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    n.d. Self-Portrait pen and ink and wash 18.4 x 15 cm Palace of Fine Arts, Lille, France
    Henri Fantin-Latour (1836 – 1904) was born Ignace Henri Jean Théodore Fantin-Latour in Grenoble, France in 1836. A painter and lithographer, he is best known for his flower paintings, but he produced many other kinds of work, including several group portraits that are important historical documents and show his friendship with leading avant-garde artists and writers.

    In spite of his association with such progressive artists, Fantin-Latour was essentially a traditionalist. Much of his later career was devoted to lithography; he greatly admired Richard Wagner and did imaginative lithographs illustrating his music and that of other composers. His wife Victoria Dubourg (1840-1926) was also a painter, mainly of flower pieces.

    This is part 11 of a 13-part series on the works of Henri Fantin-Latour. For biographical notes see part 1. For earlier works see parts 1-10 also.


    1899 Dahlias oil on canvas 29.8 x 39.4 cm Private Collection

    1899 Huntress oil on canvas 39 x 47 cm Private Collection

    1899 Larkspur oil on canvas 33.7 x 41.2 cm Private Collection

    1899 Standing Bather lithograph 19.7 x 13.9 cm (image) Art Institute of Chicago, IL

    1899 Three Nymphs by a Spring oil on canvas 55 x 66 cm Private Collection

    1899 Two Peaches and Two Plums oil on canvas Private Collection

    1899 Witchcraft/Curse lithograph 30 x 38.2 cm (image) Cleveland Museum of Art, Ohio

    1900 Ariadne lithograph 16 x 12 cm (image) Cleveland Museum of Art, Ohio

    1900 Bouquet of Flowers oil on canvas 42.2 x 38.1 cm Private Collection

    1900 Bouquet of Flowers oil on canvas 49 x 60 cm Private Collection

    1900 To Johannes Brahms lithograph Cleveland Museum of Art, Ohio

    1901 Andromeda lithograph Cleveland Museum of Art, Ohio

    1901 Paradise and the Peri - Debut lithograph Cleveland Museum of Art, Ohio

    1902 Bouquet of Roses oil on canvas Private Collection

    1902 Danae oil on canvas Museum of Art and Industry André Diligen, Roubaix, France

    1902 Vase of Peonies 42 x 36.5 cm Private Collection


    1902 Venus and Cupid oil on canvas Private Collection

    n.d. The Toilette of Venus pencil 12.9 x 7.7 cm Musée du Louvre, Paris ©RMN


    1902 Venus and Cupid oil on canvas Private Collection

    1902c Carnations oil on canvas 63.5 x 92.6 cm Private Collection

    1903 At the Seaside oil on canvas 62 x 75 cm La Piscine Museum of Art and Industry André Diligen, Roubaix, France

    1903 Bathsheba oil on canvas Private Collection

    1903 Centenary of Hector Berlioz lithograph Cleveland Museum of Art, Ohio

    1903 Diane lithograph Cleveland Museum of Art, Ohio

    1903 Duet of the Trojans lithograph 25.4 x 17.6 cm (image) Art Institute of Chicago, IL

    1903 Silent Water lithograph 13.8 x 22.2 cm (image)

    1903 Pansies oil on canvas 22.9 x 28.3 cm The Metropolitan Museum of Art, New York

    1903 Peaches oil on canvas Private Collection

    1903 Peonies oil on canvas 32 x 40 cm

    1903 Reverie lithograph 19.2 x 31.2 cm (image) Art Institute of Chicago, IL

    1903 Sunrise oil on canvas 45.3 x 56.4 cm Musée d'Orsay, Paris

    1903 Two Bathers oil on canvas 50.8 x 61.9 cm

    1903 Yellow and Pink Roses in a Glass Vase oil on canvas 33.3. x 37.2 cm Private Collection

    1904 Naiad Pursued by Triton oil on canvas 17.3 x 37.5 cm National Museum of Western Art, Tokyo

    1904 Petite Orientale Couchée oil on canvas 11.5 x 16.5 cm Private Collection

    1904 Various Flowers oil on canvas 42.5 x 35.5 cm Private Collection

    1904 White Carnations oil on canvas Private Collection

    1904c The Bather oil on canvas Private Collection

    Note: The remainder of works in this series on Henri Fantin-Latour are not dated, either because the works are known to be undated or because I couldn't find a relevant date, so they will be from across his career and not in any chronological order.


    n.d. A Piece of Schumann charcoal 14.8 x 28.3 cm Musée d'Orsay, Paris photo © RMN

    n.d. Apple Blossoms oil on canvas Private Collection

    n.d. Autumn oil on canvas

    n.d. Bacchus lithograph Cleveland Museum of Art, Ohio

    n.d. Basket of Dahlias oil on canvas

    n.d. Basket of Peaches oil on canvas 34.5 x 47.5 cm Private Collection

    n.d. Bathers charcoal, black ink and scraping on tracing paper 19.1 x 24.8 cm Musée du Louvre, Paris ©RMN

    n.d. Bathers oil on canvas

    n.d. Bathers oil on canvas

    n.d. Bedtime oil on canvas  29.5 x 22 cm Musée d'Orsay, Paris

    n.d. Blooming Roses oil on canvas 33.5 x 46 cm

    n.d. Blush Roses in a Glass oil on canvas 44 x 36 cm Dublin City Gallery, Ireland

    n.d. Camelias oil on canvas 19.6 x 24.5 cm Dover Collections, UK

    n.d. Carnations oil on canvas 27.4 x 35.8 cm Private Collection

    n.d. Confidence of the Night lithograph

    n.d. Dawn and Night oil on canvas 39 x 47 cm  Musée d'Orsay, Paris

    n.d. Diana and Her Handmaidens oil on canvas

    n.d. Diana oil on canvas 39 x 46 cm Private Collection


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    n.d. Self-Portrait pen and ink and wash 23.2 x 23.2 cm Musée d'Orsay. Paris photo © RMN
    Henri Fantin-Latour (1836 – 1904) was born Ignace Henri Jean Théodore Fantin-Latour in Grenoble, France in 1836. A painter and lithographer, he is best known for his flower paintings, but he produced many other kinds of work, including several group portraits that are important historical documents and show his friendship with leading avant-garde artists and writers.

    In spite of his association with such progressive artists, Fantin-Latour was essentially a traditionalist. Much of his later career was devoted to lithography; he greatly admired Richard Wagner and did imaginative lithographs illustrating his music and that of other composers. His wife Victoria Dubourg (1840-1926) was also a painter, mainly of flower pieces.

    This is part 12 of a 13-part series on the works of Henri Fantin-Latour. For biographical notes see part 1. For earlier works see parts 1-11 also.

    Note: The remainder of works in this series on Henri Fantin-Latour are not dated, either because the works are known to be undated or because I couldn't find a relevant date, so they will be from across his career and not in any chronological order:


    n.d. Embroiderers pencil 23.4 x 21.8 cm Musée du Louvre, Paris ©RMN

    n.d. Evening oil on canvas Musée d'Art et d'Industrie de Roubaix, France

    n.d. Female Nude charcoal on tracing paper 19.2 x 12.7 cm Musée du Louvre, Paris ©RMN

    n.d. Female Nude charcoal on tracing paper 20.5 x 13.5 cm Musée du Louvre, Paris ©RMN

    n.d. Female Nude, Seen from Behind, Surrounded by Flowers gouache 12.8 x 12.2 cm Musée du Louvre, Paris ©RMN

    n.d. Five Female Nudes pencil 26.8 x 17.7 cm Musée du Louvre, Paris ©RMN

    n.d. Five Men Around a Table in a Tavern pen and pencil 16.6 x 24.4 cm Musée du Louvre, Paris ©RMN

    n.d. Five Nude Studies chalk 25.7 x 15.2 cm Rijksmuseum, Amsterdam

    n.d. Flowers oil on canvas 38.5 x 30.5 cm Bury Art Museum, Greater Manchester, UK

    n.d. Flowers oil on canvas Private Collection

    n.d. Glory lithograph Cleveland Museum of Art, Ohio


    n.d. Golgotha (copy after Veronese - see below) oil on canvas 30 x 29.5 cm Musée d'Orsay, Paris

    Paolo Veronese 1580c Crucifixion oil on canvas 102 x 102 cm Louvre Museum, Paris


    n.d. Hector Berlioz; Symphony Fantdstique - A Ball lithograph on chine collé 23.7 x 15.5 cm (image) Cleveland Museum of Art, Ohio

    n.d. Homage to Rubens oil on canvas 40.5 x 30.2 cm Southampton City Art Gallery, Hampshire, UK

    n.d. Impatiens, Peaches and Apricots oil on canvas

    n.d. Juliet's Aria lithograph Cleveland Museum of Art, Ohio

    n.d. La Causerie oil on canvas 33 x 41.5 cm Leeds Art Gallery, Leeds, UK

    n.d. La jeune Malade lithograph Cleveland Museum of Art, Ohio

    n.d. La jeune Malade lithograph Cleveland Museum of Art, Ohio

    n.d. La Source oil on canvas 73.5 x 60 cm Private Collection

    n.d. Lady Resting oil on canvas 13 x 20 cm Paisley Art Institute Collection, Scotland, UK

    n.d. Le Mage Balthazar et Fatime lithograph 35.7 x 28.8 cm National Gallery of Art, Washington DC

    n.d. Violets and Wallflowers oil on board 28.6 x 28.6 cm The National Trust for Scotland, UK

    n.d. Lélio, la Harpe Éolienne lithograph Cleveland Museum of Art, Ohio

    n.d. Love Poems by Brahms lithograph

    n.d. Lydé lithograph Cleveland Museum of Art, Ohio

    n.d. Man in Bed pen and ink 15.2 x 21.3 cm Musée du Louvre, Paris ©RMN

    n.d. Man Playing a Lute gouache, watercolour and varnish 11.1 x 22.8 cm Musée du Louvre, Paris ©RMN

    n.d. Man with a Moustache and Goatee pencil 20.8 x 19.3 cm Musée du Louvre, Paris ©RMN

    n.d. Mixed Bouquet oil on canvas 26.2 x 35.6 cm Private Collection

    n.d. Morning oil on canvas Musée d'Art et d'Industrie de Roubaix, France

    n.d. Music pencil 30.5 x 22.5 cm Palace of Fine Arts, Lille photo © RMN

    n.d. Naked Woman, Back View, Surrounded by Flowers, Registering Names oil on canvas 16.6 x 10.4 cm Musée du Louvre, Paris ©RMN

    n.d. Naked Woman, Reclining Man Wrapped in a Large Coat charcoal on tracing paper 20.5 x 23.2 cm Musée du Louvre, Paris ©RMN

    n.d. Nasturtiums oil on canvas

    n.d. Néère lithograph Cleveland Museum of Art, Ohio

    n.d. Nude Studies chalk 18.5 x 28.5 cm Rijksmuseum, Amsterdam

    n.d. Nude Woman, Standing, Leaning on a Rock charcoal on tracing paper 20.7 x 13.3 cm Musée du Louvre, Paris ©RMN

    n.d. Nymph and Love pencil 29.8 x 21.4 cm Musée du Louvre, Paris ©RMN

    n.d. Nymphs oil on canvas

    n.d. Pansies oil on canvas Private Collection

    n.d. Paradise and the Peri lithograph Cleveland Museum of Art, Ohio

    n.d. Parsival, Act II: Evocation of Kundry lithograph Cleveland Museum of Art, Ohio

    n.d. Pastorale lithograph Cleveland Museum of Art, Ohio

    n.d. Peaches and Grapes oil on canvas 15 x 30 cm Paisley Art Institute Collection, Scotland, UK

    n.d. Peaches and Greengage oil on canvas 18 x 29 cm Paisley Art Institute Collection, Scotland, UK

    n.d. Peaches in a Glass Bowl oil on canvas

    n.d. Phlox oil on canvas 20 x 24 cm Private Collection

    n.d. Pink and Yellow Roses oil on canvas 33 x 39.5 cm York Museums Trust, UK

    n.d. Portrait of Charles Ricada pencil 24.4 x 22 cm Palace of Fine Arts, Lille, France photo © RMN

    n.d. Queen of the Night oil on canvas 64.8 x 76.8 cm

    n.d. Réverie lithograph Cleveland Museum of Art, Ohio

    n.d. Rose Trees, White Roses oil on canvas Private Collection

    n.d. Roses and Nasturtiums oil on canvas Private Collection

    n.d. Roses de Nice oil on canvas

    n.d. Roses in a Glass Vase oil on canvas Private Collection

    n.d. Roses Lying on Gold Velvet oil on canvas

    n.d. Roses oil on canvas

    n.d. Roses oil on canvas



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    n.d. Self-Portrait pencil, pen, brush and ink scratching, gum arabic 21.7 x 20.7 cm Musée du Louvre, Paris ©RMN
    Henri Fantin-Latour (1836 – 1904) was born Ignace Henri Jean Théodore Fantin-Latour in Grenoble, France in 1836. A painter and lithographer, he is best known for his flower paintings, but he produced many other kinds of work, including several group portraits that are important historical documents and show his friendship with leading avant-garde artists and writers.

    In spite of his association with such progressive artists, Fantin-Latour was essentially a traditionalist. Much of his later career was devoted to lithography; he greatly admired Richard Wagner and did imaginative lithographs illustrating his music and that of other composers. His wife Victoria Dubourg (1840-1926) was also a painter, mainly of flower pieces.

    This is part 13 of a 13-part series on the works of Henri Fantin-Latour. For biographical notes see part 1. For earlier works see parts 1-12 also.

    Note: The remainder of works in this series on Henri Fantin-Latour are not dated, either because the works are known to be undated or because I couldn't find a relevant date, so they will be from across his career and not in any chronological order:



    n.d. Roses oil on canvas Private Collection

    n.d. Roses oil on canvas

    n.d. Self-Portrait oil on canvas 30 x 26 cm National Museum of Western Art, Tokyo

    n.d. Sheet of Studies (replica) black crayon on tan tracing paper, laid down on card 25.8 x  17.7 cm Art Institute of Chicago, IL

    n.d. Siegfried and the Daughters of the Rhine lithograph Cleveland Museum of Art, Ohio

    n.d. Siegfried and the Rhine Maidens black crayon on paperboard 47.8 x 37.2 cm National Gallery of Art, Washington DC

    n.d. Sieglinde and Siegmund from Act I of "The Valkyrie" lithograph National Gallery of Art, Washington DC

    n.d. Sitting Artist, Painting on Canvas charcoal on brown paper 41 x 29.2 cm Musée du Louvre, Paris ©RMN

    n.d. Standing Naked Woman chalk 28.5 x 22 cm (image) Rijksmuseum, Amsterdam

    n.d. Still life (primroses, pears and promegranates) oil on canvas 73 x 59 cm Kröller-Müller Museum, Otterlo, Netherlands

    n.d. Still Life: Mixed Flowers oil on canvas 23 x 19 cm The Ashmolean Museum of Art and Archaeology, Oxford, UK

    n.d. Studies of Female Heads, with Whistler's Profile pen and brown ink and brown wash 21.7 x 29.7 cm Musée du Louvre, Paris ©RMN

    n.d. Study after the 'Turkish' Ingres (see below) pencil 21.3 x 19.2 cm Musée du Louvre, Paris ©RMN


    1862 The Turkish Bath by Jean Auguste Dominique Ingres oil on canvas 108 x 110 cm Musée du Louvre, Paris


    n.d. Study of Naked Woman pencil 35.5 x 19.5 cm Palace of Fine Arts, Lille, France photo © RMN

    n.d. Study of Nude Female pencil 24 x 16 cm Palace of Fine Arts, Lille photo © RMN

    n.d. Study of Nude Female pencil 24 x 16.5 cm Palace of Fine Arts, Lille photo © RMN

    n.d. Study of Nude Female pencil 29.5 x 17 cm Palace of Fine Arts, Lille photo © RMN

    n.d. Study of Sitting Woman 32 x 24 cm Palace of Fine Arts, Lille, France

    n.d. Sweet Peas in a Vase oil on canvas

    n.d. The Ballet of the Trojans; Five Dancing Women Watched by a Seated Woman 45.5 x 54 cm Musée du Louvre, Paris © RMN

    n.d. The Bather oil on canvas 19 x 14.6 cm The Burrell Collection, Glasgow, UK

    n.d. The Beggar lithograph Cleveland Museum of Art, Ohio

    n.d. The Birth of Christ oil on canvas

    n.d. The Blind lithograph Cleveland Museum of Art, Ohio

    n.d. The Entombment, after Titian (see below) oil on canvas mounted on board 44 x 57.3 cm The Fitzwilliam Museum, Cambridge, UK


    1520c Titian "The Entombment of Christ" oil on canvas 148 x 212 cm Musée du Louvre, Paris


    n.d. The Flying Dutchman lithograph Cleveland Museum of Art, Ohio

    n.d. The Judgement of Paris charcoal on tracing paper 22 x 20 cm Musée du Louvre, Paris ©RMN

    n.d. The Poet and his Muse charcoal and wash on tracing paper 29.9 x 17.2 cm Musée du Louvre, Paris ©RMN

    n.d. The Prayer lithograph Cleveland Museum of Art, Ohio

    n.d. The Temptation of St. Anthony oil on canvas 63.5 x 83.5 cm National Museum of Western Art,Tokyo

    n.d. The Trysting Place (attributed to) oil on canvas 25.7 x 20.4 cm Museums Sheffield, UK

    n.d. The Young Tarentine lithograph Cleveland Museum of Art, Ohio

    n.d. Three Peaches oil on canvas 18 x 24 cm Berwick Museum & Art Gallery, Berwick-upon-Tweed, UK

    n.d. Three Studies of Naked Women pencil 26.5 x 21 cm Musée du Louvre, Paris © RMN

    n.d. To Berlioz lithograph Cleveland Museum of Art, Ohio

    n.d. Two Bathers (aka The Surprise) oil on canvas

    n.d. Vase of Flowers oil on canvas

    n.d. Venus and Cupid (attributed to) oil on canvas 45.7 x 76.2 cm The Fitzwilliam Museum, Cambridge, UK

    n.d. Venus and Cupid oil on canvas 22.2 x 18.4 cm Dublin City Gallery, Ireland

    n.d. Violets and Gillyflowers oil on canvas 28.6 x 28.6 cm Hill of Tarvit, National Trust for Scotland, UK

    n.d. White and Pink Roses oil on canvas Private Collection

    n.d. White Azaleas oil on canvas 24 x 19 cm Dover Collections, Kent, UK

    n.d. White Phlox, Summer Chrysanthemum and Larkspur oil on canvas 26.2 x 35.6 cm Private Collection

    n.d. White Roses and Roses in a Footed Glass oil on canvas

    n.d. White Roses oil on canvas

    n.d. Winter Blossoms oil on canvas 31.5 x 38.5 cm Colchester and Ipswich Museums Service, UK

    n.d. Woman Looking Up: Danaé? pencil, pen and brown ink 29.8 x 21.4 cm Musée du Louvre, Paris ©RMN

    n.d. XXI lithograph Cleveland Museum of Art, Ohio

    n.d. XXIV lithograph Cleveland Museum of Art, Ohio

    n.d. XXVII lithograph Cleveland Museum of Art, Ohio

    n.d. Young Female Sitting on a Rock charcoal on tracing paper 20.4 x 13.5 cm Musée du Louvre, Paris ©RMN




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  • 10/02/15--04:37: Trade Cards - part 1
  • Trade cards first became popular at the end of the 17th century in Paris, Lyon, and London. They functioned as advertising and also as maps, directing the public to merchant's stores, as no formal street address numbering system existed at the time.

    One of the oldest trade cards, printed in Lyon and designed by Thomas Blanchet in 1674 for the firm of Anthony Warrior:




    A trade card from around 1730-1742 for a furnishing store, from the V & A Museum collection in London:






    An early 19th century English language trade card for John Farina, cologne manufacturer, showing Farina Huas, Cologne:





    Victorian trade cards became an early form of collectible advertising, particularly in the United States. Popularised after the Civil war by businesses, they offer a colourful and diverse look at popular culture and society in the late 1800s.

    The advent of lithography in the 1870s made it possible to mass-produce them in colour, leading to a golden age from 1876 to the early 1900s, when halftone printed newspaper and magazine advertisements became more economical.

    Trade cards typically had a picture on one side and an advertisement on the other:


    Colburn's Philadelphia Mustard (die-cut) front

    Colburn's Philadelphia Mustard (die-cut) back

    There were custom cards printed for specific products, and generic stock cards that could be used for any product:


    Charles A. Adams, Winchendon, MA

    Jones and Davis, Central Falls, RI

    Trade cards were popular for medicines (including a number of quack remedies), sewing products, farming equipment and a range of other products. Some rare Victorian trade cards are now worth thousands of dollars, for example cards advertising Clipper Ships travelling from the East Coast to California in the 1860s. Many can be picked up for a few dollars on online auction sites.

    This is part 1 of a 6-part series on Trade Cards:


    A Merry Christmas (die-cut)

    A Stowell & Co., Boston, MA (die-cut) front

    A Stowell & Co., Boston, MA (die-cut) back

    A. C. Garland's Music Store, New Brunswick, NJ

    A. C. Yates & Co., Philadelphia, PA (Clothing) (die-cut) front

    A. C. Yates & Co., Philadelphia, PA (die-cut) back

    A. R. Glidden, St. Lawrence (Druggist)

    A. Raymond & Co. (Clothiers)

    A.H. Shapley, Greene, NY (Jeweller & Optician)

    Acme Soap

    Acorn Stoves and Ranges. Rathbone Sard & Co.

    Acorn Stoves and Ranges. Rathbone Sard & Co.

    Adolph Kahn & Co., Indianapolis, Indiana (Clothing)

    Altien's Novelties

    American Puzzle Card (Mr. Bluebeard) 1880 (see below)

    American Puzzle Card (Mr. Bluebeard) 1880

    American Puzzle Card (The Doctor and his Patients) 1880


    American Puzzle Card (Where is the Herdsman?) 1880 (see below)

    American Puzzle Card (Where is the Herdsman?) 1880

    American Puzzle Card (A Basket of Fruit and a Portrait) 1880 (see below)


    American Puzzle Card (A Basket of Fruit and a Portrait) 1880

    Arlatte & Cie, Cambrai, France

    Arlatte & Cie, Cambrai, France

    Arlatte & Cie, Cambrai, France

    Arlatte & Cie, Cambrai, France

    Arm & Hammer. Cowbird

    Arm & Hammer. Dickcissel 1922

    Arm & Hammer. Orchard Oriole

    Arm & Hammer. Western Tanager 1922

    Arnaud, New York

    Arnaud, New York

    Atmore's Mince Meat and Genuine English Plum Pudding

    Atmore's Mince Meat and Genuine English Plum Pudding

    Atmore's Mince Meat and Genuine English Plum Pudding

    Au Bon Marché, France

    Austin Baldwin & Co., Chicago, IL

    Ayer's Cathartic Pills

    Ayer's Cherry Pectoral

    Ayer's Pills

    B. D. Dull, Mechanicsburg, PA

    B.T. Babbit's Best Soap

    Becalmed (generic card)

    Bleu Argent Arlatte and Cie., Cambrai, France (die-cut)

    Bleu Argent Arlatte and Cie., Cambrai, France (die-cut)

    Boston & Middleboro Clothing Co., Middleboro, MA

    Bradley Fertilizer Co., Boston, MA

    Buchan's Carbolic Soap

    Buck's Brilliant Stoves

    Bugbee & Brownell, Providence, RI

    Burdock Blood Bitters

    Burdock Blood Bitters

    Burdock Blood Bitters

    Burdock Blood Bitters

    Butterfield's Shoe Store, Springfield, MA

    C. Gilbert's Linen Starch

    C. L. Jones & Co., Boston & New York

    C. R. Bumpus, Lewiston, Maine

    Chas. A. Monell (die-cut)

    Chas. A. Monell (die-cut)




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  • 10/05/15--04:32: Trade Cards - part 2
  • Clark's Mile-End Spool Cotton
    Victorian trade cards became an early form of collectible advertising, particularly in the United States. Popularised after the Civil war by businesses, they offer a colourful and diverse look at popular culture and society in the late 1800s.

    The advent of lithography in the 1870s made it possible to mass-produce them in colour, leading to a golden age from 1876 to the early 1900s, when halftone printed newspaper and magazine advertisements became more economical.

    Trade cards typically had a picture on one side and an advertisement on the other.

    This is part 2 of a 6-part series on Trade Cards. For other examples see part 1 also.


    Chase & Sanborn's Famous Seal Brand Tea (die-cut)

    Chase & Sanborn's Famous Seal Brand Tea (die-cut)

    Chase & Sanborn's Famous Seal Brand Tea (die-cut)

    Chicorée, Arlatte & Cie, Cambrai, France

    Chocolat Poulain, France

    Maison Louit Frères & Co., France

    Maison Louit Frères & Co., France

    Cie. Beaujolaise

    Cinderella Stoves and Ranges

    Clark's Mile-End Spool Cotton

    Clark's Mile-End Spool Cotton

    Clark's Mile-End Spool Cotton

    Clark's Mile-End Spool Cotton

    Clark's O.N.T. Spool Cotton

    Clark's O.N.T. Spool Cotton

    Clark's O.N.T. Spool Cotton

    Clark's O.N.T. Spool Cotton (die-cut)

    Clark's O.N.T. Spool Cotton

    Clark's O.N.T. Spool Cotton - front (die-cut and folded)

    Clark's O.N.T. Spool Cotton - back (die-cut and folded)

    Clark's O.N.T. Spool Cotton - opened (die-cut and folded)

    Clark's O.N.T. Spool Cotton - front (die-cut with moving parts)

    Clark's O.N.T. Spool Cotton - back (die-cut with moving parts)

    Clark's O.N.T. Spool Cotton

    Cobb, Bates & Yerxa, Boston (Grocers)

    Generic Trade Card (Coffee Mill)

    Colburn's Philadelphia Mustard (die-cut)

    Colgate & Co's "New" Soap


    Chase, Isherwood Co., Toledo, Ohio (Consolation Smoking Tobacco)

    Cooper and Conard (Dry Goods)

    Cosmo Buttermilk Soap Co., Chicago, IL - front (die-cut with moving parts)

    Cosmo Buttermilk Soap Co., Chicago, IL back (die-cut with moving parts)

    Cosmo Buttermilk Soap Co., Chicago, IL inside (die-cut with moving parts)


    Cotton & Thomas, Nashua, NH (Grocers)

    Crosby Flour (with opening doors)

    David Kimball & Co., Portsmouth, NH

    David S. Brown & Co.'s Fine Toilet Soap (die-cut)

    Davis' OK Baking Powder

    Decker Brothers Piano Manufacturers, New York

    Domestic Sewing Machine Co., New York

    Dr. J. Lamoreux (Druggist)

    Dr. Jayne's Tonic Vermituge

    Dr. T. S. McNeil's Pain Exterminator

    Dr. Thomas' Eclectric Oil

    Ed. F. Brown, Ipswich, MA (Druggist)

    Ed. F. Brown, Ipswich, MA (Druggist)

    Ed. F. Brown, Ipswich, MA (Druggist)

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  • 10/07/15--06:26: Trade Cards - part 3
  • H. O'Neill & Co., New York  (die-cut)
    Victorian trade cards became an early form of collectible advertising, particularly in the United States. Popularised after the Civil war by businesses, they offer a colourful and diverse look at popular culture and society in the late 1800s.

    The advent of lithography in the 1870s made it possible to mass-produce them in colour, leading to a golden age from 1876 to the early 1900s, when halftone printed newspaper and magazine advertisements became more economical.

    Trade cards typically had a picture on one side and an advertisement on the other.

    This is part 3 of a 6-part series on Trade Cards. For other examples see part 1 and 2 also.


    Edward Kakas & Sons, Boston, MA 1877

    Emerson's Bromo-Seltzer (die-cut and folded) front

    Emerson's Bromo-Seltzer (die-cut and folded) open


    Emerson's Bromo-Seltzer (die-cut and folded) inside

    Enameline Modern Stove Polish (die-cut) front

    Enameline Modern Stove Polish (die-cut) back

    Estey Organ Co., Brattleboro, VT (die-cut)

    Expectorant of Dr. D. Jayne

    Eyre & Spottiswoode printers (folded card - outside)

    Eyre & Spottiswoode printers (folded card - inside) 

    N.K. Fairbank & Co., Chicago, IL (Fairbank's Cottolene)

    Foster's Men's Gloves

    Frank C. Goodale, Lowell (Druggist)

    Frank Miller's Crown Dressing (die-cut)

    Frear's Troy Bazaar

    Fritz Thies, Denver, Co (Liquors Cigars)

    Fred G. Kingsman & Co., Augusta, ME ("Fuller" Drug Store)

    G. V. S. Quackenbush & Co.

    G. V. S. Quackenbush & Co.

    Geo. DuBois and Co., Utica, NY (die-cut)

    Geo. G. Burbank, Worcester

    Geo. H. Couch, Bridgeport, Connecticut (Fine Shoes)

    Geo. Watson & Co., Newark, NJ (Clothiers)

    Gillies'

    Gordon & Dilworth Manufacturers, New York

    Grant Clothiers 1887

    Grosh's Pharmacy, West Philadelphia, PA (die-cut)

    H, O. Ryerson & Co. soaps (die-cut)

    H. H. Maupin, Woodlawn, Missouri (Dr. D. Jayne's Expectorant)


    H.J. Tenney & Co. (die-cut)

    Haines & Co. Pianos, Rochester, NY (die-cut)

    Halls, Philadelphia, PA (Dry Goods)

    Harris Bros. Tobacco & Cigars, San Francisco

    Hecker-Jones-Jewell Milling Company, New York (Jones Superlative Flour) die-cut - front

    Hecker-Jones-Jewell Milling Company, New York (Jones Superlative Flour) die-cut - back

    Hill Brothers, New York 1885

    Hoffman & Maurer's (Notions, Fancy Goods and Picture Frames)

    Hood's Pills (die-cut)

    Hood's Sarsaparilla

    Hood's Sarsaparilla (die-cut)

    Hood's Sarsaparilla (die-cut)

    Horsford's Acid Phosphate

    Household Sewing Machine Co.

    Howe Scales

    Hoyt's German Cologne (die-cut)

    The image on the card below seems to feature James Madison, the fourth President of the United States (1809-1817). See the contemporary engraving below the trade card:

    Irvin's Shoe Store, Newark, NJ




    J. & P. Coates Cotton

    J. & P. Coates Cotton

    J. & P. Coates Cotton

    J. & P. Coates Cotton

    J. & P. Coates Cotton

    J. & P. Coates Cotton

    J. & P. Coates Cotton

    J. Estey & Co. Organs. Brattleboro, Vermont

    J. H. Dudley & Co.

    J. J. Estes' Holiday Goods

    J. P. Jones, Baltimore (die-cut)

    J. R.Hall, Newport, VT (die-cut)

    J. Rothschild, New York (die-cut) front

    J. Rothschild, New York (die-cut) back

    J. S. Thomson & Co. Printers, Chicago

    J. W. Chamberlain, Salem, MA

    J. W. Le Maistre, Philadelphia, PA

    J.J. Lamberts, New York (die-cut)

    Jennie Stamley (die-cut)

    John D. Cutter & Co.



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  • 10/09/15--04:34: Trade Cards - part 4
  • Mrs Winslow's Soothing Syrup
    Victorian trade cards became an early form of collectible advertising, particularly in the United States. Popularised after the Civil war by businesses, they offer a colourful and diverse look at popular culture and society in the late 1800s.

    The advent of lithography in the 1870s made it possible to mass-produce them in colour, leading to a golden age from 1876 to the early 1900s, when halftone printed newspaper and magazine advertisements became more economical.

    Trade cards typically had a picture on one side and an advertisement on the other.

    This is part 4 of a 6-part series on Trade Cards. For other examples see part 1 - 3 also.


    John English & Co. (Needles)

    John Hancock, Boston, MA (Life Insurance)

    Kennedy & Hills, Pittsfield, MA (die-cut)

    Kennedy & Hills, Pittsfield, MA (die-cut)

    King's Self Raising Flour

    Knapp's Root Beer (die-cut)

    Knickerbocker Jewelry Co. New York

    L. Audierne, Gray, France (Clothing)

    Lautz Bros. & Co. Soaps

    Lautz Bros. & Co. Soaps

    Libby, Mc.Neill & Libby, Chicago, IL 

    Liebig Company's Fleisch-Extract

    Liebig Company's Fleisch-Extract

    Liebig Company's Fleisch-Extract

    Lion Coffee (die-cut) front


    Lion Coffee (die-cut) back

    LOAG the Printer, Philadelphia

    Ludwig Piano (die-cut)

    Ludwig Piano (die-cut)

    Madonna Cotton

    Magnetized Food Co. 1882 (die-cut)

    Marshall & Ball (Clothiers)

    Martin Wilson Fruits, Nuts, & Co., New Brunswick, NJ

    McCullough Soap Co. (Magnetic Soap) die-cut (front)

    McCullough Soap Co. (Magnetic Soap) die-cut (back)

    Mercerie, Soieries, Rubans (die-cut)

    Merrick Thread Co.  (die-cut)

    Metropolitan Life Insurance Co., New York

    Meunier_Frères Chocolate series (die-cut) fronts

    Meunier_Frères Chocolate series (die-cut) backs

    Milton Rogers & Sons, Omaha, Nebraska (Toy Savings Bank)  front

    Milton Rogers & Sons, Omaha, Nebraska (Toy Savings Bank) back

    Milwaukee Harvester Company, Wisconsin front

    Milwaukee Harvester Company, Wisconsin back


    Mrs. J. A. Wheeler, Milford, NH (die-cut)

    Murray & Lanman Florida Water 1881

    Murray & Lanman Florida Water 1883

    Muzzy Starch Co., Elkhart, Indiana

    N. A. Root & Co., Milwaukee, Wisconsin

    N. Y. Condensed Milk Co. 1887

    N.K. Mansfield, Springfield, MA

    National Line Steamships

    National Line Steamships

    New Home Sewing Machine Co.

    New York One Price Clothing Co., Westfield, MA

    Niagara Corn Starch

    Niagara Gloss Starch

    Niagara Starch

    Nichols' Elixir, Peruvian Bark & Protoxide of Iron

    Nicoll The Tailor, New Haven, CT

    Nouveautés aux Deux Passages, Lyon, France

    Oeufs et Nids. La Fauvette

    R.A. Wooldridge & Co., Baltimore, MD 

    Palmer Lilac Sweets (die-cut)

    Palmer May Bloom (die-cut)

    Palmer Violet Bloom (die-cut)

    Parks & Tate, Schenectady, NY


    Parks & Tate, Schenectady, NY


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  • 10/12/15--05:41: Trade Cards - part 5
  • R. H. Macy & Co, New York
    Victorian trade cards became an early form of collectible advertising, particularly in the United States. Popularised after the Civil war by businesses, they offer a colourful and diverse look at popular culture and society in the late 1800s.

    The advent of lithography in the 1870s made it possible to mass-produce them in colour, leading to a golden age from 1876 to the early 1900s, when halftone printed newspaper and magazine advertisements became more economical.

    Trade cards typically had a picture on one side and an advertisement on the other.

    This is part 5 of a 6-part series on Trade Cards. For other examples see part 1 - 4 also.


    People's Tea Co.

    Peter Hendersen & Co. Bouquet Collection of Roses

    Phenix Insurance (die-cut) front

    Phenix Insurance (die-cut) back

    Philip Conway, Jr., Practical Shirt Maker, Philadelphia

    Philip Conway, Jr., Practical Shirt Maker, Philadelphia

    Pillsbury's Flour

    Quaker Oats

    Quaker Oats

    Rex Brand, Omaha, Nebraska (die-cut and folded) outside front and back

    Rex Brand, Omaha, Nebraska (die-cut and folded) inside

    Rex Brand, Omaha, Nebraska (die-cut)

    Rice's Seeds

    Ricksecker's Dentaroma

    Rough on Rats

    Rumford Chemical Works, Providence, RI

    Russell, Morgan & Co. Label Manufacturers, Cincinnati

    Russell, Morgan & Co. Label Manufacturers, Cincinnati

    Russell, Morgan & Co. Label Manufacturers, Cincinnati

    Russell, Morgan & Co. Label Manufacturers, Cincinnati

    Russell, Morgan & Co. Label Manufacturers, Cincinnati

    Rutland Lining for Stoves

    S. L. George, Waterton, NY

    S. Packard & Co.

    Sanford's Camphor Ice

    Santa Claus Soap (die-cut)

    Sapolio (die-cut)

    Scott's Emulsion

    Scott's Emulsion


    Seeley Brothers Fine Varnishes and Enamel Oil Finish

    Seven Barks

    Sing Chong Company Inc. San Francisco

    Soapine

    Soapine

    Solar Tip Shoes

    Souder & Bright, Columbus, Ohio

    St, Jacobs Oil

    Standard Fire Insurance Company 1880

    Standard Screw Fastened Shoes

    Standard Screw Fastened Shoes

    Stark Brothers, Milwaukee

    Sterling Stoves

    Stern & Sonneborn, Paterson, NJ

    Strong, Brooklyn, NY

    Sunshine Publishing Company (Trade Cards), Philadelphia, PA

    Syrup of Figs

    T. J. Lucas

    Tea Plant

    The Alden Fruit Vinegar

    The Domestic Sewing Machine Co.

    The Huntingdon Piano Company, Shelton, Connecticut (die-cut) front

    The Huntingdon Piano Company, Shelton, Connecticut (die-cut) back

    The Ithaca Organ

    The Singer MFG Co., NY

    The Singer MFG Co., NY

    The Sterling Company, Derby, Connecticut (die-cut) front

    The Sterling Company, Derby, Connecticut (die-cut) back

    The United Brand Shirts (die-cut with moving part) see below

    The United Brand Shirts (die-cut with moving part)



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  • 10/14/15--05:47: Trade Cards - part 6
  • The Woolson Spice Company, Easter Greetings
    Victorian trade cards became an early form of collectible advertising, particularly in the United States. Popularised after the Civil war by businesses, they offer a colourful and diverse look at popular culture and society in the late 1800s.

    The advent of lithography in the 1870s made it possible to mass-produce them in colour, leading to a golden age from 1876 to the early 1900s, when halftone printed newspaper and magazine advertisements became more economical.

    Trade cards typically had a picture on one side and an advertisement on the other.

    This is part 6 of a 6-part series on Trade Cards. For other examples see part 1 - 5 also.

    Note: I have literally hundreds of digital trade cards from my research but couldn't show them all here. I will however start uploading them to my Pinterest site "Art House", which can be found here (copy and paste): 
    https://uk.pinterest.com/poul0209/


    The Weser Piano (die-cut)

    The White Sewing Machine Co. Cleveland, Ohio

    The White Sewing Machine Co. Cleveland, Ohio

    Thorp, Hawley & Co., Detroit, MI (Fine Candies) (die-cut) 

    Thurber's Fruit Preserves and Jellies

    Thurston, Hall & Co. Crackers, Cambridgeport, Mass,

    Tobacco

    Trèvere Mousquetaire Gloves. Brown, Bolton & Co., New Haven, CT (die-cut - front)


    Trèvere Mousquetaire Gloves. Brown, Bolton & Co., New Haven, CT (die-cut - back)

    Van Houten's Cocoa (die-cut)

    W. Ellis, Stationer (die-cut)

    W. H. Read, Baltimore, MD (Cologne)

    W. J.Burton & Co., Providence, RI (Pharmacists)

    Warner & Merritt, Philadelphia, PA

    Watson and McGill Tobacco, Petersburg, VA

    Webb's Chocolate

    Weir Stove Co., Taunton, MA

    J.B. Williams'& Co., Soap

    Willimantic Thread

    Willimantic Thread

    Wm. Broadhead & Sons, Jamestown, NY

    Wm. Stuart (Furniture and Carpets)

    Woolson Spice Co., Toledo, Ohio

    Wright's Indian Vegetable Pills (die-cut)

    Note: The remainder of the Trade Cards in this final part of the series are unused generic fronts of cards ready to be overprinted, ie. no advertising was overprinted onto these particular specimens.








































    (embossed and die-cut)





    (die-cut)



    (die-cut)







    (die-cut)

    (die-cut)







    (die-cut)


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  • 10/16/15--06:00: David Roberts - part 1
  • Lithograph of David Roberts
    David Roberts RA (1796 – 1864) was a Scottish painter. He is especially known for a prolific series of detailed lithographic prints of Egypt and the Near East that he produced as watercolour sketches he made during long tours of the region between 1838 and 1940. These, along with his large format oil paintings of similar subjects, made him a prominent Orientalist artist. He became a Royal Academician in 1841.


    Roberts was born in 1796 in Stockbridge, near Edinburgh, where he was first apprenticed as a house painter. He became a scenic artist, active in the north, before moving to London in 1822.


    He became an inveterate traveller, his most celebrated expeditions being those to Spain and North Africa in 1832 – 33, and to Egypt and the Holy Land. His work became widely known through the prints made from his works. Roberts died in London in 1864. He left a Manuscript Journal and a ‘Thumbnail Sketch’ Journal, recording 252 of his oil paintings, which remain in private collections.


    1832 – 33 Spain

    In 1832 David Roberts travelled to Spain and Tangiers. He returned at the end of 1833 with a supply of sketches that he elaborated into paintings that became very popular. He executed a series of Spanish illustrations for the “Landscape Annual” of 1836. Then in 1837 a selection of his “Picturesque Sketches of Spain” was reproduced by lithography by Hodgson & Graves of Pall Mall, London.


    1838 – 52 Egypt and the Holy Land

    Roberts travelled to Egypt at the end of August 1838. His intent was to produce sketches he could later use as the basis for both paintings and for lithographs. Egypt was much in vogue at the time, and travellers, collectors, and lovers of antiquities were ken to buy works inspired by the east or depicting the great monuments of ancient Egypt.



    Roberts made a long tour of Egypt, Nubia, the Sinai, the Holy Land, Jordan and Lebanon. Throughout, he produced a vast collection of drawings and watercolour sketches. On his return to England, Roberts worked with lithographer Louis Haghe between 1842 and 1849 to produce the lavishly illustrated plates for the series “ The Holy Land,, Syria, Idumea, Arabia, Egypt & Nubia.” He funded the work through advance subscriptions, which he solicited directly. Roberts accumulated 400 subscription commitments, with Queen Victoria being Subscriber No. 1. Her complete set is still in the Royal Collection.


    This is part 1 of an 8 - part series on David Roberts:

    1796-1826c Rouen Cathedral oil on panel 47.5 x 31.7 cm Smithsonian American Art Museum, Washington, DC.

    1818c St Patrick's Church, Cowgate, Edinburgh pencil and oil on panel 39.4 x 28.4 cm Scottish National Gallery, Edinburgh, UK

    1822 Interior of a Cathedral oil on panel 73.7 x 55.9 cm Towneley Hall Art Gallery & Museum, Burnley, UK

    1826 The Church of St Jacques, Dieppe oil on canvas 76.8 x 61 cm Brodick Castle, North Ayrshire, Scotland, UK

    1827 Le Marché au Blé at Abbeville, from the Grande Place oil on canvas 64.5 x 80.5 cm

    1828 Nôtre Dame, Paris pen and ink and watercolour on paper 11.25 x 9.4 cm Denver Art Museum, Colorado

    1829 Hindoo Architecture – A Composition oil on panel 40.6 x 30 cm Scottish National Gallery, Edinburgh, UK

    1829 The Departure of the Israelites oil on canvas 130 x 183.3 cm Birmingham Museums Trust, UK

    1829 The Porch of St Maclou, Rouen oil on panel 54.6 x 40.6 cm Tate, London

    1830 The Shrine of Edward the Confessor watercolour and gouache on paper 32.1 x 46 cm Tate, London

    1831 Edinburgh Town and Castle oil on canvas 91.4 x 67.3 cm Dundee Art Galleries and Museums Collection, UK

    1831 Rouen Cathedral oil on canvas 183.5 x 137 cm Grundy Art Gallery, Blackpool, UK

    1832 Moorish Church Interior (Eastern Church) (attributed to) oil on canvas Lancaster Maritime Museum, UK

    1832 Ruins of a Temple and an Amphitheatre oil on canvas 136 x 180.3 cm Walker Art Gallery, Liverpool, UK

    1832 The Great Staircase, Stafford House oil on canvas 133 x 103 cm Government Art Collection, UK

    1832 The Lady Chapel, Church of St Pierre, Caen oil on panel 48.7 x 39.7 cm Manchester City Art Galleries, UK

    1833 Castillo de Alcalá de Guadaíra oil on panel 40 x 48 cm Museo Nacional del Prado, Madrid

    1833 Sketches of Seated Moorish Women pencil and wash on wove paper 9.2 x 9 cm © Royal Academy of Arts, London 

    1833 Study of Spanish Peasants at Alcalá el Guadaíra pencil and watercolour 19 x 17 cm Denver Art Museum, Colorado

    1833 The Giralda, Seville watercolour and graphite heightened with touches of white on blue-grey paper 36.5 x 24.5 cm The Metropolitan Museum of Art, New York

    1833 The Golden Tower, Seville, at Sunset pencil, watercolour and tempera, pen and ink and brush on grey paper 36.2 x 25.8 cm The Morgan Library and Museum, New York

    1833 The Torre del Oro oil on panel 39 x 48 cm Museo Nacional del Prado, Madrid

    1833 Two Spanish Peasants, Andalucia pencil and wash on wove paper 9.3 x 7.4 cm

    1833-43 Romanesque Ruins at Nijmegen (attributed to) oil on board 20.3 x 39.3 cm Ulster Museum, Northern Ireland, UK

    1833- 34 Tower of Comares, Alhambra, Granada

    1833c A Spaniard pencil and watercolour on wove paper 14.3 x 8.4 cm

    1833c St. Sophia from the Bosphorus watercolour 20.3 x 29.7 cm Victoria and Albert Museum, LondonBosporus

    1833c St. Sophia from the Bosphorus graphite and watercolour on off-white paper Image courtesy of the Indianapolis Museum of Art

    1834 Descent into the Plain of Granada pencil, watercolour and gouache 23.2 x 32.5 cm The Cleveland Museum of Art, Ohio

    1834 Old Buildings on the Darro, Granada oil on panel 44.4 x 59.4 cm Victoria and Albert Museum, London

    1834 Ronda, Spain watercolour on paper 23.5 x 33 cm Tate, London

    1834 The Tower of the Church of San Nicolás de la Villa, Córdoba oil on canvas 38.2 x 27.6 cm The Hepworth Wakefield, UK

    1835 Church of Notre-Dame, Dijon (attributed to) oil on canvas 40.3 x 30.3 cm Glasgow Museums Resource Centre, UK

    1835 Entrance to the North Transept, Cathedral of Burgos oil on panel 52.1 x 46 cm Tate, London

    1835 The Palazzo dei Priori, Volterra black graphite, heightened with white on blue paper 24 x 14.3 cm The Metropolitan Museum of Art, New York

    1835 The Valley of Jehosaphat, Jerusalem watercolour with touches of opaque white watercolour over black chalk on wove paper 22.9 x 33 cm The Morgan Library and Museum, New York

    1836 St Paul's Cathedral, London, with the Lord Mayor's Procession oil on panel 61 x 76 cm Guildhall Art Gallery, London

    1836 The Palace of Escorial, Near Madrid, Spain watercolour over pencil 26 x 39 cm

    1836c Interior of a Church oil on canvas 58 x 45 cm Rotherham Heritage Services, UK

    1837 Edinburgh Castle from the Grassmarket oil on panel 50.5 x 40 cm Laing Art Gallery, Newcastle, UK

    1837 King's College Chapel, Cambridge oil on canvas 69.8 x 55.8 cm Smithsonian American Art Museum, Washington, DC

    1837 London from Fleet Street, the Lord Mayor's Show oil on canvas 70.4 x 90.4 cm Walker Art Gallery, Liverpool, UK

    1837 The Mosque, Cordova lithograph 55 x 37.4 cm

    1837c The Fountain on the Prado, Madrid pencil and watercolour 25.5 x 17 cm Berger Collection, Denver, CO

    1838 Abu Simbel Temple Of Ramesses II watercolour

    1838 Colossal figures in front of the Great Temple of Aboo-Simbel watercolour

    1838 Granada: the Chapel of Ferdinand and Isabella oil on panel 47.5 x 37.5 cm The Wallace Collection, London


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  • 10/19/15--07:04: David Roberts - part 2
  • David Roberts Esq. in the Dress He Wore in Palestine, by Robert Scott Lauder 1840
    David Roberts RA (1796 – 1864) was a Scottish painter. He is especially known for a prolific series of detailed lithographic prints of Egypt and the Near East that he produced as watercolour sketches he made during long tours of the region between 1838 and 1940. These, along with his large format oil paintings of similar subjects, made him a prominent Orientalist artist. He became a Royal Academician in 1841.

    For more information on Roberts and for earlier works, see part 1 also.

    This is part 2 of an 8 - part series on David Roberts:


    1837 Picturesque Sketches in Spain

    In 1832 David Roberts travelled to Spain and Tangiers. He returned at the end of 1833 with a supply of sketches that he elaborated into paintings that became very popular. He executed a series of Spanish illustrations for the “Landscape Annual” of 1836. Then in 1837 a selection of his “Picturesque Sketches of Spain” was reproduced by lithography by Hodgson & Graves of Pall Mall, London.


    1 Title page. Entrance to the Chapel of Ferdinand and Isabella, Granada

    2 The High Altar of Seville Cathedral during the celebration of Corpus Christi

    3 Part of the High Altar during Mass and the great Candle in the Chancel of Seville Cathedral

    4 Interior of the Church of San Miguel, Xeres

    5 North Aisle of Seville Cathedral, with the Procession of the Host

    6 Church of San Jago, Xeres

    7 Part of the Cathedral, Burgos

    8 Correo de los Morros or Ancient Guardhouse, Granada

    9 Gate of the Vivarrambla, Granada

    10 Tower of Comares, Fortress of the Alhambra

    The original oil painting:


    1838 The Tower of Comaris, Alhambra, Granada oil on panel 50.8 x 40.6 cm Private Collection

    11 Old Buildings on the River Darro, Granada

    12 Ancient Roman Gateway, Cordova

    13 Chapel in the Great Mosque, Cordova

    14 The Tower of the Gralda, Seviile

    15 Chapel of the Nunnery of the Virgin at Carmona during the Service of the Vigils by the Sisterhood

    16 Chapel of Ferdinand and Isabella with the Tombs of Philip II and his Queen and of Ferdinand and Isabella

    17 Great Square and Market Place, Carmona

    18 Entrance to Madrid, The Gate of Alcalá

    19 Citadel and Port of Malaga

    19b Citadel and Port of Malaga hand-coloured

    20 Bridge of Toledo on the River Manzanares, Madrid

    21 Porch of an Ancient Mosque, Cordova

    22 Mill and Bridge on the Guadalquiver, Cordova

    23 Distant View of the Palace of the Escurial and Mountains of the Guadarama

    24 Great Mosque and Palace of the Arhbishop, Codova

    25 The Rock of Gibraltar, facing the Neutral Ground

    26 The Bull Ring, Seville

    *          *          *


    1838 Interior of Cologne Cathedral, with a Funeral oil on canvas 91.5 x 72 cm Wolverhampton Art Gallery, UK


    1838 – 52 Egypt and the Holy Land



    Roberts travelled to Egypt at the end of August 1838. His intent was to produce sketches he could later use as the basis for both paintings and for lithographs. Egypt was much in vogue at the time, and travellers, collectors, and lovers of antiquities were ken to buy works inspired by the east or depicting the great monuments of ancient Egypt.



    1838 Obelisk at Luxor pencil and watercolour 48 x 32.5 cm Private Collection

    1838 Oriental Scene watercolour over traces of graphite on cardboard 31 x 23 cm  The Metropolitan Museum of Art, New York

    1838 The Gate of Metwaley, Cairo pencil and watercolour on paper 34.3 x 24.8 cm Denver Art Museum, Colorado

    1838 The Great Hall at Karnak pencil and watercolour on paper 47 x 32.4 cm Denver Art Museum, Colorado

    1838 The Great Temple of Amon Karnak, The Hypostyle Hall watercolour 48.9 x 33 cm Yale Centre for British Art, New Haven, CT

    1838 The Temple of Horus at Edfu watercolor, pen and black ink, and pencil, heightened with white, on light brown wove paper 32.3 x 48.2 cm The Morgan Library and Museum, New York

    1838 View of Karnak, Egypt watercolour, point of brush, and tempera, over pencil, on light brown wove paper 32.5 x 48.5 cm The Morgan Library and Museum, New York

    1838-39 Egyptian Temple sepia wash on paper 11.1 x 17.5 cm Scottish National Galleries, UK

    1838-39 The Gateway, Baalbec pencil and watercolour on paper 37.2 x 27.8 cm National Galleries of Scotland, UK

    1839 Cairo, Looking West watercolour and gouache over graphite on paper 34.1 x 54 cm The Morgan Library and Museum, New York

    1839 Colosseum Ruins watercolour with white highlights 22 x 32.5 cm

    1839 Grand Cairo watercolour and gouache over pencil Victoria and Albert Museum, London

    1839 Petra: El Khazne (Treasury) watercolour

    1839 St Catherine's Convent, Mount Sinai, Holy Land watercolour and gouache over pencil on paper 24.5 x 34.5 cm © Birmingham Museums and Art Gallery, UK

    1839 The Great Sphinx and Pyramids of Giza watercolour

    1839 The Shrine of the Holy Nativity, Bethlehem pencil and watercolour on paper 20.5 x 31.5 cm Denver Art Museum, Colorado

    1839 Valetta, Malta pencil, watercolour and bodycolour on four joined sheets of paper 31.8 x 87.6 cm National Galleries of Scotland, UK




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  • 10/22/15--04:19: David Roberts - part 3
  • David Roberts in 1844 by Hill & Adamson
    David Roberts RA (1796 – 1864) was a Scottish painter. He is especially known for a prolific series of detailed lithographic prints of Egypt and the Near East that he produced as watercolour sketches he made during long tours of the region between 1838 and 1840. These, along with his large format oil paintings of similar subjects, made him a prominent Orientalist artist. He became a Royal Academician in 1841.

    For more information on Roberts and for earlier works, see part 1 and 2 also.

    This is part 3 of an 8 - part series on David Roberts:


    1839-42 The Holy Land:



    1839 Absalom's Pillar, Valley of Jehoshaphat colour lithograph

    1839 Approach to Petra, an Ancient Watch Tower Commanding the Valley of El Chor colour lithograph

    1839 Ascent of the Lower Range of Sinai colour lithograph

    1839 Ascent to the Summit of Sinai colour lithograph

    1839 Ashdod colour lithograph

    1839 Banks of the Jordan colour lithograph

    1839 Bethany colour lithograph

    1839 Bethlehem colour lithograph

    1839 Caiaphas Looking Towards Mount Carmel colour lithograph

    1839 Chapel of Elijah on Mount Horeb colour lithograph

    1839 Chapel of the Convent of St. Saba colour lithograph

    1839 Christian Church of St. George at Ludd, ancient Lydda colour lithograph

    1839 Church of the Holy Sepulchre, Jerusalem colour lithograph

    1839 Circular Temple at Baalbec colour lithograph

    1839 Citadel of Jerusalem, without the Walls, Tower of David colour lithograph

    1839 Citadel of Sidon colour lithograph

    1839 City of Tiberias on the Sea of Galilee, looking towards Hebron colour lithograph

    1839 Coast of Syria colour lithograph

    1839 Convent of St. Catherine with Mount Horeb colour lithograph

    1839 Convent of St. Saba colour lithograph


    1839 Convent of St. Saba colour lithograph

    1839 Convent of the Terra-Santa, Nazareth colour lithograph

    1839 Descent from the Valley of the Jordan colour lithograph

    1839 El Deir Petra colour lithograph

    1839 Eleutheropolis or the modern Beit-Jibrin colour lithograph

    1839 Encampment of Pilgrims, Jericho colour lithograph

    1839 Entrance to Nablus colour lithograph

    1839 Entrance to Petra, the Theatre colour lithograph

    1839 Entrance to the Tombs of the Kings, Jerusalem colour lithograph

    1839 Fountain at Cana colour lithograph

    1839 Fountain of Job, Valley of Hinnom colour lithograph

    1839 Fountain of Siloam, Valley of Jehoshaphat colour lithograph

    1839 Fountain of the Virgin, Nazareth colour lithograph

    1839 Gate of Damascus, Jerusalem colour lithograph

    1839 Gaza colour lithograph

    1839 Gebil Hor. Mount Hor, from the Cliffs Encircling Petra colour lithograph

    1839 Hebron colour lithograph

    1839 Jaffa colour lithograph

    1839 Jericho colour lithograph

    1839 Jerusalem colour lithograph


    1839 Jerusalem from the Mount of Olives colour lithograph

    1839 Jerusalem from the Mount of Olives colour lithograph

    1839 Jerusalem from the North colour lithograph

    1839 Jerusalem from the South colour lithograph

    1839 Lower Pool of Siloam, Valley of Jehoshaphat colour lithograph

    1839 Mount Seir Wady el Chor colour lithograph

    1839 Mount Tabor from the Plain of Esdraelon colour lithograph

    1839 Nablus Ancient Shechem colour lithograph

    1839 Petra, Eastern End of the Valley colour lithograph

    1839 Petra, Lower End of the Valley, Viewing the Acropolis colour lithograph

    1839 Port of Tyre colour lithograph

    Note: Lithographs and paintings from the Holy Land are continued in part 4



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  • 10/26/15--07:21: David Roberts - part 4
  • Portrait of David Roberts c1845 by Clarkson Stanfield R.A. pen and brown ink on wove paper
    David Roberts RA (1796 – 1864) was a Scottish painter. He is especially known for a prolific series of detailed lithographic prints of Egypt and the Near East that he produced as watercolour sketches he made during long tours of the region between 1838 and 1840. These, along with his large format oil paintings of similar subjects, made him a prominent Orientalist artist. He became a Royal Academician in 1841.

    For more information on Roberts and for earlier works, see part 1 to 3 also.

    This is part 4 of an 8 - part series on David Roberts:


    1839-42 The Holy Land (continued):

    1839 Ruins Called Om El Hamed near Tyre colour lithograph

    1839 Ruins of the Church of St. John Sabaste colour lithograph

    1839 Ruins of the Eastern Portico of the Temple of Baalbec colour lithograph

    1839 Sea of Galilee at Genezareth looking Towards Bashan colour lithograph

    1839 Semua colour lithograph

    1839 Shrine of the Annunciation, Nazareth colour lithograph

    1839 Shrine of the Nativity, Bethlehem colour lithograph

    1839 Stone of Unction, Holy Sepulchre colour lithograph

    1839 Sur or Tsor, Ancient Tyre from the Isthmus colour lithograph

    1839 The Convent of St. Catherine, Mount Sinai, Looking towards the Plain of the Encampment colour lithograph

    1839 The Dead Sea Looking Towards Moab colour lithograph

    1839 Tiberias, from the Walls, Safet in the Distance colour lithograph

    1839 Tomb of Aaron, Summit of Mount Horeb colour lithograph

    1839 Town of Tiberias Looking Towards Lebanon colour lithograph

    1839 Triumphal Arch Crossing the Ravine Leading to Petra colour lithograph

    1839 Wells of Moses, Wilderness of Tyh colour lithograph

    1842 Petra lithograph

    1842 Petra. Looking South lithograph

    1939 Petra: El Khazne (Treasury)

    1839c The Triumphal Arch Crossing the Ravine Leading to Petra pencil and watercolour on paper 32.7 x 21.9 cm Denver Art Museum, Colorado

    1840 A View in Cairo oil on canvas 91 x 70 cm Royal Collection, Windsor Castle, UK

    1840 Baalbec, Ruins of the Temple of Bacchus oil on canvas 182.2 x 132 cm Walker Art Gallery, Liverpool, UK

    1841 A Priest Carrying the Blessed Sacrament (attributed to) oil on canvas 61 x 51 cm Ferens Art Gallery, Kingston upon Hull, UK

    1841 Pilgrims Approaching Jerusalem oil on canvas 119.3 x 210.7 cm Royal Holloway, University of London

    1841 The Gateway to the Great Temple at Baalbec oil on panel 75.8 x 61.8 cm Royal Academy of Arts, London

    1841 The Temple of Dendera, Upper Egypt oil on canvas 119.3 x 212 cm Bristol Museum & Art Gallery, UK

    1842 Baalbec oil on canvas 35.8 x 46 cm National Galleries of Scotland, UK

    1842 Baalbec: the Temple of Jupiter pencil, watercolour and body-colour with varnish on card 13.5 x 20.3 cm The Wallace Collection, London

    1842 Bazaar of the Coppersmith’s, Cairo oil on canvas Private Collection

    1842 Jerusalem from the Mount of Olives with Pilgrims Entering from the River Jordan oil on canvas 84.1 x 153 cm Norfolk Museum Services, UK

    1842-43 Ruins of the Temple, Kom Ombos, Upper Nile, Egypt oil on canvas 108.5 x 150 cm Touchstones Rochdale, UK

    1842-49 Cairo and Nubia :

    1846 Egypt and Nubia, Volume I; Thebes colour lithograph 43.5 x 60.4 cm

    1846 Egypt and Nubia Volume I; Portico of the Temple Edfou, Upper Egypt colour lithograph 43.5 c 60.3 cm

    1846 Egypt and Nubia, Volume I; Cleopatra's Needle lithograph with hand colouring 35.1 x 42.9 cm cm

    1846 Egypt and Nubia, Volume I; Excavated Temple of Gyrshe, Nubia colour lithograph 35.8 x 40.7 cm

    1846 Egypt and Nubia, Volume I; General View of the Island of Philae, Nubia colour lithograph 43.2 x 60.4 cm

    1846 Egypt and Nubia, Volume I; General View of the Ruins of Luxor, From the Nile colour lithograph 42.9 x 60.4 cm

    1846 Egypt and Nubia, Volume I; Interior of the Temple of Aboo-Simbel colour lithograph 43.3 x 60.4 cm

    1846 Egypt and Nubia, Volume I; Kom-Ombo colour lithograph 43.1 x 60.5 cm

    1846 Egypt and Nubia, Volume I; Obelisk of Luxor colour lithograph 60.3 x 43 cm

    1846 Egypt and Nubia, Volume I; Pompey's Pillar, Alexandria lithograph with hand colouring 37 x 43.8 cm

    1846 Egypt and Nubia, Volume I; Pyramids of Geezeh, from the Nile lithograph with hand colouring 37 x 43.8 cm cm

    1846 Egypt and Nubia, Volume I; Ruins of Luxor from the South-West lithograph with hand colouring 36.8 x 43.3 cm

    1846 Egypt and Nubia, Volume I; Sanctuary of the Temple of Aboo-Simbel, Nubia colour lithograph 37 x 43.4 cm

    1846 Egypt and Nubia, Volume I; Statues of Memnon, Thebes colour lithograph 43.4 x 60.3 cm

    1846 Egypt and Nubia, Volume I; Temple at Esneh colour lithograph 43.1 x 60.4 cm

    1846 Egypt and Nubia, Volume I; Temple at Tafa in Nubia colour lithograph 35.2 x 43.7 cm

    1846 Egypt and Nubia, Volume I; Temple of Dakke, in Nubia colour lithograph 35.5 x 42.9 cm

    1846 Egypt and Nubia, Volume I; Temple of Wady Kardassy, Nubia colour lithograph 36.1 x 42.8 cm


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  • 10/28/15--05:35: David Roberts - part 5
  • David Roberts R.A. © Royal Academy of Arts, London 
    David Roberts RA (1796 – 1864) was a Scottish painter. He is especially known for a prolific series of detailed lithographic prints of Egypt and the Near East that he produced as watercolour sketches he made during long tours of the region between 1838 and 1840. These, along with his large format oil paintings of similar subjects, made him a prominent Orientalist artist. He became a Royal Academician in 1841.

    For more information on Roberts and for earlier works, see part 1 to 4 also.

    This is part 5 of an 8 - part series on David Roberts:


    1842-49 Cairo and Nubia continued:


    1846 Egypt and Nubia, Volume I; Temple of Wady Saboua, Nubia colour lithograph 38 x 43.3 cm

    1846 Egypt and Nubia, Volume I; The Great Sphinx, Pyramids of Gezeeh colour lithograph 42.9 x 60.2 cm

    1846 Egypt and Nubia, Volume I; The Great Sphinx, Pyramids of Gezeeh lithograph with hand colouring 39.5 x 42.9 cm

    1846 Egypt and Nubia, Volume I; The Great Temple of Aboo-Simble, Nubia colour lithograph 43.7 x 60.3 cm

    1846 Egypt and Nubia, Volume I; Thebes colour lithograph 43.5 x 60.4 cm

    1846 Egypt and Nubia, Volume I; View on the Nile Looking Towards the Pyramids of Dashour and Saccara colour lithograph 43.6 x 60.2 cm

    1846 Egypt and Nubia, Volume I; View Under the Grand Portico of the Temple, Philae colour lithograph 60.3 x 43.7 cm

    1846 Egypt and Nubia, Volume I; Wady Maharraka, Nubia colour lithograph 37.9 x 42.9 cm

    1846 Egypt and Nubia, Volume II; Edfou colour lithograph 43 x 60.2 cm

    1846 Egypt and Nubia, Volume II; Kom-Ombo colour lithograph 43.7 x 61.2 cm

    1847 Egypt and Nubia, Volume I; Abyssinian Slaves Resting at Korti-Nubia colour lithograph 37.3 x 42.9 cm

    1847 Egypt and Nubia, Volume I; Approach to the Temple of Wady Saboua, Nubia colour lithograph 35.7 x 43 cm

    1847 Egypt and Nubia, Volume I; At Luxor, Thebes lithograph with hand colouring 36.4 x 42.9 cm

    1847 Egypt and Nubia, Volume I; Dendera colour lithograph 43 x 60.3 cm

    1847 Egypt and Nubia, Volume I; Entrance to the Caves of Beni Hassan colour lithograph 38.8 x 40.7 cm

    1847 Egypt and Nubia, Volume I; Gateway at Dendera lithograph with hand colouring 39.9 x 42.9 cm

    1847 Egypt and Nubia, Volume I; Grand Approach to the Temple of Philae, Nubia colour lithograph 43.2 x 60.3 cm

    1847 Egypt and Nubia, Volume I; Grand Portico of the Temple of Philae, Nubia colour lithograph 43.2 x 60.4 cm

    1847 Egypt and Nubia, Volume I; Libyan Chain of Mountains, from the Temple of Luxor colour lithograph 43 x 60.4 cm

    1847 Egypt and Nubia, Volume I; Nubian Women at Kortie, on the Nile colour lithograph 37.5 x 43 cm

    1847 Egypt and Nubia, Volume I; One of Two Colossal Statues of Rameses II. Entrance to the Temple of Luxor colour lithograph 38.2 x 40.7 cm

    1847 Egypt and Nubia, Volume I; Portico of the Temple of Kalabshe colour lithograph 42.9 x 60.3 cm

    1847 Egypt and Nubia, Volume I; Ruins of Karnac colour lithograph 43 x 60.4 cm

    1847 Egypt and Nubia, Volume I; Siout - Upper Egypt lithograph with hand colouring 38.5 x 42.9 cm cm

    1847 Egypt and Nubia, Volume I; Temple at Edfou, Ancient Apollinopolis, Upper Egypt colour lithograph 43 x 60.3 cm

    1847 Egypt and Nubia, Volume II; A Persian Wheel, Used in Raising Water from the Nile colour lithograph 60.9 x 40.5 cm

    1847 Egypt and Nubia, Volume II; Approach to the Fortress of Ibrim, Nubia colour lithograph 43.5 x 60.3 cm

    1847 Egypt and Nubia, Volume II; Colossus in Front of the Temple at Wady Saboua, Nubia colour lithograph 45.5 x 40.5 cm

    1847 Egypt and Nubia, Volume II; Entrance of the Temple of Amun, Thebes colour lithograph 43.6 x 60.3 cm

    1847 Egypt and Nubia, Volume II; Fragments of the Great Colossi at the Memnonium, Thebes colour lithograph 43.4 x 60.4 cm

    1847 Egypt and Nubia, Volume II; Group of Nubians-Wady Kardasey colour lithograph 36.4 x 43.4 cm

    1847 Egypt and Nubia, Volume II; Hagar Setsilis colour lithograph 43.8 x 60.2 cm

    1847 Egypt and Nubia, Volume II; Island of Philae, on the Nile, Nubia colour lithograph 40.8 x 43.6 cm

    1847 Egypt and Nubia, Volume II; Karnac colour lithograph 43.5 c 60.2 cm

    1847 Egypt and Nubia, Volume II; Karnac lithograph with hand colouring 60.3 x 43.6 cm

    1847 Egypt and Nubia, Volume II; Karnak colour lithograph 60.3 x 43.6 cm

    1847 Egypt and Nubia, Volume II; Medinet abou, Thebes colour lithograph 43.5 x 60.3 cm

    1847 Egypt and Nubia, Volume II; Medinet abou, Thebes colour lithograph 43.5 x 60.3 cm

    1847 Egypt and Nubia, Volume II; Medinet Abou, Thebes colour lithograph 43.8 x 60.2 cm

    1847 Egypt and Nubia, Volume II; Ruins - Temple on the Island of Biggeh, Nubia lithograph with hand colouring 36 x 43.6 cm

    1847 Egypt and Nubia, Volume II; Ruins of Memnonium, Thebes colour lithograph 43.7 x 60.3 cm

    1847 Egypt and Nubia, Volume II; Ruins of the Temple of Madamoud, near Thebes lithograph with Hand colouring 37.8 x 43.6 cm

    1847 Egypt and Nubia, Volume II; Temple of A'mdda, at Hassaya, Nubia colour lithograph 36.5 x 43.7 cm

    1848 Egypt and Nubia, Volume I; Thebes, Great Hall at Karnac colour lithograph 60.3 x 42.8 cm

    1848 Egypt and Nubia, Volume II; Entrance to the Tombs of the Kings of Thebes, Bab-El-Malouk colour lithograph 43.6 x 60.2 cm

    1848 Egypt and Nubia, Volume II; Front Elevation of the Great Temple of Aboo Simbel, Nubia colour lithograph 43.8 x 60.2 cm

    1848 Egypt and Nubia, Volume II; General View of Esouan and the Island of Elephantine colour lithograph 43.7 x 60.2 cm

    1848 Egypt and Nubia, Volume II; Grand Entrance to the Temple of Luxor colour lithograph 43.1 x 60.3 cm

    1848 Egypt and Nubia, Volume II; Island of Philae, Looking down the Nile colour lithograph 37.2 x 43.10

    1848 Egypt and Nubia, Volume II; Karnac colour lithograph 60.4 x 43.6 cm

    1848 Egypt and Nubia, Volume II; Lateral View of the Temple called The Typhonoeum at Dendera lithograph with hand colouring 38.2 x 43.8 cm


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  • 10/30/15--07:48: David Roberts - part 6
  • David Roberts R.A. c1870s © Royal Academy of Arts, London 
    David Roberts RA (1796 – 1864) was a Scottish painter. He is especially known for a prolific series of detailed lithographic prints of Egypt and the Near East that he produced as watercolour sketches he made during long tours of the region between 1838 and 1840. These, along with his large format oil paintings of similar subjects, made him a prominent Orientalist artist. He became a Royal Academician in 1841.

    For more information on Roberts and for earlier works, see part 1 to 5 also.

    This is part 6 of an 8 - part series on David Roberts:


    1842-49 Cairo and Nubia continued:


    1848 Egypt and Nubia, Volume II; Obelisk of On lithograph with hand colouring 43 x 43.6 cm

    1848 Egypt and Nubia, Volume II; Pyramids of Geezeh colour lithograph 43.8 x 60.2 cm

    1848 Egypt and Nubia, Volume II; Ruind of Hement, Ancient Hermontis, Upper Egypt colour lithograph 36.9 x 43 cm

    1848 Egypt and Nubia, Volume II; Ruins of the Temple of Kardeseh, Nubia colour lithograph 39.3 x 43.8 cm

    1848 Egypt and Nubia, Volume II; Statues of Memnon at Thebes, during the Inundation colour lithograph 43.5 x 60.3 cm

    1848 Egypt and Nubia, Volume II; Temple at Wady Dabod, Nubia colour lithograph 36 x 43.8 cm

    1848 Egypt and Nubia, Volume II; Temple of Dandour, Nubia colour lithograoh 37.4 x 43.7 cm

    1848 Egypt and Nubia, Volume II; Temple of Isis on the Roof of the Great Temple of Dendera lithograph with hand colouring 39.2 x 43.8 cm

    1848 Egypt and Nubia, Volume II; The Hypaethral Temple of Philae, Called the Bed of Pharaoh colour lithograph 43.7 x 60.2 cm

    1848 Egypt and Nubia, Volume II; The Temple Of Kalabshee, Nubia colour lithograph with hand colouring 38.4 x 43 cm

    1848 Egypt and Nubia, Volume II; The Temples of Aboo-Simbel, From the Nile colour lithograph 36.2 x 43.4 cm

    1848 Egypt and Nubia, Volume II; Wady Dabod, Nubia colour lithograph 36.3 x 43.10 cm

    1848 Egypt and Nubia, Volume III; Alexandria colour lithograph 43 x 60.3 cm

    1848 Egypt and Nubia, Volume III; Bazaar of the Coppersmiths, Cairo colour lithograph 60.4 x 43.1 cm

    1848 Egypt and Nubia, Volume III; Bazaar of the Silk Mercers, Cairo colour lithograph 60.2 x 43 cm

    1848 Egypt and Nubia, Volume III; Cairo, Looking West colour lithograph 43 x 60.2 cm

    1848 Egypt and Nubia, Volume III; Gate of the Metwaleys, Cairo lithograph with hand colouring 47.1 x 43.1 cm

    1848 Egypt and Nubia, Volume III; Gate of Victory and Minaret of the Mosque El Hakim colour lithograph 40.2 x 43 cm

    1848 Egypt and Nubia, Volume III; Interview with the Viceroy of Egypt, at his Palace, Alexandria colour lithograph 43.7 x 60.3 cm

    1848 Egypt and Nubia, Volume III; Minarets, and Grand Entrance of the Metwaleys, at Cairo colour lithograph 63 x 43.1 cm

    1848 Egypt and Nubia, Volume III; Mosque of the Sultan Hassan, Cairo colour lithograph 43 x 60.3 cm

    1848 Egypt and Nubia, Volume III; One of the Tombs of the Khalifs, Cairo colour lithograph 41 x 42.9 cm

    1848 Egypt and Nubia, Volume III; The Minaret of the Mosque El Rhamree colour lithograph 63.6 x 40.5 cm

    1848 Egypt and Nubia, Volume III; Tombs of the Caliph's, Cairo lithograph with hand colouring 38.7 x 43 cm

    1848 Egypt and Nubia, Volume III; Tombs of the Khalifs, Cairo colour lithograph 43 x 60.2 cm

    1849 Egypt and Nubia, Volume II; View from Under the Portico of the Temple of Dendera colour lithograph 60.4 x 43.8 cm

    1849 Egypt and Nubia, Volume III; A Group in the Slave Market in Cairo colour lithograph 37.4 x 43.6 cm

    1849 Egypt and Nubia, Volume III; Approach Of The Simoon At Giza lthograph with hand colouring 33.1 x 48.5 cm

    1849 Egypt and Nubia, Volume III; Bullack, Cairo colour lithograph 45.3 x 60.3 cm

    1849 Egypt and Nubia, Volume III; Cairo from the Gate of Citzenib, Looking towards the Desert of Suez colour lithograph 43.7 x 60.5 cm

    1849 Egypt and Nubia, Volume III; Dancing Girls at Cairo colour lithograph 36.9 x 43.8 cm

    1849 Egypt and Nubia, Volume III; Grand Entrance to the Mosque of the Sultan Hassan colour lithograph 60.4 x 43.5 cm

    1849 Egypt and Nubia, Volume III; Interior of the Mosque of the Metwalys colour lithograph 60.3 x 43.5 cm

    1849 Egypt and Nubia, Volume III; Interior of the Mosque of the Sultan El Ghoree colour lithograph 43.7 x 60.3 cm

    1849 Egypt and Nubia, Volume III; Minaret of the Principal Mosque in Siout, Upper Egypt lithograph with hand colouring 34.1 x 24 cm

    1849 Egypt and Nubia, Volume III; Modern Mansion, showing the Arabesque Architecture of Cairo colour lithograph 60.3 x 43.8 cm

    1849 Egypt and Nubia, Volume III; Mosque el Mooristan, Cairo lithograph with hand colouring 60.2 x 43.6 cm

    1849 Egypt and Nubia, Volume III; Mosque of Sultan Hassan, from the Great Square of the Rameyleh colour lithograph 43.8 x 60.3 cm

    1849 Egypt and Nubia, Volume III; Ruined Mosques in the Desert, West of the Citadel lithograph with hand colouring 43.5 x 43.1 cm

    1849 Egypt and Nubia, Volume III; The Citadel of Cairo, Residence of Mehemet Ali colour lithograph 43.8 x 60.3 cm

    1849 Egypt and Nubia, Volume III; The Coffee-Shop of Cairo lithograph with hand colouring 34.7 x 43.8 cm

    1849 Egypt and Nubia, Volume III; The Entrance to the Citadel of Cairo colour lithograph 43 x 60.2 cm

    1849 Egypt and Nubia, Volume III; The Holy Tree of Metereah colour lithograph 45 x 40.5 cm

    1849 Egypt and Nubia, Volume III; The Letter-Writer, Cairo colour lithograph 45 x 43.8 cm

    1849 Egypt and Nubia, Volume III; The Nileometer. Island of Rhoda colour lithograph 44.6 x 43.5 cm

    1849 Egypt and Nubia, Volume III; Tomb of the Memlooks, Cairo lithograph with hand colouring 38.4 x 43.5 cm cm

    1849 Egypt and Nubia, Volume III; Tombs of the Caliphs-Cairo. Mosque of Ayed Be[y] lithograph with hand colouring 43.4 x 43 cm

    1849 Egypt and Nubia, Volume III; Tombs of the Memlooks, Cairo colour lithograph 45 x 43.8 cm

    1849 Egypt and Nubia, Volume III; View on the Nile, Ferry to Gizeh colour lithograph 43.5 x 54.5 cm

    Egypt and Nubia; Aqueduct of the Nile, from the Island of Rhoda lithograph with hand colouring 24.1 x 34.8 cm

    Egypt and Nubia;  Dayr-El-Medeeneh, Thebes colour lithograph 36.5 x 43.6 cm

    1849 Egypt and Nubia; The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia lithograph with hand colouring. The Metropolitan Museum of Art, New York


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  • 11/02/15--04:32: David Roberts - part 7
  • David Roberts RA (1796 – 1864) was a Scottish painter. He is especially known for a prolific series of detailed lithographic prints of Egypt and the Near East that he produced as watercolour sketches he made during long tours of the region between 1838 and 1840. These, along with his large format oil paintings of similar subjects, made him a prominent Orientalist artist. He became a Royal Academician in 1841.

    For more information on Roberts and for earlier works, see part 1 to 6 also.

    This is part 7 of an 8 - part series on David Roberts:


    1843 Entrance to the Crypt, Roslin Chapel oil on panel 71.6 x 62.1 cm Victoria and Albert Museum, London

    1843 The Gate of Metawaley oil on panel 76.1 x 62.8 cm Victoria and Albert Museum, London

    1846 A Street in Cairo, Egypt oil on canvas 76.1 x 63 Royal Holloway, University of London, UK


    1844c A Street in Abbeville oil on panel 39.4 x 29.2 cm Glasgow Museums, UK

    1845 Street in St Lo, Normandy oil on panel 70 x 51.5 cm Whitworth Art Gallery, University of Manchester, UK

    1845 The Giudecca, Venice oil on canvas 55.9 x 129.5 cm Yale Centre for British Art, Paul Mellon Collection, New Haven, CT

    1845c Portrait of Clarkson Stanfield pen and ink on wove paper 18.9 x 12.3 cm

    1846 From under the Portico of the Temple of Edfu, Upper Egypt watercolour 34.6 x 50.2 cm Yale Centre for British Art, New Haven, CT

    1846c View of Edinburgh from the Ramparts of the Castle, Looking East watercolour with gum arabic over pencil, heightened with white body-colour on two sheets of blue-green paper, joined together, faintly squared in pencil 28.5 x 80 cm

    1847 Edinburgh from the Castle oil on canvas 121.9 x 213.4 cm Yale Centre for British Art, New Haven, CT

    1847 Antwerp Cathedral oil on canvas 141 x 100.5 cm Harris Museum & Art Gallery, Preston, UK

    1848 Chancel of the Collegiate Church of St Paul, at Antwerp oil on canvas 141.9 x 11.8 cm Tate, London

    1848 Chapel of the Virgin, Bordeaux oil on panel 31 x 19.9 cm Hunterian Art Gallery, University of Glasgow, UK

    1848 Mont St Michel oil on panel 26.4 x 40.6 cm Scottish National Gallery, Edinburgh, UK

    1848 The Cathedral, Mainz oil on panel 48.9 x 73.7 cm Brodie Castle, Moray, Scotland, Uk

    1848 The Temple at Dendur, Nubia watercolour over graphite with gouache on beige wove paper 19.5 x 26.7 cm The Metropolitan Museum of Art, New York

    1848 Tomb in St Jacques, Bourges, France oil on board 55 x 35.1 cm Aberdeen Art Gallery & Museums, Scotland, UK

    1849 Shrine of Saint Gomar at Lierre, Belgium oil on canvas 81.3 x 68.5 cm Harris Museum & Art Gallery, Preston, UK

    1849 The Hypostyle Hall of the Great Temple at Abu Simbel, Egypt oil on panel 36.8 x 54.6 cm Yale Centre for British Art, New Haven, CT

    1849 View of Castle Gaucin oil on canvas 147 x 224 cm Museo Nacional del Prado, Madrid

    1849c The Siege and Destruction of Jerusalem by the Romans under the Command of Titus, AD 70 oil on canvas 107 x 181 cm Williamson Art Gallery & Museum, Birkenhead, UK

    1850 Lierre; Interior of Saint-Gommaire oil on canvas 121.8 x 94 cm The Wallace Collection, London

    1851 Herrengasse in Bern pencil and watercolour 37 x 26 cm

    1851 Interior of Milan Cathedral oil on paper 24.1 x 17.1 cm Scottish National gallery, Edinburgh, UK

    1851 Interior of San Giovanni and San Paolo, Venice pencil and watercolour 32.7 x 53.3 cm Denver Art Museum, Colorado

    1851 Portico of the Temple of Isis at Philae oil on canvas 109.2 x 84.5 cm Private Collection

    1851c View of the Church of Santa Maria della Salute, on the Grand Canal, Venice, with the Dogana Beyond oil on paper laid on canvas 31 x 52 cm Private Collection


    1852 View of Lucerne, Switzerland oil on panel 38.5 x 53.5 cm

    1853 Carmelite Monks at Seville graphite and watercolour on paper 9.1 x 15.6 cm Tate, London

    1853 Interior of the Cathedral of St Stephen, Vienna oil on canvas 111.7 x 142.3 cm Birmingham Museums Trust, UK

    1853 Ruins of Elgin Cathedral oil on canvas 49.7 x 74.8 cm Victoria and Albert Museum, London

    1853 St. Peter's, Looking Back on Rome oil on canvas 31.2 x 76.2 cm Denver Art Museum, Colorado

    1853 The Doge's Palace, Venice, from the Bacino di San Marco oil on canvas 122 x 183 cm The Fitzwiliam Museum, Cambridge, UK

    1853-54 Interior of St Peter's, Rome oil on canvas 113 x 89.5 cm Government Art Collection, UK

    1854 Tivoli graphite and watercolour on wove paper20.4 x 26.5 cm National Gallery of Art, Washington, DC

    1855 View of Jerusalem from the Mount of Olives oil on canvas 55 x 93 cm Government Art Collection, UK

    1856 Capriccio Landscape (called View of Rosslyn Castle) oil on canvas 71.5 x 94.5 cm Scottish National Gallery, Edinburgh, UK

    1856 Rome; Sunset from the Convent of Sant' Onofrio on the Janiculum oil on canvas 213 x 427 cm National Galleries of Scotland, UK

    1856c A Study for 'Rome; Sunset from the Convent of Sant' Onofrio on the Janiculum' oil on panel 21.6 x 41 cm Scottish National Galleries, UK

    1856 The Tombs of the Scaligeri at Verona oil on canvas 76 x 102.3 cm Harris Museum & Art Gallery, Preston, UK


    1857 Interior of the Duomo, Milan oil on canvas 167 x 131 cm Government Art Collection, UK

    1857 The Piazza Navona in Rome oil on canvas 127.5 x 156.7 cm Museums Sheffield, UK

    1858 Edinburgh from the Calton Hill oil on canvas 98.4 x 151.6 cm Art Gallery New South Wales, Sydney, Australia

    1858 The High Altar of the Church of SS Giovanni e Paolo at Venice oil on canvas 142.3 x 107.5 cm Manchester City Art Galleries, UK

    1858 The Ruins of Tyre, Lebanon oil on canvas 57.5 x 113.2 cm Museums Sheffield, Uk

    1859 At Verona, Italy oil on canvas 91.4 x 71.1 cm Williamson Art Gallery & Museum Birkenhead, Wirral, UK

    1859 Interior of St Stephen's Church, Vienna oil on board 21 x 30.5 cm Southampton City Art Gallery, UK

    1859 Interior of the Cathedral, Pisa oil on canvas 120.5 x 90 cm Denver Art Museum, Colorado

    1859 Porch to Roslyn Chapel oil on canvas 58.5 x 43.5 cm Blackburn Museum and Art Gallery, UK


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  • 11/04/15--06:10: David Roberts - part 8
  • David Roberts RA (1796 – 1864) was a Scottish painter. He is especially known for a prolific series of detailed lithographic prints of Egypt and the Near East that he produced as watercolour sketches he made during long tours of the region between 1838 and 1840. These, along with his large format oil paintings of similar subjects, made him a prominent Orientalist artist. He became a Royal Academician in 1841.

    For more information on Roberts and for earlier works, see part 1 to 7 also.

    This is part 8 of an 8 - part series on David Roberts:



    1859 Ruins of the Roman Forum oil on panel 38.5 x 62.5 cm Wolverhampton Art Gallery, UK

    1859 The Forum, Rome, Italy oil on canvas 38.1 x 62.2 cm Guildhall Art Gallery, London

    1859 The Palace of Minerva, Rome oil on panel 37.5 x 59.5 cm Atkinson Art Gallery Collection, Southport, UK

    1860 Antwerp Cathedral, Belgium oil on canvas 94 x 64 cm Guildhall Art Gallery, London

    1860 Approach to the Forum oil on canvas 45.7 x 91.5 cm Private Collection

    1860 Jerusalem from the Mount of Olives oil on canvas 52.2 x 89.5 cm New Walk Museum & Art Gallery, Leicester, UK

    1860c Greenwich Hospital from the Thames oil on canvas 28 x 60.9 cm National Maritime Museum, London

    1860s Interior of Milan Cathedral oil on paper laid on panel 31.4 x 52.7 cm Victoria and Albert Museum, London

    1861 Chancel of the Collegiate Church of St Paul, at Antwerp oil on canvas 121 x 105.5 cm Scottish National Gallery, Edinburgh, UK

    1861 San Giovanni e San Paolo, Venice, Italy oil on canvas 53 x 75 cm Guildhall Art Gallery, London

    1861 The Houses of Parliament from Millbank, London oil on canvas 61 x 106 cm Museum of London, UK

    1861 The Naval College from the River at Greenwich watercolour and gouache over graphite on wove paper 24.6 x 34.9 cm National Gallery of Art, Washington, DC

    1861 The Remains of the Roman Forum oil on canvas 59.7 x 120.7 cm Birmingham Museum of Art, UK

    1862 Church of Santa Maria della Salute, Venice oil on canvas 67.5 x  113 cm Museums Sheffield, UK

    1862 Egyptian Landscape with a Distant View of the Pyramids oil on canvas 36 x 59.5 cm Denver Art Museum, Colorado

    1862 Interior of St Peter's, Rome oil on canvas 117 x 178 cm Hackney Museum, London

    1862 The Brig o' Doon and Burns Monument oil on canvas 109.5 x 147.5 cm Robert Burns Birthplace Museum, Ayr, Scotland, UK

    1863 Edinburgh from the Carlton Hill oil on canvas 51 x 76 cm Guildhall Art Gallery, London

    1862 View on the Tiber, Rome oil on canvas 61.5 x 108.5 cm Scottish National Gallery, Edinburgh, UK

    1863 Milan Cathedral, Italy oil on canvas 130 x 107 cm Touchstones Rochdale, UK


    1863 St. Pauls from the Thames, Looking West oil on canvas 61 x 107 cm Private Collection

    1863c Rome, View on the Tiber Looking Towards Mounts Palatine and Aventine oil on canvas 62.2 x 107.3 cm Beaverbrook Art gallery, Fredericton, New Brunswick, Canada

    1864 An Entranceway at Karnak watercolour, brush and brown ink, over black chalk, on cream-coloured paper 50.7 x 35.8 cm The Morgan Library and Museum, New York

    1864 Interior of the Basilica of St Peters at Rome oil on canvas 70.9 x 116.7 cm Art Gallery New South Wales, Sydney, Australia

    n.d.  Alhambra and Albaicin

    n.d. A Church Interior (attributed to) oil on canvas 52.3 x 62.4 cm Shipley Art Gallery, Gateshead, Tyne and Wear, UK

    n.d. Antwerp Cathedral, Belgium oil on canvas 91 x 71 cm The Cooper Gallery, Barnsley, UK

    n.d. Canal Scene with Cathedral in Background oil on canvas 25 x 19.5 cm The Beacon Museum, Whitehaven, UK

    n.d. Canal Scene, Venice oil on panel 20 x 14 cm Museums Sheffield, UK

    n.d. Cathedral Interior oil on panel 17.4 x 13.7 cm Museums Sheffield, UK

    n.d. Cathedral, France oil on panel 29.7 x 22.8 cm Museums Sheffield, UK

    n.d. Church Interior oil on canvas 24.7 x 20 cm Bristol Museum & Art Gallery, UK

    n.d. Church of the Nativity oil on canvas 112 x 142 cm Paisley Art Institute Collection, Scotland, UK

    n.d. Donaldson's College, Edinburgh oil on canvas 128 x 190.5 cm City of Edinburgh Council, UK

    n.d. Entrance to the Third Pyramid watercolour on paper 21.6 x 15.9 cm The Morgan Library and Museum, New York

    n.d. Fruit Sellers from the Islands, Venice oil on canvas 56 x 48 cm Private Collection

    n.d. Interior of a Church (attributed to) oil on canvas 40.3 x 29.9 cm Glasgow Museums Resource Centre, UK

    n.d. Interior of a Theatre (attributed to) pen and ink 39.9 x 30.7 cm The Metropolitan Museum of Art, New York

    n.d. Interior of the Church of St Geneviève, Paris oil on canvas 78 x 62 cm Victoria and Albert Museum, Liverpool, UK

    n.d. Interior of the Mosque of Metwalis, Cairo pencil and oil on paper laid on canvas 29.5 x 41.5 cm Scottish National Gallery, Edinburgh, UK


    n.d. Picnic Party (attributed to) oil on canvas 24.5 x 34.5 cm Shipley Art Gallery, Gateshead, UK

    n.d. Rome, St Peter's and Castel St Angelo oil on canvas 58.5 x 119.4 cm Temple Newsam House, Leeds Museums and Galleries, UK

    n.d. Ruins of St. Andrews Cathedral and Church of St. Regulus, Fife, Scotland oil on canvas 91.5 x 137.2 cm Private Collection

    n.d. Santa Maria della Salute, Venice oil on canvas 39.5 x 59.5 cm Atkinson Art Gallery Collection, UK

    n.d. Sketch of the Interior of the Duomo, Milan oil on paper laid on canvas 53.4 x 33.7 cm

    n.d. St Mark's, Venice oil on canvas 61 x 50.5 cm Wednesbury Museum & Art Gallery, UK

    n.d. Studies of Sculptural Details and Kneeling Communicants at St. Gudule, Brussels pencil, with brown and grey-green wash, on light brown paper 35.5 x 25.4 cm The Morgan Library and Museum, New York

    n.d. Study of a Monk (attributed to) 17.2 x 13.1 cm Glasgow Museums Resource Centre, UK

    n.d. Temple Bar oil on canvas 90.5 x 74.5 cm Grundy Art Gallery, Liverpool, UK

    n.d. The Château at Chambord, France oil o panel 24 x 35 cm The Cooper Gallery, Barnsley, UK

    n.d. The Doge's Palace, Venice oil on canvas 61 x 50.5 cm Wednesbury Museum & Art Gallery, UK

    n.d. The Mausoleum of Plautus Lucanus 45 x 89.5 cm Cannon Hall Museum, nr Barnsley, Yorkshire, UK

    n.d. The New Palace of Westminster oil on canvas 38 x 71 cm Parliamentary Art Collection, London

    n.d. The Toll House, Edinburgh oil on panel 25.5 x 35.5 cm City of Edinburgh Council, UK

    n.d. The Tomb of Edward III, Westminster Abbey (attributed to) oil on canvas 92 x 80 cm Shipley Art Gallery, Gateshead, UK

    n.d. Toledo Cathedral oil on canvas 65 x 93 cm Blackburn Museum and Art Gallery, UK

    n.d. View of Tiberias on the Sea of Galilee oil on canvas 39.3 x 54.5 cm New Walk Museum & Art Gallery, Leicester Arts and Museums Service, UK


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    I stumbled across this set of cigarette cards in the New York Public Library Digital Collection and thought they were rather fun.Produced by the British American Tobacco Company in 1928 they're odd yet beautiful. Each of the 50 cards in the series (for some reason I could only source 49 of them) features a different butterfly girl and a description about the particular (real) butterfly or moth on the reverse.

    This is part 1 of a 2 - part post on Butterfly and Moth Girls: