Eugène Delacroix

Early 19th century multiple etchings figures nude woman military man

1833

"Histoire Ancienne (Plate No. 49), La Mort de Sapho 2nd State (rare) Delteil #973" is a hand-colored lithograph by Honore Daumier. The artist signed the image lower right. It depicts...

'Un fiacre a l'heure... (Emotions Parisiennes)' is an excellent example of the satirical caricatures produced by Honoré Daumier. The title, which translat...

In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole. This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' In particular, the print comes from the northern survey, commanded by Isaac Stevens, which explored the regions between the 47th and 49th parallels. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 17 x 20 inches, frame Artist 'Stanley Del.' lower left Entitled 'Lieutenant Crovers Despatch – Return of Governor Stevens to Fort Benton' lower center margin Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left Inscribed 'GENERAL REPORT — PLATE XXXVII' upper right Framed to conservation standards using 100 percent rag matting with French accents; glazed with UV5 Plexiglas to inhibit fading; housed in a gold reverse ogee moulding. Print in overall good condition; some localized foxing and discoloration; minor surface abrasions to frame. John Mix Stanley...

The present hand-colored lithograph presents the viewer with a hunting scene in a picturesque landscape. In the foreground, a man approaches two partridges as his two pointers prepare to flush them out. Beyond, a white fence draws our eyes to the homestead in the distance. Images like this one show how people in the United States were trying to identify themselves as a new nation in the North American landscape - as separate from their European counterparts but with similar similar and specific wildlife and magesties of nature. It also identifies hunting in this landscape as an American pastime. 9.25 x 12.5 inches, artwork 18.38 x 22 inches, frame Entitled bottom center "Partridge Shooting...

In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole. This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' In particular, the print comes from the northern survey, commanded by Isaac Stevens, which explored the regions between the 47th and 49th parallels. Stanley shows here the stop the Stanley Party made at the junction of the Bitterroot and Hell Gate, in present day Montana. While there, the Party met with the Flathead Chief by the name Victor, as is shown in the image. The figures and their encampment are dwarfed by the vast landscape around them, indicating the sublimity of these new American territories. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 17 x 20 inches, frame Artist 'Stanley Del.' lower left Entitled 'Victor's Camp - Hell Gate Ronde' lower center margin Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left Inscribed 'GENERAL REPORT — PLATE XXXI' upper right Framed to conservation standards using 100 percent rag matting with French accents; glazed with UV5 Plexiglas to inhibit fading; housed in a gold reverse ogee moulding. Print in overall good condition; some localized foxing and discoloration; minor surface abrasions to frame. John Mix Stanley...

"Scene on the Wabash, and Potawattamie Indians" is an original hand-colored engraving, executed by Wellstood & Kirk after the original painting by George Winter. The image captures the kind of scene of the American landscape for which Winter is best known: among the lush trees and flowing rivers, Pottawatomi men, women and children relax from their travels, their horses tied...

Phrosine and Mélidore Etching, 1879 Signed in the polate lower left of image This etching is after the Dantan painting, a copy after the Pierre-Paul Prud’hom painting Published by Vve. A. Cadart, 56, Bard. Haussman, Paris A deluxe impression with masked letters The Prud’hom painting is in the Musée des Beaux-AÉdouard Joseph Dantan was born on 26 August 1848 in Paris. His grandfather, who had fought in the Napoleonic Wars, was a wood sculptor. His father, Antoine Laurent Dantan, and uncle, Jean-Pierre Dantan, were both well-known sculptors.[1] Dantan was a pupil of Isidore Pils and Henri Lehmann at the École nationale supérieure des Beaux-Arts in Paris.[2] At the age of nineteen he won a commission for a large mural painting of The Holy Trinity for the Hospice Brezin at Marne (Seine-et-Oise).[3] Dantan's first exhibit at the Paris Salon was An Episode in the Destruction of Pompeii in 1869. In 1870 the Franco-Prussian War interrupted his work, and he enlisted in the defence force.[4] He was given the rank of a sergeant, and was later promoted to lieutenant.[5] During the war the family home was burned down.[4] In the years after the war Dantan exhibited a number of other paintings at the Salon including Hercules at the Feet of Omphale (1874), Death of Tusaphane (1875), The Nymph Salmacis (1876), Priam Demanding of Achillees the Body of Hector (1877), Calling of the Apostles Peter and Andrew (1878), Corner of a Studio (1880) and The Breakfast of the Model (1881).[3] He continued to exhibit at the Salon until 1895. In 1890, 1894 and 1895 he served on the jury of the Salon. For twelve years Dantan's companion was the model Agostina Segatori, who had also posed for artists such as Jean-Baptiste Corot, Jean-Léon Gérôme, Eugène Delacroix and Édouard Manet. She bore a child to Dantan, Jean-Pierre, in 1873. On their separation, Agostina opened Café du Tambourin on the Boulevard de Clichy that became a meeting place for artists.[6][fn 1] Dantan spent his summers in Villerville, where he died on 9 July 1897 when the carriage in which he was riding crashed violently into the village church.[8] Style and reception Coin d'atelier (1880) At the 1870 exposition of the Ecole Nationale des Beaux-Arts Dantan received an honorable mention for his submission for the prix de Rome.[9] In 1874 he won a third class medal for his painting of a monk carving a Christ in wood...

Francisco De Goya (Spain, 1746-1828) 'Los Chinchillas (Caprichos. Estampa 50)', ca.1797-1799 burnished aquatint, etching on vellum paper 11.6 x 8.4 in....

Francisco De Goya (Spain, 1746-1828) 'Nadie se conoce (Caprichos. Estampa 06)', ca.1797-1799 etching, aquatint, dry point on laid paper 12.5 x 8.7 in. (31.5 x 22 cm.) 1st Edition Iro...

Francisco De Goya (Spain, 1746-1828) 'Disparates. Disparate desordenado (estampa 7)', ca.1815-1819 etching, aquatint, dry point on vellum paper 11.7 x 15.9 in. (29.6 x 40.3 cm.) 1st ...

'Le Compliment ou La Matinee du Jour de L'an, Dediee aux Peres de Famille' (The Compliment, or New Year's Morning, Dedicated to the Fathers of the Family) and it's pair 'Les Bouquets...

Francisco De Goya (Spain, 1746-1828) 'El de la rollona". Serie Caprichos. Estampa 04, ca. 1797-1799 burnished aquatint, etching on laid paper 12.6 x 8.6 in. (32 x 21.8 cm.) 1st Editi...