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...

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...

Knight is an original artwork realized by Frédérique Émilie Auguste O'Connell (1822 -1885) . Etching print. Hand-signed and dated on the lower right. Passpartout cm 70x50,5 Good co...

Colored lithograph with pouchoir details on ivory colored paper. Beautiful satiric illustration by the French draftsman Paul Gavarni (alias Guillaume Sulpice Chevalier, 1804-1866). Plate 54, from the series Les Débardeurs, Aubert and C.ie, Paris, 1848. Numbered on plate on lower-left corner. With the amusing and smart printed...

Les Canotiers Parisiens is an original Modern Artwork realized in the 1843 by Honoré Daumier (in full Honoré-Victorin Daumier, Marseille, 1808 — Valmond...

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...

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...

Wandering monks in the courtyard of Konoura is an original modern artwork realized by Utagawa Hiroshige II (1826 – 1869) in the 1840s. Good impression with reduced palette mainly in...

Bamboo Rooms in Iwahisa is an original modern artwork realized by Utagawa Hiroshige II (1826 – 1869) in the 1840s. Very good impression with reduced palette mainly in blue, green an...

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...

Etudes de figures dans les Paysages is an original artwork realized by Fortuné Férogio in 1845. Original lithograph on paper. On the left corner the written "Imp. Lemercier à Paris"...

Ebrea maritata (Married Jewish) is an original artwork realized by an Unknown artist in 1849s. Beautiful lithograph hand-watercolored on paper. Good conditions. Titled on the botto...

Napoléon is an artwork realized by Hippolyte Bellangé in 1846. Original lithograph on paper. Passepartout included: 34 x 49 cm. The title and an ...

Oran (Main Door) is an original artwork realized by an Unknown artist in 1849s. Beautiful hand-watercolored lithograph on paper. Good conditions. Titled on...

"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...

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...

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...

Porta Angelica is an original black and white etching on paper, realized by Alessandro Moschetti. At the top left margin the printed inscription: "ITALIA"; top center: "Roma"; top r...

Image dimensions: 24.3 x 17.5 cm. Single sheet with passepartout. "Delighted at finding themselves again united, after all theit vicissitudes, the chief flowers determined on givi...

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. "At a crossing in the forest, where four roads unite, a number of flowers happened to meet - among which were seen the Cactus, the Peach-blossom, the Dahlia, the Sensitive-plant, the Fuchsia, the Periwinkle, and the Sweet-scented Pea." T. Delord. Les Fleurs animées...

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...

Original ink watercolored drawing on paper. Made for the illustration of the volume 'Scènes de la vie privée et publique des animaux', published by Garner frères in 1869, Paris. Han...

First edition lithograph Full plate: 4 Presented in a acid free mount Modern hand-coloured lithograph for the first edition of David Roberts' The Holy Land. Published by F.G. Moon &...

The Chef is an original ink watercolored drawing on paper realized by Jean-Jacques Grandville. A wonderful satiric illustration from the volume 'Scènes de la vie privée et publique ...

Original hand colored engraving from "Dictionnaire Universel d'Histoire Naturelle." Paris, 1849. Sheet size: 6" w x 6" h. Displayed in a custom, archival gray mat.

France circa 1850 The Bohème artist in his workshop Watercolor on paper 15.5 x 21.5 cm In good condition except a small tear (visible on the photographs) on the upper right border. I...

Keisai Eisen Courtesan in a Leaping Koi Kimono Kakemono, 1842 花魁道中─鯉の滝のぼり打掛 Original Woodblock print Oban 72 x 25 cm Oiran Parade—Uchikake Kimono Decorated with a Design of Carps Cl...

Hand-colored lithograph 1st ed. Royal Octavo Master printer: J.T. Bowen John James Audubon was born in Haiti in 1785. Most of his childhood was spent in ...

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...

Lithograph on wove paper. Signed and dated in the plate. This lithograph by Auguste Raffet, one of France’s most celebrated lithographers of the 19th century, presents a romantic v...

Lithograph on wove paper. Signed and dated in the plate. Image dimension: 19x33 cm. This finely executed lithograph by Auguste Raffet depicts a vivid coastal scene on the shores o...

Lithograph on wove paper. Signed and dated in the plate. Image dimension: 16.5x33. This finely detailed lithograph by Auguste Raffet depicts a rustic Crimean village scene, part of...

Lithograph realized by Raffet in 1846. Signed and dated in the plate. Image dimension 19x42 cm. A finely detailed lithograph by Auguste Raffet, depicting the bustling market of Lis...

Lithograph on paper, signed in the plate. A highly atmospheric frontispiece from Raffet’s celebrated travel album documenting his expedition through Southern Russia, Crimea, Hungary...

Lithograph on wove paper. Signed and dated in the plate. Image dimension 19x42 cm. A sweeping and atmospheric composition by Auguste Raffet, master of lithographic detail, depicti...

Lithograph on wove paper. Signed and dated in the plate. Image dimension 24x32 cm. This rare lithograph by Auguste Raffet, one of the most celebrated lithographers of the 19th cen...

"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...

James Henry Cafferty Landscape and Figures (New Jersey or Long Island), 1845 Signed lower right Oil on canvas 21 x 17 1/4 inches Provenance The artist John L. Schoolcraft, Albany, N...

An acute observer of nature Barye was fascinated by the dramatic depiction of animals in the wild. These anomalies bronzes can sit on mantles and desks and elevate a room tremendousl...

Lithograph on wove paper, realized in 1846. Signed and dated in the plate. This engaging interior scene by Auguste Raffet depicts an intimate moment in a Tatar household at mealtim...

Lithograph on wove paper realized in 1846. Signed and dated in the plate. Light overall foxing and toning consistent with age, more pronounced in the margins; slight water stain vi...

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...

Lithograph on laid paper realized in the mid-19th Century. Titled Le Mercredi des Cendres (“Ash Wednesday”), it depicts a lively and tumultuous street carnival scene, animated with ...

Lithograph on paper realized by Auguste Raffet in 1845. This finely detailed lithograph by the acclaimed French artist and lithographer August Raffet depicts an intimate interior sc...

Lithograph on paper, realized in 1845. This finely detailed lithograph by Auguste Raffet depicts a scene at the guard camp in Bourgas, featuring Russian soldiers and Cossacks during...

Lithograph on paper realized by Auguste Raffet in 1841. It is part of the suite "Crimée". Image dimension cm. 14x34. Signed and dated in the plate. Very good condition. Auguste ...

Lithograph on paper realized by Auguste Raffet in 1840. It is part of the suite "Crimée". Image dimension cm. 26x20. Signed and dated in the plate. Very good condition. Auguste ...

Lithograph on paper realized by Auguste Raffet in 1840. It is part of the suite "Crimée". Image dimension cm. 24x33. Signed and dated in the plate. Very good condition. Auguste Raffe...

Toyokuni-III (1786-1864) Title: Yamabe-no-Akahito 山部赤人 From Series: One Hundred Poems by One Hundred Poets 百人一首絵抄 Size: O-ban 大判 Age: 1843-47 FREE SHIPPING

Theodor Hosemann (1807 Brandenburg - 1875 Berlin), The actor Karl Seydelmann probably as Max Piccolomini, around 1840. Watercolor with pencil, 20.5 cm (height) x 14.7 cm (width), sig...

Lithograph on paper realized by Auguste Raffet in 1841. It is part of the suite "Crimée". The scene depicts a group of Russian peasants (likely from the southern regions or Crimea)...

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...

Honoré BARMONT Paris, 1810 – Paris, 1851 Oil on canvas 36 x 25 cm (48 x 38 cm with the frame) Signed and dated lower right “Honoré Barmont / 1842” Beautiful 19th century frame in gil...

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...

Over 150 year old map of early United States of America with Western Districts from 1844. Original hand color. Districts shown include Hurons, Sioux, Mandans, Osages, and Ozark. Note independent Republic of Texas...

Suite of four large family portraits, kept together to this day. Created around 1840 by the painter Théophile Morel, who presented portraits at the Salon des Artistes Français from t...

Large antique Oil on Canvas maritime seascape Painting of a harbor at the Coast, by William Turner Davey (1818-1900), the painting signed and dated 1843. The painting depicts a harbo...

The Jolly Flat Boat Men, 1847 After George Caleb Bingham (American, 1811-1879) Engraved by Thomas Doney (French, active New York 1844-1849) Engraving with Hand-Coloring Published by The American Art-Union, New York (1838-1851) Printed by Powell and Co. 18 x 24 inches 32 x 38 inches with frame In 1847, the American Art-Union purchased Bingham’s painting "The Jolly Flat Boat Men" (1846; National Gallery of Art) directly from the artist. The subscription-based organization, founded in 1838 as the Apollo Association, boasted nearly ten-thousand members at this date. For an annual fee of five dollars, each received a large reproductive engraving and was entered in a lottery to win original artworks exhibited at the Art-Union’s Free Gallery. Aimed at educating the public about contemporary American art, the organization developed an impressive distribution network that reached members in every state. The broad circulation of the Art-Union's print helped to establish Bingham's reputation and made his river scene famous. Born in Augusta County, Virginia in the Shenandoah River Valley, George Caleb Bingham became known for classically rendered western genre, especially Missouri and Mississippi River scenes of boatmen bringing cargo to the American West and politicians seeking to influence frontier life. One of his most famous river genre paintings was The Jolly Flatboatmen completed in several versions in 1846. This first version of this painting is in the Manoogian Collection at the National Gallery of Art. Fame resulted for this work when it was exhibited in New York at the American Art Union whose organizers made an engraving of 10,000 copies and distributed it to all of their members. Paintings such as Country Politician (1849) and County Election (1852) and Stump Speaking (1854) reflected Bingham's political interests. In 1819, as an eight-year old, he moved to Boon's Lick, Missouri with his parents and grandfather who had been farmers and inn keepers in the Shenandoah Valley near Rockingham, Virginia. Reportedly as a child there, he took every opportunity to escape supervision to travel the River and watch the marine activity. His father died in 1827, when his son was sixteen years old. His mother had encouraged his art talent, but art lessons were not easily obtainable. In order to earn money, he apprenticed to a cabinet maker but determined to become an artist. By 1835, he had a modest reputation as a frontier painter and successfully charged twenty dollars per portrait in St. Louis. "His portraits had become standard decorations in prosperous Missouri homes." (Samuels 46). In 1836, he moved to Natchez, Mississippi and there had the same kind of career, only was able to charge forty dollars per portrait. He remained largely self taught until 1837, when he, age 26 and using the proceeds from his portraiture, studied several months at the Pennsylvania Academy of the Fine Arts. He later said that he learned much of his atmospheric style and classically balanced composition by copying paintings in collections in St. Louis and Philadelphia and that among his most admired painters were Thomas Cole, John Vanderlyn, and William Sidney Mount. Between 1856 and 1859, Bingham traveled back and forth to Dusseldorf, Germany, where he studied the work of genre painters. Some critics think these influences were negative on his work because during that time period, he abandoned his luminist style that had brought him so much public affirmation. Bingham credited Chester Harding (1792-1866) as being the earliest and one of the most lasting influences on his work. Harding,a leading portraitists when Bingham was a young man, had a studio in Franklin, near Bingham's home town. In 1822, when Bingham was ten years old, he watched Harding finish a portrait of Daniel Boone. Bingham recalled that watching Harding with the Boone portrait was a lasting inspiration and that it was the first time he had ever seen a painting in progress. Harding suggested to Bingham that he begin doing portraiture by finding subjects in the river men, which, of course, opened the subject matter that established fame and financial success for Bingham. Harding also encouraged Bingham to copy with paint engravings. He later painted two portraits of Boone but, contrary to the assertions of some scholars, he did not do Boone portraits in the company of Harding. Bingham's portraits of Boone are not located, but one of them, a wood signboard for a hotel in Boonville circa 1828 to 1830, showed a likeness of Boone in buckskin dress...

David Roberts RA General View Of Ruins Of Karnak, From The West 1796 - 1864 First Edition lithograph Full plate: 163 Presented in a acid free mount Stunning sunset over the ruins, c...