1870s Art

Antique American Hudson River School panoramic landscape oil painting. Oil on paper. Framed. Apparently unsigned. Image size, 13L x 8.5H.

Médecine Expérimentale (Experimental medicine), is an original etching, soft ground, on Japanese paper realized by Félicien Rops in 1854, signed in the ...

ANTOINE-LOUIS BARYE (FRENCH, 1796-1875): A patinated bronze model of Dromadaire harnaché d'Égypte Signed 'BARYE' and stamped 'BARYE' by the Brame foundry Raised on naturalistic base...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Silhouette (circa 1870) Mrs Taylor Gouache, pen, and ink 52 x 44 cm Prior to ...

"The Race for the American Derby (Belmont Stakes)" is an original hand-colored lithograph published by Currier & Ives. It depicts three racehorses and their jockeys running in the Belmont Stakes. The caption for this lithograph says, "Spartan. Bramble. Duke of Magenta. Jerome Park, June 8th 1878. Mr. Geo. Lorillard's Duke of Magenta.....Hughes, 1....Messrs.Dwyer Bro's Bramble......Fisher, 2....Mr. P. Lorillard's Spartan.....Barrett, 3..... TIME 2:43 1/2." 12 7/8" x 16 7/8" art 21 7/8" x 25 7/8" frame 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...

Artist: Philip Lutley Sclater (English, 1829-1913) Titles: "Loria Mariae (MacGregor's Bowerbird)", "Cnemophilus Macgregorii (Crested Satinbird)", "Aegotheles Savesi (New Caledonian O...

Medium: original etching. This impression on laid paper was printed in 1875 and published in Paris by L'Art. Image size: 5 1/8 x 9 inches (132 x 225 mm). Signed in the plate; not han...

Medium: etching. Etched by Adrien Didier after the figure by Michelangelo in the Sistine Chapel known as The Libyan Sibyl. This impression on japon paper was printed in 1875 at the A...

Medium: etching. Etched by Jules de Goncourt after Paul Gavarni. This impression on thin japon paper was printed by Francois Lienard in 1875 (before letters were added) and published...

White-tailed deer by Antoine-Louis BARYE (1796-1875) Electroplating bronze plaque with a brown patina Signed "Barye" Period cast from the "Barye's workshop" (made during the artist'...

This late 19th-century oil painting by French artist Paul Constant Soyer (1823-1903) depicts a rustic cottage interior with an elderly woman spinning wool while a child peels vegetab...

"Caress of Love" by Albert-Ernest CARRIER-BELLEUSE (1824-1887) Bronze group sculpture with a nuanced dark brown patina Signed on the back "A. Carrier-Belleuse" Reposing on its orig...

Antoine-Louis Barye (French, Paris 1795–1875 Paris) Roman Jester (Petit fou de Rome) modeled probably circa 1874, executed after 1875 Measure: Height 6.25 inches Condition: Very go...

JOINVILLE Antoine Victor Edmond Madeleine (1801-1849) From Ludwig Knaus (1829-1910) The Walk in Luxembourg Garden" in Paris, also called "The Privileged" Preserved at The Louvres M...

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...

Auguste Gardanne (circa 1840- circa 1890) Soldiers at rest during the franco-prussian war of 1870 Watercolor on paper On the reverse Study of a battlefield (?) Pencil on paper Mark o...

SIR HUBERT VON HERKOMER, RA, RWS (1849-1914) The Pipe’s of Pan Signed with initials and dated 26/2/74 Watercolour and bodycolour on paper 17 by 22 cm., 6 ¾ by 8 ¾ in. (frame size ...

Etienne Billet (French, 1821-1888), Portrait of William Harold Fitch, Oil on Canvas laid on Board, circa 1870, signed mid left, inscribed "William Harold Fitch / of Marseilles France...

KUWASSEG Charles Euphrasie (1838-1904) Landscape with Windmill Oil on canvas signed low right New Golden frame Dim canvas : 75 X 108 cm Dim frame : 104 X 140 cm KUWASSEG Charles Euphrasie (1838-1904) French Painter 19th Century born on September 29, 1838 in Draveil (Essonne). Died in October 1904 in Paris Painter, Watercolor Lively landscapes, seascapes, panoramas Charles Kuwasseg...

La Seine à Paris by Armand Guillaumin (1841-1927) Oil on canvas 45.3 x 61 cm (17 ⁷/₈ x 24 inches) Signed lower right, A Guillaumin Executed circa 1874 Literature: G. Serret & D. Fab...

HERBERT WILSON FOSTER (1846-1929) Spring Inscribed with title beneath the mount Chalk, circular Framed Diameter 42 cm., 16 ½ in. (frame size 61 by 58 cm., 24 by 22 ¾ in.) Herbert Wilson Foster was born in Endon, Staffordshire. He attended Hanley School of Art before continuing his studies in London, Belgium and France. His paintings of rural and domestic subjects were exhibited at the Royal Academy between 1873 and 1899. In 1893 he accepted a teaching position at the Nottingham School of Art, where his pupils included Laura Knight and Harold Knight. Works by him are in the collections of the Minton archives; the Wisbech & Fenland Museum; Leicester Art Gallery; Rushcliffe Council and Nottingham Castle Museum. In addition to his work as a painter he worked as a porcelain painter, working at one point on the tile panels in the Victoria & Albert Museum. He is known to have worked at Mintons from 1872 where he specialized in portraits of contemporary personalities, including members of the Royal Family. This head of a girl was probably intended for a painted ceramic wall charger...

Winslow Homer Snap The Whip, 1873 Engraving Sight: 14 1/4 x 20 in. Framed: 20 x 26 3/4 x 1 1/4 in. Inscription: in block: "Homer 1873, Lagarde Sc." printed below image: "Snap-the-Whi...

British, December 1879 After John Tenniel (1820-1914) A philatelic cover depicting Alice, the White King and his messenger, with a ham sandwich An adaption of the illustration to Le...

Louis Aimé Japy (1840-1916) Oil on canvas Cows in river with village in background Signed lower right, Japy. Canvas 26” x 32” Overall in a period gilt frame 38” x 44”. Conditi...

Beautiful painting depicting a gallantry scene, an officer and a young lady sitting on a pool table inside a Tavern. Signed lower right Rigot and dated 1874. Austrian or German Sc...

Le Grelot - Le Manifeste Orléaniste - is an original Modern Artwork realized in 1887. Original Lithograph on paper. Passepartout is included. Dimensions: 70 x 50 cm. Fair conditi...

Original oil on canvas laid down to old fiberboard by the well known American artist, Edward Burrill Jr. The painting shows two figures standing in front of an old double chimney ho...

Lesser Black-Backed Gull is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & S...

Night Heron is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917). Woodcut print on ivory-colored paper. Hand-colored, published by London,...

The Lily by Auguste CLESINGER (1814-1883) Outstanding bust sculpted in white Carrara marble Signed on the ribbon " J. Clésinger, 1871 " Presented on a rounded white marble base France 1871 height 76,5 cm width 48 cm depth 35 cm Noted in "Clésinger – Sa vie, ses œuvres - Le catalogue de ses œuvres", A. Estignard, Librairie H. Floury, Paris, 1900, p.169. Biography : Jean-Baptiste Auguste Clésinger, known as Auguste Clésinger (1814-1883), was a French romantic sculptor. His father, Georges-Philippe Clésinger, himself a sculptor, trained him at the School of Fine Arts in Besançon where he was a teacher. Auguste also studied sculpture under the direction of Bertel Thorwaldsen...

Umewaka Shrine, from an untitled series of prints depicting Tokyo. A woman braces her umbrella against the rain and a man waits out the storm next to his jinriksha in this view of th...

Oil on canvas mounted on board. As twilight descends over the ancient city of Cairo, the iconic silhouette of the Citadel emerges against the fading light. This is the scene that Robert Swain...

Finanze is an original artwork realized in the 1870s by Antonio Manganaro. Original colored lithograph Good conditions except for yellowing of paper due to the time and some light ...

John Francis Murphy (1853 - 1921) Saratoga, 1876 Graphite on paper Sight 8 3/4 x 10 1/2 inches Titled and dated to lower right Provenance: Babcock Galleries, New York Spanierman Gallery, New York In his lifetime, John Francis Murphy (1853-1921) was known as “the American Corot.” He was renowned for his small, intimate views of nature, especially barren fields and farms, bare trees, and lonely marshland. More than a century later, the power of Murphy’s landscapes has not waned. One contemporary critic wrote, “It was Murphy’s unique accomplishment to achieve an absolute realism without a loss of that mystic, indefinable quality which transfigures realism.” John Francis Murphy was born at Oswego, NY in 1853 but his family moved to Chicago in 1868 where he worked painting theater sets. Murphy was basically a self-taught artist; his only formal training was a few weeks of instruction at the Chicago Academy of Design. In 1875, Murphy moved from Chicago to New York, eventually rooming with the painters Dennis Bunker and Bruce Crane above a bakery shop. Murphy’s early work was typical of the Hudson River school but he soon fell under the sway of the loose brushwork and moody style of French Barbizon painting...

'Perdu dans la Poésie’ by Alfred Stevens (1823-1906) The painting - which depicts a young Parisian society beauty reading beside an open window – is signed by the artist and present...

This charming 19th-century drawing by British artist Edmond Albert Joseph Tyrel de Poix (1840-1916) depicts a mother and child standing by a mill pond before a rustic watermill. De Poix was a gentleman artist descended from French nobility...

Marcantonio Raimondi, After by Amand Durand, Italian (1480 - 1534) - Venus Accroupie, Year: 1875, Medium: Heliogravure, Size: 9.25 x 6 in. (23.5 x 15.24 cm), Printer: Amand Durand...

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...

Portrait of William I King of Prussia and Emperor of Germany is an artwork realized by William Holl (1807-1871). Lithograph, printed in 1872 by Milliam Mackenzie, London. Good cond...

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...

Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Bulldog and Frog France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) inches Six lithographs of dog portr...

William Astor Pilots the New York Yacht Club Run A superior and graceful schooner as grand as any ever built, AMBASSADRESS was William Backhouse Astor, Jr's "floating home" from its launch in 1877 until he sold it in 1884 and purchased his massive steam/sail yacht...

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...

Oil on canvas set to oval Signed and dated F. Bonvin 1876 in the center right Provenance: • France, private collection

Medium: etching (etched by Theophile Narcisse Chauvel after the Wilhelm von Gegerfelt painting). This impression on japon paper was printed in 1875 (before letters were added) and pu...

"Shooting on the Prairie" is an original hand-colored lithograph by Currier & Ives. It depicts a hunter shooting at fowl in an open field. 8 1/2" x 12 1/2" art 20 1/4" x 23 3/4" 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...

Signature: Signed Lower Right Homeward Bound is a product of John George Brown’s 1877 and 1878 trips to Grand Manan Island, off the coast of Maine in t...

Vue Prise du Pont St Michel is an artwork realized by Maxime Lalanne in the 1870s. Etching. Image size:22x29 Good conditions. Realized for the "Société des Aquafortistes. Born ...

La Rieuse napolitaine (The Laughing Neapolitan Woman) by Jean-Baptiste CARPEAUX (1827-1875) Bust in terra cotta, in "Propriété Carpeaux" Signed on the side " JBte Carpeaux " Marked...

This atmospheric 19th-century oil painting by George H. McCord (1848–1909) depicts a wooded riverbank under a dynamic sky, rendered with the crisp naturalism and luminist subtlety as...

Antoine-Louis Barye Dromadaire d'Algérie Circa. 1874 First offered in Barye's 1862 catalogue under the title Dromadaire d'Égypte, the present study became known as Dromadaire d'Alg...

Incredible signed early American dog portrait painting. Oil on board. Signed. Housed in a period gold giltwood frame.

Lovely landscape painting of sunset titled Shere, Surrey by George Vicat Cole, RA (1833-1893). The painting is in the tradition of plein art, monogrammed VC lower right and dated 187...

Currier & Ives The Great Fire of Boston , 1872 Hand-colored lithograph 7 5/16 x 12 11/16 inches After undertaking apprenticeships in Boston and Philadelphia, Currier set up a print...

Roller is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917). Woodcut print on ivory-colored paper. Hand-colored, published by London, Bell...

D. BRUCCIANI & CO (19th Century) St Cecilia Polychrome painted plaster bust with mould lines visible (probably later painting) 47 cm., 18 ½ in. high Dom...

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...

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...

A Lying Animal is a black and white print realized by Friedrich Specht in 1880. Lithograph on dark paper. Original Title: Derendet. Dated 1880, p.24. Signed by the artist on the r...

Questa ritratto di nudo maschile, matita su carta 35,5 x 25,5, è firmata e datata in basso a destra a matita rossa "Arturo Banti 21. Gennaio 1876." Rientra pienamente nella cultura a...