a flock in a landscape, verso - stamped, A landscape with in the foreground two resting shepherds with a horse, a cow and two goats., print, prints, height 131 mm, width 134 mm, Italian, 1610-05-18 - 1664-07-27, print maker, printmaker, 1620 - 1664, paper, papier, etching, etchings, Work conception, after own design by, Publication (Event), Publication, French, 1589-05-12 - 1647-01-14, publisher, uitgever, "granter of privilege

Holy Family with Deer, 1871. Rodolphe Bresdin (French, 1822-1885). Lithograph; sheet: 40.9 x 29.8 cm (16 1/8 x 11 3/4 in.); image: 26.4 x 20 cm (10 3/8 x 7 7/8 in.).

The Slot in Jaarsveld, destroyed by the French in 1672, Isaac Sorious, 1672 - 1676 print The ruins of the Sound Field. Tenth print in a series of thirteen images of the villages and castles in the province of Utrecht destroyed by the French in 1672. paper etching / engraving devastated, ruined place or city (~ warfare) Annual field

Le retour du bois , Trees, Hills, Houses, Alphonse Legros (1837-1911)

Print made by Samuel Palmer, 1805-1881, British, active in Italy (1837-39), The Homeward Star, etching begun ca. 1880; impression printed in 1924. Etching and drypoint, with plate tone on moderately thick, moderately textured, cream laid paper.

Landscape 18th-19th century After Thomas Gainsborough British. Landscape 382179 Artist: After Thomas Gainsborough, British, Sudbury 17271788 London, Landscape, 18th19th century, Soft-ground etching on blue paper with touches of white chalk, Sheet: 7 3/8 x 10 1/4 in. (18.7 x 26 cm). The Metropolitan Museum of Art, New York. The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949 (53.531.42)

Valley and Ruins of Khureitun, from the Cave of Adullam. Woodward, John Douglas (1846-1924). Prints, Illustrations. 1881 - 1884. Dorot Jewish Division. Firearms, Clothing & dress , Middle East, Caves , Middle East, Valleys , Middle East, Ruins , Middle East

Environs of Venice -12. Ricci, Marco, 1676-1729. 1743. D. A. F. (Davide Antonio Fossati), 1708-1780. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

The Cut Toward Culebra Joseph Pennell (American, 1860-1926). , 1912. Lithograph, composition: 21 7/8 x 16 5/8 in. (55.5 x 42.2 cm). American Art 1912

William Blake, The Circle of the Falsifiers Dante and Virgil Covering their Noses because of the st, 1827 The Circle of the Falsifiers: Dante and Virgil Covering their Noses because of the st

Lino Moroni, The Salutation of the Birds (Il Saluto degli uccelli) (plate C), 1612 The Salutation of the Birds (Il Saluto degli uccelli) plate C

Fall of the Tees, John Landseer, 1769-1852, British, after Joseph Mallord William Turner, 1775-1851, British, 1818-1823, Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 14 1/16 × 19 5/8 inches (35.7 × 49.8 cm), Plate: 11 1/2 × 17 1/2 inches (29.2 × 44.5 cm), Chine collé: 11 3/8 × 17 3/8 inches (28.9 × 44.1 cm), and Image: 7 5/8 × 10 3/4 inches (19.4 × 27.3 cm)

A Lock on the Stour, Suffolk, Print made by David Lucas, 1802-1881, British, after John Constable, 1776-1837, British, 1831, Mezzotint on moderately thick, slightly textured, cream wove paper, Sheet: 12 1/8 x 17 1/8 inches (30.8 x 43.5 cm), Plate: 7 x 8 1/2 inches (17.8 x 21.6 cm), and Image: 5 5/8 x 7 inches (14.3 x 17.8 cm), lock, England, Europe, Stour, Suffolk, United Kingdom

Rotwonings at the Loire.

The Ravine of Bellano, near Lake Como, Felice Giani, Italian, 1758-1823, Black chalk on laid paper, Gorge with waterfall, Pioverna, and bridge leading across. Below, at left, structure. Bordering lines, inscribed below by Giani in black chalk, L'orido di balamo lago di como., Italy, 1810-20, landscapes, Drawing, Drawing

Baaders at the entrance of a cave, Jean Joseph Baléchou, after Claude Joseph Vernet, c. 1757 print print maker: Avignonpublisher: AvignonMarseille paper etching / engraving public baths - AA - in the open air. cave, grotto. ships (in general)

Pont y Pair Over the River Conway Above Llanrwst in the County of Denbigh 1776 England. Etching and aquatint in sanguine on ivory laid paper . Paul Sandby

Don Romanowicz, Walenty; IV-XII.1942 (1942-00-00-1942-00-00);

Stoke-by-Neyland 1829 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.. Stoke-by-Neyland. David Lucas (British, Northamptonshire 1802-1881 London). 1829. Mezzotint; proof before published state. Prints

Visser finds the naked body of a murdered young woman in the dunes, Félicien Rops, 1867 print Brussels paper. etching / engraving finding a dead person

Print made by Samuel Palmer, 1805-1881, British, active in Italy (1837-39), The Early Ploughman, begun before 1861. Etching and drypoint, with plate tone on moderately thick, slightly textured, cream wove paper.

Giovanni Battista Piranesi, Veduta della Cascata di Tivoli, 1766 Veduta della Cascata di Tivoli

John Varley, 1778-1842, British, From an Album of Sixty-one Topographical Sketches. Graphite.

Landscape with three figures, Francesco Bartolozzi (attributed to), 1739 - 1780 print Venice paper etching / engraving landscapes

Gustave Doré (1832-1883), designer and Adrien Lavieille (1818-1862), engraver. "Pilgrimage to the beautiful René." Illustration for Honoré de Balzac, "Les Contes Drolatiques", Paris: Société Générale de Librairie, 1855 ". Wood engraving. Paris, Maison de Balzac. 101781-10 Wood engraving, illustration of literary work, 19th 19th 19th 19th 19th 19th century, engraving

Tobias and the Angel. On the basis of the watermark in the paper used for this etching, it could be dated to around 1630-1633. It must have been one of Segers last prints, and given the representation and its sensitive execution also his most ambitious one.

Peat Bog, Scotland, plate 45 from Liber Studiorum. Joseph Mallord William Turner (English, 1775-1851); Engraved by G. Clint (English, 1770-1854). Date: 1812. Dimensions: 178 × 260 mm (image); 210 × 292 mm (plate); 268 × 379 mm (sheet). Etching and engraving in brown on ivory laid paper. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Fall of Foyers, Invernesshire, Print made by Edward Radclyffe, 1809-1863, British, after Thomas Allom, 1804-1872, British, Published by Virtue, active 1820s-1908, British, 1836, Etching and line engraving on medium, slightly textured, cream wove paper

Depicts a landscape with a pointed rock by Hercules Pietersz. Seghers as an etching in black on white paper in the first half of the 17th century, showing detailed natural features.

The hinner after the battle of Champigny (December 1870) Virgin (Daniel Urrabieta Ortiz y Virgin, said, 1851-1904). The hinker after the battle of Champigny (December 1870). Lavis and gouache.

Bliżej Kultury Verlag Gerlach & Schenk in Vienna (1882 1901)

Hadleigh Castle (Large Plate). Dated: 1830 and 1832. Dimensions: plate: 26.7 x 36.5 cm (10 1/2 x 14 3/8 in.) sheet: 27.2 x 37.4 cm (10 11/16 x 14 3/4 in.) overall (mat size): 40.6 x 55.9 cm (16 x 22 in.). Medium: mezzotint progress proof. Museum: National Gallery of Art, Washington DC. Author: David Lucas after John Constable.

The Rising Moon, Print made by Samuel Palmer, 1805-1881, British, active in Italy (1837-39), 1857, Etching and drypoint, with plate tone on thick, slightly textured, cream wove paper with cream chine collé, Sheet: 10 7/8 x 16 3/8 inches (27.6 x 41.6 cm), Plate: 6 15/16 x 9 7/8 inches (17.7 x 25.1 cm), and Image: 4 9/16 x 7 5/8 inches (11.6 x 19.3 cm), animal art, barrel, church, clouds, cypress, genre subject, hat, hills, horizon line, house, landscape, moon, moonlight, mountain, night, pond, sheep, shepherd, staff, tower (building division), trees, trough, village

Joseph Pennell, Acro, Corinth from Corinth, 1913 Acro, Corinth from Corinth

Rembrandt's Mill 1823 Charles Turner British View of a landscape with a windmill on a hilltop above a river; at right a man is rowing a boat, while three figures on the left walk up a steep path and two others approach the river.. Rembrandt's Mill. Charles Turner (British, Woodstock, Oxfordshire 1774-1857 London). 1823. Mezzotint on chine collé; first state of two. Prints

Man fleeing for snake; Differens Sujets Gravés et Dessinés Par Ignace du Vivier d'après SES TAPLAUX. Man fleeing for snake in a cave, with a waterfall and ruins. Possibly an illustration at the opera that Zauberflöte van Mozart.

The Voyage of Life , Old Age. Cole, Thomas, 1801-1848. 1855. Smillie, James, 1807-1885. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Die Schneekoppe. Müller-Bernburg, Ernst (1874-1941), graphic artist

Shipping Scene with Three Figures on shore, Rev. William Gilpin, 1724-1804, British, between 1745 and 1748, Brown wash, gray wash, pen and brown ink, and graphite with some scraping on moderately thick, moderately textured, beige laid paper, prepared with yellow wash, Sheet: 5 3/8 x 7 13/16 inches (13.7 x 19.8 cm), boats, cliffs, figures, landscape, marine art, rocks (landforms), sea, ship, shore (landform)

Landscapes in the styles of old masters dated 1668 Wang Jian Chinese Wang Jian, teacher of Wang Hui and close friend of Wang Shimin, stands at the center of the group of scholar-artists who endeavored to establish a new orthodoxy in painting through the vigorous study of past masters. In this gemlike album, Wang re-created in miniature scale the idioms of Song (960-1279) and Yuan (1279-1368) dynasty masters. Conscious of his own role as a transmitter, Wang inscribed each leaf with the name of the artist whose style he interpreted together with an appropriate couplet by the Tang dynasty poet Du Fu (712-770).. Landscapes in the styles of old masters. Wang Jian (Chinese, 1609-1677/88). China. dated 1668. Album of ten paintings; ink and color on paper. Qing dynasty (1644-1911). Paintings

Scene of shepherdess and shepherd drinking while tending flock, from original by Roos.. Roos, Johann Heinrich, 1631-1685. Prints. 1837 - 1842. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection. Painting , Germany , Munich, Lithography, German, Cows, Goats, Ruins

Bliżej Kultury Matejko, Jan (1838 1893), Skorski, Konstanty (fl. 1865 1882)

Figures with Ruins in a Landscape, Graphite on paper, At lower right, two classical figures sit beneath ruins and a large tree. Mountains and village seen in the distance., Italy, late 18th century, landscapes, Drawing, Drawing

Engraved by Joseph Mallord William Turner, 1775-1851, British, The Deluge, between 1813 and 1823. Mezzotint; modern impression on moderately thick, slightly textured, cream wove paper.

Engraving depicting Noah's Ark resting on a mountain amid receding waters showing land near by, entitled 'The Olive Branch'. The illustration is set within an ornate frame.

Sir Richard Colt Hoare, 1758-1838, British, Neptune's Grotto at Tivoli, 1786 to 1819. Graphite, pen and brown ink, and brown wash on medium, slightly textured, cream laid paper.

Print made by George Arnald, 1763-1841, British, Choquer, 1821. Etching on moderately thick, slightly textured, cream wove paper.

Klause, Johann Josef Schindler , etcher, after, Karl Ludwig Friedrich Viehbeck , Artist, Jakob Alt , water-colourist

Entrance to the Guttensteiner Valley. Johann Christoph Erhard; German, 1795-1822. Date: 1817. Dimensions: 166 x 209 mm (image); 174 x 212 mm (plate); 198 x 236 mm (sheet). Etching on paper. Origin: Germany. Museum: The Chicago Art Institute, Chicago, USA.

BURGOS. PANCORBO. DESFILADERO DE PANCORBO. GRABADO INGLES DEL SIGLO XIX. BURGOS PINTADO.

A sepia drawing by Matthäus Loder depicting the Klause at Guttenstein, circa 1820, with laved shading.

The walls of Jericho falling down. Old Testament. Antique bible illustration by Gustave Dore (1832-1883)

Figures at a fishing boat on the beach, François Stroobant, After Alexandre T. Francia, 1842 - 1843 print Brussels paper rocky coast (+ landscape with figures, staffage). ships, boats on land, beached. fishes

William Miller, 1796-1882, British, Great Yarmouth, Norfolk, 1827-1838. Open etching.

Souvenir d'Italie , Hills, Buildings, Trees, Alphonse Legros (1837-1911)

Quarry, verso a pencil sketch (for cloudy sky), Quarry, draughtsman: Abraham Teerlink, 1810 - 1857, paper, brush, h 242 mm × w 357 mm

Sketchbook William Trost Richards (American, 1833-1905). Sketchbook, 1867. Bound sketchbook with drawings in graphite on beige, moderately thick, smooth textured wove paper, Closed: 3 5/8 x 5 1/4 in. (9.2 x 13.3 cm). Richards was a prolific artist who, as a leading member of the American Pre-Raphaelites, embraced the Ruskinian principle of truth to nature. Sketching outdoors played a significant role in his quest for accuracy of representation. Throughout his long career and extensive travels, he seems to have always carried a sketchbook with him, filling the pages with drawings of the places he encountered. The Brooklyn Museum owns more than twenty-five of Richardss sketchbooks, including the ones on view here. Serving as pictorial diaries of his journeys, they also demonstrate the variety of his working methods, ranging from quickly rendered outlines to carefully modulated tonal compositions to finished color studies. American Art 1867

Eine Landschafft zwischen Rom u. Florenz, beij Aqua pendende genandt. Küsel, Melchior I (1626-1683), graphic artist, Baur, Johann Wilhelm (1607-1642), graphic artist

Chatel Argent and the Val d'Aosta from above Villeneuve 1836 Joseph Mallord William Turner British The French alpine view begins above the road to St. Pierre and looks back to Chatel Argent with the Church of St. Roch described below the castle at left. Extending beyond are the river, old bridge and town of Villeneuve, backed by the Val de Rhemes and summit of the Grande Rousse. The carefully applied layers of watercolor likely were applied in the studio, or at a hotel after a day's sketching, although the effects convey the spontaneity and unfinished sensibilty of a work executed before the motif. The attribution of this sheet was once questioned but conservation in 2001 affirmed it to be a beautiful and authentic work.. Chatel Argent and the Val d'Aosta from above Villeneuve. Joseph Mallord William Turner (British, London 1775-1851 London). 1836. Watercolor and gouache (bodycolor) over graphite. Drawings

George H. Phillips, active 1819-1825, British, Crossing the Red Sea, 1829. Mezzotint on moderately thick, slightly textured, cream, wove paper with cream chine collé.

Interior of a ruin with figures, Cornelis van Poelenburch, 1596 - 1667 drawing paper. chalk pen / brush ruin of a building ~ architecture Italy

Hadleigh Castle: Large Plate 1830-32 David Lucas British. Hadleigh Castle: Large Plate 661758

John Martin, 1789-1854, British, The Walls of Jericho, 1834. Gray and brown wash with pen and brown ink on medium, slightly textured, cream wove paper mounted on thick, slightly textured, cream card.

Miasto Nainital u podnóża Himalajów. Bellermann, Ferdinand (1814-1889), draughtsman, cartoonist, Hohenzollern, Waldemar von (książę pruski ; 1817-1849), draughtsman, cartoonist

The Lonely Tower. Artist: Samuel Palmer (British, London 1805-1881 Redhill, Surrey). Dimensions: sheet: 14 5/16 x 19 11/16 in. (36.3 x 50 cm)plate: 7 7/16 in. (18.9 cm)image: 6 1/2 x 9 3/16 in. (16.5 x 23.3 cm). Date: 1879. Museum: Metropolitan Museum of Art, New York, USA.

Carisbrook Castle, Charles Westwood, Active 1819-1838, after Joseph Mallord William Turner, 1775-1851, British, 1830, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 7/16 × 14 11/16 inches (26.5 × 37.3 cm), Plate: 9 3/4 × 12 inches (24.8 × 30.5 cm), and Image: 6 1/2 × 9 3/8 inches (16.5 × 23.8 cm)

The Ninth Plague. The plague of darkness strikes Egypt. Old Testament. Antique digitally colored Biblical illustration by Gustave Doré (1832-1883)

Bovi, Marino, Italy, Rulli, B., Scilla in tempesta, agli amici Inglesi, Scilla in the storm, verso - stamped, Above: view of Scilla with the Castello di Rufo, during a storm. Below: two panels with Italian text and a smaller representation of a cave at Scilla. Numbered at top right: II., print, prent, prints, prenten, height 431 mm, width 595 mm, print maker, prentmaker, 1768 - 1805, paper, papier, etching, etsen, Work conception, after own design by, 1758 - 1805, writer

Niagara jump decor, Ruggieri Garden, 16-18 rue Saint-Lazare, 9th arrondissement. Jean-Jacques Huve (Father) (1742-1808), French architect. Niagara jump decor, Ruggieri Garden, 16-18 rue Saint-Lazare. Feather, ink of China and watercolor. Paris (ixth arr.), Between 1770 and 1790.

Print made by W. R. Smith, active 1819-1851, Hannibal passing the Alps (vignette), 1830. Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper.

China: 'Landscapes in the Styles of Old Masters'. Album of ten paintings by Wang Jian (1598-1677), 1668. Wang Jian (1598-1677), style name Xuanzhao and pseudonyms Xiangbi and Ranxiang Anzhu, was a Chinese painter born in Taicang. He lived during the end of the Ming Dynasty and the first decades of the Qing Dynasty. His style of painting was influenced by that of notorious painter Dong Yuan, and he would become famous enough himself to be considered one of the Four Wangs and Six Masters of the early Qing period.

The Combat of Avigliamo, 1631. Jacques Callot (French, 1592-1635). Etching;

Lion of Babylon, Iraq. Journey to Babylon by Guillaume Lejean 1866 from Le Tour du Monde 1867

The Tower of Siloam (Le tour de Siloë) James Tissot (French, 1836-1902). The Tower of Siloam (Le tour de Siloë), 1886-1896. Opaque watercolor over graphite on gray wove paper, Image: 9 1/4 x 5 7/8 in. (23.5 x 14.9 cm). European Art 1886-1896

Fantastic Gorge with Animals andFigures. Artist: Gustave Doré, French, 1832-1883

AGERO, Benito Manuel de (1626-1670). Lanscape with Dido and Aeneas. 1650s - 1660. Baroque art. Oil on canvas. SPAIN. MADRID (AUTONOMOUS COMMUNITY). Madrid. Prado Museum.

Views of Ancient Monuments in Central America, Chiapas and Yucatan, Pl. 20: Well of Bolonchen, 1844. Frederick Catherwood (British, 1799-1854). Color lithograph;

Peaks Hole, Derbyshire, Print made by W. Pickett, active 1792-1820, British, colored by John Heaviside Clark, c.1771-1863, British, after Philippe-Jacques de Loutherbourg, 1740-1812, French, active in Britain (from 1771), Published by Robert Bowyer, 1758-1834, British, 1805, Etching and aquatint with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 13 × 18 1/2 inches (33 × 47 cm), Plate: 12 1/4 × 15 3/8 inches (31.1 × 39.1 cm), and Image: 9 1/8 × 12 1/2 inches (23.2 × 31.8 cm)

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