1850s Art

Portrait d'Homme is an artwork realized by the french artist Alphonse Legros (1837-1911) in 1859. Oil on Canvas. Good conditions except some rips on the edges. Broche du nº 23 du catalogue Malassis-Thibaudeau "Portrait de Frederique Regamey". Collection Thibaudeau. Alphonse Legros was born on May 8, 1837 in Dijon, France. While young, Legros visited the farms of his relatives, and the peasants and landscapes of that part of France are the subjects of many of his works. He was sent to the art school at Dijon with a view to qualifying for a trade, and was apprenticed to an interior decorator. In 1851, Legros left for Paris, but passing through Lyon he worked for six months as journeyman muralist for painter/art restorer Jean-Baptiste Beuchot, who was painting the chapel of Cardinal Bonald in the cathedral.In Paris, Legros studied with theater scene painter Charles-Antoine. He attended also the drawing-school of Lecoq de Boisbaudran (the "Petite école") where he found made friends with Jules Dalou and Auguste Rodin. In 1855, he attended the evening classes of the École des Beaux Arts.Legros sent two portraits to the Paris Salon of 1857: one was rejected, and formed part of the exhibition of protest organized by Francois Bonvin in his studio; the other, which was accepted, was a profile portrait of his father. Art critic Champfleury saw the work in the Salon, and sought out the artist to enlist him in the "Realists," a group anchored by Gustave Courbet.Legros picked up the art of etching by watching a colleague in Paris who worked as a commercial engraver, and taught himself both etching and medallion making. He considered the traditional journey to Italy an important part of artistic training, and in later years, gave part of his salary to augment the income available for a travelling internship.He moved to England in 1863 and in 1864 married Frances Rosetta Hodgson. In his early career, he lived from the sales of his etchings and teaching. He began teaching etching at the South Kensington School of Art and in 1876 became a Slade Professor at University College, London, succeeding Edward Poynter...

Artist: Utagawa Hiroshige (Hiroshige Ando 1797-1858) Title: No.96 "Meisho Edo Hyakkei" Series: One Hundred Famous Views of Edo (名所江戸百景) Size: O-ban 大判 Age: 1856

The Fisher-Bird is an original lithograph on ivory-colored paper realized by J.J. Grandville from Scènes de la vie privée et publique des animaux, 1852. Published by Manesq & Harvard...

GUSTAVE DORE (French 1832-1883) CHASSEURS TYROLIENS A L'AFFUT DU CHEVREUIL (Tyrolian Hunters at the end of the Hunt) c. 1856-7 (Beraldi?) Lithograph,...

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...

This piece is unsigned but there are many half-erased writings on the back of the cardboard. In particular "miss Ecart" and "Julie Sandoz" as well as the date. Interesting portrait a...

Randolph John Rogers (American, 1825 - 1892) Randolph Rogers' Nydia, the Blind Flower Girl of Pompeii debuted in 1856 to critical and public acclaim, solidifying Rogers’ position as a pre-eminent American sculptor and it remains one of the artist’s most celebrated works today. The subject of Nydia is drawn from Edward Bulwer-Lytton's The Last Days of Pompeii 1834. After touring the ruins of the ancient city in 1833, and inspired by the stories of blinding volcanic ash, he composed the tale of Nydia, a slave who led her master, Glaucus, to safety. Rogers depicts Nydia at the moment that she and Glaucus have become separated in their perilous journey through the rubble and Nydia seeks familiarity in the surrounding chaos, her distress evident in her pained expression. The grace of the sculpture is at odds with the turmoil portrayed; a toppled Corinthian capital lies at her feet and obstructs her next step, indicated by the tilt of her back foot and grip on her walking stick. Examples of this model can be found in major American collections, including The Metropolitan Museum of Art, the Art Institute of Chicago, the Detroit Institute of Arts, the Los Angeles County Museum of Art, and the Museum of Fine Arts, Boston. Literature, Millard F Rogers, Jr. Randolph Rogers, American Sculptor in Rome. University of Massachusetts Press, 1971, American Figurative Sculpture in the Museum of Fine Arts Boston. Museum of Fine Arts, Boston, 1986. Joyce K Schiller. "Nydia, A Forgotten Icon of the Nineteenth Century." Bulletin of the Detroit Institute of Arts, Born in Waterloo, New York, Randolph John Rogers became an expatriate* sculptor of idealized figures, portraits, and commemorative works in Neo-Classical* and Realist* styles. He worked in clay, plaster, marble and bronze, and lived both in Italy and the United States. He made 167 examples of Nydia in two sizes (varies depending on base height) 36" and 54'. Rogers was raised in Ann Arbor, Michigan, and as a young man did woodcuts* for the local newspaper, The Michigan Argus, and also worked as a baker's assistant and a dry goods clerk. In 1847, he moved to New York City, where he hoped to find work as an engraver*, but failing to do so, worked in a dry goods store owned by John Steward...

This lovely British Victorian oil painting is by noted 19th century landscape artist Thomas Baker of Leamington. It was painted on 18th September 1854 as a special commission. The co...

Wonderful German mid 19th century Mountain lake landscape with figures harvesting the corn. J.Klee was a landscape painter during the middle of the 19th century in Germany. He mostly painted rural scenes often with people going about their daily work. This is one such example! He was very skilled in painting great light in his paintings and along with a well-choisen composition he was able to paint a very desirable painting. This piece is framed in its original German hand...

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

Scènes Parlementairesis a suite of original lithographs by Honoré Daumier (Marseille, 1808 -1879, Valmondois), realized in 1850. Published in Paris. Original Edition. Format: in ...

Etching and aquatint realized by Francisco Goya. Plate 21 from the Series "Los Caprichos". Beautiful proof of 2nd Edition, printed in 1855 ca. Includes a wooden frame cm. 38.5x32.

Courtesan Kumekichi Color woodblock, 1858 Kabuki Actor Iwai Kumesaburo III in the role of courtesan Kumekichi, who is standing in snow hold a red sake cup Publisher: Ohkuniya Kinjiro...

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...

JEAN-BAPTISTE CAMILLE COROT (1876 - 1875) LE PETIT CAVALIER SUR BOIS. 1854 (1921) (Delteil 42) Cliché-verre on thin vellum. Signed in plate at bottom. 8 1/4 x 6 5/16” (sheet size)....

Egyptian slit-faced Bat 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...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape S...

Plate n. 7 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 ...

Beautiful lithograph with margins, realized by Daumier in 1855 with rubberized color of the time. It belongs to the Series "L'Exposition Universelle".  Ref. Delteil 2678. 

Lithograph realized by Daumier in 1845, belonging to the Series "Les Gens de Justice" Table no. 10 of the Series. Very good condition. Ref. Delteil 1346

Lithograph realized by Daumier in 1859. Belongs to the Series "Actualités". Ref. Delteil 3228 Very good condition.

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape S...

Lithograph realized by Daumier in 1859. Belongs to the Series "Ces Bons Parisien". Ref. Delteil 3241 Very good condition

Signed and dated on plate. An early state on the 5 issued, with very fresh impression and marked contrasts, Includes passepartout (cm. 53x37). The American artist James Abbott McNei...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London ...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London ...

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...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape S...

John Gould, 'Leucippus Fallax' (Buffy Hummingbird), original lithograph with hand-coloring (not a reproduction), c. 1850. Signed in typeset 'J. Gould and H. C. Richter, del et lith.'...

Locataires et Propriétaires (Tenants and Owners) is the name of the Complete Suite of 11 lithographed plate (2nd series), published on   Le Charivari, French magazine,   from Februar...

Canvas Size: 30 x 30" (76 x 76cm) Outside Frame Size: 37 x 37" (94 x 94cm) Unsigned Provenance: Christies REUBEN Thomas William SAYER(S) 1815 - 1888 British Painter born in 18...

Utagawa Kuniyoshi Kinpyoshi Yorin, hero of the Suikoden, between 1826 and 1830 from the set The one hundred and eight heroes of the popular Suikoden, one by one (Tsuzoku Suikoden go...

Genjie is an original artwork realized in 1852 by Utagawa Kunisada (1786-1865). Oban yokoe. From the series "Sono Sugata yukari no utsushi-e" (Faithful images of the Radiant Princ...

The Lazy Frog is an original lithograph by J.J. Grandville from "Scènes de la vie privée et publique des animaux, 1852. Published by Manesq & Harvard, Paris. Good Conditions but ag...

Ancient View of San Francisco in November 1848 is an original modern artwork realized in the first half of the 19th Century. Original L...

Senior Officer is a lithograph by Antonio Zezon. Naples 1853. Interesting colored lithograph which describes a Senior Officer of the Hunter Battalions riding his horse. In excellen...

The Spotted Mouseis 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 pu...

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...

Lithograph realized by Daumier in 1859. Belongs to the Series "Ces Bons Parisien". Ref. Delteil 3241 Very good condition

Lithograph realized by Daumier in 1845, belonging to the Series "Les Gens de Justice" Table no. 19 of the Series. Monogrammed in the plate. Very good condition. Ref. Delteil 1355

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...

Lithograph realized by Daumier in 1859. Belongs to the Series "Ces Bons Parisien". Ref. Delteil 3241 Very good condition

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...

Carl Friedrich Deiker (1838 Wetzlar - 1892 Düsseldorf). Vigilant fox. Pencil drawing on brown paper, 18 × 29.5 cm (inside measurement), 31.5 x 43.5 cm (mount), signed and dated "Deiker [18]54" at lower right. - a little bit stained, with a light water stain at lower right About the artwork Carl Friedrich Deiker's consummate ability to depict animals is already evident in this early work. He brought a whole new psychological dimension to animal painting, so that one could literally speak of animal portraits. The naturalistic appearance of the fox alone makes it seem alive. Every strand of muscle, even every hair, is captured, which requires an intensive artistic study of animal anatomy and physiology. But the fox's real liveliness comes not from its natural appearance, but from its internal movement: Stretched out, it has been brought out of rest. It turns around and, with its ears pricked up, looks intently in the direction from which it has seen something. His mouth is slightly open and his pointed teeth are bared, as if he were growling. Tension gradually takes hold of his whole body. While the hind legs were still in a relaxed position, closely observed by Deiker, one front leg was already raised, ready to begin a rising movement. The fox seems so alarmed with all its senses that one gets the impression that, at any moment, its tail will move jerkily and the animal will jump up. While wild animals have traditionally been portrayed as beasts or anthropomorphised, often for caricatural purposes, Deiker explores their inherent nature by attempting to capture their psychic impulses. The wild animal is neither bestial nor human, but a creature in its own right, valued by Deiker for its own sake. In this way, he brought the dignity of the animal into representation and raised animal painting to a whole new artistic level. About the artist Carl Friedrich Deiker was the son of the drawing teacher Christian Friedrich Deiker and the younger brother of the animal painter Johannes Deiker. In addition to the family art lessons, Christian Friedrich shared a studio with his brother Johannes at Braunfels Castle, Deiker attended the drawing academy in Hanau, and from 1858 he was a student at the Karlsruhe Art Academy, where he studied under the landscape painter Johann Wilhelm Schirmer. Carl Friedrich Deiker was already in demand as an artist during his first year: Grand Duke Frederick I of Baden, Margrave Max of Baden and Grand Duke Michael of Russia bought hunting scenes by him. In 1859 he went on a study trip to the Reinhardswald. Just as the Barbizon School had rediscovered the landscape, Deiker opened up the forest for animal painting. From 1861-64 Deiker had his own studio in Karlsruhe, then moved to Düsseldorf, where his brother Johannes followed four years later. Deiker married a daughter of the landscape painter Karl Hilger and remained in Düsseldorf until his death. In 1868 he finally achieved international fame with his painting 'Pursued Noble Deer' and was regarded as a virtuoso new founder of animal painting. "Deiker brought for the first time a truly great artistic quality to animal painting [...]". - Hans Vollmer From 1870 he participated in the academic art exhibitions in Berlin, Dresden, Munich and Hanover. He was also very busy as an illustrator. He drew for the Gartenlaube, the Salon, the Universum, and produced many of the finely illustrated hunting and animal books of the period. He also worked as a printmaker, while his oil paintings circulated as reprints by Franz Dinger. From 1865 to 1892 Deiker was a member of the artists' association Malkasten. Carl Friedrich Deiker's life's work was honoured with a large posthumous memorial exhibition at the Düsseldorf Kunsthalle in 1892. His son Carl Deiker, born in 1879, also became a painter. Selection of art museums that own works by Carl Friedrich Deiker: Hamburger Kunsthalle / Kunsthalle Karlsruhe / Kunstmuseum Düsseldorf / Wallraff Richartz Cologne. Selected Bibliography H. Schmidt: Johannes and...

Lady Owl is an original lithographs by J.J. Grandville from "Scènes de la vie privée et publique des animaux, 1852. Published by Manesq & Harvard, Paris. Good Conditions but aged. The artwork is depicted through strong strokes with perfect hatching. Jean Ignace Isidore Gérard...

The Tribune is an original lithographs by J.J. Grandville from "Scènes de la vie privée et publique des animaux, 1852. Published by Manesq & Harvard, Paris. Good Conditions but age...

Deux Heures du Matin is the b/w lithograph plate ( n.6 ) from the satirical print series “ Les Trains de Plaisir”, composed of caricatures “ de mœurs” (of behaviours), realized by  H...

Lithograph realized by Daumier in 1859. Belongs to the Series "Ces Bons Parisien". Ref. Delteil 3241 Very good condition

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...

Lithograph realized by Daumier in 1845, belonging to the Series "Les Gens de Justice" Table no. 18 of the Series. Monogrammed in the plate. Very good condition. Ref. Delteil 1354

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

Plate n. 16 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...

The Great Exhibition of the Industry of all Nations is an original old master artwork realized in 1851. Black and white lithograph by J L Williams; th...

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

Ménagerie Parisienne is an Original Lithograph realized by Gustave Doré (1832-1883). Very good condition included a white cardboard passpartout (50x62.5 ...

Beautiful lithograph with margins, realized by Daumier in 1855. It belongs to the Series "L'Exposition Universelle" Ref. Delteil 2672

African Warthog 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 pub...

This print is from a highly regarded series by the Edo woodblock artist Utagawa Kuniyoshi: in the period, there were at times prohibitions in depicting a...

The Kangaroos 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 publi...

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...