Gentlemen.... here goes a 43rd toast.... to the Temperance Society, Honoré Daumier (French, 1808–1879)

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Rights

Credit
Gift of Ralph King
Licence
CC0-1.0
Evidence
openaccess-api.clevelandart.org: share_license_status=CC0 on artwork 107429 (read 2026-09-01)
Record
https://clevelandart.org/art/1925.14
Gentlemen.... here goes a 43rd toast.... to the Temperance Society, Honoré Daumier (French, 1808–1879)
Gentlemen.... here goes a 43rd toast.... to the Temperance Society — Honoré Daumier (French, 1808–1879)1844

Also by Honoré Daumier (French, 1808–1879)

3
Rue Transnonain, April 15, 1834, Honoré Daumier (French, 1808–1879)
Rue Transnonain, April 15, 1834Honoré Daumier (French, 1808–1879)1834Cleveland Museum of Art
The hazards of shaking a plum tree too vigorously, when one too is mature., Honoré Daumier (French, 1808–1879)
The hazards of shaking a plum tree too vigorously, when one too is mature.Honoré Daumier (French, 1808–1879)1845Cleveland Museum of Art
Around the Studios, Honoré Daumier (French, 1808–1879)
Around the StudiosHonoré Daumier (French, 1808–1879)1862Cleveland Museum of Art

Within fifty years of 1844

3969
The Stag and the Chamois, Maximilian Josef Wagenbauer
The Stag and the ChamoisMaximilian Josef Wagenbauern.d.The Art Institute of Chicago
Otani Tokuji I as the Retainer Sodesuke in "Flowering Irises: A Soga Vendetta of the Bunroku Era", Tōshūsai Sharaku (Japanese, active 1794–95)
Otani Tokuji I as the Retainer Sodesuke in "Flowering Irises: A Soga Vendetta of the Bunroku Era"Tōshūsai Sharaku (Japanese, active 1794–95)1794Cleveland Museum of Art
Ichikawa Ebizō IV (Danjurō) as Takemura Sadanoshin in The Loving Wife's Parti-Colored Reins, Tōshūsai Sharaku (Japanese, active 1794–95)
Ichikawa Ebizō IV (Danjurō) as Takemura Sadanoshin in The Loving Wife's Parti-Colored ReinsTōshūsai Sharaku (Japanese, active 1794–95)1794Cleveland Museum of Art
Songs of Experience: A Little Girl Lost, William Blake
Songs of Experience: A Little Girl LostWilliam Blake[1794] printed ca. 1825Metropolitan Museum of Art, New York, NY
Songs of Experience: To Tirzah, William Blake
Songs of Experience: To TirzahWilliam Blake[1794] printed ca. 1825Metropolitan Museum of Art, New York, NY
Songs of Experience: My Pretty Rose Tree, Ah! Sun-Flower, The Lilly, William Blake
Songs of Experience: My Pretty Rose Tree, Ah! Sun-Flower, The LillyWilliam Blake[1794] printed ca. 1825Metropolitan Museum of Art, New York, NY
Songs of Experience: A Little Boy Lost, William Blake
Songs of Experience: A Little Boy LostWilliam Blake[1794] printed ca. 1825Metropolitan Museum of Art, New York, NY
Songs of Experience: Earth's Answer, William Blake
Songs of Experience: Earth's AnswerWilliam Blake[1794] printed ca. 1825Metropolitan Museum of Art, New York, NY

Also at Cleveland Museum of Art

429
Relief of Nyankhnesut Seated, Unknown
Relief of Nyankhnesut SeatedUnknownc. 2311–2281 BCECleveland Museum of Art
Stele of Shemai, Unknown
Stele of ShemaiUnknownc. 1960–1916 BCECleveland Museum of Art
Relief of Hatshepsut or Tuthmosis III, Unknown
Relief of Hatshepsut or Tuthmosis IIIUnknown1479–1425 BCECleveland Museum of Art
Talatat: Portrait of Nefertiti, Unknown
Talatat: Portrait of NefertitiUnknownc. 1353–1347 BCECleveland Museum of Art
Talatat: Portrait of Nefertiti, Unknown
Talatat: Portrait of NefertitiUnknownc. 1353–1347 BCECleveland Museum of Art
Talatat: Nefertiti Offers to the Aten, Unknown
Talatat: Nefertiti Offers to the AtenUnknown1353–1347 BCECleveland Museum of Art
Tomb Relief of the Chief Physician Amenhotep and Family, Unknown
Tomb Relief of the Chief Physician Amenhotep and FamilyUnknownc. 1279–1257 BCECleveland Museum of Art
Stele of the High Priest of Ptah, Shedsunefertem, Unknown
Stele of the High Priest of Ptah, ShedsunefertemUnknown945–924 BCECleveland Museum of Art

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

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Made in the nineteenth century, like Gentlemen.... here goes a 43rd toast.... to the Temperance Society.

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