1870s Art

Wonderful English Victorian River Landscape. Thomas O Hume was an English landscape painter who exhibited from 1864-1892. He showed his paintings at t...

Impressive early American modernist abstract oil painting. Framed. Oil on canvas. Signed. Image size, 9.25H by 15L. Artist Bio: This following biography was researched, compiled...

The Bathers Woodengraving, 1873 As published in Harper's Weekly, August 2, 1873 (p. 668) Provenance: Wunderlich & Co., Inc., New York, NY (Their stock no. 84.003.8 in pencil recto a...

Here Lundgren concentrates on individual studies of goats, especially their heads and expressions. In one sketch, a goat faces forward, its distinctive long ears and gentle features ...

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...

Fabulous 19th Century oil on canvas portrait of a child with their dog. It is signed and dated 1872 underneath the gold matting. I cannot decipher the signature. Painting could be ei...

Alfred SISLEY (after) The Angelus, 1873 Original Etching Engraved by Flameng under the supervision of SISLEY Printed signature in the plate On laid paper...

James Whistler (1834-1903), The Traghetto, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”. Reference: Kennedy 19...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable p...

Cassatt, Mary. WOMAN WITH OPERA GLASSES (STUDY FOR "IN THE LOGE"). Drawing, Pencil, circa 1878. 5 x 8 1/2 inches (sheet). With the estate stamp "Mary Cassatt - Collection Mathilde....

Épisode de la Guerre d'Amérique is an artwork realized by Edwin Forbes Forbes in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the in...

Crested Tit 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. N...

Baccio Baldini, After by Amand Durand, Italian (1436 - 1487) - Judith Tenant la Tete d'Holopherne, Year: Printed: 1875, Medium: Heliogravure, Size: 7 x 6 in. (17.78 x 15.24 cm), P...

JEBEZ BLIGH (1832-1900) Mushrooms in a Basket Signed and dated l.r.: J BLIGH / 74 Watercolour Framed 22.5 by 31.5 cm., 9 by 12 in. (frame size 42.5 by 51 cm., 16 ¾ by 20 in.) Jeb...

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

Medium: original etching. Printed on laid paper by Cadart and published in Paris by Gazette des Beaux Arts in 1876. Plate size: 5 1/8 x 6 3/8 inches (130 x 165 mm). Not signed.

Medium: original etching. Published in Paris in 1876 by Gazette des Beaux-Arts and printed on laid paper by A. Salmon. Catalogue reference Sanchez and Seydoux 1876-27. Plate size: 8 ...

Le Moulin de la Galette is a black and white etching realized by Jacques Endzel in 1870s. Titled in the lower. Image size: 23cmx14.5cm. Good condition. Not signed. Realized by C...

John Brandon Smith, John Brandon Smith is an English landscape artist of some renown. He concentrated on the waterways of England, Scotland and Wales. He was particularly interested in the effects of cascading water. This led to his being given the moniker 'Waterfall Smith'. He was fascinated by the spectacle of rivers in spate. Many of his paintings concentrated on the rivers Conway, Llugwy and Lledr in North Wales but he also painted the rivers of England and Scotland. Some of his more celebrated works show The Swallow Falls and Aysgarth Falls in North Yorkshire. He used many shades of green and blue on his small, jewel-like canvases. He would occasionally introduce the figure of a fisherman to provide perspective. His themes are characteristic of the Renaissance of the European Romantic Movement. He exhibited twenty-two works at The Royal Academy between 1860 and 1874. He also exhibited at Suffolk Street. This is a very rare large example of the painters work. It is framed in an Antique English frame

"The Celebrated Clipper Ship Dreadnought" is an original hand-colored lithograph by Currier & Ives. It depicts a sailing ship. 13 1/4" x 17 1/2" art 19" x 23 1/2" 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...

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

WOLF, Joseph (artist) Four Pheasants London, For the author, Red Lion Court, Fleet Street, 1871 Four original hand-coloured lithographic plates by Joseph Smit after Joseph Wo...

Watercolor and gouache on cream wove paper. Signed and titled in watercolor in the lower right image area. Small circular pea-sized damp stain in the top center image area (visible in the are of the sky), and some additional small spots of unobtrusive foxing in the upper left sheet area. Otherwise in very good condition with fresh colors and intricate brushwork. Henri Schäfer...

Etching and drypoint realized by Auguste Mongin in 1878, after Meissonier. Early proof before the letter, with the stamp of the publisher Petit. The subject was published on the Ma...

A enchanting & intimate 19th century Swiss pastel portrait painting of a beautiful young girl, circa 1870, attributed to the celebrated Swiss artist Albert Anker (1831-1910). The pai...

Original watercolor on paper signed and dated 1874 to lower left Provenance purchased from Kennedy Galleries, NY The Collection of Bruce and Barbara Sullivan, Birmingham, Alabama ...

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 Dutch Town is a luminous, atmospheric view of a canal-side townscape in the Netherlands, painted by the Swedish artist Carl Skånberg around 1875–1880. The composition centers on a ...

19th century British oil, Ship in a rough sea. The style of the painting is very similar to the work of Bernard Benedict Hemy a well known Briti...

Medium: original etching. This is a rich, dark impression on laid paper with full original margins, printed by A. Salmon and published in Paris by L'Art in 1876. Size: 9 1/2 x 10 7/8...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable p...

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

Medium: etching (after the painting). Etched by Charles Courtry after the Corot painting. Published in Paris in 1873 by the Galerie Durand-Ruel for the rare "Recueil D'Estampes Grave...

Ruins of the Ancient Aqueducts is an original artwork realized by Carl Friedrich Heinrich Werner (Weimar, 4 October 1808 – Leipzig, 10 January 1894) in 1872. Watercolour and pencil on paper. Hand-signed and dated on the lower left corner: C. Werner 1872. Good conditions. Prov. Collection Dr. Peter Nicolaus (1940-2020). Carl Friedrich Heinrich Werner (4 October 1808 – 10 January 1894) was a German...

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...

Medium: etching (after the painting). Etched by a French engraver after the Corot painting. Published in Paris in 1873 by the Galerie Durand-Ruel for the rare "Recueil D'Estampes Gra...

Brigadier Vous Avez Raison is a black and white etching realized by Henry-Louis Dupray (1841-1909) in 1870s. Titled in the lower. Image size: 23cmx28.5cm. Very Good condition. Re...

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...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable p...

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)...

Medium: original etching. François Nicolas Augustin Feyen was known as Auguste Feyen-Perrin. This impression on laid paper was printed in 1872 by A. Salmon and published in Paris by ...

Marcantonio Raimondi, After by Amand Durand, Italian (1480 - 1534) - Les Maries pleurant le corps mort de Jesus Christ, Year: 1875, Medium: Heliogravure on Laid Paper, Size: 9 x 7 ...

After an initial training at the Toulouse School of Fine Arts, Jules-Arsène Garnier joined the Paris School of Fine Arts in 1867 in Jean-Léon Gérôme's studio. As an academic artist, ...

This is an engaging work with masterful detail that will unfold for an intent viewer, particularly in the area of the figure's well-worn hands, and her traditional clothing. The image depicts a Bavarian woman deep in thought while winding a skein of wool. She is seated outside of her home, where she has brought her yarn swift...

Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Greyhounds D France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) inc...

Cliché-verre. Magnificent proof of ancient edition, numbered in red pencil on verso, and whose subject wasn’t included in the later reprints by Bouasse-Lebel and Le Garrec. Signed on...

Medium: original etching. Printed in 1875 on laid paper at the Alfred Salmon Imprimerie and published in Paris by L'Art. The plate size is 9 1/2 x 13 inches. Not signed.

Medium: etching (etched by Theophile Narcisse Chauvel after the Hippolyte Boulanger painting). Published in Paris by L'Art in 1875 and printed by Francois Lienard on laid paper. The ...

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. This impression on cream laid paper was printed by Lienard and published in Paris by L'Art in 1879. The plate size is 7 3/4 x 11 3/4 inches (200 x 300 mm). ...

Les Cigognes is an artwork realized by Félix Bracquemond in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of the publi...

William Edward Norton (1843 - 1916) Ship Portrait, 1876 Oil on canvas 10 x 16 inches Signed and dated lower left Born in Boston, William Norton became a noted marine painter, stirred by his youth when he sailed on family-owned ships. He studied at the Lowell Institute in Boston, and with George Inness, and then established a studio in Boston. In the early 1870s, he went to Paris and became a student with Chevreuse and A. Vollon, and then he settled in London where he exhibited throughout the last quarter of the 19th century. His reputation there was based on his scenes of the Thames River, and ocean and coastal views. In 1901, he and his wife returned to the United States and settled in New York City. He also painted at Monhegan Island, Maine, where a treacherous ledge on the southern side of the island is named "Norton's Ledge" for him. He was a member of the Boston Art Club with whom he exhibited from 1873 to 1909. He also exhibited with the Pennsylvania Academy, the Royal Academy in London, the Paris Salon, the 1893 Chicago Exposition...

The french Landscape is an original Lithograph realized by Louise de Rohan-Chabot in 1878. Good conditions except for some foxings. Signed and dated lower left, 1878. The artwork ...

Work on canvas

A fabulous and rare large 19th century Bombay Pottery Charger from the J J School of Art, depicting scenes of Buddha from the Ajanta caves. Bombay Scho...

Juive d'Alger is an artwork realized by Alfred Cadart in the 1870s. Etching. Image size:21x16 Good conditions. Realized for the "Société des Aquafortistes. Born on the initiati...

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...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable p...

Original stone lithograph with hand-coloring from "Birds of North America." First Octavo Edition, by John James Audubon. Plate 383. Philadelphia, J.T. Bowen, ca. 1839-44.

Sir Alexander Von BENSA Panel Size: 18 x 25" Outside Frame Size: 26 x 34" Oil on panel in very good condition and has benefited from a light clean only. Original frame Austrian Sc...