1840s Art

Colored lithograph on ivory colored paper, with pourchoir details. Beautiful satiric illustration by the French draftsman and caricaturist Clément Pruche (1811-1890). Plate n. 64, ...

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...

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

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...

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 ...

Ashley John is proud to offer this artwork by: Emily Stackhouse (1811 - 1870) Miss Emily Stackhouse was born in the West Country in 1811, the same year as botanist and writer Reve...

Theodor Hosemann (1807 Brandenburg - 1875 Berlin), The actor Karl Seydelmann as soldier, around 1840. Watercolor in pencil, 22 cm (height) x 14.7 cm (width), signed “Th.[eodor] Hosem...

Utagawa Kuniyoshi Title Feast of the Seven Herbs ( the Five Festivals 五節句 ) Size Oban Year 1843～1847 FREE SHIPPING

DAVID ROBERTS RA Facade of the Pronaos of the Temple of Edfou 1796 - 1864 First Edition lithograph in stock Full plate: 208 Presented in a acid free mount David Roberts' journal, N...

Print Sz: 17 1/2"H x 16 1/4"W Frame Sz: 23"H x 21 3/4"

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...

First Edition lithograph Half plate: 17 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 ...

David Roberts RA General View Of Ruins Of Karnak, From The West 1796 - 1864 First Edition and Subscription Edition lithographs available Full plate: 163 Presented in a acid free moun...

First Edition and Subscription Edition lithographs available Half plate: 21 Presented in a acid free mount Modern hand-coloured lithograph for the first edition of David Roberts' Th...

Samuel John Egbert Jones (1797- 1861) PHEASANT SHOOTING Oil on canvas Frame H. 38cm x W. 47cm Image H. 30cm x W. 40cm A hunting scene in a beautiful early autumnal wooded landscape, with two hounds and a pheasant in the foreground. For an artist of such ability, popularity and wide output, information about Samuel Jones is comparatively scarce. Samual John Egbert Jones was born in 1797. Living in London, the first recorded mention of him was as an exhibitor at the Royal Academy in 1820 with a picture of an old mare, which he later exhibited at the British Institute in 1824. Jones is best known for the fine quality of his sporting pictures, mainly portraits of hunting and work horses. Additionally, he painted coaching...

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...

Theodore Rousseau French, 1812- 1867 Mare en foret de Fountainbleau Oil on panel 10 1/2 x 16 1/4 inches (26.7 x 41.3 cm.) Framed: 18 1/2 x 23 1/2 inches (47 x 59.7 cm.) Signed lower ...

David Roberts RA Ruins of an Ionic Temple 1796 - 1864 Subscription and first edition lithographs in stock Half plate: 70 Presented in a acid free mount Modern hand-coloured lithogra...

Subscription and first edition lithographs in stock Half plate: 23 Presented in a acid free mount Modern hand-coloured lithograph for the first edition of David Roberts' The Holy La...

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...

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"

DAVID ROBERTS RA Beit Jebrin, or Eleutheroplis 1796 - 1864 First Edition and Subscription Edition lithographs available Half plate: 54 Presented in a acid free mount Modern hand-co...

David Roberts RA The Arch Across The Ravine, Petra 1796 - 1864 First Edition lithograph Half plate: 95 Presented in a acid free mount

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...

David Roberts RA Part Of The Ruins Of A Temple On The Island Of Bigge – Nubia 1796 - 1864 First Edition lithograph Half plate: 183 Presented in a acid free mount

David Roberts RA Medinet Abou, Thebes 1796 - 1864 Subscription and first Edition lithographs Full plate: 186 Presented in a acid free mount

Subscription edition lithographs in stock Full plate: 8 Presented in a acid free mount The Mosque of Omar, more usually known as the Dome of the Rock, was built by Caliph Abd-el-Mal...

David Roberts RA Ruins of Semua 1796 - 1864 Subscription and first edition lithographs in stock Half plate: 56 Presented in a acid free mount Modern hand-coloured lithograph for the...

David Roberts RA Town of Tiberias Looking Towards Lebanon 1796 - 1864 First Edition lithograph Half plate: 35 Presented in a acid free mount Modern hand-coloured lithograph for the...

David Roberts RA Portion of the Eastern Portico, Baalbec 1796 - 1864 Subscription and first Edition lithographs Full plate: 83 Presented in a acid free mount Original hand coloured ...

David Roberts RA Ashdod 1796 - 1864 First Edition lithographs Half plate: 58 Presented in a acid free mount Modern hand-coloured lithograph for the first edition of David Roberts' T...

Signed and dated, along the bottom of the oval: Dõr. Juan Ygnacio Galves nació el año de 1797. / Por J. Celestino Figueroa año de 1841. Provenance: Luis Alberto Acuña (1904–1994), ...

David Roberts RA Siout 1796 - 1864 Subscription Edition lithograph Half plate: 162 Presented in a acid free mount

Available in the subscription and first Edition lithographs Half plate: 5 Presented in a acid free mount This is one of four sepulchres in the Valley of Jehoshaphat, on the east sid...

David Roberts RA Askelon 1796 - 1864 First Edition lithographs Full plate: 57 Presented in a acid free mount Modern hand-coloured lithograph for the first edition of David Roberts' ...

Honore Daumier (1808-1879), Une Navigation Difficile, lithograph, 1843, plate 6 from the series Les Canotiers Parisiens [with the addresses, text, and Daumier’s initials in the plate...

Paul Gavarni (1804-1866), Fashion Plates (a collection of 12), lithographs, c. 1840, as published in Le Charivari, with the letterpress verso. [Some are ...

Classic hand-coloured litho by James Pollard (1792-1867) entitled "Live Bait Fishing For Jack" dedicated to the 'Members of the Waltonian Society, by a Br...

Self-portrait "Fratin by himself" by Christophe FRATIN (1801-1864) Bronze with nuanced dark brown patina Signed on the base "Fratin" Raised on a wooden base, with an old collector s...

After the restoration of the Saint-John chapel’s frescoes at the Saint-Severin church in Paris in 2022, the drawing presented here is a moving testimony to their creative process. It...

David Roberts RA Fortress of Akaba 1796 - 1864 Subscription Edition lithograph Half plate: 107 Presented in a acid free mount

David Roberts RA Hebron 1796 - 1864 First Edition and Subscription Edition lithographs available Full plate: 55 Presented in a acid free mount Modern hand-coloured lithograph for th...

First Edition lithograph Half plate: 19 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 ...

Print Sz: 12 1/2"H x 8 3/8"W Frame Sz: 23 1/4"H x 19 1/8"W *slight foxing condition noted* Clan MacKinnon is a Highland Scottish clan from the islands of Mull and Skye, in the Inn...

Envelope Sz: 4 3/4"H x 4"W Frame Sz: 11 3/4"H x 14 3/4"W w/ leaf gilt frame

Elegant colour menswear advert c1843 image on board depicting three Parisien boulevardiers for a gentleman's clothier Board Sz: 30 1/4"H x 20 1/2"W

Ashley John is proud to offer this artwork by: Emily Stackhouse (1811 - 1870) Miss Emily Stackhouse was born in the West Country in 1811, the same year as botanist and writer Reve...

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...