1850s Art

"Skating at Boston" is an original woodcut print by Winslow Homer. It depicts a large number of figures figure skating with Boston in the background. 9...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

The Monkey is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was publishe...

The Monkey is a lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854....

France, 19th century Set of nine humoristic drawings, various subjects in the same mount Black pencil, for some of them with highlights of white gouache various dimensions : 6 x 5.5 ...

Artist: John Gould (English, 1804-1881) Title: "Pericrocotus Flammeus (Orange Minivet)" (Vol. 2, Plate 8) Portfolio: The Birds of Asia Year: 1850-1883 Medium: Original Hand-Colored Lithograph on wove paper Limited edition: approx. 235 Printer: Hullmandel & Walton, T. Walter or Walter & Cohn, London, UK Publisher: Taylor and Francis, John Gould, London, UK Sheet size: 21.38" x 14.57" Image size: 16.25" x 10" Reference: Anker No. 178; Nissen No. IVB 368; Sauer No. 17, Zimmer page 258; Wood page 365; Sitwell page 102 Condition: Faint UV stain to sheet and light toning at edges. Remnants of mounting tape from previous framing at top edge on verso. Has been professionally stored away for decades. In excellent condition with strong colors Very rare Notes: Provenance: private collection - Aspen, CO. Lithography and hand-coloring by John Gould and English artist Henry Constantine Richter (1821-1902). Comes from Gould's seven volume "The Birds of Asia", (1850-1883) (First edition), which consists of 530 hand-colored lithographs. Other contributing lithographers were German artist Joseph Wolf (1820-1899) and Irish artist William Hart (1830-1908). "The Birds of Asia" was Gould's last work before his death. Gold gilded edges as issued. The orange minivet is a brightly colored bird in the cuckooshrike family, Campephagidae. It is found all along the Western Ghats and west coast of India and Sri Lanka. Biography: John Gould FRS (14 September 1804 – 3 February 1881) was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. His identification of the birds now nicknamed "Darwin's finches" played a role in the inception of Darwin's theory of evolution by natural selection. Gould's work is referenced in Charles Darwin's book, "On the Origin of Species".

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Denis Auguste Raffet (1804-1860) Studies of characters Black pencil and watercolor on paper 18.5 x 25.5 cm Stamp of the Raffet Estate Sale (1911) on the lower right In good condition, foxings on the original mount Framed 34 x 40 cm 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: Philip Lutley Sclater (English, 1829-1913) Titles: "Crossoptilon Harmani (Tibetan eared Pheasant)", "Hypotaenidia Sulcirostris (Barred Rail)", "Craspedophora Duivenbodei (Dui...

"The Rag Gatherers" is an original etching on zinc plate by J. A. M. Whistler. The artist signed and dated the piece in the plate. It features a scene...

In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole. This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' In particular, the print comes from the northern survey, commanded by Isaac Stevens, which explored the regions between the 47th and 49th parallels. In this image, Stanley shows an encampment of the people known as the Red River of the North hunters. They were generations of European and mixed-race trappers who lived on the frontier and had Indian wives and mixed-race children. They had come to the area for bison hunting, as the herds were still vast on the prairies. In the image, the figures and their encampment are dwarfed by the vast landscape around them, indicating the sublimity of these new American territories. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 17 x 20 inches, frame Artist 'Stanley Del.' lower left Entitled 'Camp Red River Hunters' lower center margin Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left Inscribed 'GENERAL REPORT — PLATE XII' upper right Framed to conservation standards using 100 percent rag matting with French accents; glazed with UV5 Plexiglas to inhibit fading; housed in a gold reverse ogee moulding. Print in overall good condition; some localized foxing and discoloration; minor surface abrasions to frame. John Mix Stanley...

Pair of fine quality smaller size mid 19th century Chinese watercolor "Pith Paintings", (probably by the same artist) portraying life in that country at the time. The paintings exemp...

A female flautist is proudly on display in this circa 1850 Chinese watercolor pith painting; as the subject portrays an element of Chinese culture wanting to be expressed and shown t...

Three women in the Saruwaka-machi District with a view of Kinryûzan Temple seen from the famous landmark Matsuchiyama. The woodblock print is from the series "Famous Places in Edo". ...

French School circa 1850 Villefranche sur mer, the Harbour Watercolor on paper 16 x 24 cm In good condition Framed 29 x 38 cm This very fine wat...

Edwin Long 1829 - 1891 Portrait Studies Graphite on paper Image size: 4 x 8 inches (10 x 20.5 cm) Framed Edwin Longsden Long RA (1829-1891, British) wa...

Original photogravure of a young woman in the garden. Original painting was done by Jean Louis Harmon in 1857. Condition is very good. Le Crepuscule is the French word for twilig...

"Iron Steam Ship Great Britain" is an original hand-colored lithographed published by Currier & Ives. It depicts a large British steam ship on the water. The caption below says "3500 Tons. Engine 1000 Horse power. Weight of Iron used in the Ship and Engine is 1500 Tons. THE LARGEST IN THE WORLD. Length from Figurehead to Tafrail 322 Fe3et. Main breadth 50' 6" ... Depth 32' 6" Lieut. Jaf. Hosken R.N. Commander." 8" x 12 3/4" art 17 1/8" x 21 1/2" frame 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...

To see our other works of Oxford and Cambridge, particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Anonymous, c. 1850 Anglo Catholic...

The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country. 9.5 x 13.5 inches, artwork 20 x 23.38 inches, frame Entitled in the image Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "2 Spruce N.Y." and "No. 1" Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y." Framed to conservation standards using 100 percent rag matting and housed in a gold gilded 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...

This woodblock print depicts two characters from the play Godairiki Koi no Fujime, Igami no Gonda and Koman, a Geisha. The play tells the story of Koman, who is in love with the nob...

Sir Francis Seymour Haden (1818-1910), Kensington Gardens (The Small Plate), drypoint, 1859, signed in pencil lower right. References: Harrington 12...

Une Soirée Musicale is a lithograph realized by Honoré Daumier in 1852/57. It belongs to the Series "Soirées Parisiennes" Beautiful proof on thin vellum, bearing the rint certificat...

Plate n. 13 from the suites of caricatures on political themes topic “ Croquis d’Été ”.  Realized by  Honoré Daumier  (France, 1808-1879), printed by Destouches, and published by th...

Plate n. 8 from the suites of caricatures on political themes topic “ Croquis d’Été ”.  Realized by Honoré Daumier  (France, 1808-1879), printed by Destouches, and published by the ...

Lithograph realized by Daumier in 1845, belonging to the Series "Les Gens de Justice" Table no. 5 of the Series. Monogrammed in the plate. Very good condition. Ref. Delteil 1341

Beautiful lithograph with margins, realized by Daumier in 1855. It belongs to the Series "L'Exposition Universelle".  Ref. Delteil 2692. 

Beautiful lithograph with margins, realized by Daumier in 1855. It belongs to the Series "L'Exposition Universelle" Ref. Delteil 2690

Beautiful lithograph with margins, realized by Daumier in 1855. It belongs to the Series "L'Exposition Universelle" Ref. Delteil 2684

Charles Meryon (1821-1868), La Tour de L’Horloge (The Clock Tower, Paris), 1852, etching with engraving. Reference: Schneiderman 23, Delteil 28. Third state (of 10). On very thin Jap...

William Shakespeare's "All's Well That Ends Well" after Wheatley is an etching realized in the 1850s. Titled and text from play on the lower. Good conditions with foxing. This pri...

Finely executed watercolor and gouache landscape with figures by the Swiss artist, Louise Clauseau (Swiss). Signed under the mat by the artist and dated June, 1852. The watercolor ...

The Leaflet of the Italian Risorgimento is an original Propaganda leaflet realized in the 1850s. Good conditions with slight foxing.

Portrait of Alfredo Tennyson is a modern artwork realized by an Anonymous artist in the 19th Century. Lithograph print on paper. Titled on the lower. Good condition.

Pozzolo Battle is a lithograph print on paper realized After Louis Martinet in the 1850s. Titled, signed on the plate. The artwork is in good conditions with aged margins and diffu...

Le Maria, La Femme, et le Voleur is a Lithograph print on paper realized in the late 19th Century. Three narratives in three frames are represented with the title in French on the l...

Architectural- Maison Donne is an etching print on paper realized in the late 19th Century. Titled on the plate and signed. Good conditions.

Wolverhampton School of Practical Art Original artwork for engraving published for London Illustrated News (25 June 1853) 17.5x29cm Watercolour

Honore Daumier (1808-1879), Oursikoff, lithograph, from Actualities, Plate number 72, published in Charivari, 1854. Reference: Daumier Register 2519, second state of two, a newsprint...

Hand-colored steel engraving of a the Turkish section of the Great Exhibition of 1851 by Lowes Cato Dickinson (British, 1819-1908). On verso i...

Patera d'Oro is an Etching realized by Domenico Klemi Bonatti in the 1850s. Good condition with slight folding and foxing on margins. Signed on plate. Domenico Klemi Bonatti (Veni...

Feast Of Divinity is an Etching realized by Domenico Klemi Bonatti in the 1850s. Signed on the plate. Good condition with folding and foxing on margins. Domenico Klemi Bonatti (Ve...

Feast Of Divinity is an Etching realized by Domenico Klemi Bonatti in the 1850s. Signed on the plate. Good condition with folding and foxing on margins. Domenico Klemi Bonatti (Ve...

Hieroglyphics Alphabets is an Etching realized by Domenico Klemi Bonatti in the 1850s. Signed on the plate. Good condition with folding and foxing on margins. Domenico Klemi Bonat...

Figures is a drawing in china ink realized by Paul Gavarni in the 19th Century. Good conditions. The artwork is depicted through soft strokes in a well-balanced composition.

Renard Fennec is a lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 18...

Mangouste A Queue Blanche is a lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was pub...

The Mouse is a lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. ...

The National Assembly in Paris is a Lithograph realized by Auguste Raffet (1804-1860). Good condition on a yellowed paper. Published on the Satirical Newspaper "La Caricature". Han...

Les Invalides du Sentiment is a lithograph on ivory-colored paper, realized by the French draftsman Paul Gavarni (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866) in the mid-19th Century. Signed on the plate" Par Gavarni...

Une partegeuse a Londres is a lithograph on ivory-colored paper, realized by the French draftsman Paul Gavarni (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866) in the mid-19th Century. From series of "Masques et Visages". Titled on the lower. Good conditions except for some foxings. Paul Gavarni (Paris, 1804 – 1866). Gavarni's father, Sulpice Chevalier, was from a family line of coopers from Burgundy. Paul began work as mechanical work in a machine factory but he saw that to make any progress in his profession, he had to be able to draw; accordingly, in his spare time in the evenings, he took classes in drawing. He devoted his special attention to architectural and mechanical drawing and worked at land surveying...

Les Partageuses is a lithograph on ivory-colored paper, realized by the French draftsman Paul Gavarni (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866) in the mid-19th Century. From series of "Masques et Visages". Titled on the lower. Good conditions except for some foxings. Paul Gavarni (Paris, 1804 – 1866). Gavarni's father, Sulpice Chevalier, was from a family line of coopers from Burgundy. Paul began work as mechanical work in a machine factory but he saw that to make any progress in his profession, he had to be able to draw; accordingly, in his spare time in the evenings, he took classes in drawing. He devoted his special attention to architectural and mechanical drawing and worked at land...

Les Partageuses is a lithograph on ivory-colored paper, realized by the French draftsman Paul Gavarni (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866) in the mid-19th Century. From series of "Masques et Visages". Titled on the lower. Good conditions except for some foxings. Paul Gavarni (Paris, 1804 – 1866). Gavarni's father, Sulpice Chevalier, was from a family line of coopers from Burgundy. Paul began work as mechanical work in a machine factory but he saw that to make any progress in his profession, he had to be able to draw; accordingly, in his spare time in the evenings, he took classes in drawing. He devoted his special attention to architectural and mechanical drawing and worked at land...