1870s Art

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...

Joseph Jacobus Heppener was a Dutch painter who lived and worked in the heart of the Victorian era, painting in a straight Academic style with a...

Medium: original etching. Published in 1878 by Gazette des Beaux Arts. Catalogue reference Sanchez & Seydoux 1878-5. Image size: 7 x 4 1/8 inches (180 x 104 mm) on cream laid paper. ...

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...

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...

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...

"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...

Marcantonio Raimondi, After by Amand Durand, Italian (1480 - 1534) - Cleopatre, Year: 1875, Medium: Heliogravure, Size: 4.75 x 7 in. (12.07 x 17.78 cm), Printer: Amand Durand, Des...

French school of the 19th century Pencil drawing 40 x 28 cm Signed and dated "E.B. / 1869" Inscription "Elm struck by lightning in 1870 / Ferme de Samoreau"

In this enchanting painting by Adolf Gudfast (Gotthard) Werner, entitled "The Broken Dream", a young shepherd rests melancholically beside his faithful dog, facing a broken vase from...

George Henry Smillie (1840 - 1921) Stone Wall, Autumn, 1879 Oil on canvas 9 1/2 x 15 inches Signed and dated lower right Provenance: Skinner, Boston, September 19, 2014, Lot 389 The career of George Smillie (1840-1921) followed the arc of nineteenth-century U.S. landscape painting. Trained in the Hudson River School tradition, Smillie successfully adapted to changing U.S. tastes and growing interest in European trends. In the late 1800s, he moved to tonalist paintings full of brushwork and influenced by French Barbizon painting. By the end of his career, he had lightened his palette to produce works similar to those of the U.S. impressionists. Yet in all styles, he was never less than competent, and his tonalist work is among the best produced in the United States. Like many nineteenth-century painters, George Smillie’s artistic training began with the study of printing. His father, James Smillie...

The Birth of Venus by Albert-Ernest CARRIER-BELLEUSE (1824-1887) Bronze sculpture with dual patina, nuanced dark brown and gilded patina signed "A. Carrier-Belleuse" France circa ...

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...

CHARNA RICKEY "THE COUPLE" BRONZE, SIGNED AMERICAN, DATED 1976, 14.5 INCHES OVERALL Recent casting

Exquisite patina Signed Clesinger Alexander Dumas described him as “one of the first sculptors of our time who knew how to soften marble and give it life “. The Maison Marnyhac f...

Marcantonio Raimondi, After by Amand Durand, Italian (1480 - 1534) - Venus et l'Amour I, Year: 1875, Medium: Heliogravure, Size: 4.75 x 3.25 in. (12.07 x 8.26 cm), Printer: Amand ...

ROGELIO DE EGUSQUIZA Spanish, 1845 - 1915 A REVERIE DURING THE BALL signed and dated "Rogelio Egusquiza, 1879" (lower right) oil on canvas 21-3/4 X 3...

Agostino Carracci, After by Amand Durand, Italian (1557 - 1602) - Dessin pour un Eventail, Medium: Heliogravure, Size: 15.5 x 10.5 in. (39.37 x 26.67 cm), Printer: Amand Durand, D...

Jacopo de' Barbari, After by Amand Durand, Italian/Belgian (1450 - 1516) - Sacrifice a Priape, Medium: Heliogravure, Size: 9.25 x 6.75 in. (23.5 x 17.15 cm), Printer: Amand Durand...

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...

Antique Dutch oil painting of an ice skating scene by Culverhouse Dutch, 1870 Canvas: Height 93cm, width 127cm Frame: Height 118cm, width 1...

Large alabaster sculpture depicting the Satyr with cymbals, 19th-century Volterra workshop. The satyr with cymbals is a Roman marble sculpture preserved in the Uffizi Museum in F...

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...

Antique American school dog portrait oil painting. Oil on board. Framed. Image size, 9L x 9H.

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...

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 ...

Whistler, James A. M. NOCTURNE: PALACES. Glascow 200, Kennedy 202. Etching and drypoint with platetone, 1879-80. From the Second Venice Set. Signed on the tab with the butterfly in pencil. Printed in sepia on laid paper with no visible watermark. Trimmed just outside the platemark, leaving the tab. In excellent condition. As with all of the Whistler Nocturnes, each impressions of this print is different, dependng on how Whistler wiped and manipulated the platetone. 11 5/8 x 7 7/8 inches (plate and sheet, plus the tab). Framed to 20 x 16 inches. Provenance: Collection of Thomas Jefferson Coolidge, Jr. with his collection stamp (Lugt 1429) verso; Kennedy Galleries, with its inventory number a65609 in pencil verso, and with another inscription, "FWCX" in pencil, verso. Thomas Jefferson Coolidge, 1831-1920, was a great-grandson of Thomas Jefferson, a powerful Boston businessman, and an Ambassador to France. In 1875 he became the manager of the largest textile mill in America, the Amoskeag Mill in Manchester New Hampshire, and had major financial interests in the textile, banking, railroad, publishing and electrical industries. In 1880 he became the President of the Atchison, Topeka & Santa Fe Railway. He was one of the founders of the United Fruit Company...

Terriers Ratting in Stable Circle of Alfred Banner (act.c.1880-c.1915) incised initials "A.B." and dated 1875 oil on canvas, framed framed: 7.5 x 9.5 inches canvas : 6 x 8 inches Pr...

James Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab (also with an exceedingly light butterfly lower right in the plate). Kennedy 204, probably eighth (final) state; Glasgow 201, probably state 9 (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011), Lochnan 199. Trimmed to the platemark by the artist, h: 11.8 x w: 7.9 in / h: 30 x w: 20.1 cm. A fine impression, printed with subtle tone. The bridge theme occurs repeatedly in Whistler’s vistas. It is also the main focus of more than one of the Venetian prints. While some bridges are seen from below, from where one would see it if approaching in a gondola (for example Ponte del Piovan, Kennedy 209), The Bridge depicts the scene from a high perspective, opening up the view into the far distance. The small boat approaching the arch in the foreground is again, as in the earlier Thames prints, a stock motif that is probably ultimately derived from the Japanese woodcuts of Hokusai and Hiroshige. The bridge here is the Ponte de le Terese over the Rio de l’Arzere in the Santa Marta quarter. The early biography of Whistler by Elizabeth and Joseph Pennell is essential for its “immense quantity of information” but also notorious for “the inherent hyperbole and misinformation” (Eric Denker, Annotated Bibliography, in Fine, p. 184). Still, it is worth quoting from the Pennels’ appraisal of The Bridge: “Simplicity of expression has never been carried further. Probably the finest plate, in its simplicity and directness, is The Bridge. Whistler now obtained the quality of richness by suggesting detail, and also by printing. In The Traghetto...

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 ...

This sheet features four close-up studies focusing on the heads of goats or sheep. Each animal’s head is drawn from a different angle: one profile highlights a pair of curved horns, ...

Swedish artist Egron Lundgren sketched a small herd of goats and sheep resting together in this scene. Two goats recline quietly at the center while another stands nearby, creating a...

Isidore Pils (1813-1875) An Orientalist scene Signed lower left Pencil and heightenings of watercolor on paper ​​​​​​​15 x 24 cm paper yellowed by time, stains and a small repaired tear on the upper right edge. In a modern mount 40.5 x 53 cm Isidore-Alexandre-Augustin Pils (1815–1875) was a French academic painter of religious and military subjects. Pils was born in Paris as the son of a soldier François Pils. At the age of twelve, he studied with Guillaume Guillon-Lethière for four years. In 1831 he became a student at the École des Beaux-Arts and studied under François-Édouard Picot. He competed for the Prix de Rome, which he won in 1838 for a history painting, St. Peter Healing a Lame Man at the Door of the Temple. Although in poor health, Pils then spent the customary three years at the French Academy in Rome at the Villa Medici, which then had Jean Auguste Dominique Ingres as its director. While in Italy he visited Naples, Venice, and Florence. Pils's earlier paintings have religious themes. In 1849 he completed his most famous work, Rouget de L'Isle Singing La Marseillaise, which now resides at the Musée historique de Strasbourg. After experiences travelling with French troops through the Crimea, his themes took on military and nationalistic subjects. He later produced many military scenes during the siege of Paris during the Franco-Prussian War of 1870. Pils was appointed professor of painting at the École des Beaux-Arts in 1863 but left the same year for two years in Algeria. In 1868 he was elected to seat #14 of the Académie des Beaux-Arts. Among his students were Adrien Moreau...

HERBERT WILSON FOSTER (1846-1929) Summer 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...

Claude MONET (after) Windmills in Holland, 1873 Original Etching Engraved by Gaucherel under the supervision of Monet Printed signature in the plate (with misspelled signature Monnet) On laid paper 20,5 x 30 cm (c. 8 x 12 in) INFORMATION : This etchings was edited in 1873 by Galerie Durand Ruel...

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...

Antique British oil painting of the Alhambra by Thompson British, 1876 Canvas: Height 45cm, width 35.5cm Frame: Height 69cm, width 61cm, depth 6cm This serene Orientalist oil painti...

Under a softly luminous night sky, an elderly peasant gathers a bundle of brushwood amid the quiet fields of rural France. This tranquil nocturne is the subject of Alfred Wahlberg’s ...

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: original etching. Executed in 1879, this is one of the "Danube Set" of Otto Bacher's German compositions from his travels in Bavaria. Printed on laid paper and published in B...

Auguste Gardanne (circa 1840- circa 1890) Carriages and horses during the franco-prussian war of 1870 Pencil and watercolor on paper On the reverse Studies of horses Pencil and water...

Bust of an Oriental Woman by Emile GUILLEMIN (1841-1907) Orientalist bronze sculpture with dual nuanced patina. old period cast Raised on its original red marble base. Signed on th...

James E. Buttersworth's most sought-after artworks emerge from his depictions of American racing yachts going head to head in the major regattas...

Terrier Ratting in Barn English School, 19th century Circle of Alfred Banner (act.c.1880-c.1915) signed with initials, dated 1875 oil on canvas, framed framed: 7.5 x 9.5 inches canv...

One of a kind oil on panel by the painter Edward Hargitt, dated 1877 and titled “View of the Valley of Glencoe.” Edward Hargitt (1835–1895) was a Scottish-born painter and ornitholo...

Edmond YON (Montmartre 1841 – Paris 1897) Riverbank with birds Oil on canvas H. 79.5 cm; L. 130 cm Signed lower right and dated 1876 Original frame Exhibition: 1876, Salon des Artis...

"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...

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...

An expatriate painter, noted for figurative paintings of peasants as well as classical works, Biblical scenes, mythological subjects, and still lifes, William Babcock was born in Bos...

Felix Buhot (1847-1898), L’Hiver a Paris ou La Neige a Paris, 1879, etching, aquatint, drypoint, roulette. [signed and dated in the plate Felix Buhot Par...

Charles Montlevault (1835-1897) Walkers along a cliff Signed lower left Oil on canvas 35 x 27 cm in good condition Framed 48 x 39.5 cm The manner in which the painting was execut...

Pierre-Georges Jeanniot (1848–1934) Portrait of Henri Rochefort ready for a duel, Pencil on paper Signed and titled lower left 28 x 21 cm In good condition : the left and right borders irregularly cut In a modern cardboard mount : 45.5 x 35 cm Henri Rochefort, whose complete name was Victor Henri de Rochefort-Luçay , was born in Paris on January 31 , 1831, he died in Aix-les-Bains on 1 st July 1913. He was a french journalist , playwright and politician A great polemicist in the pages of his newspapers ( La Lanterne , La Marseillaise , L'Intransigeant), he defended radical and even extremist political options (anticlerical , nationalist , favorable to the Commune , Boulangist , socialist and anti-Dreyfusard ) which earned him the nickname of "The man with twenty duels and thirty trials », And convictions, in particular in the prison of Noumea from which, unique fact, he managed to escape in 1874. Pierre-Georges Jeanniot (1848–1934) was a Swiss-French Impressionist painter, designer, watercolorist, and engraver who was born in Geneva, Switzerland, and died in France. His work often depicts the modern life in Paris. He started out pursuing a military career, as an infantry officer (1866–1881). He was a lieutenant with the Twenty-third Infantry from 1868 to 1870. He fought in the Franco-Prussian War, was wounded at Rezonville, and was awarded the Légion d'Honneur. He subsequently served with the Ninety-fourth Infantry and the Seventy-third Infantry. At the time he left the army he held the rank of major, with the Chasseurs à Pieds. He never ceased drawing. He was known for the first time in 1872 at the art exhibition Salon de Paris, where he presented a watercolor painting called Intérieur de forêt. The next year he presented the painting Le Vernan à Nass-sous-Sainte-Anne. From then on he was a regular contributor to the Salon de Paris, where he presented new works with views of Toulouse, Paris, Troyes, the edges of the Seine, and some portraits. In 1881, after the army offered him the rank of commandant, he resigned to devote himself exclusively to painting. He took up residence in Paris. His works from this period represent mainly scenes of military life that allowed him to forge a reputation. Jeanniot established himself permanently in 1882 and obtained his first award the following year (medal third class of the Salon de Paris) with his les Flanqueurs (1883, Musée du Luxembourg). In 1886, La ligne de feu, souvenirs de la bataille de Rezonville, remembering the Battle of Mars-La-Tour (Museum of Pau), assured his notoriety. From then on, he started to show a certain artistic independence. He then mostly portrayed Parisian women during the "Belle Epoque", women in bathing suits...

Shieldrake 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. Na...

Goosander 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. Nam...

Cave Rue de l'Enfer is an original Etching realized by Augustin André Lançon in 1871. Rare etching belonging to the suite "Guerre de 1870 et Siège de Paris". Very good Conditions. ...

Antique English horse portrait landscape attributed to Henry Barraud (1811 - 1874). Oil on canvas. Framed. Measuring: 34 by 40 inches overall, and 24 by 30 painting alone. In excel...

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...

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...

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 ...

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...