1850s Art

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

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 ...

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...

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...

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...

"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...

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...

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

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...

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...

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...

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...

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: ...