Historic Castle Engravings

A collection of etchings and engravings featuring historic castles and landscapes, showcasing architectural details, natural scenery, and atmospheric tones.

Harvesting farmers for a village, Jacques-Philippe Le Bas, After David Teniers (II), 1742 print Numbered below: 25. Paris paper etching / engraving harvest. outskirts of village

Robert Brandard, 1805-1862, British, Dunstanborough Castle, Northumberland, 1827-1838. Open etching.

Colchester, Essex, Robert Wallis, 1794-1878, British, after Joseph Mallord William Turner, 1775-1851, British, 1827-1838, Line engraving, engraver's proof (finished)

Richmond, Yorkshire, W. R. Smith, active 1819-1851, after Joseph Mallord William Turner, 1775-1851, British, 1827, Line engraving and etching, 1st state on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 9 9/16 × 12 inches (24.3 × 30.5 cm), Chine collé: 9 3/8 × 11 1/2 inches (23.8 × 29.2 cm), and Image: 6 3/4 × 9 1/2 inches (17.1 × 24.1 cm)

Harvesting farmers for a village, Jacques-Philippe Le Bas, After David Teniers (II), 1742 print Numbered below: 25. Paris paper etching / engraving harvest. outskirts of village

Santa Sabes and the Brook Kidron, James Baylis Allen, 1803-1876, British, after Joseph Mallord William Turner, 1775-1851, British, 1835-1836, Line engraving, engraver's proof

Robert Wallis, 1794-1878, British, Lancaster from the Aqueduct Bridge, 1827-1838. Line engraving, engraver's proof.

DijkBrraak outside Zutphen, 1784, Mathias de Sallieth, After H. Goblé, 1784 - 1785 print Dike breach at the so -called Hoendernest, outside Zutphen, 3 March 1784. In the foreground people in panic at the broken dike, in the background the city of Zutphen. Print Maker: Rotterdam -Rint Maker: Rotterdam chart Drawing by: Zutphen paper etching / engraving / letterpress printing Dike-Break Zutphen

Robert Wallis, 1794-1878, British, Colchester, Essex, 1827-1838. Line engraving, engraver's proof (early).

St. Michael's Mount, Cornwall - from LXV - 'The Turner Gallery' 1859-1879, John Cousen, 1804-1880, British, after Joseph Mallord William Turner, 1775-1851, British, 1859-1879

J. C. Varrall, active 1815-1827, Brinkburn Priory, Northumberland, 1827-1838. Line engraving, first published state.

Merrick Abbey, Swaledale, J. C. Varrall, active 1815-1827, after Joseph Mallord William Turner, 1775-1851, British, 1822, Line engraving and etching on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 11 13/16 × 17 11/16 inches (30 × 44.9 cm), Plate: 11 × 16 7/8 inches (27.9 × 42.9 cm), Chine collé: 10 9/16 × 16 7/16 inches (26.8 × 41.8 cm), and Image: 7 5/8 × 10 7/8 inches (19.4 × 27.6 cm)

Robert Wallis, 1794-1878, British, Dudley, Worcestershire, 1827-1838. Etching, first published state.

Ville de Thun, Switzerland, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by Thomas Hodgetts, active 1801-1846, after Joseph Mallord William Turner, 1775-1851, British, 1816, Etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper, Sheet: 10 5/8 × 16 1/4 inches (27 × 41.3 cm), Plate: 8 1/4 × 11 1/2 inches (21 × 29.2 cm), and Image: 7 × 10 3/8 inches (17.8 × 26.4 cm)

An Iron Work for Casting of Cannon, Wilson Lowry, 1762-1824, British, after George Robertson, 1749-1788, British, 1788, Engraving, Image: 13 5/8 x 20 3/8in. (34.6 x 51.8cm), Sheet: 17 1/2 x 23 1/2in. (44.5 x 59.7cm), and Plate: 16 x 21 1/2in. (40.6 x 54.6cm)

Stefano Della Bella, Two Galleys and their Launches, in or before 1647 Two Galleys and their Launches

Weekhawken. Artist: Asher Brown Durand (American, Jefferson, New Jersey 1796-1886 Maplewood, New Jersey); After William James Bennett (American, London 1787-1844 New York). Dimensions: plate: 6 1/4 x 8 15/16 in. (15.9 x 22.7 cm)sheet: 9 5/8 x 13 3/16 in. (24.4 x 33.5 cm). Date: 1833.Image within a decorative frame, originally engraved in 1830 as part one of a projected serial publication titled, The American Landscape. Only one number of the latter was ever issued. This state was republished April 20, 1833 in the New-York Mirror. Museum: Metropolitan Museum of Art, New York, USA.

Dunstanburgh Castle, from 'Liber Studiorum,' part III, James Mallord William Turner, British, 1775-1851, Charles Turner, British, 1773-1857, Charles Turner, British, 1773-1857, etching, aquatint and mezzotint, printed in brown ink, First of three states., England, 1808, Print, Print

Rivierlandschap, Giovanni Volpato, After Marco Ricci, 1750 - 1803 print A river landscape with a ruin on the left and in the foreground a moored boat and a man with a pakezel. Numbered bottom left: No 51. 4. Title in STUDMARGE. print maker: Italyafter painting by: Italypublisher: Venice paper etching city-view, and landscape with man-made constructions. landscape with ruins. river. mule

Kirkby Lonsdale Churchyard, Charles Heath, 1785-1848, British, after Joseph Mallord William Turner, 1775-1851, British, 1821, Line engraving and etching on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 12 × 15 1/16 inches (30.5 × 38.3 cm), Chine collé: 11 11/16 × 14 3/4 inches (29.7 × 37.5 cm), and Image: 7 3/4 × 11 1/16 inches (19.7 × 28.1 cm)

Print made by Edward Goodall, 1795-1870, British, Tivoli, a Composition, 1827. Etching and line engraving; first published state on moderately thick, slightly textured, cream laid paper.

J. C. Varrall, active 1815-1827, Merrick Abbey, Swaledale, 1818-1823. Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove paper, with cream, chine colle.

W. R. Smith, active 1819-1851, Saltash, Cornwall, 1827. Line engraving and etching, 3rd state on moderately thick, slightly textured, cream, wove paper.

Print made by George Cooke, 1781-1834, British, Hythe, Kent, 1824. Etching; open etching on medium, slightly textured, cream wove paper.

Etching by Thomas Major, created in 1754, showing Blankenburg Castle on the coastal region of Flanders with surrounding landscape features.

Gosport, Entrance to Portsmouth Harbor, Robert Brandard, 1805-1862, British, after Joseph Mallord William Turner, 1775-1851, British, 1831, Etching and engraving, touched with graphite (Engraver's Proof), Plate: 10 x 12in. (25.4 x 30.5cm) and Sheet: 11 3/4 x 17 1/2in. (29.8 x 44.5cm)

A storm of thunder and lightning, rain, wind and floods threaten an ancient town on the sea-coast; representing conflict. Engraving by S. à Bolswert after Sir P.P. Rubens.

Virginia Water No. 11, Robert Wallis, 1794-1878, British, after Joseph Mallord William Turner, 1775-1851, British, 1828-1837, Line engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, with cream chine colle, Sheet: 12 1/16 × 17 1/2 inches (30.6 × 44.5 cm), Plate: 5 15/16 × 8 1/2 inches (15.1 × 21.6 cm), Chine collé: 5 11/16 × 8 1/8 inches (14.4 × 20.6 cm), and Image: 3 5/8 × 5 1/2 inches (9.2 × 14 cm)

Print, View of Rippon Minster; Engraved by William Byrne; Delineator: Thomas Hearne; England; 1956-190-17

Winander-Mere, Westmoreland, James T. Willmore, 1800-1863, British, after Joseph Mallord William Turner, 1775-1851, British, 1837, Line engraving, first published state

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 on thick, slightly textured, cream wove paper, Sheet: 11 5/8 × 16 inches (29.5 × 40.6 cm), Plate: 9 1/2 × 12 1/4 inches (24.1 × 31.1 cm), and Image: 8 1/8 × 11 1/8 inches (20.6 × 28.3 cm)

River Wye, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by William T. Annis, active 1798-1811, British, after Joseph Mallord William Turner, 1775-1851, British, 1812, Etching and mezzotint, printed in brown ink First published state on medium, slightly textured, cream wove paper, Sheet: 11 7/8 × 17 3/8 inches (30.2 × 44.1 cm), Plate: 8 1/4 × 11 1/2 inches (21 × 29.2 cm), and Image: 7 1/4 × 10 1/2 inches (18.4 × 26.7 cm)

Wolf's Hope, James H. Kernot, active early 19th century, after Joseph Mallord William Turner, 1775-1851, British, 1836, Line engraving

Norham Castle on the Tweed (Liber Studiorum, part XII, plate 57) January 1, 1816 Designed and etched by Joseph Mallord William Turner British Turner distilled his ideas about landscape In "Liber Studiorum" (Latin for Book of Studies), a series of seventy prints plus a frontispiece published between 1807 and 1819. To establish the compositions, he made brown watercolor drawings, then etched outlines onto copper plates. Professional engravers usually developed the tone under Turner's direction, and Charles Turner here added mezzotint. One of the most satisfying works in the series, it describes the sun rising behind Norham Castle, Northumberland, on the English-Scottish border. Bright openings punctuate the ruined silhouette, with the forms echoed in the river below. In the foreground, two men prepare to launch a skiff near white and brown cows whose forms stand out against the bright water and doubled by reflections. Turner returned to this subject repeatedly during his career and it he

Robert Brandard, 1805-1862, British, Lancaster Sands, 1827-1838. Line engraving, engraver's proof.

View of La Roche-Guyon, Isodore-Laurent Deroy, Isodore-Laurent Deroy, 1829-1831 print Print is part of a cover with twelve prints. print maker: Parisafter drawing by: La Roche-Guyonpublisher: Paris . river (+ landscape with figures, staffage). prospect of city, town panorama, silhouette of city (+ city(-scape) with figures, staffage). quay (+ city(-scape) with figures, staffage) La Roche-Guyon

Winter landscape with tower; Dutch masters. A winter landscape with three figures and a part of a house in the foreground. Two figures at a tower in the background. The print is part of a series of 25 prints to Dutch masters. Above the image: PL XVIII.

Print made by William Bernard Cooke, 1778-1855, British, Plymouth Citadel, 1815. Etching; open etching on medium, slightly textured, cream wove paper.

Samuel Palmer, The Bellman, 1879 The Bellman

Corfe Castle, Dorsetshire, George Cooke, 1781-1834, British, after Joseph Mallord William Turner, 1775-1851, British, 1814-1826, Etching and engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 8 1/2 × 11 5/8 inches (21.6 × 29.5 cm) and Image: 5 11/16 × 8 1/2 inches (14.4 × 21.6 cm)

Salisbury Cathedral from the Meadows the Rainbow Made 1834 England. The landscape painter John Constable owned an edition of J. M. W. Turnerís Liber Studiorum, which he famously referred to as the ìliber stupidorum,î a critical remark directed at the ambitious size of the undertaking (of which only 71 of the planned 100 plates were finally printed), rather than its artistry. Constable nonetheless employed David Lucasís considerable printmaking talents to immortalize 22 of his own paintings in mezzotint for a similarly scaled portfolio, English Landscape Scenery. They also collaborated on this larger plate, revising it until Constableís death, as the artist agonized over every detail, explaining in a letter to Lucas ìIf the rainbow is not tenderóand elegantóevanescent and lovely Ö we are both ruined.î. Mezzotint with etching, in black, on cream wove paper . David Lucas

Dumblain Abbey. Dated: published 1816. Medium: etching and mezzotint. Museum: National Gallery of Art, Washington DC. Author: Joseph Mallord William Turner and Thomas Goff Lupton.

Plymouth, Devonshire, William Bernard Cooke, 1778-1855, British, after Joseph Mallord William Turner, 1775-1851, British, 1832, Line engraving, 1st state on thick, smooth, cream, wove paper, with cream, chine colle, Sheet: 10 5/8 × 14 5/8 inches (27 × 37.1 cm), Plate: 10 × 11 13/16 inches (25.4 × 30 cm), Chine collé: 9 11/16 × 11 1/2 inches (24.6 × 29.2 cm), and Image: 6 7/16 × 9 1/4 inches (16.4 × 23.5 cm)

The Young Laundresses 1768 After Joseph Vernet. The Young Laundresses. After Joseph Vernet (French, Avignon 1714-1789 Paris). 1768. Engraving; first state of two. Robert Daudet (French, 1737-1824). Prints

William Finden, 1787-1852, British, Mannering, Hazlewood and Smugglers, 1836. Line engraving, engraver's proof.

John Pye, 1782-1874, British, Junction of the Greta and Tees at Rokeby, 1819. Line engraving and etching, engraver's proof on moderately thick, moderately textured, cream, laid paper, with cream, chine colle.

James Charles Armytage, 1802-1897, British, Approach to Venice, 1859-1879. Steel engraving.

Ice cream in Mülheim aan de Rijn, 1784, Mathias de Sallieth, After H. Goblé, 1784 - 1785 print Destruction by IJsgang in the town of Mülheim (Am Rhein), 27 February 1784. Northern Netherlands paper etching / engraving drift ice Mülheim (am Rhein)

Scarborough, Thomas Goff Lupton, 1791-1873, British, after Joseph Mallord William Turner, 1775-1851, British, 1826-1828, Mezzotint, (Engraver's Proof b)

View of Lake Nemi 1815-1825 France. Lithograph in black on ivory wove paper . comte de Charles Philibert Lasteyrie du Saillant

Vue général d'Avignon, peint par P. Huet. Honoré Daumier (1808-1879). Lithographs

Celadon and Amelia, 1776. Richard Wilson

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

View of a harbor in rocky landscape. On the left, a country road with travelers and a dog. The second print in a six-part series, View of a harbor Landscapes of Tyrol (series title), print maker: Aegidius Sadeler, Roelant Savery, (mentioned on object), publisher: Aegidius Sadeler, (mentioned on object), publisher: Praag, publisher: Venice, 1580 - 1629 and/or 1624 - c. 1650, paper, engraving, h 164 mm × w 220 mm

Visitors to a waterfall, Noah van der Meer (II), After Johan Antonie Kaldenbach, 1751 - 1822 print Two men at a waterfall. In the background a carriage with two people. At the bottom of the margin a four -line text in Dutch. Amsterdam paper etching waterfall. four-wheeled vehicle drawn by two animals

William John Cooke, 1797-1865, Irish, Plymouth, Devonshire, 1827-1838. Line engraving, first published state.

An etching from 1743-1797 by an unknown engraver showing a wet nurse (amme) caring for a child, including figures, gestures, interior setting, and daily life details.

Bonneville, Savoy, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by Henry Dawe, 1790-1848, British, after Joseph Mallord William Turner, 1775-1851, British, 1816, Etching and mezzotint, printed in brown ink Engraver's proof (c) on medium, slightly textured, cream laid paper, Sheet: 10 3/4 × 16 1/8 inches (27.3 × 41 cm), Plate: 8 3/8 × 11 3/8 inches (21.3 × 28.9 cm), and Image: 7 3/8 × 10 3/4 inches (18.7 × 27.3 cm)

Thomas Goff Lupton, 1791-1873, British, Falmouth, 1826-1828. Mezzotint on medium, slightly textured, cream wove paper.

Attack on Nantes, by De Vendeers, on the 29th of Wiedemaand 1793, Reinier Vinkeles (I), after Jacques François Joseph Swebach, 1793 - 1795 print Amsterdam paper etching / engraving breaking into city or fortress ~ siege Nantes

Gorinchem, Hardenbergh, Cornelis van, Netherlands, Senus, Willem van, Great flooding of the canal lock at Gorinchem. on 26 January 1820, Flooding at the canal lock at Gorinchem, 1820, verso - stamped, The water breaks through the canal lock in the Linge near Gorinchem during the flood disaster on 26 January 1820. On the right people are fleeing, in the background the city with the Water Gate on the right. Part of a group of illustrations from a book about the flood of 1820., print, prent, prints, Frederik Muller Historieplaten, height 259 mm, width 345 mm, Dutch, 1773-08 - 1851-01-15, print maker, printmaker, 1820 - 1820, paper, papier, etching, etchings, engraving, engraving (printing process), 1755-05 - 1843-02-02, intermediary draughtsman

Krajobraz z antycznym grobowcem, z prawej kozy i pasterz grający na fujarce. Reinhart, Johann Christian (1761-1847), graphic artist

Jacques Cartier avec trois batiments remonte le fleuve Saint Laurent qu'il vient de découvrir (1535).. Gudin, baron (1802-1880). Prints. 1777 - 1890. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Saint Lawrence River, America , Discovery and exploration, Cartier, Jacques, 1491-1557

St. Catharine's Hill near Guilford (Liber Studiorum, part VII, plate 33) June 1811 Designed and etched by Joseph Mallord William Turner British Turner distilled his ideas about landscape In "Liber Studiorum" (Latin for Book of Studies), a series of seventy prints plus a frontispiece published between 1807 and 1819. To establish the compositions, he made brown watercolor drawings, then etched outlines onto copper plates. Professional engravers usually developed the tone under Turner's direction, and Easling here added mezzotint to describe a peaceful road that recedes toward a ruined chapel on a hill, as trees at left cast late afternoon shadows and horses enter a farmyard. The letters "EP" in the upper margin likely stand for Elevated Pastoral and were applied by Turner to landscapes within the set that echo the Arcadian sensibility of Claude.. St. Catharine's Hill near Guilford (Liber Studiorum, part VII, plate 33) 383006

Landscape with ruin and a shepherd with cattle, Carl Friedrich Holtzmann, after Johann Georg Wagner, 1750 - 1811 print Text in German in the lower margin. Print is part of an album. Dresden paper etching cattle driving, cattle driver. landscape with ruins. herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.

Charles Turner, 1774-1857, British, Okehampton Castle on the River Okement, 1823-1827. Mezzotint.

The Fifth Plague of Egypt, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by Charles Turner, 1774-1857, British, after Joseph Mallord William Turner, 1775-1851, British, 1808, Etching and mezzotint, printed in brown ink First published state on medium, slightly textured, cream laid paper, Sheet: 8 × 11 1/8 inches (20.3 × 28.3 cm), Image: 7 1/8 × 10 1/8 inches (18.1 × 25.7 cm), and Mount: 10 3/4 × 15 inches (27.3 × 38.1 cm), clouds, disease, landscape, lightning, meteorology, Old Testament, people, plague, pyramids, religious and mythological subject, science, storm, the ten plagues (Exodus 7:14 - 11:10, 12:21-30), ziggurats, Egypt

Fort Augustus (Vignette), William Miller, 1796-1882, British, after Joseph Mallord William Turner, 1775-1851, British, 1836, Etching and engraving

Le Midy. Jacques Le Bas (French, 1707-1783); after Nicolaes Berchem, the Elder (Dutch, 1621/22-1683). Date: 1742. Dimensions: . Engraving on paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA. Author: Jacques Philippe Le Bas.

Liber Studiorum: Bonneville, Savoy. Joseph Mallord William Turner (British, 1775-1851). Etching and mezzotint;

Joseph Mallord William Turner, River Wye, May 23, 1812, Etching and mezzotint printed in brown inks.

Stoneyhurst, Lancashire, James Baylis Allen, 1803-1876, British, after Joseph Mallord William Turner, 1775-1851, British, 1830, Line engraving, 3rd state on moderately thick, slightly textutred, cream, wove paper, Sheet: 10 13/16 × 14 13/16 inches (27.5 × 37.6 cm), Plate: 10 1/8 × 12 1/2 inches (25.7 × 31.8 cm), and Image: 6 5/8 × 9 3/8 inches (16.8 × 23.8 cm)

Print made by Charles Heath, 1785-1848, British, Auxerre, 1821. Etching and line engraving on medium, slightly textured, cream wove paper.

James T. Willmore, 1800-1863, British, Vernon, 1835. Line engraving.

Departure of the third column, called the support, from Souvenirs d'Italie: Expédition de Rome. Denis Auguste Marie Raffet (French, 1804-1860); printed by Auguste Bry (French, 19th century); published by Chez Gihaut Frères (French, 19th century). Date: 1859. Dimensions: 226 × 346 mm (image); 303 × 398 mm (primary support); 400 × 567 mm (secondary support). Lithograph in black on warm ivory wove chine laid down on off-white wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Engraver: Charles Beyer, French, 1808-1873, After: Horace Vernet, French, 1789-1863, Bataille de Jemmapes (Battle ofJemappes), Engraving, sheet: 21.2 × 29 cm (8 3/8 × 11 7/16in.), French, 19thcentury, Works on Paper -Prints

Charles Westwood, Active 1819-1838, Carisbrook Castle, Isle of Wight, 1827-1838. Line engraving, first published state.

Nousads in the Loire, by order of fierce career ... (IT)

Landscape with an ancient tomb, right goat and shepherd playing a pipe; Reinhart, Johann Christian (1761-1847); 1792 (1792-00-00-1792-00-00);Schlesisches Museum der Bildenen Künste (Wrocław - 1880-1945) - collection, pipers (musical instruments), tombs, goats, landscapes, shepherds, landscapes, ruins, herds, staff

James C. Allen, active 1821-1831, British, Hebiborough Sands, c.1830. Etching and engraving on thick, slightly textured, beige, wove paper.

Der Winter. Winter.. Schelfhout, Andreas, 1787-1870. Prints. 1837 - 1842. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection. Painting , Germany , Munich, Lithography, German, Farmhouses, Ice on rivers, lakes, etc.

Etching by Emmanuel Jean Nepomucène de Ghendt depicting the beauties of life in the country, created between 1748 and 1815. The work shows rural activities, figures, and landscapes.

Landscape with a ruin and a plowing farmer in the rain, Izaak Jansz. de Wit, after Jacob Cats (1741-1799), 1807 print Haarlem paper etching March and its 'labours' (+ with scenes showing human occupations ~ seasons and months). ploughing. downpour, rain shower. landscape with ruins

Print made by George Arnald, 1763-1841, British, Choquer, 1821. Mezzotint and etching, printed in brown ink on moderately thick, moderately textured, cream laid paper.

Olokmi view on linen; Unknown, Niemirów, Leopold (1810-1883), Draeger, F. (Moscow; Litographic insole; Ca 1850-1860); 1856 (1856-00-00-1856-00-00);

Wickham from the Marlow Road, Print made by William Byrne, 1743-1805, British, after Joseph Mallord William Turner, 1775-1851, British, Published by William Byrne, 1743-1805, British, 1803, Etching and line engraving

Part of Latomies caves at Syracuse, 1778 drawing Drawing from the album 'Voyage and Italy, and Sicile et à Malte', 1778. paper. chalk. watercolor (paint) pen / brush

The Chteau of Count Woronzoff, Aloupka, Crimea, August 12, 1837 Made 1840 France. Lithograph in black on ivory chine laid down on ivory wove paper . Denis Auguste Marie Raffet

Cleans of the Kokenhuzen Castle in Livonia nad D; Deroy, Isidore Laurent (1797-1886), Tyzenhauz, Konstanty (1786-1853), Lemercier, Rose Joseph (Paris 1846-1847 (1846-00-00-1847-00-00);

Whitby, Print made by John Cousen, 1804-1880, British, after Joseph Mallord William Turner, 1775-1851, British, 1844-1867, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-collé

Folkestone, Harbour, and Coast to Dover, Kent, John Horsburgh, 1791-1869, British, after Joseph Mallord William Turner, 1775-1851, British, 1831, Line engraving and etching, 2nd state on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 8 3/8 × 11 1/8 inches (21.3 × 28.3 cm) and Image: 6 1/8 × 9 5/16 inches (15.6 × 23.7 cm)

Lodewijk Napoleon on the Dalemse Dijk, 1809, Reinier Vinkeles (I), After Hermanus Numan, 1809 print print maker: Amsterdamafter drawing by: Netherlandspublisher: Amsterdampublisher: Amsterdam paper etching dike-break. drift ice. windmill. four-wheeled, animal-drawn vehicle, e.g.: cab, carriage, coach Dalem

Etched by Joseph Mallord William Turner, 1775-1851, British, River Wye, 1812. Etching and mezzotint, printed in brown ink on medium, slightly textured, cream wove paper.

Harbor Scene ca. 1764 After Joseph Vernet. Harbor Scene. After Joseph Vernet (French, Avignon 1714-1789 Paris). ca. 1764. Etching. Franz Edmund Weirotter (Austrian, 1733-1771). Prints

George Cooke, 1781-1834, British, Teignmouth, Devon, 1815. Etching and line engraving, first published state on moderately thick, moderately textured, cream, wove paper.

Robert Wallis, 1794-1878, British, Coteaux de Mauves, 1831. Line engraving, engraver's proof.

Graftombe van Jean -Jacques Rousseau op Het Ile des Peupliers te Ermenonville, François Guillaume Lardy, 1778 - 1812 print print maker: Lausannepublisher: Bazel paper etching grave, tomb. island Ermenonville

Lithograph on rolled china paper depicting Count Michel de Woronzoff, created by Auguste Raffet, printed 1840.

Refitting of a Ship at Low Tide 1833 Eugène Isabey French 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.. Refitting of a Ship at Low Tide 688164

Shipwreck, Engraving, Europe, before 1896, Print, Print

Edward Alfred Goodall, 1819-1908, British, Tantallon Castle, 1822. Line engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, wth gray chine colle.

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