“- Here, Eudoxie, take my bear skin... since from now on I will not have the pleasure any more to wear it, I give it to you to make a muff out of it... This way I have at least the satisfaction of seeing it from time to time”, Honoré-Victorin Daumier

Seen

Not described yet.


Of

No subject recorded yet.


Means

No reading yet.


Rights

Credit
John H. Wrenn Memorial Collection. CC0.
Licence
CC0-1.0
Evidence
api.artic.edu artworks api: is_public_domain=true on artwork 9484 (read 2026-09-01)
Record
https://www.artic.edu/artworks/9484
IIIF
manifest
“- Here, Eudoxie, take my bear skin... since from now on I will not have the pleasure any more to wear it, I give it to you to make a muff out of it... This way I have at least the satisfaction of seeing it from time to time”, Honoré-Victorin Daumier
“- Here, Eudoxie, take my bear skin... since from now on I will not have the pleasure any more to wear it, I give it to you to make a muff out of it... This way I have at least the satisfaction of seeing it from time to time” — Honoré-Victorin Daumier1848

Also by Honoré-Victorin Daumier

9

Within fifty years of 1848

4038
Footbridge with Cross before Trees at a River, Caspar David Friedrich (German, 1774–1840)
Footbridge with Cross before Trees at a RiverCaspar David Friedrich (German, 1774–1840)c.1803Cleveland Museum of Art
Coffee Cup and Saucer, Vienna State Porcelain Manufactory
Coffee Cup and SaucerVienna State Porcelain Manufactoryc. 1803The Art Institute of Chicago
Illustration of products in Yoshida, Katsushika Hokusai
Illustration of products in YoshidaKatsushika Hokusai1804The Art Institute of Chicago
When Day Breaks We Will Be Off, Plate 71, Francisco de Goya (Spanish, 1746–1828)
When Day Breaks We Will Be Off, Plate 71Francisco de Goya (Spanish, 1746–1828)1799Cleveland Museum of Art
They Spin Finely, Plate 44, Francisco de Goya (Spanish, 1746–1828)
They Spin Finely, Plate 44Francisco de Goya (Spanish, 1746–1828)1799Cleveland Museum of Art
They Have Flown, Plate 61, Francisco de Goya (Spanish, 1746–1828)
They Have Flown, Plate 61Francisco de Goya (Spanish, 1746–1828)1799Cleveland Museum of Art
A Bad Night, Plate 36, Francisco de Goya (Spanish, 1746–1828)
A Bad Night, Plate 36Francisco de Goya (Spanish, 1746–1828)1799Cleveland Museum of Art
Cutlery case, Unknown
Cutlery caseUnknown1799Cooper Hewitt, Smithsonian Design Museum

Also at The Art Institute of Chicago

487
Statuette of a Female Figure, Ancient Greek
Statuette of a Female FigureAncient GreekEarly Bronze Age, 2600–2400 BCEThe Art Institute of Chicago
Ring with a Scarab Bezel, Ancient Egyptian
Ring with a Scarab BezelAncient EgyptianSecond Intermediate Period, Dynasty 15 (about 1650–1550 BCE)The Art Institute of Chicago
Fragment of a Stela of Neferhotep, Ancient Egyptian
Fragment of a Stela of NeferhotepAncient EgyptianNew Kingdom, mid-Dynasty 19, about 1240-1195 BCEThe Art Institute of Chicago
Funerary Papyrus of Tayuhenutmut, Ancient Egyptian
Funerary Papyrus of TayuhenutmutAncient EgyptianThird Intermediate Period, probably Dynasty 21 (about 1069-945 BCE)The Art Institute of Chicago
Cauldron, China
CauldronChinaWestern Zhou dynasty (1046–771 BC ), early 9th century BCThe Art Institute of Chicago
Coffin and Mummy of Paankhaenamun, Ancient Egyptian
Coffin and Mummy of PaankhaenamunAncient EgyptianThird Intermediate Period, Dynasty 22, reign of Osorkon I (about 924–889 BCE)The Art Institute of Chicago
Relief Showing the Head of a Winged Genius, Neo-Assyrian
Relief Showing the Head of a Winged GeniusNeo-AssyrianNeo–Assyrian Period, reign of King Ashurnasirpal II (883–859 BCE)The Art Institute of Chicago
Altar, Ancient Greek
AltarAncient GreekGeometric Period (800–600 BCE)The Art Institute of Chicago

Similar picturesFound by visual likeness

8 pictures

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

Plate 1954, Modes de Paris (Paris Fashion), Petit Courrier des Dames, Journal des Modes (Little Ladies' Mail, Fashion Journal), Samuel and Joseph Fuller, London, England
Plate 1954, Modes de Paris (Paris Fashion), Petit Courrier des Dames, Journal des Modes (Little Ladies' Mail, Fashion Journal)Samuel and Joseph Fuller, London, EnglandAugust 31, 1843Cooper Hewitt, Smithsonian Design Museum
0.85
Plate 12, Femina Veneta (Venetian Woman), Diversarum Nationum Ornatus Cum Suis Iconibus, Alessandro Fabri, Italian, active late 16th century
Plate 12, Femina Veneta (Venetian Woman), Diversarum Nationum Ornatus Cum Suis IconibusAlessandro Fabri, Italian, active late 16th century1593Cooper Hewitt, Smithsonian Design Museum
0.84
Figure Study in Colors, James McNeill Whistler
Figure Study in ColorsJames McNeill Whistler1890The Art Institute of Chicago
0.84
Family Scene, Honoré-Victorin Daumier
Family SceneHonoré-Victorin Daumierc. 1865The Art Institute of Chicago
0.84
Mother and Child, Kate Greenaway (British, 1846–1901)
Mother and ChildKate Greenaway (British, 1846–1901)1898Cleveland Museum of Art
0.84
Les-Parents-Terribles series: Here is the little Dancer, Paul Gavarni
Les-Parents-Terribles series: Here is the little DancerPaul Gavarni1852The Art Institute of Chicago
0.84
Lux et Veritas, Louis M. Glackens, American, 1866–1933
Lux et VeritasLouis M. Glackens, American, 1866–19331911Cooper Hewitt, Smithsonian Design Museum
0.84
Jane Shore, Eugène Delacroix
Jane ShoreEugène Delacroix1828The Art Institute of Chicago
0.84

In the stacks

Not yet checked
1

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

  1. The international studio · John Lane

    at the Ecole of the water-colors of Gavarni, the sepias of Henri Monnier and the paintings, then quite unknown, of Daumier, it caused a scandal. Fortunately protestation changed into apotheosis and the very dignitaries who had at first objected, won by the sumptuousness of the works, put Daumier into the Louvre. M. Dayot recounts this episode in his preface for the catalogue of the Ville-I’Eveque exhibit, with the hint to the authorities that since 1888 they have gained the reputation for “enlightened eclecticism.” M. Dayot’s opinion of what such an
    0.71

Next

Honoré-Victorin Daumier made “- Here, Eudoxie, take my bear skin... since from now on I will not have the pleasure any more to wear it, I give it to you to make a muff out of it... This way I have at least the satisfaction of seeing it from time to time”, and made these too.

Made in the nineteenth century, like “- Here, Eudoxie, take my bear skin... since from now on I will not have the pleasure any more to wear it, I give it to you to make a muff out of it... This way I have at least the satisfaction of seeing it from time to time”.

0:00–0:00