← Artworks

Historic Etchings

A collection of detailed etchings showcasing architectural scenes, characters, and urban environments with a vintage aesthetic, often in muted colors.

Sketchbook Page, Kenyon Cox, American, 1856-1919, Graphite on paper, Sketch of man with a bowler hat; buildings in background., USA, 1875, albums (bound) & books, Sketchbook folio, Sketchbook folio
Sketchbook Page, Kenyon Cox, American, 1856-1919, Graphite on paper, Sketch of man with a bowler hat; buildings in background., USA, 1875, albums (bound) & books, Sketchbook folio, Sketchbook folio
214 assets in this story
6145-59276313
Poortje in S. Miniato, 1932 drawing San Miniato paper. watercolor (paint) brush
6145-59465882
Sand with Fuik and Birdfall, Bernard Picart (workshop of), 1730 print Two performances on a leaf. Above: a barn like bird trap. Below: the construction of a bird trap in two figures. Amsterdam paper etching catching animals
6145-30215281
The three jars Henry Brokman (1868-1933). The three jars. Black pencil. 1922. Museum of Fine Arts in the city of Paris, small palace.
4409-28964340
Doorway in Anla(). Date: n.d. watercolor and pencil on paper. Museum: Smithsonian American Art Museum.
4409-17568842
Scene on Montmartre. Maurice Utrillo; French, 1883-1955. Date: 1909-1919. Dimensions: 220 × 230 mm (image); 320 × 494 mm (sheet). Color lithograph on cream laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.
6145-59028543
Hugo, Victor (N.1802-02-26-D.1885-05-22), La Tourgue in 1835 (registered title (Letter)), 1876. Plume and brown ink wash on laid paper. House of Victor Hugo - Hauteville House.
4435-2211
ABBATI, Giuseppe (1836-1868). Hallway of a Dominican Convent. Oil on wood. SPAIN. ANDALUSIA. Cdiz. Museo de Cdiz.
6145-59057415
A woman standing at the window open; Thoma, Hans (1839-1924); 1877-1882 () (1877-00-00-1882-00-00);Romanticism, lander, women, characters, views from the window
6145-51833465
At the Alley Charles Henry Miller (American, 1842-1922). At the Alley, August 21, 1882. Pen and ink on paper, Sheet: 10 x 14 1/16 in. (25.4 x 35.7 cm). American Art August 21, 1882
6145-51831298
All' Ave Maria John Singer Sargent (American, born Italy, 1856-1925). All' Ave Maria, ca. 1902-1904. Translucent watercolor and touches of opaque watercolor, 10 x 14 1/16 in. (25.4 x 35.7 cm). AllAve Maria, whose title references late afternoon vespers, depicts the church and school of Santo Spirito, adjacent Renaissance structures facing the promenade on the Zattere. This is one of Sargents more rapidly executed watercolors, painted without any preparatory drawing and executed wet into wet, so that strokes bled into one another. Forms such as the boats and figures are suggested by loose, almost abstract brushwork. The artists use of wet wiping to lift color off the paper is evident in the variable blue of the sky. American Art ca. 1902-1904
1075-378
Arab Woman Sitting In A Doorway 1889 Charvot, Eugene(1847-1924 French) Oil On Canvas Cummer Museum of Art & Gardens, Jacksonville, FL
4443-73165940
Auguste Vacquerie at a Window, Marine Terrace, c. 1853, salted paper print, image: 9.2 × 7.7 cm (3 5/8 × 3 1/16 in.), mount: 25.1 × 18.5 cm (9 7/8 × 7 5/16 in.), Auguste Vacquerie (artist) French, 1819 - 1895, Charles-Victor Hugo (artist) French, 1826 - 1871
6176-67082906
'Jerusalem in Winter - John x. 22, c1924. Creators: James Clark, Henry A Harper.
4409-17375371
Camp A Aug 21 1885: Onterior with Seated Figure (from Sketchbook X). Artist: William Trost Richards (American, Philadelphia, Pennsylvania 1833-1905 Newport, Rhode Island). Dimensions: 5 x 7 1/2 in. (12.7 x 19.1 cm). Date: 1885.This sketchbook contains fifty-one drawings in graphite and ink, primarily of Pacific Northwest landscape and marine subjects. The addition to the Museum's collection of this and one other sketchbook (1992.2.1) of New England and Pennsylvania landscape and marine subjects by Richards virtually completes a representation of the range of the artist's graphic achievement. The books are remarkable for both highly finished compositions and for pages of rapid notes probably taken during strolls through the countryside. The pages testify to Richard's tireless pleasure in observing nature, to the sketchbooks utility as a rehearsal place for his hand, and to the vivid impressions he could produce with the simplest of means. Not least of all, they offer a key understandin