1840s Art

Image dimensions: 24.3 x 17.5 cm. Single sheet with passepartout. "...The unhappy man had approached that mysterious spot where, amid a thousand aquatic plants, the Water-arrow gr...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...

Démidoff is an original Litograph realized by Denis Auguste Marie Raffet in 1837. Hand-signed and dated in china ink by Anatole de Démidoff (Anatolij Nikolaevic Demidov) on the lowe...

Auguste De Sainson is an original Litograph realized by Denis Auguste Marie Raffet in 1848. Signed and dated in plate on the lower right corner. Good condition included a cream col...

Image dimensions: 24.3 x 17.5 cm. Single sheet with passepartout. "...The unhappy man had approached that mysterious spot where, amid a thousand aquatic plants, the Water-arrow gr...

Image dimensions: 23 x 19 cm. Monsieur Par suite De La Fusion... - From “Les philanthropes du jour” is an original artwork realized by Honoré Daumier in 1845/46. Original complete ...

Salvator Rosa at the Brigands is an original artwork realized by Adolphe Pierre Riffaut in 1844. Original lithograph on paper after A. Guignot. Artist's proof before Letter. Passepa...

French Romantic school, circa 1840 Portrait of a young man, charcoal on paper 22.5 x 17 cm In good condition, however, there is a restoration of the paper in the upper right-hand qu...

"Vie of Bagni di Lucca" is an original etching by Attilio Zuccagni-Orlandini (1784-1872), a famous italian cartographer and geographer active in Tuscany...

Sultano Selim II is an original artwork realized by an Unknown artist in 1849. Beautiful lithograph hand-watercolored on paper. Good conditions. Titled on the bottom center. Delfin...

Figures of Women is an original lithograph on ivory-colorated paper by an unknown artist in 1840s. In very good condition. Not signed. Monogrammed J.P.

The Devotee is an original ink watercolored drawing on paper realized by Jean-Jacques Grandville. Hand-signed in black ink on the lower margin at the center. A beautiful satiric il...

Patriotic Icon is an original modern artwork realized in the 1848 in Italy. The work includes three historial lithographs depicting the Italian "Lira". Passepartout is included. Im...

Red Knights of D'Abd-el-kader is an original Hand-colored lithograph on paper realized in 1846 by an Anonymous artist. Titled on the lower center " Cavalieri Rossi D'Abd-el-kader"....

Persian Woman is an original hand-colored lithograph on paper realized in 1848 ca. by an Anonymous artist of the mid XIX century. Titled on the lower center in Italian "Signora Pers...

The Hunting is an original hand-colored lithograph on paper realized in 1848 ca. by an Anonymous artist of the mid-XIX century. Titled on the lower center in Italian" Una Caccia. I...

Image dimensions: 11.5 x 14.7 cm Vie of Taranto is an original black and white etching on paper, realized by the Italian engraver Achille Parboni. Printed as a plate of the prints ...

Image dimensions: 24.3 x 17.5 cm. Single sheet with passepartout. Little flowering bottom right side. Les Fleurs animées is a work published by Gabri...

France middle of 19th century (1843 ?) A set of 6 drawings Landscapes, trees, farms Brown ink and brown ink wash on paper Dimensions vary : Farms and buildings ( x 3) : 27 x 34 cm A...

Image dimensions: 14.7 x 19.8 cm. La Cava is an original black and white etching on paper, printed in 1843 as a plate of the print suite "90 Views of the citi...

Image dimensions: 24.3 x 17.5 cm. Single sheet with passepartout. "...The unhappy man had approached that mysterious spot where, amid a thousand aquatic plants, the Water-arrow gr...

Image dimensions: 24.3 x 17.5 cm. Single sheet with passepartout. "...The unhappy man had approached that mysterious spot where, amid a thousand aquatic plants, the Water-arrow gr...

Image dimensions: 24.3 x 17.5 cm. Single sheet with passepartout. "...The unhappy man had approached that mysterious spot where, amid a thousand aquatic plants, the Water-arrow gr...

Image dimensions: 24.3 x 17.5 cm. Single sheet with passepartout. "...The unhappy man had approached that mysterious spot where, amid a thousand aquatic plants, the Water-arrow gr...

Lesti, Lesti al Timone is a beautiful hand-watercolored lithograph, realized in1848 by the Italian satirical artist Antonio Masutti (Aviano 1813-Tourin 1895). Title is printed in c...

Amusing original colored lithograph with pouchoir details. Beautiful satiric illustration by the French draftsman Paul Gavarni (alias Guillaume Sulpice Chevalier, 1804- 1866). Plat...

French school from the mid-19th century Pencil and gouache highlights 25 x 35 cm (32 x 50 cm with the mat) Located, dated and signed "Holy address / August 15, 45 / H"

19th Century French school, Two italian women in a landscape, oil on canvas 59 x 43.5 cm Bears a signature and a date on the lower left (see photograph please) but barely lisible ...

New York - Taken from the north west angle of Fort Columbus Governor's Island, 1846 Engraved by Henry Papprill after a sketch by F. Catherwood, published by Henry J. Megarey Hand-colored engraving on paper Image 16 x 26 1/2 inches Henry A. Papprill (1816–1903) was a British engraver. Noted as an aquatint engraver from 1840. His plates were published from 1840 till 1883 mainly by Ackermann of the Strand. Papprill was born in Holborn, London. Lived for much of his life at Wharton Street, Lloyd Square, London. Papprill is thought to have been based in New York City for brief period in the mid-1840s. His work in the USA appears to classify him as an American engraver but he was based and gained his reputation and bulk of his work in England. He produced a series of works for Ackermann & Co from 1840 beginning with four plates called "The Jolly Squire", with verses, after James Pollard. In the following years Papprill engraved a number of military plates for Ackermann as well a series of engravings of New York (1846-9) for H.I.Megarey (published in New York). The most notable of these are: "The North West Angle of Fort Columbus, Governor's Island" (the Catherwood-Papprill view) and New York from the Steeple of St. Paul's Church, Looking East, South & West." (The Hill-Papprill view) listed in the American Historical Prints - Early Views of American Cities, etc: I.N.Phelps Stokes & Daniel C. Haskell. New York Public Library 1932. Papprill also produced for Ackermann a series of sporting prints after G. H. Laporte between 1860 and 1865. These were entitled: Racing, Hunting and Coursing. He also produced a series of shipping prints...

"The Old-Irish Hunter." and "The Cleveland Bay." from "The Breeds of the Domestic Animals of the British Islands." by David Low. London, Fairland, 1842. Original lithograph hand-col...

Signed lower right - David Cox (1783 – 1859). The scene on the coast, the impending storm wind. The depiction of wind in art has always been a symbol of change and a reminder that everything in this world is relative... Beautiful landscape full of expression and dynamism. Antique oil painting on wood...

"Moqui Dancers, Moqui Pipe, Navajo Cradle & Headdress" is a hand-colored engraving by Seth Eastman. It depicts encyclopedic depictions of Native American...

The Soldier's Ballad is a contemporary artwork realized by Max Ernst in 1972. Mixed colored lithograph on Arches Paper. Edited by Manus Presse, Stuttgart 1972. Not signed and not ...

"Dahkota Mission of Peace 1820, Warning Against Tresspass" is a color lithograph by Seth Eastman. It features figures trying to warn people against trespassing on their land. 7 3/4...

David Roberts 1796 - 1864 Facade of the Pronaos of the Temple of Edfou First Edition lithograph Full plate: 208 Presented in a acid free mount We have all 250 of the Lithograph set...

Artist: John James Audubon (American, 1785-1851) Title: "Glaucus Gull - Burgomaster" (Plate 449, No. 90) Portfolio: The Birds of America, First Royal Octavo Edition...

French School of the 19th century, Attributed to Achille Deveria (1800-1857) A Lady and a boy with a dog, a Renaissance style scene Oil on wood panel 22 x 13 cm A label on the revers...

Denis Auguste Raffet (1804-1860) Studies of a Tiroler Kaiserjäger, Signed and dated 1849 lower right Ink on paper 16.5 x 25.5 cm In a nice period frame : 33 x 42 cm Raffet had the occasion to draw studies of austrian soldiers as he took part as observer to the first Italian Independance War (1848-1849). It was the the first of many conflicts between the Kingdom of Sardinia , which later became the Kingdom of Italy , and the Austrian Empire. The Kaiserjäger (imperial hunters) were founded in 1815 by Emperor Franz I. It was a great honor to enter the Kaiserjäger as they were the only ones to be honored with the term "imperial". However, only Tyrolese, Voralbergers and Welschtirolers were allowed. They wore this characteristic hat as a parade headdress, it was made of matte black, waterproof felt. It consisted of a crown and brim adorned with a circular, green cord, the Jäger emblem and a plume of black rooster feathers. The hat cord was made of sheep's wool, and had a button and an acorn covered with a green wool. These two studies clearly evoke the interest of the artist for this part of their uniform. Denis Auguste Marie Raffet (2 March 1804 – 16 February 1860) was a French illustrator and lithographer. He was a student of Nicolas Toussaint Charlet, and was a retrospective painter of the Empire. At an early age he was apprenticed to a wood turner, but took up the study of art at evening classes. At the age of 18 he entered the workshop of Cabanel, where he applied his skill to the decoration of china, and where he met Rudor, from whom he received instruction in lithography, in the practice of which he was to rise to fame. He then entered the École des Beaux-Arts, but returned to lithography in 1830 when he produced on stone his famous designs of Lützen, Waterloo, Le bal, La revue, and Les adieux de la garrison, by which his reputation became immediately established. Raffet's chief works were his lithographs of the Napoleonic campaigns, from Egypt to Waterloo, vigorous designs inspired by ardent patriotic enthusiasm. In this endeavor he was a contemporary of other French artist-lithographers of Napoleon and the French army including Hippolyte Bellangé, Horace Vernet, and Nicolas Toussaint Charlet. As an illustrator his activity was prodigious, the list of works illustrated by his crayon amounting to about forty-five, among which are Béranger's poems, the History of the Revolution by Adolphe Thiers, the History of Napoleon by de Norvins, the great Walter Scott by Auguste Defauconpret, the French Plutarch and Frédéric Bérat's Songs. He went to Rome in 1849, and was present at the siege of Rome, which he made the subject of some lithographs, and followed the Italian campaign of 1859, of which he left a record in his Episodes de la campagne d'Italie de 1859. His portraits in pencil...

Artist: John James Audubon (American, 1785-1851) Title: "Ivory Gull" (Plate 445, No. 89) Portfolio: The Birds of America, First Royal Octavo Editi...

Artwork on canvas Wooden frame and gilded plaster 58 x 69.5 x 7 cm

"Sun, Moon and Stars". Three beauties enjoy a full moon on the veranda of a teahouse or restuarant. The woman on the left kneels and adjusts her lavishly printed kimono. The beauty in the center has her hair down, and behind her is a screen against which shadows are beautifully silhouetted, which adds an air of mystery. The seated woman on the right is perhaps a geisha, as we see a shamisen lying next to her. Before her is a tray with an assortment of foods. One may surmise that the beauties are being compared to the sun, the moon, and the stars. On the left we glimpse a full moon shining over the peaceful bay, and boats at harbor. Original first edition Japanese color woodblock print triptych...

The present hand-colored lithograph is one of several decorative images of flower-filled vases published by Nathaniel Currier. This example contains roses, tulips, forget-me-nots, and others all within a vase with gold eagle head handles and an image of a beautiful young woman the belly. 16 x 11 inches, artwork 22.5 x 18.25 inches, frame Entitled bottom center Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "152 Nassau St. Cor. of Spruce N.Y." Copyrighted bottom center "Entered according to Act of Congress in the year 1848 by N. Currier in the Clerk's office of the Southern District of N.Y." with the number 249 Framed to conservation standards using 100 percent rag matting, housed in a lemon gold 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...

Painted with unsurpassed detail, Robert Salmon's works are desirable to collectors the world over, due to the impressive amount of historic subject matter presented through artistic compositions of the highest order. As an artist Salmon was one of the most important to come out of England and immigrate to America in this period, influencing the art of Fitz Henry Lane...

Guerrier de Timor is a hand colored lithographs realized by Auguste Wahlen in 1844. Good conditions. The artwork belongsto the Suite Moeurs, usages et costumes de tous les peuples ...

Diseases of Extremities is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal, Human Anatomy, Printers Batelli and Ridolfi, 1843. The work belongs to the A...

Ancient Costumes is a lithograph made in 1844. Hand colored. Good condition.

Sacred Camel - Costumes  is a Hand-colored lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of t...

Bone Diseases  is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1...

Heart Diseases is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1...

Bone Diseases  is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1...

Kidney Diseases is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in ...

Diseases of the Intestines  is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1843. Signed on ...

Diseases of the Intestines  is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1843. Signed on ...

Ganglion Nerve Diseases is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1843. Signed on plat...

Thrones, herald etc. is a lithograph realized by Auguste Wahlen in 1844. Hand colored. Good condition. At the center of the artwork is the original title "Troni, araldo ecc.". Th...

Ancient African Customs is a lithograph made by Auguste Wahlen in 1844. Hand colored. Good condition. At the center of the artwork is the original title "Africa" and subtitle "Ott...

Ancient African Customs is a lithograph made by Auguste Wahlen in 1844. Hand colored. Good condition. At the center of the artwork is the original title "Africa" and subtitle "Cos...

Ancient African Customs is a lithograph made by Auguste Wahlen in 1844. Hand colored. Good condition. At the center of the artwork is the original title "Africa". The work is par...

Africa is a lithograph realized by Auguste Wahlen in 1844. Hand colored. Good condition. At the center of the artwork is the original title "Africa" and subtitle "Abitanti delle i...

Ancient African Costumes is a lithograph made by Auguste Wahlen in 1844. Hand colored. Good condition. At the center of the artwork is the original title "Africa" and subtitle "Ab...