Skip to main content

Romantic Prints and Multiples

ROMANTIC STYLE

In emphasizing emotion and imagination, romantic art shifted away from the restraint of classicism and neoclassicism that had dominated art in Europe since the Renaissance. Romanticism achieved its greatest popularity in art, literature, music and philosophy between 1780 and 1830, although its expression of individual experiences ranging from awe to passion informed culture in the decades after.

Landscape painting was especially popular during the romantic period, as were nature studies of wild animals and fantasies of exotic lands. Romanticism varied across Europe as it reacted to the rise of industrialization, a more personal relationship with faith that was distanced from the church and the rationalist thinking of the Enlightenment.

British painters such as John Constable and J.M.W. Turner responded dramatically to the light and atmosphere of the natural world, while William Blake conveyed humanity’s connection to the divine in his visionary art. In Germany, the late-18th-century Sturm und Drang, or Storm and Drive, movement, with its probing of the unconscious, inspired a sense of mystery in work by romantic artists such as Caspar David Friedrich and Philipp Otto Runge. In France, where the French Revolution had turned tradition upside down, Théodore Géricault and Eugène Delacroix used lush brushwork to paint monumental canvases with tumultuous scenes of nature and history.

The romantic movement and its subject matter were a significant influence on the Pre-Raphaelites, Symbolists and the American painters of the Hudson River School, as well as on other cultural movements in the 19th and 20th centuries that saw artists build on this perspective in which art was guided by emotion rather than reason.

Find a collection of romantic paintings, sculptures, prints and multiples and more art on 1stDibs.

to
1
9
2
7
7
4
1
1
5
3
1
Overall Height
to
Overall Width
to
1,179
829
733
317
217
138
122
79
74
52
47
19
8
7
7
6
4
3
3
2
2
1
1
1
1
1
1
3
3
4
1
1
1
3
2
1
1
1
1
7
3
2
2
1
Style: Romantic
Color:  Brown
Antique Dog Lithograph in the Taste of Alfred De Dreux, France circa 1870
By Alfred de Dreux
Located in SANTA FE, NM
Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Bulldog and Frog France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame)...
Category

1870s Romantic Prints and Multiples

Materials

Lithograph

Antique Dog Lithograph in the Taste of Alfred De Dreux, France circa 1870
By Alfred de Dreux
Located in SANTA FE, NM
Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Bulldog and Frog France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) inches Six lithographs of dog portr...
Category

1870s Romantic Prints and Multiples

Materials

Lithograph

Woman with Birds
Located in San Francisco, CA
Artist: Alvar Title: Woman with Birds Year: c.1980 Medium: Color lithograph Paper: Wove Image size: 18.5 x 24.5 inches Framed size: 26.5 x 32.65 inc...
Category

Late 20th Century Romantic Prints and Multiples

Materials

Lithograph

Black and white landscape print of The Isle of Harris in the Hebrides Scotland
By ALEX BOYD
Located in London, GB
Toe Head, The Isle of Harris, The Hebrides, Scotland by Alex Boyd Series: No Innocent Land This image, made on the Isle of Harris in the Outer Hebrides shows the hill of Ceapabhal on the Toe Head peninsula. Print details: © Alex Boyd, Courtesy MMX Gallery Archival Pigment Print from the Wet Plate Collodion, Artist Proof, Hand Signed by the Artist Image: 82 x 58 cm Frame: 116 x 91 cm Frame; Original Frame, slightly distressed from being vintage out of the Scottish castle; the print accompanied with the mount board and finished with antireflective UV protective AR art glass Shipping worldwide; the framed print would be crated and shipped by professional shipping company, Free delivery in London postcodes and in a selected areas in the UK. Free pick up from the gallery. About the Artist: ALEX BOYD Alex Boyd's images represent a major addition to the tradition of modern landscape photography" – Robert Macfarlane, Author Alex Boyd is a landscape and documentary photographer, printmaker and writer. His work is primarily concerned with the Scottish landscape. As a photographer his work examines the role of early Scottish landscape photographers, often using antique processes such as the Victorian wet-plate collodion process using antique cameras in mountain environments. He is best known for his conceptual and figurative landscape photography which explores concepts of Scottish identity through historical and contemporary romanticism, neo-romanticism, Romantic nationalism and Spirit of Place. His work is largely concerned with depictions of the Celtic landscape, conservation and remote places, and is often characterised by its stark, poetic and introspective qualities. In 2019 he was awarded a Daiwa Foundation Scholarship to work and photograph the mountains of the Japan Alps centred on Mount Yari as well as shortlisted for the Hariban Award. He was the Mountain Photographer of the Year at the Kendal Mountain Festival in 2013, the UK’s largest mountain festival. His work on the Cuillin mountains on the Isle of Skye as the Royal Scottish Academy’s artist in Residence is in several National Collections. His work has been widely exhibited internationally with solo exhibitions at the Scottish Parliament, as well as group exhibitions at the Royal Academy, Royal Ulster Academy and the Royal Scottish Academy. His work is held in the collections of the National Galleries of Scotland, The Royal Photographic Society, the Royal Scottish Academy, the V&A in London and the Yale Centre for British Arts in the USA. His first book St Kilda – The Silent Islands was recently shortlisted for a Saltire Award. His second book The Isle of Rust, a collaboration with writer Jonathan Meades was, like his first book, named as a photography book of the year by The Scotsman. He is a Fellow of the National Library of Scotland, The Winston Churchill Memorial Trust, The Ballinglen Arts Foundation, and the Royal Society of Art. He is currently working on a PhD on Scottish Photography at Northumbria University, a selection of new books on The Faroe Islands, The Outer Hebrides. A collection of his Scottish and Irish collodion work is due out in 2021 as well as a solo exhibition ‘Hesperus’ at Stills, Scotland’s Centre of Photography, in June 2020. A contributing Arts Editor for The Island Review, Boyd has also written for Art North, The Modernist, Earthlines and many other publications. WORK REPRESENTED IN THE FOLLOWING COLLECTIONS: The National Galleries of Scotland, The Royal Scottish Academy, The Royal Photographic Society, The National Media Museum, The University of Glasgow, St Andrews University, North Ayrshire Council, Dumfries & Galloway Council, The Ballinglen Arts Foundation, Sabhal Mor Ostaig, The University of the Highlands & Islands, Highland Print Studio, Cape Farewell, The Scottish Maritime Museum, NHS Greater Glasgow & New South Glasgow Hospitals, BC Partners, Cigna, The Yale Center for British Art, The V&A *** NO INNOCENT LAND The series 'No Innocent Land' is a journey across the islands of Scotland using an antique process to document the dramatic landscapes of Scotland. Using a 100 year old camera...
Category

2010s Romantic Prints and Multiples

Materials

Glass, Wood, Archival Pigment, Black and White, Archival Paper, Giclée

Muse Terpsichore: Framed Hand-colored 19th C. Engraving after 17th C. Painting
Located in Alamo, CA
"Dessine par Gallier" is a hand-colored engraving and etching by Pierre Laurent (1739-1809) and Pierre Audouin (1768-1822) after a painting by Eustache Le Sueur...
Category

Late 18th Century Romantic Prints and Multiples

Materials

Engraving, Etching

Pair of Portraits, Two Ladies, Head of a Young Woman, Demarteau, French, Rococco
Located in Greven, DE
Crayon style colouring after Francois-Andre Vincent. The sheets are a typical example of the highly developed colour printing technique used by Gilles Demarteau and his pupil and nep...
Category

18th Century Romantic Prints and Multiples

Materials

Handmade Paper

Peaches
Located in San Francisco, CA
This artwork titled "Peaches" 1996 is a color off set lithograph by British/American artist Pati Bannister, 1929-2013. It is hand signed, titled and numbered 548/950 in pencil by the...
Category

Late 20th Century Romantic Prints and Multiples

Materials

Lithograph

Pair of Hand-colored Romantic French Engravings after Francois Boucher
Located in Alamo, CA
A pair of French classical romantic prints original created in the 18th century by Jacques-Firmin Beauvarlet (1731-1797) after paintings by Francois Boucher (1703-1770), utilizing ...
Category

18th Century Romantic Prints and Multiples

Materials

Engraving, Etching

From the, The Barcelona Suite,
Located in San Francisco, CA
Artist: Alvar Sunol Munoz-Ramos (Spanish, born 1935) Title: From Barcelona Suite Year: 1979 Medium: Color lithograph with embossing Edition: Numbered 1...
Category

1970s Romantic Prints and Multiples

Materials

Lithograph

'May Morning' from 'American Country Life' lithograph, N. Currier and F. Palmer
Located in Milwaukee, WI
The present print is one of several examples produced for Nathaniel Currier by his longtime collaborator Frances F. "Fanny" Palmer. Harry T. Peters wrote of her: "There is no more interesting and appealing character among the group of artists who worked for Currier & Ives than Fanny Palmer. In an age when women, well-bred women in particular, did not generally work for a living Fanny Palmer for years did exacting, full-time work in order to support a large and dependent family ... Her work ... had great charm, homeliness, and a conscientious attention to detail." One of a series of four prints showing American country life in different seasons, the image presents the viewer with a picturesque view of a successful American farm. In the foreground, a gentleman rides a horse with a young boy before a respectable Italianate country house. Two women and a young girl pick flowers in the garden and several farm workers attend to their duties. Beyond are other homes and a city on the coast. 16.63 x 23.75 inches, artwork 28.13 x 33.38 inches, frame Entitled bottom center "American Country Life - May Morning" Signed in the stone, lower left "F.F. Palmer, Del." Signed in the stone, lower right "Lith. by N. Currier" Copyrighted lower center "Entered according to Act of Congress in the year 1855 by N. Currier in the Clerk's office of the Southern District of N.Y." Inscribed bottom center "New York, Published by N. Currier 152 Nassau Street" Framed to conservation standards using silk-lined 100 percent rag matting and Museum Glass with a gold gilded liner, all housed in a stained wood moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...
Category

Mid-19th Century Romantic Prints and Multiples

Materials

Watercolor, Lithograph

'Autumn', Hand-colored Lithograph, listening to music under the tree
Located in Santa Cruz, CA
An early twentieth-century, hand-colored lithograph showing an idyllic scene of two young lovers in medieval dress seated in a rural bower beneath fruit...
Category

1920s Romantic Prints and Multiples

Materials

Paper, Lithograph

Related Items
Otherworldly lovers, immobilised in marble, Dancing in blooming Garden
Located in London, GB
Handcoloured portrait of otherworldly lovers, immobilised in marble, dancing in blooming meadows. A whimsical tale of adoration, Ursa and her spiritual partner take visual cues from Titania and Bottom in Dieterle and Reinhartd’s 1936 interpretation of A Midsummer Nights Dream. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). Original title: URSA LOVES YOU, 2017 Hand-coloured Archival Pigment Print on Hahnemuhle Photorag 40.5 x 30.5 cm Unique Series: The Sialia Marbles Signed and dated on verso "I’m not a sculptor, but I wanted to construct my own stories. Photographers have often used sculpture in order to challenge our idea of a “sculptural” body or object, by casting them in a two-dimensional light. I love playing with perception. A lot of my work is influenced by the nineteenth century—the pictorialist movement for instance. When photography was a new experiment, people would play around with perception tricks—Victorian paper theaters...
Category

2010s Romantic Prints and Multiples

Materials

Photographic Film, Watercolor, Photographic Paper, Archival Pigment

Portrait of Alfred, Lord Tennyson
Located in Storrs, CT
Portrait of Alfred, Lord Tennyson. 1897. Etching. Binyon 310. 11 13/16 x 9 3/4 (sheet 17 7/8 x 13 1/4). Printed on 'J.Whatman' laid paper, on the full sh...
Category

Late 19th Century Romantic Prints and Multiples

Materials

Etching

Seascape VII - large format photograph of cloud formations and reflecting sea
Located in San Francisco, CA
large scale original photograph of dramatic cloud formations and reflecting sea SEASCAPE VII by Frank Schott 58 x 58 inches ( 147 x 147cm ) signed edition of 7 48 x 48 inches ( 12...
Category

21st Century and Contemporary Romantic Prints and Multiples

Materials

Photographic Paper, Archival Pigment, Black and White, Giclée, Archival ...

Rocky Mountain Flycatcher: Original 19th C. Audubon Hand-colored Bird Lithograph
Located in Alamo, CA
This is an original 19th century John James Audubon hand-colored 1st octavo edition lithograph entitled "Rocky Mountain Flycatcher, Male, Swamp Oak. Quecus Aquatica", No. 12, Plate 6...
Category

Mid-19th Century Romantic Prints and Multiples

Materials

Lithograph

Stalking Cat, Karel Appel
Located in Auburn Hills, MI
KAREL APPEL (1921-2006) Famous Dutch painter and sculptor. Appel started painting at the age of fourteen and was one of the founders of the avant-garde movement COBRA (from: Copenhag...
Category

1980s Romantic Prints and Multiples

Materials

Lithograph

A Pair of Framed 19th Century Colored Lithographs of Tudor Scenes by Joseph Nash
Located in Alamo, CA
This is a pair of framed 19th century tinted lithographs with hand-coloring entitled "Gallery Over the Hall, Knowle, Kent" and "Terrace Bramshill, Hants" by Charles Joseph Hullmandel (1789-1850) after drawings by Joseph Nash (1809-1878), from "Mansions of England in the Olden Time", published in London in 1839-1849. Nash's publication consists of a series of views of Tudor domestic architecture, which Nash said depicted "the most characteristic features of the domestic architecture of the Tudor Age, and also illustrating the costumes, habits, and recreations of our ancestors." The scenes of the aristocratic ladies and gentlemen (including Henry VIII and Queen Elizabeth I), who are depicted inhabiting the rooms of these great houses, were taken directly from the portraits on the walls. Charles Joseph Hullmandel, was involved in the creation of these lithographs. He was a famous British lithographer, who invented the "lithotint" process, which he named and patented in 1840. This technique, allowing for greater nuance and value gradation than pure lithography, was an ideal means of expression for Nash's historically rich and picturesque depictions of Tudor mansions and their inhabitants. Hullmandel is also remembered for creating many lithographs from the paintings by J. M. W. Turner. The "Gallery Over the Hall" depicts a great hall with children playing with skittles (wooden pins resembling bowling pins), a doll and what looks to be a St Charles spaniel, while a lady in Tudor attire watches over them next to a massive stone fireplace. Adults are watching from in the distance while a man bows...
Category

Late 19th Century Romantic Prints and Multiples

Materials

Lithograph

"Hyde Park on Sunday" - Hand Colored Etching from "Old and New London"
Located in Soquel, CA
"Hyde Park on Sunday" - Hand Colored Etching from "Old and New London" Detailed etching of a typical Sunday in Hyde Park around 1800 after an etching by Ed...
Category

Late 19th Century Romantic Prints and Multiples

Materials

Paper, Ink, Watercolor

Tree Study V - large format b/w photograph of lone ancient tree in landscape
Located in San Francisco, CA
From a series of large scale black & white photographs capturing the ancient flora and dramatic arboretum of California's vast Sierra Nevada mountain landscapes, an homage to photogr...
Category

21st Century and Contemporary Romantic Prints and Multiples

Materials

Archival Paper, Photographic Paper, Giclée, Archival Pigment, Archival Ink

"Full Cry" - Mid Century Horse Hunt Figurative Landscape
Located in Soquel, CA
A dynamic mid 20th century copy of a lithograph that depicts Englishmen on horseback giving chase with a pack of beagle-type dogs running in the background. by John Frederick Herring...
Category

1960s Romantic Prints and Multiples

Materials

Offset, Paper

Tree Study III - large scale photograph of dramatic mountain landscape
Located in San Francisco, CA
Tree Study III by Frank Schott from a series of black and white photographs capturing the Golden State's vast mountain landscapes 26 x 40 inches / 66cm x 102cm signed edition of...
Category

21st Century and Contemporary Romantic Prints and Multiples

Materials

Archival Paper, Photographic Paper, Giclée, Archival Pigment

Les Tuileries, Paris - Hand Colored Lithograph 1845-1860
Located in Soquel, CA
Les Tuileries, Paris - Hand Colored Lithograph Delicate hand-colored lithograph of Tuileries Palace in Paris, France printed by Rose-Joseph Lemercier (French, 1803 - 1887). Published, Paris 1843 to 1867 by Hautecoeur Freres (Eugène and Alfred Hautecoeur (French). After Charles Riviere...
Category

Mid-19th Century Romantic Prints and Multiples

Materials

Paper, Ink, Watercolor

Phrosine and Mélidore
Located in Fairlawn, OH
Phrosine and Mélidore Etching, 1879 Signed in the polate lower left of image This etching is after the Dantan painting, a copy after the Pierre-Paul Prud’hom painting Published by Vve. A. Cadart, 56, Bard. Haussman, Paris A deluxe impression with masked letters The Prud’hom painting is in the Musée des Beaux-AÉdouard Joseph Dantan was born on 26 August 1848 in Paris. His grandfather, who had fought in the Napoleonic Wars, was a wood sculptor. His father, Antoine Laurent Dantan, and uncle, Jean-Pierre Dantan, were both well-known sculptors.[1] Dantan was a pupil of Isidore Pils and Henri Lehmann at the École nationale supérieure des Beaux-Arts in Paris.[2] At the age of nineteen he won a commission for a large mural painting of The Holy Trinity for the Hospice Brezin at Marne (Seine-et-Oise).[3] Dantan's first exhibit at the Paris Salon was An Episode in the Destruction of Pompeii in 1869. In 1870 the Franco-Prussian War interrupted his work, and he enlisted in the defence force.[4] He was given the rank of a sergeant, and was later promoted to lieutenant.[5] During the war the family home was burned down.[4] In the years after the war Dantan exhibited a number of other paintings at the Salon including Hercules at the Feet of Omphale (1874), Death of Tusaphane (1875), The Nymph Salmacis (1876), Priam Demanding of Achillees the Body of Hector (1877), Calling of the Apostles Peter and Andrew (1878), Corner of a Studio (1880) and The Breakfast of the Model (1881).[3] He continued to exhibit at the Salon until 1895. In 1890, 1894 and 1895 he served on the jury of the Salon. For twelve years Dantan's companion was the model Agostina Segatori, who had also posed for artists such as Jean-Baptiste Corot, Jean-Léon Gérôme, Eugène Delacroix and Édouard Manet. She bore a child to Dantan, Jean-Pierre, in 1873. On their separation, Agostina opened Café du Tambourin on the Boulevard de Clichy that became a meeting place for artists.[6][fn 1] Dantan spent his summers in Villerville, where he died on 9 July 1897 when the carriage in which he was riding crashed violently into the village church.[8] Style and reception Coin d'atelier (1880) At the 1870 exposition of the Ecole Nationale des Beaux-Arts Dantan received an honorable mention for his submission for the prix de Rome.[9] In 1874 he won a third class medal for his painting of a monk carving a Christ in wood...
Category

1870s Romantic Prints and Multiples

Materials

Etching

Previously Available Items
Pepe Illo hacienda el recorte al toro (Pepe Illo making the pass of the "recort
Located in Fairlawn, OH
Pepe Illo hacienda el recorte al toro (Pepe Illo making the pass of the "recorte") Etching, burnished aquatint, drypoint, and burin, 1816 From: Tauromaquia (32 plates) Edition of 2...
Category

1810s Romantic Prints and Multiples

Materials

Aquatint

The Trooper
By Samuel William Reynolds
Located in New Orleans, LA
"Trooper" is a mezzotint, signed in the plate, and created after the image created by Sir Joshua Reynolds. Reynolds studied art in London under Charles Howard Hodges...
Category

Early 19th Century Romantic Prints and Multiples

Materials

Mezzotint, Etching

Francis the First and the Duchess of Étampes
Located in Saint Augustine, FL
An original hand-colored etching by French artist Leopold Flameng (1831-1911) titled "Francis the First and the Duchess of Étampes", 1876. Signed in ...
Category

1870s Romantic Prints and Multiples

Materials

Watercolor, Etching

LOVERS Signed Lithograph, Erotic Portrait, Nude Couple, Ochre Gold Black White
By José García Ocejo
Located in Union City, NJ
LOVERS is an original hand drawn, traditional lithograph by the prominent Mexican artist José García Ocejo printed using hand lithography techniques ...
Category

1970s Romantic Prints and Multiples

Materials

Lithograph

POR UNA NAVAJA
Located in Aventura, FL
Por una navaja / On account of a knife (Disasters, plate 34, Harris 154, Delteil 153). Original etching, drypoint, burin, and burnisher, c. 1808-1814. After the first edition, the pl...
Category

Early 19th Century Romantic Prints and Multiples

Materials

Paper, Drypoint, Etching

Isis [the great mother goddess of ancient Egypt].
By J.M.W. Turner
Located in Storrs, CT
Isis [the great mother goddess of ancient Egypt]. c. 1810-15. Published Turner, 1 January 1819. Etching and mezzotint. Finberg 68.v/v. Series: Liber Stu...
Category

1810s Romantic Prints and Multiples

Materials

Etching, Mezzotint

Rivaux Abbey, Yorkshire
By J.M.W. Turner
Located in Storrs, CT
Rivaux Abbey, Yorkshire. c. 1806-07. Published by J.M.W. Turner, 23 May 1812. Etching and mezzotint. Finberg catalog 51 state iii/iv. Series: Liber Studiorum. Image: 7 3/16 x 10 1/2;...
Category

Early 1800s Romantic Prints and Multiples

Materials

Etching, Mezzotint

Solitude
By J.M.W. Turner
Located in Storrs, CT
Solitude. 1814. Published by J.M.W. Turner, ?1 January 1816 although dated 12 May 1814. Etching and mezzotint. Finberg 53.ii/vii. Series: Liber Studiorum. Image: 7 x 10 1/4; plate: 8 x 11 3/8; sheet: 10 1/2 x 14 1/2. Drawn and etched by J.M.W Turner. Engraved (mezzotinted) by 'W.Say, Engraver to H.H.H. the Duke of Gloucester' (William Say. 1768 – 1834). With the blindstamp of the 1873 Turner collection sale at Christie's, in the plate just before the text 'Engraved by William Say'. A fine impression printed in sepia ink, on cream wove paper with full margins. Signed with the artists' names in the plate. It is one of eleven published Liber subjects in Turner’s ‘EP’ (‘Elevated Pastoral’ or 'Epic Pastoral') category, as denoted by the letters ‘EP’ above the image. The Tate website comments: "This is one of the published plates of the Liber Studiorum, a series of prints that Turner produced between 1807 and the early 1820s. The image was first etched in outline by Turner himself, and the gradations of light and shade were then introduced in mezzotint, in this case by William Say. The title Solitude is not Turner's own. His only reference to the subject suggests that he may have wanted to link the reclining woman with Mary Magdalene, although he places her not in a Biblical landscape but in an unlikely Arcadian setting...
Category

1810s Romantic Prints and Multiples

Materials

Etching, Mezzotint

The Straw Yard.
By J.M.W. Turner
Located in Storrs, CT
The Straw Yard. 1808. Published by Charles Turner, 20 February, 1808. Etching and mezzotint. Finberg 7.ii/iv. Series: Liber Studiorum. Image: 7 1/4 x 10; plate: 8 1/8 x 11 3/8; sheet...
Category

Early 1800s Romantic Prints and Multiples

Materials

Mezzotint, Etching

The Straw Yard.
The Straw Yard.
H 16 in W 20 in D 0.5 in
The Woman and the Tambourine.
By J.M.W. Turner
Located in Storrs, CT
The Woman and the Tambourine. c. 1806-07. Published J.M.W. Turner,? 11 June 1807. Etching and mezzotint. Finberg 3.iii/iv. Series: Liber Studiorum. 8 1/4 x 11 1/2 (sheet 11 3/4 x 17 ...
Category

Early 1800s Romantic Prints and Multiples

Materials

Etching, Mezzotint

Basle
By J.M.W. Turner
Located in Storrs, CT
Basle. c. 1806-07. Published J.M.W. Turner, ?11 June 1807. Etching and mezzotint. Finberg 5.ii/vi. Series: Liber Studiorum. Image: 7 1/4 x 10 1/4; plate: 8 1/4 x 11 1/4; sheet: 10 3/...
Category

Early 1800s Romantic Prints and Multiples

Materials

Etching, Mezzotint

Romantic prints and multiples for sale on 1stDibs.

Find a wide variety of authentic Romantic prints and multiples available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add prints and multiples created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, orange, pink and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Francisco Goya, Pati Bannister, John Mix Stanley, and Nathaniel Currier. Frequently made by artists working with Lithograph, and Paper and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Romantic prints and multiples, so small editions measuring 4.53 inches across are also available. Prices for prints and multiples made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $119 and tops out at $20,000, while the average work sells for $988.

Recently Viewed

View All