Auguste Raffet

Le Représentant a dit - Lithograph by Auguste Raffet - 1830s

1830s

L'Ennemi Ne Se Doute Pas Que is a Lithograph realized by Auguste Raffet in the 1830s. Signed on the plate. Good condition with foxing.

Lithograph on paper realized by Auguste Raffet in the mid-19th Century. Printed by Jean-Baptiste André Bertrand in Paris. The image depicts a Representative of the People on horseb...

Lithograph on paper realized by Auguste Raffet in 1859. Signed and dated in the plate. Very good condition. The Siege of Sevastopol was the decisive event of the Crimean War, wher...

Lithograph on paper realized around the half of 19th Century in France. This dynamic lithograph by French artist Auguste Raffet depicts a triumphant French soldier standing defiantl...

Romantic antique lithograph of Jocelyn Sauvant, from Lamartine’s literary work, circa 1840. A poetic and emotional 19th-century French composition. Jocelyn Sauvant Laurence de la Mo...

Napoleon a Bautzen Lithograph, 1822 Signed in the stone (see photo) From: Arnault, A. V. Vie Politique et Militaire de Napoleon (120 plates) Published, Paris, Librairie Historiquem 1...

The circa 1840 engraving titled "Inhumation des Martyrs de la Liberté - Trois Glorieuses", engraved by Jean-Pierre-Marie Jazet after a painting by H. Lecomte, commemorates the solemn...

"VALMY! (L'Estampe Moderne)" is a print watermarked PL BAS after a drawing by Adolphe Willette. It depicts a general with his army and a young girl. 15 3/4" x 12" art 23" x 19 1/4" frame Adolphe Léon Willette (30 July 1857 – 4 February 1926) was a French painter, illustrator, caricaturist, and lithographer, as well as an architect of the famous Moulin Rouge cabaret. Willette ran as an "anti-semitic" candidate in the 9th arrondisement of Paris for the September 1889 legislative elections. Biography Willette was born in Châlons-sur-Marne. He studied for four years at the École des Beaux-Arts under Cabanel, training which gave him a unique position among the graphic humorists of France. Whether comedy or tragedy, dainty triviality or political satire, his work is instinct with the profound sincerity of the artist. He set Pierrot upon a lofty pedestal among the imaginary heroes of France, and established Mimi Pinson, frail, lovable, and essentially good-hearted, in the affections of the nation. Willette is at once the modern Watteau of the pencil, and the exponent of sentiments that move the more emotional section of the public. Always a poet, and usually gay, fresh, and delicate, in his presentation of idylls exquisitely dainty and characteristically Gallic, illustrating the more "charming" side of love, often pure and sometimes extremely materialistic. Willette frequently reveals himself bitter and fierce, even ferocious, in his hatreds, being a violent though at the same time a generous partisan of political ideas, furiously compassionate with love and pity for the people whether they be ground down under the heel of political oppression, or are merely the victims ot unrequited love, suffering all the pangs of graceful anguish that are born of scornful treatment. There is charm even in his thrilling apotheosis of the guillotine, and in the introduction into his caricatures of the figure of Death itself. The artist was a prolific contributor to the French illustrated press under the pseudonyms "Cemoi", "Pierrot", "Louison", "Bebe", and "Nox", but more often under his own name. He illustrated Melandri's Les Pierrots and Les Giboulles d'avril, Le Courrier français, and published his own Pauvre Pierrot and other works, in which he tells his stories in scenes in the manner of Busch. He decorated several "brasseries artistiques" with wall-paintings, stained glass, &c., notably Le Chat noir and La Palette d'or, and he painted the highly imaginative ceiling for La Cigale...