Date [Paris] : Mon. Martinet, 172, r Rivoli et 41, r Vivienne, [1864 août 26] (Lith. Destouches, 28, r Paradis Pre.) Medium 1 print : lithograph ; 26.5 x 24.2 cm (sheet) Collection Library of Congress Unprocessed in PR 13 CN 2001:055-4 [item] [P&P] Getty ids beside the museum's words, by exact match, 2026-09-09
Of No subject recorded yet.
Rights Credit Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA http://hdl.loc.gov/loc.pnp/pp.print Licence PDM-1.0 Evidence loc.gov item 2005680363: rights_advisory="No known restrictions on publication." (read 2026-09-01) Record https://www.loc.gov/item/2005680363/ Close En chemin de fer / hD. — Daumier, Honoré, 1808-1879, artist [Paris] : Mon. Martinet, 172, r Rivoli et 41, r Vivienne, [1864 août 26] (Lith. Destouches, 28, r Paradis Pre.)
Also by Daumier, Honoré, 1808-1879, artist 5 Le ventre legislatif, 1834. Aspect des bancs ministériels de la chambre improstituée de 1834 / H. Daumier. Daumier, Honoré, 1808-1879, artistParis : Chez Aubert, galerie véro dodat 1834 (Paris : L. de Becquet, rue Furstemberg,6) Library of Congress Rue Transnonain, le 15 Avril 1834 / H.D. Daumier, Honoré, 1808-1879, artist1834. Library of Congress Emotions Parisiennes. L'or est une chimère - pour ceux qui n'ont pas le sou / hD. Daumier, Honoré, 1808-1879, artist[Paris] : Au Bureau du Charivari, R. du Groissant 16, [ca. 1840] (Imp. d'Aubert & Cie.) Library of Congress Le Factionnaire Daumier, Honoré, 1808-1879, artist1843. Library of Congress Le Jardin des Plantes à Pékin--Les Chinois admirant beaucoup un quadrupéd de France et un bipède du même pays ... / H.D. ; lith. Destouches. Daumier, Honoré, 1808-1879, artist[1854] Library of Congress
Within fifty years of [Paris] : Mon. Martinet, 172, r Rivoli et 41, r Vivienne, [1864 août 26] (Lith. Destouches, 28, r Paradis Pre.) 4306 Hampstead, Stormy Sky Style of John Constable1814 The Art Institute of Chicago Teach Yourself How to Dance (Odori hitori keiko) 踊独稽古; 酒宴即興踊独稽古(しゅえん そっきょう おどりひとりげいこ) Sanshōsai1814, first month (Bunka 11) Metropolitan Museum of Art, New York, NY Decorative Studies; Verso: Barbarian Head in Profile from the Antique Felice Giani, Italian, 1758–18231814–18 Cooper Hewitt, Smithsonian Design Museum Decorative Study; Verso: Two Head Studies Felice Giani, Italian, 1758–18231814–18 Cooper Hewitt, Smithsonian Design Museum Decorative Study; Verso: Anatomical Study Felice Giani, Italian, 1758–18231814–18 Cooper Hewitt, Smithsonian Design Museum Eight Studies of Friezes and Candelabrum Felice Giani, Italian, 1758–18231814–18 Cooper Hewitt, Smithsonian Design Museum Four Decorative Studies of Ceilings; Verso: Anatomical Studies Felice Giani, Italian, 1758–18231814–18 Cooper Hewitt, Smithsonian Design Museum Decorative Studies; Verso: Anatomical Studies Felice Giani, Italian, 1758–18231814–18 Cooper Hewitt, Smithsonian Design Museum
Also at Library of Congress 175 ["A warning to usurers" - man showing open book to usurers seated around table. 15th Century?] Unknown[15th century?] Library of Congress The Annunciation Schongauer, Martin, active 15th century, artist[14--] Library of Congress [Printed vellum page from the first book printed in small type. 1459] Unknown1459. Library of Congress [Woodcuts used to illus. Fables from incunabula...1966: the fox and the crane, ca. 1479 - item 57] Unknownca. 1479. Library of Congress [Adoration of the Magi] / AD [monogram]. Dürer, Albrecht, 1471-1528, artist[Nuremberg], [1503] Library of Congress [Incunabula illustrations, 1505] Unknown1505. Library of Congress [Incunabula illustrations, 1505] Unknown1505. Library of Congress [Incunabula illustrations, 1505] Unknown1505. Library of Congress 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.
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 Add a connection Propose a reading
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