1850s Art

Design of Furniture is a drawing in pen and pencil on paper realized in about 1850 by anonymous artist of the 19th Century. The State of preservation i...

Portrait 1850's is an original drawing in pen on paper, realized by an unwkown artist named Bruant (XIX-XX). Sheet dimension: 29.4 x 22 cm. The artwork represents beautiful quick ...

The Girl is an interesting preparatory sketch in pencil realized by the French artist Michel Dumas in the mid-19th century. The state of preservation is good, except for some stains and foldings. stamped by the name of Artist...

Women is a beautiful woodcut print realized by Frédéric Florian in the mid-19th century. In very good condition. Hand signed on the right lower margin,...

Workers is an original lithograph on paper applied on cardboard realized by Denis Auguste Marie Raffet in 1854. Signed on the plate on the lower left and dated. Good conditions. T...

Gene is a beautiful original lithograph realized by Eugène Flandin (1809-1889) in 1850 ca. Signed on the plate by the artist on the lower left margin, lithographed by Jules Collign...

Image dimensions: M-109655 cm. This splendid lithograph View of Geneve is part of the series of prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Fontanesi. The state of preservation of the artwork is excellent. The signature is engraved on the plate the lower left. At the top of the paper, the inscription “Interieur de Geneve”, while at the bottom, below the image, the inscription “JMP Pilet & Cougnard Editeurs Geneve”. Antonio Fontanesi (Reggio Emilia, 1818 - Turin, 1882) was an Italian painter, engraver, teacher, and soldier. He was one of the most important 19th-century Italian painters, though somewhat unknown. After fighting in the I Independence War...

Buffalo Skull is an original lithography artwork on ivory paper realized by Carlo Coleman (1807-1874) in 1850. Signed on the plate and dated. Image dime...

Roman Statue is an original etching on paper realized by an Anonymous artist of the XIX century in 1850 ca. In very good condition. Included a white...

Battle of Melegnano is original Hand-colored lithograph on paper, realized by Carlo Perrin in 1850 ca. Titled in Italian" Battglia di Melegnano", on the lower center, signed on the ...

This splendid lithograph Porte de la Treille is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Fontanesi in 1854. Th...

This splendid lithograph Interieur de Geneve. Cour Du Collège is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Font...

"Monorganorama" are five original lithograph plates, realized by Alfred Grevin in 1858. Included a frame for each of the prints. In very good conditions except some foxing on one. ...

Margot la critique is an originaletching on Chine collé, realized by Frenc artist Félix Henri Bracquemond published in L’Artiste in 1854. In good conditions. This Etching is Re...

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

Signed on plate, “Raffet San Donato Février 1858”. Title “Artilleurs allant prendre service des Batteries n. 1 e n.2, Siège de Rome, 5 juin 1849” was printed at the centre. “Paris,G...

Image dimensions: 15.3 x 20.8 cm. This splendid lithograph Interieur de Geneve. Un Coin De La Treille is part of the series of 20 prints dedicated to views of the city of Geneva, en...

Image dimensions: 15 x 22 cm. This splendid lithograph Interieur de Geneve. Porte Neuve is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the ...

Portraits is an original pencil drawing on paper by Horace Vernet realized during XIX century. Very good conditions. Image dimensions: 22 x 17.5 cm. Inc...

Nonnenwerth is a lithograph of an original artwork by the German painter and lithographer Markus Eberhard Emminger, who lived from 1808 to 1885, representing a view of the island Non...

Fashionable Woman is a beautiful original pencil drawing on ivory-colored paper, composed by eight preparatory studies realized by the French artist Eugéne Morin (1833-1875). Hand-s...

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. Stanley shows here the stop the Stanley Party made at the junction of the Bitterroot and Hell Gate, in present day Montana. While there, the Party met with the Flathead Chief by the name Victor, as is shown 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 'Victor's Camp - Hell Gate Ronde' 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 XXXI' 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...

Une Queue is an amusing watercolored original lithograph realized by Henry Monnier (1805 - 1877). This original print represents people in line to buy ...

Signed “Ichimosai Yoshitora ga” and “Ittosai Toshitsuna ga” and dated “Kaei 5” (1851). No Editor. Including 50+1 original illustrations, 39 of which by Yoshitora and 11 of which by Yoshitsuna. Author : Shotei Kinsui Illustrator : Utagawa Yoshitora...

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.' Along with the image, Stanley also noted in the report of the Maple River: "It would be an excellent plan for an emigrant travelling through the country, before reaching one of these rivers on which he expects to camp, to catch a few frogs, for the purpose of fishing in these streams, which abound pike, picarel, and large catfish. Frogs are by far the best bait that can be used." This note from the artist perhaps describes some of the actions of the figures in the camp in the foreground of the image. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 13.25 x 16.25 inches, frame Artist 'Stanley Del.' lower left Entitled 'Maple River' 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 VIII' upper right Framed to conservation standards using 100 percent rag matting and Museum Glass to inhibit fading; housed in a brass-surface aluminium moulding. John Mix...

19th-century French School oil on canvas by Auguste-François Lièvre, titled “Landscape with Herd” (Paysage au troupeau). Signed and dated 1854.

Utagawa Kuniyoshi No. 65 Kawachi sekkai 河内右灰 (Limestone from Kawach), 1852 From Series: Sankai medetai zue 山海目出度図絵 (Celebrated Treasures of Mountains and Seas) Woodblock print Oban...

Pierre Jules Mene (1810-1879). Original cast circa 1850 Chien épagneul-griffon attrapant un canard (Spaniel-Griffon canine capturing a duck). Exceptional and large bronze grouping ...

Antoine-Claude PONTHUS-CINIER (Lyon, 1812 - Lyon, 1885) The Trailer Ferry at Neuville-sur-Ain Oil on canvas H. 54 cm; W. 81 cm Sale stamp lower left. Provenance: 1885, Studio Sale, No. 18 Ponthus-Cinier belongs to what could be defined as the third (and, so to speak, last) generation of neoclassical or historical landscape artists, born in the 1810s and 1820s, such as Félix Lanoüe, Achille Bénouville, Paul Flandrin, Eugène Ferdinand Buttura, and Alfred de Curzon. More specifically, he is considered the leading and most popular representative of the Lyon School of landscape artists around the mid-19th century. A generous, honest, and pleasant companion, Ponthus-Cinier came from a family of merchants on his mother's side and magistrates on his father's. Destined for commerce by his parents, he preferred the artistic path, and after enrolling at the École des Beaux-Arts in Lyon in 1829 and training in Paris with Paul Delaroche, he exhibited his first works at the Lyon Salon of 1839, before participating in the Paris Salon in 1841. That same year, he received the second Prix de Rome for historical landscapes (won by Buttura in 1837, and Bénouville in 1845), beaten by the Versailles artist Lanoüe. To perfect his skills, Ponthus-Cinier then decided to travel to Italy, alone and at his own expense, for a single stay between 1842 and 1844; He discovered the Ligurian coast, Tuscany, Naples, and, of course, Rome and its surroundings, and executed a considerable number of studies (painted sketches or pen and ink sketches) that he used to compose views of Italy throughout his career. Ponthus-Cinier's main qualities probably lie in "the art of illuminating a canvas," as A. Jouve wrote in the 19th century, and in his sense of perspective, sometimes truly extraordinary; however, he seems, most of the time, a little less brilliant in his figures and in the transcription of details. This unsigned canvas...

A beautifully painted oil on canvas of a flower vendor. Signed illegibly upper right corner. Framed in an ornate ebonized and gilded frame.

Artist: John Gould (English, 1804-1881) Title: "Myzanthe Ignipectus (Fire-breasted Flowerpecker)" (Vol. 2, Plate 40) 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" x 9.75" Reference: Anker No. 178; Nissen No. IVB 368; Sauer No. 17, Zimmer page 258; Wood page 365; Sitwell page 102 Condition: Light toning to sheet. Has been professionally stored away for decades. In excellent condition with strong colors Extremely 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 fire-breasted flowerpecker is a species of bird in the family Dicaeidae found in the Indian Subcontinent and Southeast Asia. Like other flowerpeckers, this tiny bird feeds on fruits and plays an important role in the dispersal of fruiting plants. 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".

This very modern drawing presents a view of Ariccia, a small town 25 kilometres south-east of Rome. The Palazzo Chigi (in which the film-maker Luchino Visconti would film a large part of The Leopard a century later) and the adjoining church are seen from the bottom of the ravine that surrounds the town. This drawing is a moving testimony to the attraction of the city for artists of the Romantic period, who established in Ariccia a vivid artists' colony. 1. Achille Bénouville...

John Gould (British, 1804-1881) Nasiterna Bruijni c. 1849-1861 Hand Colored Lithograph Image Size: approx 19.5 x 13.5 inches Framed Size: 27 3/8 x 21 1/2 inches John Gould was an English ornithologist and bird artist. The Gould League in Australia was 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. Gould was born in Lyme Regis, Dorset, the son of a gardener, and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 became foreman in the Royal Gardens of Windsor. He was for some time under the care of J T Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy, and in 1824 he set himself up in business in London as a taxidermist, and his skill led to him becoming the first Curator and Preserver at the museum of the Zoological Society of London in 1827. Gould's position brought him into contact with the country's leading naturalists, and also meant that he was often the first to see new collections of birds given to the Society. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830-1832). The text was by Nicholas Aylward Vigors, and the illustrations were lithographed by Gould's wife Elizabeth, daughter of Nicholas Coxen of Kent. This work was followed by four more in the next seven years including Birds of Europe in five volumes - completed in 1837, with the text written by Gould himself, edited by his clerk Edwin Prince. Some of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear however was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay and in realizing a fortune. In 1838 he and his wife moved to Australia to work on the Birds of Australia and shortly after his return to England, his wife died in 1841. When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Geological Society of London at their meeting on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands, which Darwin had thought were blackbirds, "gross-bills" and finches were in fact "a series of ground Finches which are so peculiar" as to form "an entirely new group, containing 12 species." This story made the newspapers. In March, Darwin met Gould again, learning that his Galápagos "wren" was another species of finch and the mockingbirds he had labeled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner...

Antoine-Claude PONTHUS-CINIER (Lyon, 1812 - Lyon, 1885) The Port of Banyuls Oil on paper mounted on cardboard H. 36 cm; W. 52 cm Unsigned Provenance: - B.R. Collection, Lyon Ponthu...

Utagawa Kuniyoshi No. 38 Totomi 遠江, 1852 From Series: Sankai medetai zue 山海目出度図絵 (Celebrated Treasures of Mountains and Seas) Woodblock print Oban Woodblock print, oban tate-e. Woma...

French Romantic school, 19th century View of a citadel Pen and ink, watercolor and heightenings of white gouache on brown paper 18 x 29.5 cm In good condition, some stains and traces...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Silhouette (circa 1870) Miss Chapman Gouache, pen, and ink 52 x 44 cm One of ...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Silhouette (circa 1870) The Hon Mrs F Byron Gouache, pen, and ink 52 x 44 cm ...

Sought by collectors worldwide, art and artifacts showing an early western presence in the Orient boomed with the opening of the China Trade by way of the sailing ship. The surviving paintings which capture the important Chinese harbors...

Charles Cumberworth (1811-1852) Indian Huntress Bronze with double patina Vittoz chiseller Old cast France circa 1850 height 52 cm Biography: Charles Cumberworth (1811-1852), son...

Print Sz: 11 1/2"H x 15"W Frame Sz: 17 1/4"H x 20 1/2"W Composed and drawn on stone by A. Fay Stylish gentlemen's private club interior scene featuring a grand bar c.1854

Constant Troyon (French, 1810-1865) Vache en prairie Oil on canvas Canvas: 19 x 15 inches (48.3 x 38.1 cm) Framed: 28.75 x 24.75 x 3 Inches Artist's estate stamp lower right: Vente /...

Date: 1959 Medium: Oil on Board Dimensions: 30.00" x 28.00" Signature: Signed Lower Left: John Clymer

Joshua Hargrave Sams Mann, R.B.A., 1826 - 1886. London Painter of literary genre scenes after Byron, Shakespeare etc, who exhibited 128 works at Royal Society...

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 documented the encounter with the Gros Ventre people at Milk River. The explorers were invited to the Gros Ventres camp and the two groups exchanged gifts in friendship. The Stevens Party provided "... blankets, shirts, calico, knives, beads, paint, powder, shot, tobacco, hard bread, etc." The image likewise alludes to how, in 1855, Isaac Stevens, concluded a treaty (Stat., L., XI, 657) to provide peace between the United States and the Blackfoot, Flathead and Nez Perce tribes. The Gros Ventres signed the treaty as part of the Blackfoot Confederacy, whose territory near the Three Fork area became a common hunting ground for the Flathead, Nez Perce, Kootenai, and Crow Indians. 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 'Distribution of Goods to the Gros Ventres' 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 XXI' 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...

"Camanche Inscription on the Shoulder Blade of a Buffalo" is a lithograph after an original drawing by Seth Eastman. It depicts Native American inscriptions on an animal bone. It was...

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. 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 'Lieutenant Crovers Despatch – Return of Governor Stevens to Fort Benton' 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 XXXVII' 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...

Woman taking off her shirt by James PRADIER (1790-1852) Bronze with a nuanced brown patina cast by SOYER and INGE France circa 1850 height 28,5 cm Biography : Jean-Jacques Pradier...

Car-Travelling In The South Of Ireland In The Year 1856. Bianconi's Establishment Print Sz: 10 7/8"H x 14"W Frame Sz: 19"H x 23"W Published 1856 by Ackermann & Co Engraver: John...

Watercolour on paper, signed and dated '1855' lower right Image size: 20 x 14 inches (51 x 35.3 cm) Acid free mount This striking watercolour depicts an Italian peasant woman in the...

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...

White Bathing Costume by Becker on Austrian Beach -- Photographed by Mark Shaw for a LIFE magazine article on Austrian fashion, this model sports a beach costume designed by Bessie Becker...

Edward J. Howman (English, nineteenth century) Castel dell'Ovo, Naples, 1851 Watercolor and gouache on paper, 7 x 10 inches Framed: 12 x 15 inches (approx.) Label on backing verso: ...

Framed in wood with museum glass to 9" x 11" One of the watercolors says Tweksbury, July (?) 1850 Framed by Commonwealth Print Conservation, Boston in 1988 Very nice watercolor. Par...

Watercolour depicting a castle tower signed & dated 1859 in a French mat & gilt frame Art Sz: 17"H x 12 3/8"W Frame Sz: 27 7/8"H x 23 3/8"W

John William Hill (1812-1879) "Boston" 1857 Hand-Colored Engraving Site Size: 29 x 41 inches Framed Size: 39 x 52 inches Born in London, England, John William Hill came to America with his family at age 7. His father, John Hill, was a well-known landscape painter, engraver, and aquatintist. John William had a career of two phases, a city topographer-engraver and then, the leading pre-Rafaelite school painter in this country. Employed by the New York Geological Survey and then by Smith Brothers...