1840s Art

Blue, Black and Brown Birds is an Etching hand colored realized by Gotthilf Heinrich von Schubert - Johann Friedrich Naumann, Illustration from Natural history of birds in pictures, ...

Toeizan Temple in Ueno is an original modern artwork realized by Utagawa Hiroshige (1797 – 1858) in the 1840s. From the series "Toto meisho" (Famous views of Tokyo). Oban. Dimensio...

Un Autre Monde is an original modern rare book written by Taxile Delord (Avignon, 1815 - Paris, 1877) and illustrated by Jean Jeacques Grandville...

A Roman farm estate is an originalartwork realized by a German Artist between 1840-1850. Mixed colored watercolor and china ink drawing on paper. Included frame Provenance: From t...

Histoire d’Albert is an original modern rare Book engraved by Rodolphe Töpffer (31 January or 1 February 1799 – 8 June 1846) in 1845. Original First ...

Kasumigaseki Nokei is a polychrome woodblock print (nishiki-e, ink and colour on paper) by Utagawa Hiroshige (Japanese, 1797-1858). This plate is from the print suite Famous Places o...

Plan of Rome is a beautiful original black and white etching, a rare and antique illustrated map of the eternal city of Rome, published in 1848. Image Di...

Signed lower left, 'J. Orrock' for James Orrock (British, 1829-1913) and dated 1845. Matted Dimensions: 14.5 H x 19 W x .25 D Inches. A well composed and freshly painted, mid-nineteenth century watercolor showing a view of a herd of cattle pasturing in lush fields beside a river, with a view beyond towards the church spire...

Théophile Clément BLANCHARD 1820 - 1849 Oil on canvas 27 x 40 cm (45 x 58 cm with the frame) Signed lower right "Blanchard" Very nice 19th century gilded wooden frame French painter, lithographer and illustrator, Théophile Clément Blanchard is part of of those painters of the romantic era who represented picturesque views of France like Alexis Daligé de Fontenay or Eugène Cicéri. These painters traveled a lot and sought out picturesque sites, particularly in Normandy, Brittany, Switzerland and the Pyrenees. Blanchard participated in the illustration of “Picturesque and Romantic Travels in the Old France”. But the works of this romantic painter are rare because Blanchard died very young at twenty-nine year old ! We still know of him, in particular, a view of Bugey (dated 1846) which is at the Louvre Museum and a “Delicious Landscape” (from the 1840s) at the Salies museum at Bagnères de Bigorre...

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...

Polichinel ex-roi des Marionnettes devenu philosophe is an original modern rare book illustrated by Alcide-Joseph Lorentz (1813-1891) in 1848. Original Edition. Published by Willer...

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...

Watercolor on paper by the Dutch artist, Anthony Andreas Meijiers. Signed lower right. Condition: Excellent. Unframed. Anthony Andreas de Meijiers or Meyer was a Dutch active in...

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 grows." T. Delord. Les Fleurs animées...

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

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...

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...

John Harris after Harry Hall The Merry Beaglers c. 1845 48x65cm Aquatint with hand colouring The most famous beagling print there is, after the 1845 pa...

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 ...

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...

View of Oran is an original Hand-colored lithograph on paper realized in 1846 by an Anonymous artist of the XIX century. Titled in Italian on the lower center "Oran". The state of...

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...

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

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.

Dédié a Madame Vve. Charlet is an original artwork realized by Hippolyte Bellangé in 1846. Original lithograph on paper. The title appear on the lo...

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

Image dimensions: 24.3 x 17.5 cm. Single sheet with passepartout. "This is a chapter which we dread to begin. We do not like errata. It is easy to commence, but not so easy to lea...

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 grows." T. Delord. Les Fleurs animées...

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. "Delighted at finding themselves again united, after all theit vicissitudes, the chief flowers determined on givi...

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). Plate 2, from the series Les Étudians de Paris, Bauger, Paris, 1847, Imp. d'Aubert and Cie. Signed on plate on lower-right. With the printed capture: "Ma chère, comment peux tu sopporter un homme qui pipe toute la journee dans des horreurs de machine comme ça...

Colored lithograph with pouchoir details. Beautiful satiric illustration by the French draftsman Paul Gavarni (alias Guillaume Sulpice Chevalier, 1804-1866). Plate 58, from the ser...

The court is an original lithograph on paper realized by Henriquel Dupont in 1847. Signed on the plate. Good conditions. The artwork represents a court. The artwork is depicted th...

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"...

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 ...

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"....

Landing of the French in Africa is an original hand-colored lithograph on paper realized in 1846 by an Anonymous artist of the XIX century. Titled on the lower center "I Francesi S...

Lithograph realized by Daumier in 1845, belonging to the Series "Les Gens de Justice" Table no. 15 of the Series. Monogrammed in the plate. Very good condition. Ref. Delteil 1351

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...

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...

Hand-colored lithograph Master printer: J.T. Bowen John James Audubon was born in Haiti in 1785. Most of his childhood was spent in France, where he first took interest in birds and...

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: 20x14 cm Hand signed. Original ink watercoloured drawing. Made for the illustration of the volume 'Scènes de la vie privée et publique des animaux', published by G...

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...

Colored lithograph on ivory colored paper. Beautiful satiric illustration by the French draftsman and caricaturist Clément Pruche (1811-1890). Plate 5, from the series "Le Bon coté", Aubert and C.ie, Paris, 1840 c...

Colored lithograph with pouchoir details. Beautiful satiric illustration by the French draftsman Paul Gavarni (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866). Plate 25, from...

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"

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...

Artist: John James Audubon (American, 1785-1851) Title: "Booby Gannet" (Plate 426, No. 86) Portfolio: The Birds of America, First Royal Octavo Edition Year: 1840-1844 Medium: Original Hand-Colored Lithograph on wove paper Limited edition: approx. 1,200 Printer: John T. Bowen, Philadelphia, PA Publisher: John James Audubon and J.B. Chevalier, New York, NY and Philadelphia, PA Sheet size: 10.38" x 6.75" Image size: 5.94" x 5.5" Condition: Two small tears at top edge. In otherwise excellent condition with strong colors Notes: Provenance: private collection - Seattle, WA. Lithography and hand-coloring by American artist John T. Bowen (1801-c.1856). Comes from Audubon's famous seven volume portfolio "The Birds of America", First Royal Octavo Edition (1840-1844), which consists of 500 hand-colored lithographs. Based on a composition painted May 14, 1832. Audubon wrote: "I am unable to find a good reason for those who have chosen to call these birds 'boobies'. Authors, it is true, generally represent them as extremely stupid; but to me the word is utterly inapplicable to any bird with which I am acquainted". The view of the Florida Keys is based on a drawing by George Lehman. The bird family Sulidae comprises the gannets and boobies. Collectively called sulids, they are medium-large coastal seabirds that plunge-dive for fish and similar prey. The 10 species in this family are often considered congeneric in older sources, placing all in the genus Sula. To make 'The Birds of America' more affordable and widely available, in 1839 John James Audubon began the first octavo edition, a smaller version of the folio which was printed and hand-colored by J. T. Bowen in Philadelphia. Employing a new invention, the camera lucida, the images were reduced in size, rendered in intermediate drawings by John James Audubon and his son John Woodhouse, and then drawn onto lithographic stones. These miniatures exhibit a remarkable amount of attention to quality and detail, as well as a meticulous fidelity to the larger works. Some compositional changes were made in order to accommodate the smaller format. Like the Havell edition, John James Audubon’s first...

Signed on plate.Original Prints. From the series “Les canotiers parisiens”, 1843. Catalogue Delteil N°1034. Image Dimensions : 20.5 x 27 cm This artwork i...

Original high profile wax cameo of William Shakespeare. Unsigned. Composed of natural and colored wax. Condition is very good. Most likely of British origin. Original shadow box fra...

An unusually fine and delicate, mid-19th American figural needlepoint showing an idyllic view of frontier life with a young girl reaching up on tiptoes towards a grape-laden vine on ...

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...

Artist: 広重 Hiroshige (1797-1858) Series: Famous Places in the Eastern Capital (Tôto meisho) (東都名所) Title: View of Kasumigaseki (Kasumigaseki no zu) 霞がせきの図 Size: O-ban 大判 24.2 x 36...