Honoré Daumier, “L'Artiste m'a représentée au moment où j'écris mon sombre volume …”, 1844

Honoré Daumier (aka Rogelin) (1808–1879)

“L'Artiste m'a représentée au moment où j'écris mon sombre volume …” (The artist captured me as I was writing my melancholic book …), 1844, Plate 23 (Stone No. 576), from the series of 40 lithographs, “Les Bas Bleus” (The Blue Stockings), published and printed in Paris by Aubert & Cie (c. 1830s–1880s), in “Le Charivari” (15^th April, 1844).

Lithograph on wove (newsprint) paper, printed on both recto and verso, backed by an archival support sheet.

Size: (sheet) 32.2 x 22.9 cm; (image borderline) 23.1 x 18.3 cm

Lettered above the image borderline: (centre) “LES BAS BLEUS.”; (right) “23.”

Inscribed in the stone within the image borderline: (lower right) “576/ h.D”.

Lettered below the image borderline: (left) “Chez Aubert, Pl. de la Bourse 29”; (right) “Imp. d[']Aubert & C^ie.”

The caption below the image offers the following discussion:

“L'Artiste m'a représentée au moment ou j'écris mon sombre volume intitulé: ‘Vapeurs de mon âme!...’ l'œil n'est pas mal, mais le nez me semble pas suffisamment affligé!... (Le monsieur à part) - Oui... il n'est qu'affligeant...”

([transl.] The artist captured me as I was writing my melancholic book entitled "Sorrows of my soul." The eyes came out quite well but the nose is not sorrowful enough!... (Man, sotto voce) - Yes... it is just in a sorry state...)

DR Number 1243 (Daumier Register cat. no. 1243 [https://www.daumier-register.org/werkview.php?key=1243])

Context & Significance: This lithograph is part of Daumier’s Les Bas Bleus series—a satirical commentary on the “Blue Stockings,” a term often used derogatorily for women involved in the early women’s liberation movement of the mid-19th century.
In this particular image, a female writer laments her portrayal in a portrait before a male companion, highlighting societal perceptions of women striving for intellectual independence.

Condition: A well-printed impression with slight shine-through of printed text from the verso. The sheet is in excellent condition—clean, with no tears, stains, holes, or folds. It has been laid on an archival-quality millennium washi support for preservation and to provide wide margins for mounting.

Price & Shipping: AU$172 (approximately US$111.78 / €95.91 / £83.26), inclusive of worldwide express shipping.
Please note: Import duties are the buyer’s responsibility.

If you are interested in purchasing fascinating caricature of 19th-century societal attitudes to women striving for acclaim, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Charles Maurand, “L'Hotel des ventes: L'Amateur”, 1863, after Honoré Daumier

Charles Maurand (1824–1904)—wood engraver for 'L'Univers Illustré' (1875) and 'Le Monde Illustré' (1858–76).

“L'Hotel des ventes: L'Amateur” (The Auction House: The Amateur) (aka “Les Amateurs de Tableaux”), 1863, wood-engraving after the design by Honoré Daumier (aka [pseudonym] Rogelin; Honoré-Victorin Daumier) (1808–1879) showing three potential art collectors examining works at an auction house (“L'Hotel des ventes”), published in "Le Monde Illustré" on April 18, 1863.

Wood engraving on fine wove paper (newsprint) with letterpress text verso, trimmed with a small margin around the image borderline and backed with a support sheet.

Size: (sheet) 24.7 x 17.1cm; (image borderline) 22.4 x 16.1cm.

Inscribed in plate: (lower left) “[monogram of Honoré Daumier] h D”; (lower right) “[signature of Charles Maurand] C. MAURAND.”

Letterpress text below the image borderline: (centre) “LES AMATEURS DE TABLEAUX. Dessin de Daumier.”

Bouvy 1933, no. 940 (Eugène Bouvy 1933, “Daumier: L'oeuvre gravé du maître”, Paris, Maurice la Garrec, cat. no. 940).

See also the description of this print offered by the National Gallery of Art: https://www.nga.gov/artworks/56772-lhotel-des-ventes-lamateur.

Condition: a near faultless impression. Beyond the text verso partially shining through, the sheet is in a pristine condition with no tears, holes, folds, abrasions or stains.

I am selling this curiously wonderful wood-engraving after a drawing by the great satirist, Honoré Daumier, showing art connoisseurs thoroughly engaged in examining paintings at an auction, for the total cost of AU$139 (approximately US$90.75, EUR 77.94 or GBP 67.47), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this insightful representation of auction-going art-lovers, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Honoré Daumier, “Sarrans Jeune”, 1848

Honoré Daumier (aka [pseudonym] Rogelin) (1808–1879)

“Sarrans Jeune”, 1848, lithograph printed and published in Paris in 1849 by Aubert & Cie (fl.c1830s–1880s), in “Le Charivari”, as plate 3 (as numbered above image at right) and plate 5 from the first sub-set series, “Album Les représentans représentés. 1ère série”, showing a caricature of Léon Bernard Sarrans (aka Bernard-Alexis) (1796–1874) who was famous at the time as a French politician, but also as a journalist and writer. The Daumier Register advises that Sarrans was “a publisher and friend of Louis-Napoléon. He spoke in [favour] of an active propaganda on behalf of the liberty of the people” (https://www.daumier-register.org/hintergrundlist_popup.php?key_m=).

Note that the date of this lithograph in 1848 is very significant, as this was the time of the February Revolution in France when Louis-Philippe I (1773–1850)—the last king to reign in France—was deposed and replaced by Napoleon III (aka Charles-Louis Napoléon Bonaparte) (1808–1873) as the first president of France. Interestingly, Léon Bernard Sarrans wrote a two-volume history of this important period: “Histoire de la Révolution de février 1848”, published in 1850 when Napoleon III became Emperor of France until he too was deposed in 1870. (My apologies for any inaccuracies in my account of the tumultuous times in which Sarrans Jeune was perceived as an “enfant terrible” [see https://commons.wikimedia.org/wiki/File:Sarrans_jeune,_enfant_terrible.jpg].)

Regarding the series of lithographs, the Curator of the British Museum offers the following insights: “'Les représentans représentés', a series of 109 caricatures of French deputies, consists of two sets: the first one on the 'Assemblée Constituante', the second one on the 'Assemblée Legislative'. Each is numbered as a sequence of its own.

Plates from the first sub-set do not bear any title beside 'Les représentans représentés' while plates from the second sub-set do feature the 'Assemblée Législative' title” (https://www.britishmuseum.org/collection/object/P_1910-0324-17).

Size: (sheet) 32.8 x 21.1 cm; (image borderline) 25.6 x 19.5 cm.

Lettered above the image borderline: (centre) “LES REPRÉSENTANS REPRÉSENTÉS.”; (right) “3.”

Inscribed in the stone within the image borderline: (lower left) “h.D”; (lower right [the number of the stone]) “1352”.

Lettered below the image borderline: (left) “Chez Aubert Pl. de la Bourse, 29.”; (centre) “SARRANS JEUNE./ Ceci nous représente le plus jeune de tous les Sarrans connus. —élève distingué de la classe du petit père/ Marrast, Sarrans jeune est de première force sur la géographie et sur toutes les affaires étrangères. Il est/ facheux seulement que Sarrans jeune ait un léger défaut, c'est un certain entêtement: lorsqu'on lui demande/ son nom il s'obstine toujours à dire qu'il s'appelle Sarrans june, on n'a jamais su pourquoi.” [SARRANS YOUNG. Here we can see the youngest of all known Sarrans.... an outstanding scholar from the class of the father Marrast [Armand Marrast (1801-1852)], little Sarrans, and the first in geography and foreign affairs. It is somewhat annoying that Sarrans has a tiny flaw: Every time one asks him for his name, he insists on being called Sarrans June... nobody really understands why this is so.]; (right) “Imp.Aubert & Cie.”

State ii (of ii) with the addition of publication details.

DR Number 1800 (Daumier Register cat. no. 1800 [https://www.daumier-register.org/werkview.php?key=1800])

Condition: a strong and well-printed impression trimmed with a small margin and laid upon an archival support sheet of millennium quality washi paper. Beyond some marks towards the centre of the right edge, the sheet is in clean condition with no tears, holes or folds.

I am selling this fascinating caricature of a rebellious voice in French politics and later a key and important documenter of the February Revolution in France (1848) when this lithograph was executed—for AU$139 in total (currently US$93.53/ EUR84.39/GBP71.97 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$139) as this is my currency.

If you are interested in purchasing this potent political caricature, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Honoré Daumier’s lithograph, “Vue prise dans la nouvelle rue de Rivoli”, 1852

Honoré Daumier ([pseudonym] Rogelin) (1808–1979)

“Vue prise dans la nouvelle rue de Rivoli.”, 1852, original lithograph published in Paris by Maison Martinet (aka Martinet-Hautecoeur) (fl.1824–) and printed by Charles Trinocq (fl.1851–1854) as Plate 58 (see detail of plate number https://commons.und.edu/daumier-prints/868/)  from the series “Actualités” (News) (Hazard&Delteil [1904] cat. nos. 2757–3821), in “Le Charivari” (24 December, 1852).

Lithograph on wove/newsprint paper with printed text verso, trimmed around the image borderline on the top and sides, but retaining the title and publication details. There are ink and pencil notations from a previous collector above the title and the lower-right corner is replenished. The sheet has been laid upon an archival support sheet of millennium quality washi paper providing wide margins.

Size: (sheet) 22.7 x 26.5 cm.

Inscribed in the stone along the lower edge: (left) “h.D.”; (centre) “468”.

Lettered below the image borderline: (left) “Maison Martinet, r Vivinne, 41, et r. du Coq. 11”; (centre) “Vue prise dans la nouvelle rue de Rivoli.”; (right) “Imp. Ch Trinocq, Cour des Miracles, 9. Paris”.

State ii (of ii) with publication details.

Delteil 2278 (Loys Delteil 1925, “Le Peintre-Graveur Illustré [XIXe et XXe siècles], cat. no. 2278); Hazard & Delteil 3590 (Nicolas-Auguste Hazard & Loys Delteil 1904, “Catalogue raisonné de l'oeuvre lithographié de Honoré Daumier”, cat. no. 3590).

See also the description of this print offered by the Metropolitan Museum of Art (note that the description has the names of the printer and publisher the wrong way around): https://www.metmuseum.org/art/collection/search/644622.

I am selling this superb lithograph satirising Baron Haussmann’s vision of urban renewal to a new street developed through the heart of Paris, the Rue de Rivoli—now one of the most famous streets for shopping—for AU$175 in total (currently US$116.97/EUR105.83/GBP93.16 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this marvellously captured scene of hectic urban life in Paris in the mid-1800s, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold 

Alfred Prunaire’s coloured wood engraving, “The Print Collector”, c1880, after Honoré Daumier

Alfred Prunaire (aka Alphonse Alfred Prunaire; Léon-Alphonse-Alfred Prunaire) (1837–1912)

“The Print Collector” (aka “L'Amateur d'Estampes”), c1880 (1860–1902), hand-coloured wood-engraving after Honoré Daumier’s (1808–1879) famous painting “L'Amateur d'Estampes”, c1860, in the Petit Palais, musée des Beaux-arts de la Ville de Paris (inv. no. PPP39).

Wood engraving with hand-colouring on China paper with small margins around the image borderline and backed with a support sheet.

Size: (support sheet) 41.7 x 35.7 cm; (sheet) 32 x 26.1 cm; (image borderline) 29.8 x 23.9  cm.

Signed in plate at lower right corner: “h. Daumier”.

Paris Musées offer the following description of the portrayed scene and insights regarding its background:

(Transl.) “In a shop whose walls are covered with works, a man wearing a top hat bends down to consult prints contained in a portfolio of drawings placed on a board. A rolled up newspaper sticks out of his left pocket.

The theme of the print lover, dealt with on several occasions by Daumier, illustrates the emergence, in Balzac's France, of a new type of collector from the petty bourgeoisie. The founding of the Société des aquafortistes in 1861 corresponded to a renewed interest in original prints, which were more accessible than paintings to amateurs with modest incomes” (https://www.parismuseescollections.paris.fr/en/node/226665#infos-secondaires-suggestions-meme-siecle).

See also the descriptions of this print offered by the Rijksmuseum and the British Museum: http://hdl.handle.net/10934/RM0001.COLLECT.623969;  https://www.britishmuseum.org/collection/object/P_1906-0418-2.

Condition: a strong and near faultless impression with small margins in an excellent condition with no tears, holes, folds, abrasions, stains or foxing and laid upon a support of archival (millennium quality) washi paper providing wide margins.

I am selling this luminously beautiful and large wood engraving after Daumier’s famous—possibly even iconic—painting, exemplifying the surge of interest in prints in France during the late nineteenth century, for AU$259 (currently US$180.05/EUR170.52/GBP146.74 at the time of posting this print) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this superb engraving capturing the spirit of a passionate print collector—note the roll of paper in the collector’s pocket which is possibly his newly acquired prints rather than his newspaper—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold