1850s Art

Royal Topographical Office is a lithograph by Antonio Zezon. Naples 1855. Interesting colored lithograph which describes some members of the Royal Topographical Office: Draftsman - ...

Artillery is a lithograph by Antonio Zezon. Naples 1853. Interesting colored lithograph which describes some members of the Artillery: Official in dress uniform - Individual in dre...

Swiss Artillery is a lithograph by Antonio Zezon. Naples 1854. Interesting colored lithograph which describes some members of the Swiss Artillery: Individual in great dress - Offici...

Administrative Body of the Real Marina is a lithograph by Antonio Zezon. Naples 1855. Interesting colored lithograph which describes the administrative body of the Real Marina: on t...

Hussars of the Royal Guard is a lithograph by Antonio Zezon. Naples 1852. Interesting colored lithograph which describes a Troop Individual of the Hussars Regiment riding his horse....

Glorious Return of the Holy Father in Rome is an original Hand-colored etching artwork realized by Italian artist Bartolomeo Pinelli in 1850. With the description of artwork on the ...

The Holy Father - adoration is an Hand-colored etching artwork realized after the Italian artist Bartolomeo Pinelli in 1850. With the description of artwork on the lower in Italian...

Les Garçons en Habit Noir is a b/w lithographed plate, from the series containing a total of 120 prints, Croquis Parisiens. Realized by Honoré Daumier (Franc...

The Gymnaste is an original modern artwork realized in the 19th Century in France. Original pencil on paper. Very good condition. The Gymnaste is an excellent artwork on paper tha...

Characters is an modern artwork realized inmid-20th Century in France. Original china ink on paper. On the back of the work there is a second drawing. Very good conditions. Characters is an excellent modern artwork realized in France in the half of the XIX Century and it shows us several characters in a high room. On the background there is a window with an iron grate. The work depicts also a nude figure on the back of the sheet. The second drawing is realized in pencil and shows us a female reclining nude.

Persian Woman is an original hand-watercolored lithograph on ivory paper by Anonymous Italian Artist in 1851s. In excellent conditions. Not signed. Titled on the lower center.

"Woman Figure" is an original pencil drawing on paper realized by Edmound De Beaumont in 1853. Hand-signed on the rear. Good conditions. The drawing represents a woman in victorian costume...

Oriental Crying Woman is a hand-colored lithograph on paper realized in 1856 ca. by an unknown artist of the XIX century. Titled on the lower center in Italian" Una donna che piange...

This splendid lithograph Interieur de Geneve. Place de la Grenette is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio...

This splendid lithograph Interieur de Geneve. Fontaine de l'Hotel De Ville is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist...

"Woman Figure" 1853's is a drawing on paper, signed and dated by Edmond De Beaumont, on the back of the drawing. In excellent conditions: as good as new...

Battle Scene of "Chemin De Ronde" is an original lithography artwork realized by Raffet in 1859. Signed on the plate on the lower left, dated, titled on the lower center with descr...

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...

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...

Image dimensions: 20.5 x 15 cm. This splendid lithograph Interieur de Geneve. Rue De L'Hôtel De Ville is part of the series of 20 prints dedicated to views of the city of Geneva, en...

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. ...

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 ...

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

"Flushing a Woodcock" is an original hand-colored lithograph published by Currier & Ives. It depicts two dogs at the edge of a pond going after a bird that has just flown into the air. 8" x 12 1/2" art 18 1/2" x 22 1/4" 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 grinders...

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...

Charles Meryon 1821-1868), La Morgue, etching, 1854, fourth state (of 7), printed in brown/black ink, Schneiderman 42 [with the inscription, date, address in the plate]. In very goo...

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.' When it came to depicting the Assiniboine people, as seen in the present print, Stanley chose to juxtapose their encampment, marked by tipis in the distance, with the encampment of the Isaac Stevens survey party. In the foreground, commemorating this moment, Isaac Stevens can be seen presenting trade goods, which are known to include thirty two dressed skins and two robes. The survey leader Isaac Stevens noted being grateful for the generosity of the Assiniboine, commenting: "I felt very grateful indeed to those Indians, for their kindness to my men, their proffer of kind feeling and hospitality to myself and the survey." This description and this image, however, are arguably depicted through rose-colored glasses: to the Assiniboine people, this meeting may well have included stressful diplomatic relationships and have indicated a threat to the sovereignty over the territories agreed to be theirs by the 1851 Treaty of Fort Laramie. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 17 x 19.75 inches, frame Artist 'Stanley Del.' lower left Entitled 'Distribution of Goods to the Assiniboines' 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 XIV' 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; frame in excellent condition. John Mix Stanley...

American 1870s Hudson River Antique Gilt Frame Antique Painting Frame Frame Size: Width: 22″ X Height: 25″ Thickness: 3.50″ Picture Size: Wi...

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: ...

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...

A signed, dated, 1855 terracotta, classical style sculpture of the robed figure of Fate holding the thread of life by listed, Austrian-born artist, Franz Melnitzky (1822-1876) whose ...

"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...

"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...

Oil on canvas c.1855 - 1860 Image size: 19 x 14 inches (48.25 x 37.25 cm) Original Watts frame The Sitter Herbert William Fisher (1826 - 1903) was a British historian, best known for his 'Considerations on the Origin of the American War' (1865). Fisher was tutor to the future King Edward VII, and served as Private Secretary to the 5th Duke of Newcastle. in 1863 he became Private Secretary to the Prince of Wales, his former pupil, before being appointed to the position of Vice-Warden of the Stannaries in 1870. One of his daughters, Adeline, married Ralph Vaughan Williams. George Frederick Watts Watts (1817 - 1904) was a British painter and sculptor associated with the Symbolist movement. He is known to have said 'I paint ideas, not things'. Watts became famous in his lifetime for his allegorical works, such as 'Hope' and 'Love and Life' in which the emotions and aspiration life were intended to be represented in a universal symbolic language. Watts was born in Marylebone in central London on the birthday of George Frederic Handel (after whom he was named), to the second wife of a poor piano-maker. He showed artistic promise very early, learning sculpture from the age of 10 with William Behnes, starting to study devotedly the Elgin Marbles (later writing "It was from them alone that I learned") and then enrolling as a student at the Royal Academy Schools at the age of 18. He first exhibited at the Academy in 1837, with a picture of "The Wounded Heron" and two portraits, but his attendance at the Academy was short-lived, and his further art education was confined to personal experiment and endeavour, guided by a constant appeal to the standard of ancient Greek sculpture. He also began his portraiture career, receiving patronage from his close contemporary Alexander Constantine Ionides, who later came to be a close friend. In 1849 the first two of the allegorical compositions which form the most characteristic of the artist's productions were exhibited—"Life's Illusions," an elaborate presentment of the vanity of human desires, and "The people that sat in darkness," turning eagerly towards the growing dawn. In 1850 he first gave public expression to his intense longing to improve the condition of humanity in the picture of "The Good Samaritan" bending over the wounded traveller; this, as recorded in the catalogue of the Royal Academy, was "painted as an expression of the artist's admiration and respect for the noble philanthropy of Thomas Wright, of Manchester," and to that city he presented the work. From the late 1840s onward he painted many portraits in France and England, some of which are described below. Notable pictures of the same period are “Sir Galahad...

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...

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

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

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 ...

Classic fox-hunt engraving Pl.3. "Swishing a Rasper" by H(enry) Alken printed 1850 from Fores' Hunting Accomplishments in hunter green mat w/ gilt frame Image Sz: 10"H x 12.75"W Fr...

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 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

Watercolour with bodycolour on card Titled 'Donn d'Albano' lower left and signed and inscribed 'Roma 1853' lower right Image size: 19 1/2 x 13 1/2 inches (50 x 34 cm) This is a full...

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...

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

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...

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

Edmund Darch Lewis (1835-1910) Mount Washington, New Hampshire 50 x 58 inches, signed & dated 1859 Description The area near Mount Washington in New Hampshire was visited by many ...

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...