1860s Art

Un plaideur auquel manquent malheureusement les pieces les plus importantes, les pieces de cent sous. (A litigant who unfortunately doesn't have the most important details to success..dollars and cents) Series: Croquis par Daumier, No. 1 As published in Le Charivari, Paris, October 20, 1865. Croquis (Sketches by Daumier) is a series of 4 prints...

Holiday in Camp -- Soldiers Playing "Foot-Ball" Wood engraving, 1865 After Winslow Homer Unsigned (Signed in text in title caption, see photo) Published in Harper's Weekly July 15, 1...

Paul Gavarni (1804-1866) The Puppeteer, Study for "Janvier" Signed lower left Pen and black ink, black ink wash on paper 28 x 20 cm In good condition except some stains particularly ...

Toyokuni III A Modern Shuihuzhuan / Kasagawa no Higezo 近世水滸伝 笠川髭造 Tattoo Size: Oban 36 x 25 cm 文久2年（1862） 　

Oil on canvas attributed Rousseau-Decelle, French painter of the XIXth century. Student of Bouguereau and Ferrier In 1903, the artist whose studio is located at 235 rue du Faubourg ...

John La Farge The Sphynx is Weary, She Dreams o'er the World, 1865 Initialed and dated lower right Gouache, watercolor and black chalk on illustration board 10 1/4 x 12 3/8 inches P...

Thomas Brooks 1819- 1891, was an English painter who was born in Kingston upon Hull, his works were deemed typical of the 19th Century depicting genre scenes of the times, including ...

Auguste Mayer (1803-1890 A seascape with a boat signed with the initials on the lower left Pencil and heightenings of white gouache on paper 17.5 x 26 cm...

Fine work by celebrated 19th century artist, Colin Hunter (1841-1904) ARA, RI, RSW, RE. 'Highland Bridge' shows one of the old stone bridges in the Scottish countryside with horse an...

Antique American Hudson River School artist working in Italy. Oil on canvas. Framed nicely. No signature found.

This impressive oil painting on canvas, created in the second half of the 19th century, represents a classic example of European romantic landscape painting. The artwork reveals to t...

"Deer Shooting in the Northern Woods" is an original hand-colored lithograph by Currier & Ives. It depicts a landscape with a hunter aiming his gun at a deer on a winter day. 10" x 14" art 19 1/2" x 23 1/4" frame 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. In 1907, faced with competitive pressures from advancements in offset printing and photo engraving, Chauncey closed the venerable lithography business and sold the printing equipment and lithographic stones to his shop foreman, Daniel W. Logan. Nathaniel Currier and James Merritt Ives are laid to rest along with their families at the Greenwood Cemetery...

Beautifully detailed 19th century watercolor of ruins near Paris by artist Delastre, 1862. Original artwork on paper displayed on a white mat with a gold border. Mat fits a standar...

Etching on laid paper Sheet size: approx. 65 × 50 cm Signed in plate lower left: Beaujouin Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of ...

Etching on laid paper Signed in plate lower left: B. Zaleski Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aquafortistes,...

Etching on laid paper.  Signed in plate lower right: J. Michelin.  Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris.  With the blindstamp of the Société des Aquafo...

Etching on laid paper Signed in plate lower left: Léo Drouyn Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aquafortistes,...

Bords du Nil, circa 1865.  Etching on laid paper.  Signed in plate lower left: E. Dufeu.  Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris.  With the blindstamp of...

Etching on laid paper Signed in plate lower right: A. Mathieu 1864 Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aquafort...

Etching on laid paper Signed in plate lower left: Longueville Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aquafortistes...

Etching on laid paper Signed and dated in plate lower left: Maxime Lalanne 1864 Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société...

Etching on laid paper Signed and dated in plate lower left: P. E. Berthélemy Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société de...

Signed impressionist landscape oil on laid paper on canvas circa 1865 by French painter Stanislas Victor Edouard Lepine. The piece depicts a view of a rural landscape with a tree in ...

Etching on laid paper Signed in plate lower left: J. F. Jacquemart Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aquafort...

Etching on laid paper Signed in plate lower left: Armand Gautier Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aquafortis...

Etching on laid paper Signed in plate lower left: A. Lançon Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aquafortistes, ...

Etching on laid paper Signed in plate lower left: W. Ridley Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aquafortistes, ...

Louis Charles Auguste Couder (1789-1873) Portrait of a young man signed on the right border Pastel on paper 28.5 x 21 cm In good condition In a modern frame : 48 x 40.5 cm Augu...

Pl. 315, Goosander/ Mergus Castor, Linn Mergus castor, Linn. (most accurately known today as Mergus merganser Linnaeus, 1758), refers to the Common Merganser (or Goosander). It is a...

Pierre Jules Mêne (1810 - 1879) fut l'un des sculpteurs français les plus importants du XIXe siècle, au même titre que d'autres animaliers célèbres tels qu'Antoine Louis Barye (1795 ...

Etching realized by Edouard Dufeu in 1864. Image dimension: 22x32 cm. With diffused foxing, otherwise very good condition.

Lithograph on paper realized by Ulysses Butin (1837-1883). Not signed. as issued. Good condition with the left corners missing.

Etching realized by Emmanuel Noterman after Zacharie Noterman.  Printed by Cadart in 1863. Signed in the plate Very good condition.

Superb etching on papier de chine appliqué, realized by Dufeu in 1862. Signed in the plate. Very good condition.

Etching on laid paper Signed in plate upper left: F. Régamey Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aquafortistes, low...

Oil on artist board, 19th century. No signature found, but done by a talented hand with a beautiful luminous quality. Label on reverse The Australian Twin Steamer 'Bunyip', 1860. T...

Etching on laid paper Signed and inscribed in plate lower left: Paul Huet sculp. Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société de...

Etching on laid paper Signed and inscribed in plate lower left: K. Bodmer sculp. Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société de...

Two etchings on a single sheet of laid paper Each signed and dated in the plate: L. Lhermitte sculp. 1863 Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the bli...

Ferdinand Pautrot (1832 - 1874) Chien assis tenant un lièvre Bronze à patine brune H. : 21 cm ; L. : 18 cm ; P. : 11,5 cm Signé « P. PAUTROT » Inscription « Admis aux Beaux Arts » Ép...

Romantic School, circa 1860 A pavilion in a garden , an animated view Pen and black ink, black ink wash on paper 19.5 x 26.5 cm In good condition, slightly undulating. Framed : 39 x ...

Attributed to Eugène Lami (1800-1890) A maid feeding rabbits Watercolor on paper Bears a monogramm E L on the lower right 12.5 x 12.5 cm In good condition, some foxings in the uppe...

"Ichimura Hazaemon as Hatsuyumeya Mitsujiro" is a woodcut print by Toyoharu Kunichika in red, blue, and black. 14" x 9 1/2" art 20 3/4" x 16 3/4" framed From the series “First Per...

Asking for forgiveness. Artist signed and dated 1860 The painting has been previously conserved including a lining that protects the painting surface, some craquelure remains, beautiful handmade gold leaf frame by Richard Tobey Los Angeles. Pieter Alardus Haaxman was born in 1814 he was a Dutch painter. The son of Cornelis Haaxman and Maria Bolland, the criminal investigator of urban taxes in Delft. Haaxman was trained by the Delft art teacher Cornelis Ouboter van der Grient and the painter Cornelis Kruseman. Like his Delft teacher, Haaxman became a drawing teacher at the Delft City Drawing...

19th Century Woolie of The Royal Standard Coat of Arms Made of Wool Mid 19th Century created in 1867 Created by member of The British Royal Navy

Image of Jules Moigniez Bronze Sculpture of a Pointer and Pheasant, 19th Century Jules Moigniez Bronze Sculpture of a Pointer and Pheasant, circ...

Seymour Haden (1818-1910), Shere Mill Pond II (Large Plate), etching and drypoint, 1860, signed in pencil lower right [also signed in the plate lower right]. Schneiderman 37, sixth state (of 9). In generally good condition (see note below) with margins, on a cream/ivory laid paper, 7 x 13 1/2, the sheet 8 1/8 x 13 3/4 inches. A very good impression, with rich burr especially in the reeds toward the right. Provenance: Frederick Keppel and Co., New York, NY. Illustrated: Guichard, British...

Toyokuni III A Modern Shuihuzhuan / THE GANGSTER TOMIGORO 近世水滸伝 競力富五郎 Tattoo Size: Oban 36 x 25 cm 文久2年（1862） 　

Edouard Chevret (1835-1864) Napoleon and his soldiers, different studies Signed on the lower right and dated 1860 28 x 45 cm In a modern mount covering the original mount. In quite g...

Uses and Customs - St. Michele Church in Monza is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " His...

Uses and Customs - Taranto is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the governme...

Philippe BENOIST Paris : Saint Paul and Saint Louis Church - 1861 Original two tones stone lithographs Printed name of the artist bottom right On vellum 33.5 x 49 cm (c. 13 x 20 inc...

"The Farmers in boat with vegetables"  is an Artwork realized in 1860. Etching on ivory old paper. The state of preservation of the artwork is good except some stains and imperfect...

Un Paysan Russe is a black and white etching realized by Michel Bachiloff in 1862. Titled in the lower. Image size: 28cmx22cm. Good condition. Dated and signed on the lower left....

Cliff is a drawing realized in 1861. Pencil on paper. Hand-Signed. Good conditions with slight foxing. The artwork is realized through deft expressive strokes.

A Governor’s Mansion - Countryside Couple - Original Watercolor on Paper 1860s Governor’s Mansion during the Civil Water. A watercolor painting depicting horse carriages and disting...

Lithograph realized by Auguste Raffet in 1860. Belongs to the series "Souvenir d'Italie - Expédition de Rome". Good condition,

Etching realized bu Alexandre Segé (1818-1885) in 1860 ca.  Rare and in good condition except for some foxing.

Etude is a black and White etching realized by Jules-Joseph Lecurieux in the 1860s.  Titled in the lower. Image size: 23x31. Very good impression with wide margins and a very fres...

Apres la Bataille is a black and White etching realized by Hermann Maurice Cossmann in the 1860s.  Titled in the lower. Image size: 30x23. Very good impression with wide margins a...