Jeromes & Darrow

"30 Hour Clock, " Wooden Gears with Original Face, Glass, & Mirror

c. 1830

This 30-Hour clock was designed by an American designer named W.S. Conan. It features a gorgeous dark wood and etched glass with floral design. 26" x 15 1/4" x 4 1/4"

This goblet is a simple and charming example of German pewter goblets from the end of the 19th century. The bell-shape form of the goblet, decorated wit...

"Robert Macaire Banquier et Jure" is an original lithograph by Honore Daumier. It depicts a banker and his contemporary having a conversation. 1/2 D. 371 (Charivari) Artwork Size: 14 1/4" x 9 1/2" Frame Size: 21 5/8" x 19" Artist Bio: Daumier was a prolific draftsman who produced over 4000 lithographs, he was perhaps best known for his caricatures of political figures and satires on the behavior of his countrymen, although posthumously the value of his painting has also been recognized. His works offer a commentary on social and political life in France in the 19th century. French caricaturist and painter, born at Marseilles. He showed in his earliest youth an irresistible inclination towards the artistic profession, which his father vainly tried to check by placing him first with a huissier, and subsequently with a bookseller. Having mastered the technique of lithography, Daumier started his artistic career by producing plates for music publishers, and illustrations for advertisements; these were followed by anonymous work for publishers, in which he followed the style of Charlet and displayed considerable enthusiasm for the Napoleonic legend. When, in the reign of Louis-Philippe, Philipon launched the comic journal, La Caricature, Daumier joined its staff, which included such powerful artists as Devéria, Raffet and Grandville, and started upon his pictorial campaign of scathing satire upon the foibles of the bourgeoisie, the corruption of the law and the incompetence of a blundering government. His caricature of the king as "Gargantua" led to Daumier's imprisonment for six months at Ste. Pélagie in 1832. The publication of La Caricature was discontinued soon after, but Philipon provided a new field for Daumier's activity when he founded the Charivari. For this journal Daumier produced his famous social caricatures, in which bourgeois society is held up to ridicule in the figure of Robert Macaire, the hero of a then popular melodrama. Another series, "L'Histoire Ancienne", was directed against the pseudoclassicism which held the art of the period in fetters. In 1848 Daumier embarked again on his political campaign, still in the service of Charivari, which he left in 1860 and rejoined in 1864. In spite of his prodigious activity in the field of caricature -- the list of Daumier's lithographed plates compiled in 1904 numbers no fewer than 3958 -- he found time for flight in the higher sphere of painting. Except for the searching truthfulness of his vision and the powerful directness of his brushwork, it would be difficult to recognize the creator of Robert Macaire, of Les Bas bleus, Les Bohémiens de Paris, and the Masques, in the paintings of "Christ and His Apostles" at the Ryks Museum in Amsterdam, or in his "Good Samaritan", "Don Quixote and Sancho Panza", "Christ Mocked...

"Caricatura Robert Macaire Negociant" is a lithograph by Honore Daumier. It was published February 24, 1837. Original Text: Robert Macaire, Négociant. Hé bien ! Monsieur Macaire, v...

"Une Application Utile Du Diamant Magnetiseur-Actualites" is an original lithograph, the second state of three, by Honore Daumier. It depicts a husband and wife pair. Artwork Size: 8 1/2" x 10 3/4" Frame Size: 17 3/4" x 20 1/4" Artist Bio: Daumier was a prolific draftsman who produced over 4000 lithographs, he was perhaps best known for his caricatures of political figures and satires on the behavior of his countrymen, although posthumously the value of his painting has also been recognized. His works offer a commentary on social and political life in France in the 19th century. French caricaturist and painter, born at Marseilles. He showed in his earliest youth an irresistible inclination towards the artistic profession, which his father vainly tried to check by placing him first with a huissier, and subsequently with a bookseller. Having mastered the technique of lithography, Daumier started his artistic career by producing plates for music publishers, and illustrations for advertisements; these were followed by anonymous work for publishers, in which he followed the style of Charlet and displayed considerable enthusiasm for the Napoleonic legend. When, in the reign of Louis-Philippe, Philipon launched the comic journal, La Caricature, Daumier joined its staff, which included such powerful artists as Devéria, Raffet and Grandville, and started upon his pictorial campaign of scathing satire upon the foibles of the bourgeoisie, the corruption of the law and the incompetence of a blundering government. His caricature of the king as "Gargantua" led to Daumier's imprisonment for six months at Ste. Pélagie in 1832. The publication of La Caricature was discontinued soon after, but Philipon provided a new field for Daumier's activity when he founded the Charivari. For this journal Daumier produced his famous social caricatures, in which bourgeois society is held up to ridicule in the figure of Robert Macaire, the hero of a then popular melodrama. Another series, "L'Histoire Ancienne", was directed against the pseudoclassicism which held the art of the period in fetters. In 1848 Daumier embarked again on his political campaign, still in the service of Charivari, which he left in 1860 and rejoined in 1864. In spite of his prodigious activity in the field of caricature -- the list of Daumier's lithographed plates compiled in 1904 numbers no fewer than 3958 -- he found time for flight in the higher sphere of painting. Except for the searching truthfulness of his vision and the powerful directness of his brushwork, it would be difficult to recognize the creator of Robert Macaire, of Les Bas bleus, Les Bohémiens de Paris, and the Masques, in the paintings of "Christ and His Apostles" at the Ryks Museum in Amsterdam, or in his "Good Samaritan", "Don Quixote and Sancho Panza", "Christ Mocked...

"Robert Macaire Commis Voyageur" is an original lithograph by Honore Daumier. It depicts two men having a conversation. Artwork Size: 14 1/4" x 9 1/2" Frame Size: 21 3/4" x 18 1/2" Artist Bio: Daumier was a prolific draftsman who produced over 4000 lithographs, he was perhaps best known for his caricatures of political figures and satires on the behavior of his countrymen, although posthumously the value of his painting has also been recognized. His works offer a commentary on social and political life in France in the 19th century. French caricaturist and painter, born at Marseilles. He showed in his earliest youth an irresistible inclination towards the artistic profession, which his father vainly tried to check by placing him first with a huissier, and subsequently with a bookseller. Having mastered the technique of lithography, Daumier started his artistic career by producing plates for music publishers, and illustrations for advertisements; these were followed by anonymous work for publishers, in which he followed the style of Charlet and displayed considerable enthusiasm for the Napoleonic legend. When, in the reign of Louis-Philippe, Philipon launched the comic journal, La Caricature, Daumier joined its staff, which included such powerful artists as Devéria, Raffet and Grandville, and started upon his pictorial campaign of scathing satire upon the foibles of the bourgeoisie, the corruption of the law and the incompetence of a blundering government. His caricature of the king as "Gargantua" led to Daumier's imprisonment for six months at Ste. Pélagie in 1832. The publication of La Caricature was discontinued soon after, but Philipon provided a new field for Daumier's activity when he founded the Charivari. For this journal Daumier produced his famous social caricatures, in which bourgeois society is held up to ridicule in the figure of Robert Macaire, the hero of a then popular melodrama. Another series, "L'Histoire Ancienne", was directed against the pseudoclassicism which held the art of the period in fetters. In 1848 Daumier embarked again on his political campaign, still in the service of Charivari, which he left in 1860 and rejoined in 1864. In spite of his prodigious activity in the field of caricature -- the list of Daumier's lithographed plates compiled in 1904 numbers no fewer than 3958 -- he found time for flight in the higher sphere of painting. Except for the searching truthfulness of his vision and the powerful directness of his brushwork, it would be difficult to recognize the creator of Robert Macaire, of Les Bas bleus, Les Bohémiens de Paris, and the Masques, in the paintings of "Christ and His Apostles" at the Ryks Museum in Amsterdam, or in his "Good Samaritan", "Don Quixote and Sancho Panza", "Christ Mocked...

Striking stained glass panel hand crafted in an hourglass form in alluring vivid colors and highlighted with jewels in a festive floral motif.

The instrument is done in a Brazilian Rosewood finish and is of the carved Victorian style. The piano has been fully restored and refinished, inside and out, and the restoration was ...

This beautiful mahogany pedestal is a wonderful example of the neoclassical style. It has detailed carvings of draped tapestries that are set in frames along the edges at the top of ...

This Victorian wooden string box is very intricately painted by hand. There are beautiful scenes featuring peacocks around the box and a peacock with outstr...

"Coalescence #2" 21" x 16" inch by Oleg Char Medium: Spray paint, Acrylic on restored Antique Mirror, Wood frame THE ARTIST: Unearth the es...

Indoor/outdoor bench Materials: Synthetic grass, wood, and mirrored stainless steel Signed and numbered, open edition Available in 2 sizes: 20H x 52W x 21D 20H x 30W x 18D Gerald Incandela American, b. Tunisia, 1952 Born in Tunisia, Gerald Incandela studied in Tunis and Paris. He moved to Paris in 1969, where he received a philosophy degree and studied art history at Lycée Janson-de-Sailly. He traveled extensively throughout Europe and made Super-8 camera movies in Berlin. In 1974, he took up photography and learned the art of printing in London. He developed a unique process in the darkroom working with developer and brushes, merging photography, drawing, and painting; blurring reality with abstraction. His early work quickly attracted the interest of noted collector, Sam Wagstaff...