Series I. Prints 16 x 20" and smaller, is arranged alphabetically by artist or printmaker's surname. These prints are housed in boxes. Not all prints are item-level described here. See the box listing for a complete list of all printmakers.

The [Views of the Adirondack Mountain Region], lithographed by John Henry Bufford and published by Bufford's Lithography were commissioned to illustrate the New York State Assembly Document no. 200 which was written in 1837 by several geologists after an expedition to the Adirondack region; here the term "Adirondacks" was first used. These prints are thus notable in that they are the first to show views of the Adirondacks under that name. The complete set of ten lithographed views and five engraved maps was issued separately from the Document in paper covers. Some prints are after painter Charles Cromwell Ingham

"View of Fort George" (1730-1731), attributed to William Burgis, is the first known engraved view of New York City from the west and the first mezzotint view of the city. This is a unique print, and is enclosed in an eighteenth-century, but not original, frame. John Carwitham's "View of Fort George with the City of New York from the S.W.," itself an early and important view of New York, is based on Burgis' view.

The illustrated broadside, with a woodcut by S. Burnet of the horse Grand Seignior, is considered to be an early image of the first Arabian horse to be brought to New York. The broadside was published in March of 1805.

Four hand-colored aquatints are from a drawing book printed and sold by William Charles, of Philadelphia, in 1815. The vignettes show a country cottage, a stone bridge, a country church, and an old mill. Each print has the name "Henry H. Krebs" inscribed along the top.

George Ellis, a Philadelphia engraver, completed "The Peaceable Kingdom at the Branch," a popular view after Richard Westall, at only age sixteen.

Henry Hoff, a lithographer and publisher, issued twenty "Views of New-York" in 1850. The colored lithographs were mounted onto decorative cards with a gold border and lettering. Eighteen of these views can be found here.

Jacques-Gerard Milbert was a French naturalist and artist who traveled in the eastern United States from 1815-1823. Upon his return to France, he issued a portfolio, "A Series of Picturesque Views in North America, by J. Milbert, Corresponding member to the French Museum of natural history and several other scientific establishments, Paris, 1825." [from inscription on cover.] A complete set of the fourteen lithographs is rare; thirteen views and an original paper wrapper are held in this File. Several years later Milbert published more prints of America in a bound portfolio with two separate volumes of text; "Itineraire pittoresque du fleuve Hudson et des Parties laterals. L'amerique du nord." Titles on the prints, which were lithographed after drawings by Milbert, were rendered in French, English, Latin, and German. Fifty-three plates were issued; twelve can be found here. A version of Plate 40, without letters, was lithographed in New York in ca. 1821-1822 by Barnet & Doolittle, the first lithography firm in the United States.

Paul Revere's print of the Boston Massacre, "The Bloody Massacre Perpetrated in King Street. . ." is one of the most famous American historical prints. He issued his print less than a month after the massacre, and it proved to be an important piece of visual propaganda for colonial Americans.

Joseph Raskin's etchings show buildings at Harvard University, Princeton University, Amherst College, Williams College, Princeton University, and the University of Virginia.

Caleb Ward's "View of the Spot where Gen. Hamilton fell at Weehawk" is extremely rare. It was first issued just after the erection of the monument in 1806, and then again in ca. 1830.

James Abbott McNeill Whistler's "Twelve Etchings from Nature," are predominantly views of the French countryside, but also include several urban scenes.

The Woodcut Society, an organization for print enthusiasts that existed between 1932 and 1952, published two prints a year. Eight of these prints can be found in this File.

Prints are filed alphabetically in boxes. Prints by Henry Hoff, Jacques Gerard Milbert, and those published by the Woodcut Society are housed in their own boxes.

Series II. Prints 16 x 20" to 30 x 40," is also filed by artist or printmaker's surname. The prints are are housed in drawers in flat files. This series contains many important eighteenth-century prints, particularly views of New York City.

Three of Karl Akrell's engravings after Axel Leonhard Klinckowstrom are from Klinckowstrom's Atlas, which was published in Sweden in 1824. A complete copy of this early work is also held by the Department of Prints, Photographs, and Architectural Collections. The view of City Hall is notable for the pigs shown prominently in the foreground.

Pierre Charles Canot, a French engraver working in London, engraved these two views of New York City after drawings by Thomas Howdell, a member of the Royal Artillery of the British Army. They were published in London in around 1768 as part of Scenographia America, a collection of twenty-eight views of American cities. The view from the south-east includes one of the first impressions of King's College (now Columbia University).

Amos Doolittle's son A. B. Doolittle's engraving of Yale College is included in this series.

The French lithographing firm of Engelmann Pére et Fils (Godefroy Engelmann, principal) completed six scenes of Vues de L'Amerique du Nord; all six were printed as the basis for wallpaper blocks. Complete sets are rare; the Society has three. The view of New York includes African Americans.

The etching by Paul Fourdrinier is the earliest plan of Savannah known to exist. The first settlers came in 1733, and the print was issued the next year.

Ambroise-Louis Garneray, a French artist and engraver, issued a series of travel views in the early eighteenth century, Vues des coites de France dans l'Ocean et dans la Mediteranee. The fifth volume, Voyage Maritime, featured views of great port cities, including several American ports. Garneray never visited America but copied the views of other artists.

Thomas Johnston's view of the battle at Lake George is from the French and Indian War.

Paul Sandby 1725-1809 is considered the founder of the watercolor movement in England, and was also the first English artist to use the aquatint process. The views by and after Sandby here were originally sketches by the colonial Massachusetts Governor Thomas Pownall. Sandby painted each view, and engraved several of them. The six prints here were first published in 1761 under the title of Six Remarkable Views in the Provinces of New-York, New-Jersey, and Pennsylvania, in North America, and were later reissued as part of Scenographia Americana, mentioned above, in 1768.

Prints are filed alphabetically by artist or printmaker's surname.