Dramatic Landscapes and Structures

Engravings featuring dramatic landscapes, structures, and atmospheric conditions. Themes include natural beauty and historical architecture, rendered in monochrome tones.

Print made by Thomas Goff Lupton, 1791-1873, British, Folkstone, ca. 1830. Mezzotint; 1879 impression.

Whitehaven, Cumberland, W. R. Smith, active 1819-1851, after Joseph Mallord William Turner, 1775-1851, British, 1837, Line engraving, 3rd state on moderately thick, smooth, cream, wove paper, Sheet: 10 7/8 × 14 15/16 inches (27.6 × 37.9 cm), Plate: 10 1/16 × 13 inches (25.6 × 33 cm), and Image: 6 5/8 × 9 7/8 inches (16.8 × 25.1 cm)

S. Fisher, active 1831-1844, Coventry, Warwickshire, 1827-1838. Line engraving, engraver's proof.

Joseph Mallord William Turner, From Spenser's Fairy Queen, June 1811, Etching and mezzotint printed in brown inks.

Llanthony, Monmouthshire, James T. Willmore, 1800-1863, British, after Joseph Mallord William Turner, 1775-1851, British, 1836, Line engraving and stipple engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 × 14 7/8 inches (27.9 × 37.8 cm), Plate: 9 9/16 × 12 1/8 inches (24.3 × 30.8 cm), and Image: 6 5/8 × 9 7/16 inches (16.8 × 24 cm)

From Spenser's Fairy Queen, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by Thomas Hodgetts, active 1801-1846, after Joseph Mallord William Turner, 1775-1851, British, 1811, Etching and mezzotint, printed in brown ink Second published state on medium, slightly textured, cream wove paper, Sheet: 11 × 15 5/8 inches (27.9 × 39.7 cm), Plate: 8 1/4 × 11 3/8 inches (21 × 28.9 cm), and Image: 7 1/8 × 10 3/8 inches (18.1 × 26.4 cm)

Edward Francis Finden, 1791-1857, British, Bally-Burgh Ness, 1836. Line engraving, engraver's proof, touched.

Print made by Thomas Goff Lupton, 1791-1873, British, Folkstone, ca. 1830. Mezzotint; 1879 impression.

imitator of Thomas Gainsborough RA, 1727-1788, British, Coastal Scene with Figures and Boats, undated. Gray wash, brush and black ink, black chalk, heightened with white chalk on medium, slightly textured, beige laid paper.

Bridport, Dorsetshire, Print made by William Bernard Cooke, 1778-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1820, Etching; open etching on medium, slightly textured, cream wove paper, Sheet: 11 3/4 × 17 inches (29.8 × 43.2 cm), Plate: 9 × 12 inches (22.9 × 30.5 cm), and Image: 6 1/2 × 9 5/8 inches (16.5 × 24.4 cm)

Laugharne Castle, John Horsburgh, 1791-1869, British, after Joseph Mallord William Turner, 1775-1851, British, 1833, Line engraving, 1st state on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 9 5/16 × 11 7/8 inches (23.7 × 30.2 cm) and Image: 6 11/16 × 9 7/16 inches (17 × 24 cm)

Air, Reinier Nooms, 1689 - 1720 print Sailing ships on a restless sea near a coast with windmills. Cumulus clouds and a rain shower in the air. print maker: Netherlandspublisher: Amsterdam paper etching / drypoint air (one of the four elements). sea (seascape). nimbus, i.e. rain clouds

'It's Auld Ailie Hersell', James Charles Armytage, 1802-1897, British, after Joseph Mallord William Turner, 1775-1851, British, 1836, Line engraving, engraver's proof

Mount St. Michael, Cornwall, S. Fisher, active 1831-1844, after Joseph Mallord William Turner, 1775-1851, British, 1838, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 × 15 1/8 inches (27.9 × 38.4 cm), Plate: 9 9/16 × 12 5/8 inches (24.3 × 32.1 cm), and Image: 6 9/16 × 9 1/2 inches (16.7 × 24.1 cm)

Refitting of a Ship at Low Tide. Artist: Eugène Isabey (French, Paris 1803-1886 Lagny). Dimensions: Sheet: 18 7/8 × 13 1/8 in. (48 × 33.3 cm)Image: 14 9/16 × 11 9/16 in. (37 × 29.3 cm). Printer: Charles Motte (French, 1785-1836). Publisher: McLean & Co.; Victor Morlot (French, active Paris, 1829-32). Series/Portfolio: Six Marines. Date: 1833.Ship moored inside a port on left of composition with figures and homes on right; first state, with publication detail.This print is part of a series of lithographs by Eugène Isabey printed by Charles Motte and published by McLean in a book entitled 'Six Marines dessinés sur Pierre' (Six Marinescapes drawn on stone) which featured studies of shipping and coast towns. Museum: Metropolitan Museum of Art, New York, USA.

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

Ship in need for a coast. At night or night people are saved from a ship in need on a stormy sea. A castle in the background. Leaf 11 Recto from a sketchbook with 44 sheets.

Francis Seymour Haden, Harlech (No2), 1880 Harlech (No.2)

Macbeth 1828 Thomas Goff Lupton British. Macbeth 373629

Blenheim, Oxfordshire, William Radclyffe, 1780-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Line engraving, engraver's proof (touched)

Print made by Samuel Palmer, 1805-1881, British, active in Italy (1837-39), The Homeward Star, begun ca. 1880. Etching and drypoint, with plate tone on thin, slightly textured, cream laid paper.

James Charles Armytage, 1802-1897, British, 'It's Auld Ailie Hersell', 1836. Line engraving, first published state.

The Flying Dutchman, 1887. Elbridge Kingsley (American, 1841-1915). Wood engraving;

Walrus Hunt. Elizabeth Fitzgerald; English, 19th century. Date: 1801. Dimensions: 287 × 439 mm. Pen and black ink, with brush and gray wash, over graphite, on ivory laid paper. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Coombe-Martin, Devonshire, Print made by William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1814 to 1826, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper, Sheet: 11 3/8 × 17 inches (28.9 × 43.2 cm), Plate: 9 × 12 inches (22.9 × 30.5 cm), and Image: 6 × 9 3/8 inches (15.2 × 23.8 cm)

A Lock on the Stour 1830 David Lucas British In 1827, Constable began work on the project that would occupy his attention until his death seven years later: the publication of a series of prints based on his paintings that would stand as a summary of his achievements. The painter collaborated closely with the engraver David Lucas to create prints that would illustrate Constable's didactic intentionto illustrate the "chiaroscuro of nature." The medium of mezzotint, in which the design is developed from dark to light using a wide range of velvety tones, was eminently suited to the project.. A Lock on the Stour. David Lucas (British, Northamptonshire 1802-1881 London). 1830. Mezzotint; proof before published state. Prints

Print made by Joseph Mallord William Turner, 1775-1851, British, St. Michael's Mount, 1820 to 1826. Mezzotint; engraver's proof (b)(touched).

The Lonely Tower, Print made by Samuel Palmer, 1805-1881, British, active in Italy (1837-39), 1879, Etching and drypoint, with plate tone on moderately thick, slightly textured, cream laid paper, Sheet: 10 1/4 x 14 1/16 inches (26.1 x 35.7 cm), Plate: 7 3/8 x 9 7/8 inches (18.7 x 25.1 cm), and Image: 6 1/2 x 9 1/8 inches (16.5 x 23.2 cm), architectural subject, astronomy, cart, cow, genre subject, hill, labor, landscape, literary theme, masonry, moon, night, owl, ox, path, science, sheep, shepherds, stars, tower (building division), trees, wall, England, Europe, Stonehenge, United Kingdom, Wiltshire

Shipwreck, Anonymous, After Bonaventura Peeters (I), 1600 - 1700 print Woeste Sea by a mountainous coast. A three -mast in the left, with regard to being swallowed up by the sea. Another ship has almost disappeared in the waves. Drowning people try to save themselves on floating wreck. On the right on the coast, some figures that have brought themselves to safety. paper etching shipwreck

Stranded. Dated: 1875. Dimensions: sheet: 20.32 × 29.53 cm (8 × 11 5/8 in.) board: 26.04 × 34.93 cm (10 1/4 × 13 3/4 in.). Medium: charcoal on wove paper mounted to board. Museum: National Gallery of Art, Washington DC. Author: WILLIAM MORRIS HUNT.

DijkBrraak near Doornik, 1799, Reinier Vinkeles (I), After Cornelis van Hardenbergh, 1799 - 1800 print Breakthrough of Waaldijk near Doornik, between Bemmel and Lent, February 21, 1799. Part of a group of six albums of dike breaches and floods in the southern part of Gelderland in February 1799. print maker: Netherlandsprint maker: Netherlandsafter drawing by: Doornik paper etching / engraving dike-break. storm on land Tour. Waal

Fishing Boats, Normandy (Environ de Caen), c. 1862-1864. Louis Adolphe Hervier (French, 1818-1879). Etching, roulette, drypoint and aquatint; sheet: 47 x 31 cm (18 1/2 x 12 3/16 in.); platemark: 32.3 x 24.5 cm (12 11/16 x 9 5/8 in.).

De Bard.

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 touched with white chalk and black ink; proof before published state. Prints

Winchelsea, Sussex. Dated: published 1812. Medium: etching and mezzotint. Museum: National Gallery of Art, Washington DC. Author: Joseph Mallord William Turner and J. C. Easling.

St. Michael's Mount, Print made by Joseph Mallord William Turner, 1775-1851, British, after Joseph Mallord William Turner, 1775-1851, British, 1820 to 1826, Mezzotint; engraver's proof (b)(touched), Sheet: 8 7/16 x 10 15/16in. (21.4 x 27.8cm)

The Fifth Plague of Egypt. Dated: published 1808. Medium: etching and mezzotint. Museum: National Gallery of Art, Washington DC. Author: Joseph Mallord William Turner and Charles Turner.

Execution of the mutiny of the Nijenburg near Huisduinen, 1764, 1764 print The convicted mutiny of the merchant ship called the Nijenburg are put to death in the dunes near Huisduinen. In the distance a crowd around the gallows on top of a dune, on the left the high dune called Kijkduin on which a fire beacon and in the distance the speech of Texel. In the foreground a few people including a draftsman. Northern Netherlands paper etching violent death by hanging Huisduinen

Desert Sunset. Dated: 1921. Dimensions: plate: 17.2 x 24.9 cm (6 3/4 x 9 13/16 in.) sheet: 25.5 x 34.1 cm (10 1/16 x 13 7/16 in.). Medium: etching with plate tone in greenish-black on wove paper. Museum: National Gallery of Art, Washington DC. Author: George Elbert Burr.

La nuée d'orage., 1852 - 1882. Geese, Clouds, Storms., Etching and drypoint, with wash and white and black chalk; state noted with standard reference number

Print made by James T. Willmore, 1800-1863, British, Triport, 1834. Line engraving on medium, slightly textured, cream wove paper.

Engraved by Sir Frank Short, 1857-1945, British, The Mildmay Sea-Piece (on the frontispeice of the "Twelve Subjects" titled Sunset on Beach), 1886. Etching with mezzotint printed in brown ink (2nd State) on medium, slightly textured, cream wove paper.

Mount St. Michael, Cornwall, S. Fisher, active 1831-1844, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Line engraving, engraver's proof (touched)

Treport, after Clarkson Stanfield, 1793-1867, British, 1834, Line engraving on medium, slightly textured, cream wove paper

Rispah, 2nd Book of Samuel, Chapter 21 (Liber Studiorum, part IX, plate 46) April 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 Dunkarton here added mezzotint to describe a gruesome Old Testament subject. After the death of King Saul, his sons by his concubine Rizpah were executed by the Gibeonites, and left unburied. Their mother here protects the corpses, using a torch to ward off an approaching lion at night. The letter "H" in upper margin indicates Turner's category of Historical landscape.. Rispah, 2nd Book of Samuel, Chapter 21 (Liber Studiorum, part IX, plate 46) 382949

Ship in Need at Heavy Storm, Charles Rochussen, 1824 - 1894 print A woman and black man are sitting on the deck of a ship in need during a storm at sea. Right palm trees, left in the background rocks. Netherlands paper storm at sea. shipping accident; sickness and death at sea

Print made by William Bernard Cooke, 1778-1855, British, Plymouth Citadel, 1823. Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-collé.

Print made by Thomas Goff Lupton, 1791-1873, British, The Eddystone Lighthouse, 1829 to 1834. Mezzotint; engraver's proof.

Man with a pocket on the shoulder at sunrise, Cornelis Brouwer, after Ludolf Bakhuysen, 1781 print On the right in the foreground a man with a bag on the shoulder looking at the ships and the sunrise. The print is loose in an album, see page 32. Amsterdam paper sunrise. sailing-ship, sailing-boat. carrying something on the head or on the shoulders

The Wild Rabbit, 1891. Félix Bracquemond (French, 1833-1914). Etching; sheet: 33.5 x 48.7 cm (13 3/16 x 19 3/16 in.); platemark: 25 x 34 cm (9 13/16 x 13 3/8 in.).

Dunstanborough Castle. Dated: published 1808. Medium: etching, aquatint and mezzotint. Museum: National Gallery of Art, Washington DC. Author: Joseph Mallord William Turner and Charles Turner.

Aldborough, James C. Allen, active 1821-1831, British, after Joseph Mallord William Turner, 1775-1851, British, ca. 1830, Etching and engraving, Engraver's proof on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 11 7/8 × 17 1/4 inches (30.2 × 43.8 cm), Plate: 8 7/8 × 12 5/8 inches (22.5 × 32.1 cm), Chine collé: 8 1/2 × 12 5/16 inches (21.6 × 31.3 cm), and Image: 6 11/16 × 9 13/16 inches (17 × 24.9 cm)

The Gold Cope on the Dnieper River (chart 7 from: Uvarov, Collection of maps and drawings for a treatise on the Antiquity, part 1.). Darleng, W. (Petersburg ; zakład litograficzny ; fl. ca 1850), lithography atelier, Dupressoir, François Joseph (1800-1859), graphic artist, Darleng, W. (fl. ca 1850), graphic artist, Webel, M. B. (fl. ca 1850), draughtsman, cartoonist

Lauffenbourgh on the Rhine, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by Thomas Hodgetts, active 1801-1846, after Joseph Mallord William Turner, 1775-1851, British, 1811, Etching and mezzotint, printed in brown ink First published state on medium, slightly textured, cream wove paper, Sheet: 11 3/8 × 16 3/8 inches (28.9 × 41.6 cm), Plate: 8 × 11 3/8 inches (20.3 × 28.9 cm), and Image: 7 × 10 1/8 inches (17.8 × 25.7 cm)

River view, View of a river by night on which a sailing ship and on the left a barge with two figures, night, landscape (sometimes titled 'Nox'), Remigius Adrianus Haanen (mentioned on object), 1849, paper, etching, h 180 mm × w 334 mm

The Lightning Flash, Travellers in a Thunderstorm on a Woodland Road, George Barret RA, ca. 1728/32-1784, Irish, undated, Pen and black ink, gray wash, graphite, and white gouache on moderately thick, slightly textured, cream laid paper, Sheet: 8 3/4 × 13 1/4 inches (22.2 × 33.7 cm)

Thomas Goff Lupton, 1791-1873, British, Catwater, Plymouth, 1826-1828. Mezzotint, proof before letters.

VERNE, Jules (1828-1905). Illustration of '20000 Leagues Under the Sea' (1870). Etching.

Havre, James Baylis Allen, 1803-1876, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Line engraving, engraver's proof

The lonely tower, 1879, by Samuel Palmer.

Pierre Laurent created an etching between 1760 and 1809 showing a visit to a Romni with figures interacting in a rural or domestic setting.

Print made by William Richardson, active 1842-1877, British, Replica of Number 777 reversed from Young 'Stafford Gallery', 1825. Mezzotint; engraver's proof.

Winchelsea, Sussex, J. Henshall, after Joseph Mallord William Turner, 1775-1851, British, 1830, Line engraving, stipple engraving and etching, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 5/8 × 14 1/2 inches (27 × 36.8 cm), Plate: 9 9/16 × 12 1/4 inches (24.3 × 31.1 cm), and Image: 6 1/2 × 9 1/4 inches (16.5 × 23.5 cm)

John Horsburgh, 1791-1869, British, Laugharne Castle, 1833. Line engraving, 3rd state on moderately thick, slightly textured, beige, wove paper.

Seymour-Haden, Francis (Sir), England, Sunset on the Thames, verso lower left - stamped, Two boats on the River Thames, at sunset. Text in pencil below the print by Seymour Haden., print, prints, A Gustav Bourcard - l'ami le plus fidele le le plus endugent 25 march 1904, recto bottom - pencil, Seymour Haden, recto bottom right - pencil, verso left - stamped, height 135 mm, width 214 mm, English, 1818-09-16 - 1910-06-01, print maker, printmaker, 1865 - 1865, third quarter 19th century, paper, etching, etchings, drypoint, dry needle, Work conception, after own design by

Rovine delle Terme Antoniniane (Ruins of the Antonine Baths Baths of Caracalla), from Vedute di Roma. Artist: Giovanni Battista Piranesi, Italian, 1720-1778

Martin, John (N.1789-07-19-D.1854-02-17), Pandemonium-LE PARADISTE Lost, by John Milton, book 1, around 710 (dummy title), 1858. Black and etching. Houses of Victor Hugo Paris - Guernsey.

Spain, Basque Provinces (Vascongadas), Guipuzcoa province, Fuenterrabía and Olaso promontory. Engraving by Antonio Roca Sallent. Las Glorias Nacionales, 1853.

Hunting for a recent; Ridinger, Johann Elias (1698-1767), Pfeffel, Johann Andreas (1715-1768); 18th century (1700-00-00-1800-00-00);

Barn in a landscape; Brabantsche Schuur in Kaatsheuvel. Burning barn in a landscape on water. Figures are shown around the barn, some of which have a bucket.

Wreck off Hastings, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1859-1879, Steel engraving ( Art Journal )

St. Catherine's Hill, near Guildford, Surrey, James H. Kernot, active early 19th century, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Open etching

Norham Castle - Moonrise, William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Etching and engraving

Louis-Portuné Méaulle (after Victor Hugo). "L'Éclair". Woodcut. Paris, house of Victor Hugo. 146567-4 Eat, 19th XIXth 19th 19th 19th 19th century, engraving

Tenth Plague of Egypt. Dated: published 1816. Medium: etching and mezzotint. Museum: National Gallery of Art, Washington DC. Author: Joseph Mallord William Turner and William Say.

Smith, John Raphael, Jones, Thomas (painter), The Bard, verso lower left, print, prints, height mm, width mm, British, 1752 - 1812-03-02, print maker, printmaker, 1762 - 1812, paper, papier, mezzotint, English, 1742-09-26 - 1803-05-09, after, after painting by, Publication (Event), Publication, publisher

Edward Goodall, 1795-1870, British, The Fall of the Rebel Angels (Vignette), 1835. Line engraving.

Seymour-Haden, Francis (Sir), England, Harlech, Harlech Castle in Wales, verso lower left - stamped, Landscape with a flock of sheep in the foreground, on the top of a rock Harlech Castle., print, prints, Seymour Haden, recto lower left - pencil, Trail, recto lower right - stamped, verso middle lower - stamped, height 225 mm, width 313 mm, English, 1818-09-16 - 1910-06-01, print maker, printmaker, 1880-05-11 - 1880-05-11, fourth quarter 19th century, paper, mezzotint, etching, etchings, drypoint, dry needle, Work conception, after own design by, printer

Landscape with a Windmill, François Louis Thomas Francia, 1772-1839, French, active in Britain, undated, Brown wash and graphite on medium, moderately textured, cream laid paper, Sheet: 9 5/8 x 13 7/8 inches (24.4 x 35.2 cm), architectural subject, hills, landscape, ramp, trees, windmill

Brighton, Sussex, known here by its old name, Brighthelmstone: the bathing place, with smoaker's machines Date: 1789

A mischievous demon, in the guise of a Will o' the Wisp, lures unwary travellers to their deaths in a bog. Date: circa 1800

Print made by John Boydell, 1720-1804, British, The Wreck of the Nuestra Senora de los Remedios, 1753. Etching and line engraving on moderately thick, moderately textured, cream laid paper.

The fireworks / holidays given to the king and the queen, by the city of Paris, on January 21, 1782, on the occasion of the birth of Monseigneur the Dauphin. (IT)

Print made by W. R. Smith, active 1819-1851, Hospice of the Great St. Bernard. No. II, 1830. Engraver's proof; etching and line engraving on medium, slightly textured, cream wove paper with chine-collé.

A Replica of the Right Half of Cooke's Ashburnham Park, Print made by William Bernard Cooke, 1778-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1817, Etching; open etching on medium, slightly textured, cream wove paper, Sheet: 11 3/8 × 8 1/2 inches (28.9 × 21.6 cm), Plate: 9 3/8 × 6 1/4 inches (23.8 × 15.9 cm), and Image: 7 3/8 × 5 3/4 inches (18.7 × 14.6 cm)

Robert Wallis, 1794-1878, British, Ehrenbreitstein, 1828. Line engraving, engraver's proof on thick, slightly textured, beige, wove paper, with gray, chine colle.

Maree Basse (manieremoire). Artist: Eugène-Louis-Gabriel Isabey, French, 1803-1886

Barn in a landscape, Cornelis van der Griendt, 1858 print Burning barn located in a landscape of water. Figures are depicted around the barn, some of which wear a bucket. Netherlands paper etching / drypoint barn. open fire (in general)

THE VISION OF THE SIXTH HEAVEN, BY GUSTAVE DOR. Dore, 1832 - 1883, French. Engraving for Paradiso by Dante. Wood engraving by Pannemaker and Doms after Gustave Dore, with signatures in the print, 1870, romanticism, colour, color engraving

Neuville, Alphonse Marie de (N.1835-05-31-D.1885-05-19), 4. Waterloo (the battlefield at night) (dummy title), 1865. Pencil and gouache on paper. Houses of Victor Hugo Paris - Guernsey.

Scène première du Rheingold , Fictitious characters, Swimming, Wagner, Richard, 1813-1883. Ring des Nibelungen. Rheingold. Henri Fantin-Latour (1836-1904). Lithographs and Other Prints

Joseph Mallord William Turner and Charles Turner, The Fifth Plague of Egypt, published 1808 The Fifth Plague of Egypt

Coteaux de Mauves, Robert Wallis, 1794-1878, British, after Joseph Mallord William Turner, 1775-1851, British, 1831, Line engraving, engraver's proof

Cloudburst and flood at Bretzhofen in Franconia, 1627, print maker: Jan Luyken, publisher: Pieter van der Aa (I), print maker: Amsterdam, publisher: Leiden, 1698, paper, etching, letterpress printing, h 112 mm × w 157 mm

A copper engraving print by Albrecht Dürer depicting Christ on the cross, created after 1500.

Venice, Canaletto, Vedute altre prese da i Luoghi altre ideate da Antonio Canal, Views of existing and imaginary places, Landscape with praying pilgrim, A hilly landscape with a pilgrim in front of a crucifix in the foreground and two fishermen in a boat. On the hill to the left a ruin., print, prints, height 142 mm, width 209 mm, Italian, 1697 - 1768-04-20, print maker, printmaker, 1707 - 1768, paper, papier, etching, etchings, Work conception, after own design by

Etching by Jean Jacques Aliamet, 1740-1788, depicting the old port of Genoa with ships, waterfront buildings, docks, and harbor activity.

Fire in a Village at Night, Adam Colonia, 1650 - 1685

John Martin, The Creation of Light, Paradise Lost, Book 7, Line 339, 1824, mezzotint on laid paper.

The Source of the Arveron in the Valley of Chamouni, Savoy, Print made by Thomas Goff Lupton, 1791-1873, British, after Joseph Mallord William Turner, 1775-1851, British, Published by Colnaghi, established 1760, active ca. 1785-1911, Italian, active in Britain, 1860, Etching and mezzotint, printed in brown ink Finished state on medium, slightly textured, cream laid paper, Sheet: 13 3/8 × 17 7/8 inches (34 × 45.4 cm), Plate: 8 3/8 × 11 3/8 inches (21.3 × 28.9 cm), and Image: 7 3/8 × 10 1/2 inches (18.7 × 26.7 cm)

Charles Cousen, 1813-1889, British, Bacchus and Ariadne, 1859-1879. Steel engraving.

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