1870s Art

Combat Naval is a black and white etching realized by Charles Longueville (1829-1899) in 1870s. Titled in the lower. Image size: 30cmx22cm. Very Good condition. Signed on the low...

Le Canal St Martin is a black and white etching realized by Adolphe Martial-Potémont (1827-1883) in 1870s. Titled in the lower. Image size: 30cmx21cm. Very Good condition. Realiz...

Medium: original etching. This impression on laid paper was printed in 1872 by A. Salmon and published in Paris by Gazette des Beaux-Arts. Plate size: 8 1/4 x 5 inches (210 x 125 mm)...

Une Rue à Beyrouth is a black and white etching realized by Charles Longueville in 1870s. Titled in the lower. Image size: 29cmx21.5cm. Very Good condition. Realized by Cadart fo...

Bateaux Pecheurs de Fécamp is a black and white etching realized by Pierre-Emile Berthelemy (1818-1890) in 1870s. Titled in the lower. Image size: 28cmx19cm. Very Good condition. ...

Portrait of Philip Andreevich Malavin.1879.Paper, lithography, 32x23 cm with minor defects. Leon Bakst. (1866-1924)

Environs de Chateau Gontier is a black and white etching realized by Tancrède Abraham in 1870s. Titled in the lower. Image size: 32.5cmx17cm. Good condition. Signed on the lower ...

Studio a matita e pastelli per lo splendido ritratto di Philip Bedingfeld proprietà del Museo del Norfolk Frederick Sandys, (Norwich, 1º maggio1829 ...

Work on cardboard Golden wooden frame 35.5 x 49 x 2 cm

Sarcelles is a black and white etching realized by Félix Bracquemond (1833–1914) in 1870s. Titled in the lower. Image size: 29cmx22.5cm. Very Good condition. Signed in the late i...

Medium: etching (etched by Theophile Narcisse Chauvel after the Wilhelm von Gegerfelt painting). Printed in 1875 and published in Paris by L'Art....

Oil on artist panel, signed and dated lower left. It measures 19.75" x 22.75" including the frame, which is likely the original. Benjamin Williams Leader RA (12 March 1831 – 22 March 1923) was an English landscape painter. The inspiration for these early works was the countryside around Worcester itself, "the cottages, farmhouses, lanes, hedgerows and churches, so exceedingly picturesque and beautiful". However, Leader did not finish his course of studies at the R. A, nor did he need to – his paintings proved to be in great demand by wealthy buyers and he achieved an enviable degree of commercial success within only a few years of his first sale. In 1857 he changed his name to Benjamin Williams Leader to distinguish himself from the many other painters with the surname Williams. In autumn of that year he travelled to Scotland, and painted A Quiet pool in Glen Falloch...

Charming original drypoint on ivorycoloured plate realized by Giuseppe De Nittis between 1870 and 1880. Signed on plate lower left margin, not numbered and in perfect conditions. Inc...

Souvenir is a black and white etching realized by Adolphe Appian (1818–1898) in 1870s. Titled in the lower. Image size: 23.5cmx13cm. Very Good condition. Realized by Cadart for t...

Etching realized by Félix Milius d'après Van Dyck in 1872. Very good condition.

Old Battersea Bridge View, Chelsea, 1879 - Etching on Paper Black and white 1897 etching titled "Old Battersea Bridge View" by Charles John Watson (British, 1846-1947). View at Chelsea from the bank of the Thames, with boats moored in foreground at left, Old Battersea Bridge in background, and Chelsea Old Church beyond. Signed and dated "Charles J Watson...

Etching realized by Félix Milius d'après Van Dyck in 1872. Very good condition.

Près de Fontainebleau is a black and white etching realized by Paul Huet (1803 –1869) in 1870s. Titled in the lower. Image size: 28cmx19.5cm. Very Good condition. Signed on the u...

In this exquisite painting by Victor Ravet, we are transported to an elegant interior setting reminiscent of the grandeur of high-class homes. The focal point is a woman adorned in a shimmering pink gown, radiating grace and sophistication. Bathed in gentle light, her dress catches the glimmer, accentuating her beauty. She holds a treat for a dog in her hand, enticing the furry companion who stands on its hind legs in eager anticipation. The canine's eyes fixated on the delicious morsel, capturing a moment of playful interaction between the woman and her loyal companion. The scene takes on a narrative quality as the young woman's other hand delicately lifts a curtain, hinting at another room beyond. This subtle gesture adds depth to the composition, suggesting a world of hidden secrets and intriguing possibilities within the opulent surroundings. Victor Ravet took inspiration from the Dutch Golden Age painters of the 17th century, such as Vermeer, Jacob Ochtervelt, and Gerrit Dou. This homage to their style and subject matter pays tribute to the timeless allure of domestic scenes, capturing a slice of life in a bygone era. With meticulous attention to detail, Ravet masterfully recreates the textures and fabrics, immersing the viewer in the sumptuousness of the period. The soft play...

Medium: etching (after the painting). Etched by Charles Albert Waltner after Van Dyck. This impression on laid paper was printed by A. Salmon and published in Paris for "L'Art" circa...

Le Singe Savetier is a black and white etching realized by Zacharias Notermann (1820–1890) in 1870s. Titled in the lower. Image size: 28cmx20cm. Very Good condition. Signed on th...

L' étang neuf près de Creys is a black and white etching realized by Adolphe Appian (1818 –1898) in 1870s. Titled in the lower. Image size: 26.5cmx14cm. Very Good condition. Sign...

Femme Gardant des Moutons is a black and white etching realized by Jean-Ferdinand Chaigneau (1830 -1906)) in 1870s. Titled in the lower. Image size: 20cmx27cm. Very Good condition...

Un Marèchal Ferrant is a black and white etching realized by Jules Hereau (1839-1879) in 1870s. Titled in the lower. Image size: 19.5cmx15cm. Good condition. Signed and dated in ...

Reverie (Dream) is an original lithograph on paper realized by T. P Wagner (1819- 1881) in 1870s. Hand-signed on the lower left and titled in red pencil. Good conditions. Sheet dim...

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

A fascinating allegorical scene by French master Paul-Louis Delance (1848–1924), an artist known for the allegorical and history paintings. His grandfather was the Count Joseph van R...

Chevaux de Poste is a black and white etching realized by Charles Amédée de Boret (1837–1916) in 1870s. Titled in the lower. Image size: 20cmx26.5cm. Very Good condition. Signed ...

Medium: etching (after the painting). Etched by Martinez after the Millet painting. Published in Paris in 1873 by the Galerie Durand-Ruel for the rare "Recueil D'Estampes Gravees a L...

View of Mount Fuji is a modern artwork realized after Katsushika Hokusai (31 October 1760 – 10 May 1849). Woodcut print from the series "Fugaku hyakkei" (100 views of Mount Fuji). ...

Sommets d'Auvergnelaure is a black and white etching realized by Jules Laurens (1825–1901) in 1870s. Titled in the lower. Image size: 23cmx30.5cm. Very Good condition. Signed in ...

En Provence is a black and white etching realized by Justin Gabriel (1838-1923) in 1870s. Titled in the lower. Image size: 31cmx22cm. Very Good condition. Dated in the upper righ...

Cour de Ferme à Marzy is a black and white etching realized by Auguste Mathieu(1807-1863) in 1870s. Titled in the lower. Image size: 28.5cmx20cm. Very Good condition. Signed in t...

Original pastel on heavy card stock (made in Paris) by the well known Hudson River artist, George Douglas Brewerton. A view of Mount Shasta in Northern California. Signed lower left. Circa 1880. Condition is excellent. The artwork is housed in its original scroll decorated frame. Overall framed measurements are 33.25 by 19 inches. Provenance: A East Coast Florida estate. George Douglas Brewerton received lessons in art from Prof. Robert W. Weir at West Point where his father was Superintendent. In 1874, he was detailed to San Francisco as an officer in the Stevenson Regiment. In 1848, he underwent many adventures in Western deserts and mountains with Kit Carson, who crossed the country with news of the California Gold Rush. After serving as an aide to Gen. Rufus Saxton during the Civil War, Brewerton called himself “Colonel,” although he never received an army commission...

La Barque de Caron is a black and white etching realized by Auguste Feyen-Perrin (1826-1888) in 1870s. Titled in the lower. Image size: 32.5cmx16cm. Very Good condition. Realized...

Medium: etching (etched by Edmond Hedouin after the Jean-Francois Millet painting). Catalogue reference: Beraldi 39. Published in 1875 in Paris by L'Art and printed on watermarked la...

Medium: original etching. Printed in 1875 on laid paper at the Alfred Salmon Imprimerie and published in Paris by L'Art. Plate size: 8 3/8 x 11 inches. Signed in the plate (not by ha...

Les Sorcières is a black and white etching realized by Jean Amable Pastelot in 1870s. Titled in the lower. Good condition. Not signed. Realized by Cadart for the "Société des Aqu...

Rue des Arènes is a black and white etching realized by Armand Queyroy (1830-1893) in 1870s. Titled in the lower. Image size: 20cmx29cm. Very Good condition. Signed on the upper ...

After the Cercle of Narcisse Díaz ilisible signature .Oil on canvas Diaz de la Peña, born on August 20, 1807 in Bordeaux and died November 18, 1876 in Menton, is a French painter....

L'Horoscope is an original artwork realized by the artist Paul Edme LeRat and Felix-Augustin Milius. The artworks include two different sheets representing "L'Horoscope" by Paul Edme LeRat and "L'Horoscope Realisé" by Felix-Augustin Milius in 1879. Both the artworks has been realized in 1879. Original etchings d'aprés Freudenberger chez Cadart, Paris. Very good conditions. The first artwork represents an old female figure with cards and a young girl listening to her. In the center of the composition there is a man with a headgear that is listening to the response too. In the second etching, L'Horoscope Realisé, we see the realization of the response: the young girl stays with a baby and the old city is looking the scene; the man is in the center of the composition and shows the scene to the old lady. Paul Edme LeRat (Paris, 1849 - Paris, 1892) a French etcher noted for his interpretations of other artists paintings into etchings and engravings which were often used for book illustrations. He studied under Lecoq de Boisbaldran and L. Gaucherel and first exhibited at the Paris Salon in 1869. Today many museums and libraries include his works in their catalogs. Félix-Augustin Milius(Marseilles, 1843 - 1894) a French painter, engraver and illustrator; he was a portraitist and genre scenes painter. A pupil of Hippolyte Flandrin, Charles Gleyre, Léon Gaucherel...

Beautiful engraving of a late 19th Century painting by Frederic Arthur Bridgman (American, 1847 - 1928) titled "A Hot Bargain," (see image) engraved by James D. Smillie (American, 1833-1909), circa 1900. Signed lower right edge. Edition 64/225 with attribution to piece and artist on verso. Presented in with new mat. Original mat on verso. Condition: Good, minor foxing on edge. Image size: 5.88"H x 9"W. A native of New York and the son of an engraver, James David Smillie earned his early reputation for his etching skills but later for watercolor landscapes. He began etching at age 8, learning from his father, James Smillie...

Etching realized by Félix Milius d'après Van Dyck in 1872. Very good condition.

"The New Steamship Cephalonia, of the Cunard Line" is an original hand-colored lithograph by Currier & Ives. It depicts a large sailing steamship. There is a significant stain in the artwork in the upper center. 12" x 16 3/4" art 21" x 26" 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...

Beautiful original pastel on archival card stock from Paris of the craggy seaside cliffs of California by the well known Hudson River artist, George Douglas Bremerton. Signed lower left. Circa 1880. Condition is excellent. Under glass. The artwork is housed in its original ornate scroll designed frame. Overall framed measurements are 33 by 19 inches. Provenance: A East Coast Florida estate. George Douglas Brewerton received lessons in art from Prof. Robert W. Weir at West Point where his father was Superintendent. In 1874, he was detailed to San Francisco as an officer in the Stevenson Regiment. In 1848, he underwent many adventures in Western deserts and mountains with Kit Carson, who crossed the country with news of the California Gold Rush. After serving as an aide to Gen. Rufus Saxton during the Civil War, Brewerton called himself “Colonel,” although he never received an army commission...

La Voute Celeste is an Original Color Woodcut Print realized by Carlègle (Charles Emile Egli, 30 March 1877 – 11 January 1937). Belongs to the suite "Les Travaux D'Hercule". Good condition on a yellowed cardboard. Titled, Stamp Signed on the lower margin Charles Émile Egli (known as Carlègle; 30 March 1877 – 11 January 1937) was a Swiss-born illustrator and painter who spent most of his life in Paris. Charles Émile Egli was born in Aigle, Switzerland on 30 March 1877. He was educated in Aigle and then at the college of Vevey. When he was eighteen he attended engraving classes of Alfred Martin...

Little Owl is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917). Woodcut print on ivory-colored paper. Hand-colo...

Bewick's Swan is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & Sons, 1870....

Eagle Owl is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London...

Disparate matrimonial - from Los Proverbios is an original black and white etching realized by Francisco Goya (1746-1828). The artwork is the plate n. ...

Medium: etching (after the painting). Etched by French artist Frederic Auguste Laguillermie after the Millet painting. Published in Paris in 1873 by the Galerie Durand-Ruel for the r...

Lithograph. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable plants of each fami...

Lithograph. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable plants of each fami...

Lithograph. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable plants of each fami...

Lithograph. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable plants of each fami...

Lithograph. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable plants of each fami...

Lithograph. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable plants of each fami...

Lithograph. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable plants of each fami...