Painter, Lithographer, Sculptor, Caricaturist, Illustrator, b. 1808 - d. 1879
Honore Daumier was a French artist known for his satirical caricatures. Born in Marseilles to artist parents, he moved to Paris early in his childhood and studied under Alexandre Lenoir. Drawings by Honore Daumier show him as a multitalented, trailblazing artist, who beyond his caricatures created various forms of realism art, sculptures, and graphic art. Daumier lithograph prints were often political in nature.
Because of their sharp focus on current affairs, Daumier prints were controversial, particularly his caricature of King Louis-Phillipe, which got him imprisoned in 1832. Daumier's prints were often comments on the government, the upper class, and society in general. Balzac noted that Daumier had a bit of Michelangelo under his skin, and that Honore Daumier's artwork was well ahead of the times. Buy lithographs at auction and online to round out your Victorian art collection.
Daumier, Honore (France 1808-1879) Lithograph on wove paper, 'Robert Macaire Avocal'. Robert Macaire is advising his client, who is in jail. The caption reads: 'My dear Bertrand, give me a hundred crowns and I'll get you acquitted right away. --No, I've no money. --All right, give me a hundred francs. --I haven't a penny. --You don't even have ten francs? --Not a farthing. --Then give me your boots, and I'll plead extenuating circumstances.' In Black Wood Frame. No print en verso. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Honore Daumier - a French printmaker, caricaturist, painter, and sculptor, whose many works offer commentary on social and political life in France in the 19th century. Daumier produced over 500 paintings, 4000 lithographs, 1000 wood engravings, 1000 drawings and 100 sculptures. A prolific draftsman, he was perhaps best known for his caricatures of political figures and satires on the behavior of his countrymen... -Wikipedia Approx. Measurements: Image 10 inches x7.75 inches ; sheet 11.75x8.25 inches ; framed 19 inches x15 inches . Domestic Shipping: $50
Honore Daumier (French 1808 -1879) Lithograph on newsprint, captioned 'Une Facheuse Rencontre', no. 4 in series Croquis Parisiens, published in Le Charivari 1854. 2nd state, without number 4. Collector stamp lower right. Unframed, mounted on paperboard. (5/24) Honore Daumier - a French printmaker, caricaturist, painter, and sculptor, whose many works offer commentary on social and political life in France in the 19th century. Daumier produced over 500 paintings, 4000 lithographs, 1000 wood engravings, 1000 drawings and 100 sculptures. A prolific draftsman, he was perhaps best known for his caricatures of political figures and satires on the behavior of his countrymen... Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measurements: Approx. sheet 10.5 x 9.25 inches; paperboard folio 13 x 20 Condition: Print in very good condition margins cut close. Domestic Shipping: $60
Daumier, Honore (France 1808-1879) Lithograph on woven paper, 'Les beaux jours de la vie, un triomphe d'avocats'. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Image 8 inches x11 inches ; Sheet 12.75 inches x15.5 inches ; Mat 13.75 inches x17 inches Domestic Shipping: $50
Honore Daumier (French, 1808-1879), "Ayant Attrape un Coup de Soleil," lithograph, initialed in plate lower left, published by Mason Martinet, Paris, sheet (unframed): 13.75"h x 10.25"w. Provenance: Property from the estate of artist Robert Bechtle and art historian Whitney Chadwick.
lithograph on paper, mounted on a base, monogrammed in the stone lower left, around 1849, inscribed above and below the depiction "Soirée chez Mr Dupin" / "Queue pour la tribune publique", sheet number 19, two satirical depictions on one sheet, from the series "Physionomie de l'Assemblée", published in Le Charivari, Aubert & Cie publishing house, Paris, center fold, age-appropriate condition, water stained, browned, image 27.5 x 22 cm (HxW), framed behind glass, overall dimensions 42.5 x 32.5 cm (HxW) German Description Honoré Daumier, Ein Abend bei Monsieur Dupin / Warteschlange für die Besucher-Tribüne Realist, berühmter Karikaturist (1808 Marseille - 1879 Val-d'Oise), Lithografie/Papier, auf Untersatz montiert, unten links im Stein monogrammiert, um 1849, oberhalb und unterhalb der Darstellung bezeichnet "Soirée chez Mr Dupin" / "Queue pour la tribune publique", Blattnummer 19, zwei satirische Darstellungen auf einem Blatt, aus der Serie "Physionomie de l'Assemblée", veröffentlicht in Le Charivari, Verlag Aubert & Cie, Paris, Mittelbug, altersgemäßer Zustand, wasserfleckig, gebräunt, Darstellung 27,5 x 22 cm (HxB), hinter Glas, gerahmt, Gesamtmaß 42,5 x 32,5 cm (HxB)
French, 1808-1879 Avocat en Buste, un Dossier sous le Bras Gauche Ink on paper 5 x 3 15/16 inches (12.7 x 10 cm) Provenance: Galerie Berès, Paris Literature: K. E. Maison, Honoré Daumier, Catalogue Raisonne of the Paintings Watercolors and Drawings, vol. II, Paris, 1968, no. 621, plate 236, illus. (Frame:18 1/4 x 17 1/8 inches) Tipped to mat at the corners on the verso; slight discoloration to the sheet; minor handling creases; not examined out of its frame.
French, 1808-1879 Avocat Plaidant, en Buste, la Main Droite Levée Ink on paper 4 5/8 x 4 7/8 inches (11.8 x 12.4 cm) Provenance: Galerie Berès, Paris Literature: K. E. Maison, Honoré Daumier, Catalogue Raisonne of the Paintings Watercolors and Drawings, vol. II, Paris, 1968, no. 622, plate 236, illus. (Frame: 16 1/4 x 16 3/8 inches) Spots of slight discoloration to the paper (mainly in the corners); tiny repaired tear at right center edge; faint hairline of whitish pigment running vertically down the center (repair?); tipped to mat from the corners on the verso; not examined out of its frame.
Honoré-Victorin Daumier, French 1808-1879- Pauvre France!...Le Tronc Est Foudroyé, Mais Les Racines Tiennent Bon!; lithograph, signed with initials 'hD' (within the plate, lower left) and numbered '5' (within the plate, lower right), 26.7 x 22.1 cm. Note: Accompanied by a Certificate of Authenticity from the Daumier Gallery Collection [DR3834]. Third state of three. This image was published in Daumier's satirical 'Album du Siège' in 1871, with the title translating as 'Poor France! The trunk is blasted, but the roots hold!'.
Honoré-Victorin Daumier, French 1808-1879- Moderne Galilée. Et pourtant elle marche; lithograph, signed with initials 'H.D.' (within the plate, lower right), 25.4 x 30 cm. Provenance: The Noack Collection, Switzerland. Note: This work is accompanied by a Certificate of Authenticity from the Noack Collection, Switzerland [DR 93]. Second state of two. The present scene was published in 'La Caricature' (Journal) No. 209, Plate 436, in 1834.
DAUMIER HONORÉ (1808 - 1879) quite rare complete series of six old Valsuani cast ('cire perdue') sculptures in bronze each with a typical satirical theme, depicting a man - n° 5/75 posthumous cast, each with the monogram of Honoré Daumier and with the Valsuani foundry mark DAUMIER HONORÉ (1808 - 1879) vrij zeldzaam volledige serie van zes oude "Valsuani" - sculpturen in brons (in 'verloren was'-techniek) met zwartbruine patine en met karakteristieke satirische thema's met als titels : "Le Bourgeois qui flâne" , "L' Amoureux" , "L' Homme d'affaires" , "Le Monsieur qui ricane" , "Le Ratapoil" en "Le Dandy" - hoogtes van 31 tot 35 cm postume gietingen, telkens gemonogrammeerd, genummerd 5/75 en met gieterijmerk van 'Valsuani'
Daumier, Honore (France 1808-1879) Lithograph on wove paper, 'Les Etrangers a Paris: Les Magasins de plus en plus monstres'. initialed h.D. on the stone, lower right. plate number 647 in lower left. Published in Le Charivari August 18, 1844. This series was critical of the Parsian merchants who took advantage of the foreigners in Paris for the 1844 Exposition. No printing en verso. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Honore Daumier - a French printmaker, caricaturist, painter, and sculptor, whose many works offer commentary on social and political life in France in the 19th century. Daumier produced over 500 paintings, 4000 lithographs, 1000 wood engravings, 1000 drawings and 100 sculptures. A prolific draftsman, he was perhaps best known for his caricatures of political figures and satires on the behavior of his countrymen... -Wikipedia Measurements: Approx. Image 8"x9.375"; sheet 11.625"x9"; mat 20"x13" Condition: Print - some foxing, waterstains, tape and tape residue, pencil notations, collector stamp (GL). Mat paper - penci notations, wear. PH502. Domestic Shipping: $80
HONORE DAUMIER (FRANCE, 1808-1879) "Le Moqueur" (Adrian Delort, 'The Mockingbird') Gobin #29. Cast bronze. Foundry mark "MLG", numbered 16/25 on the interior.9 1/4" x 5 1/2" x 3 1/2".
An oil painting on canvas mounted on board depicting a genre scene after the original oil painting on canvas, At The Print Dealers, circa 1862, by Honore Daumier, French, 1808 to 1879. Signed by the artist, D.K.M., lower right. Framed. Honore Victorin Daumier, a French painter, sculptor, and printmaker, whose many works offer commentary on the social and political life in France, from the Revolution of 1830 to the fall of the second Napoleonic Empire in 1870. He earned a living throughout most of his life producing caricatures and cartoons of political figures and satirizing the behavior of his countrymen in newspapers and periodicals, for which he became well known in his lifetime and is still known today. Modern European Genre Scene Paintings And Wall Decor Collectibles. One of a kind artwork.
"Passagers sur l'Impériale à Paris" mine de plomb, encre noire, lavis d'encre et rehauts d'aquarelle sur papier. Monogrammé en bas à gauche H.D. pour Honoré Daumier. Ecole française. Dim.:+/-275x245mm.
HONORÉ DAUMIER Les Gens de Justice. Collection of 37 (of 39) lithographs on newsprint, 1848. Each approximately 360x255 mm; 14¼x10 inches (sheets), full margins. Printed and published by Aubert, Paris. Delteil 1337-1361 and 1363-1374.
HONORÉ DAUMIER Les Gens de Justice. Collection of 10 (of 39) lithographs, sur blanc, 1848. Each 241x188 mm; 9½x7⅜ inches, full margins. Printed and published by Aubert, Paris. Delteil 1337, 1339, 1341, 1350, 1361, 1363, 1364, 1365, 1368 and 1374.
Honoré DAUMIER (1808-1879) - La Fortune ou Pêcheur nu, assis sur un rocher - Epreuve en bronze à patine médaille, monogrammée sur la terrasse et portant la mention « SIOT Fondeur Paris » H 29 - L 14 cm
Daumier (Honoré, 1808-1879). Vieux homme lisant un journal * Daumier (Honoré, 1808-1879). Vieux homme lisant un journal, ink on pale cream laid paper, mount stained, tipped-on to card mount, some marks and minor soiling to out blank areas, later strip of paper (10 x 188 mm) added to foot of sheet, sheet size 145 x 188 mm (5 3/4 x 7 1/2 ins), mounted QTY: (1) NOTE: Provenance: Claude Roger-Marx (1888-1977) French writer, playwright, art critic and art historian. Pencil inscription to card mount 'Daumier / ex col. Roger Marx'. Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge and Patricia Jaffé (née Milne-Henderson, 1935-2018), art historian. An inscription to the verso of the card mount, in Patricia Jaffé's hand, reads: "Sketch - probably intended for a lawyer. Bought by Pat Milne-Henderson 1960/61 in Boston (Mass). It is listed in the catalogue raisonné by K.E. Maison - in the Appendix or Addendum." K. E . Maison, Honoré Daumier: Catalogue Raisonné of the Paintings, Watercolours, and Drawings (2 volumes), New York Graphic Society, Greenwich, Conn, 1967.
Titel: 'Monsieur est malade il ne reçoit personne', Technik: Farblithografie auf Papier, Signatur: unten links in Platte monogrammiert 'hD', Drucker: Mourlot, Paris, Maße: 24 x 17 cm (Platte), 30,5 x 23,5 cm (Blatt), Zustand: gut
Bestehend aus: 'The Saintly woman' (No. 944), 'Beautiful injury, want you to accept my arm' (1851), Blatt aus 'News of the day' (1870) und 'Dream of the inventor of the needle-gun on All Saints Day' (1866), Technik: Lithografien auf Papier, Signatur: j
Honore Daumier French, (1808- 1879) La Dame Qui Cultive Les Arts hand-colored lithoghraph From the series Les Beaux Jours de la Vie. Published by Chez Aubert, Paris. From the private collection of Bret Waller and Mary Lou Dooley Waller, Indianapolis, Indiana. Biography from the Archives of askART: Honore Daumier was born in Marseilles, France on February 26, 1808. He was the son of a Marseille glazier who wrote a little poetry on the side and who thought so much of his own talent that in 1816 he decided to move himself and his family to Paris. Over the next dozen years, the family lived in eight different apartments in Paris. There was never enough money, and the experience of hard times would mark Daumier for life. At the age of twelve, Honore became a messenger boy for a process server's office and then a clerk for a bookstore - jobs that opened up to him every corner of Paris. He sketched everything he saw and finally started studying art with an academician whose idea of instruction was to have his pupils copy plaster casts hour after hour. "This is not life," said Daumier, and he struck out on his own. A year later, the boy enrolled in the Academy Suisse, an informal school where students could draw from the model in the mornings and still hold down jobs. Though Daumier was never a flamboyant bohemian, he was soon part of a group of young artists from the school, some of whom became lifelong friends. If the teenager didn't have the money for oils or canvas (presumably why so little of his student work survives), in studios and cafes he drew the way other people talked. Daumier was on his way to becoming one of the greatest draftsman who ever lived. The lithograph was a comparatively new art in those days, but it quickly became Daumier's bread and butter. He began turning out political cartoons for an ardently antiroyalist magazine called La Caricature. One cartoon portrayed King Louis Philippe as Gargantua gobbling up every last sou in France. For such indiscretions Daumier spent six months in prison. He was the first French artist to get to the hall of fame because the people liked his little drawings, instead of the aristocracy liking his big salon paintings. No sooner was he out again than he started producing more cartoons for another magazine. In 1846, at the age of thirty-eight, he married a young seamstress called Didine and settled down in an apartment on the Quai d'Anjou. There, in a bare attic studio, using crayons until they were so worn he could no longer hold them, and whistling the latest music-hall tunes, Daumier turned out lithographs of arrogant aristocrats, greedy landlords, sour-faced men and nagging wives, sinister lawyers and pompous judges. Sometimes his humor was gentle; occasionally it was savage; it was always perceptive. Daumier made lithographs, 3958 in all, until he went blind at sixty-five. But all along he was painting, though no more than a handful of his canvases were shown in public before the last year of his life. Compared with the more spectacular romantics, he seemed rough and unfinished. Nor did he understand the work of the new impressionists. He was a superlative draftsman whose brush drew spare and strong, and whose preoccupation was people. No matter how ordinary their acts, Daumier gave drama and dignity to their lives. He was ruthless in his candor, but his candor was born of concern. The painter Daumier was a rotund gentle person who cared far more for others than for himself. There were never any extras for Daumier. A year before he died at seventy, a group of friends, led by Victor Hugo, arranged a show of his paintings. It closed dismally with a deficit of 4000 francs. Daumier's most celebrated work was a series of 'Robert Macaire' published in the 'Charivari'. His graphic works are unsurpassed for clarity, expressiveness, truth to type and nervously rhythmic life. He did not draw directly from nature, but from human nature, and this he did as fully as any artist who ever lived. But he was thought for years unworthy to occupy a single foot of space at the official Salon's shows. One Saturday night at Theodore Rousseau's barn in the village of Barbizon, a gathering that included Corot, Millet,Daubigny, Diaz and Bayre, along with Daumier himself, voted to form their own anti-Salon Independent Artists' Society. No one ever represented with greater truth the varied type of Parisian character. He became blind in 1877, then died suddenly in 1879 of a stroke at Valmondois (Seine-et-Oise) in a house given him by Corot, the landscape painter. Compiled and submitted August 2004 by Jean Ershler Schatz, artist and researcher from Laguna Woods, California Sources: Time Magazine, July 7, 1961 and October 1, 1979 Peter Plagens in Newsweek, March 8, 1993 Pete Hamill in Art & Antiques Magazine, February 1993.
3 Bl. altkolor. Lithogr. aus Album Types Parisiens, Paris (1839-43). Kein Text verso. Qu.Kl.4°. Je im Stein monogr. Lose. ╔Vorhanden:╗ Les Pratiques des Marchands de Paris, Bl. 2 (Metzgerei Szene, DR 588). - Types Parisiens, Bl. 5 "Domino" (DR 563) u. Bl. 8 "Interieur d'un Omnibus" (DR 566). - Tls. etw. fleckig.
(1808-1879). Cortège du commandant Général du Apothicaires... Bl. 299,300 aus La Caricature Nr. 143. Dplblgr. kolor. Lithogr. 1833. 29,5 x 50,5, Blgr. 37 x 55 cm. Mit dem (etw. verblassten) Namenszug im Stein. DR 65. Sur blanc, mit dem Text u. Adresse. - Vertikaler Mittelfalz, oben u. unten verso unterlegt. Einige ger. Randeinr. u. unt. linkes Eck mit Fehlst. im Rand. Am Falz tls. etw. berieben, tls. ger. fleckig u. unterer Rand rechts u. links mit Feuchtigkeitsrand, Montierreste verso. Kl. Stempel am Rand unten li. - Selten.
HONORE DAUMIER (French, 1808-1879) "D'ailleurs nous ne serions pas heureux ensemble..." 1838 - Hand-coloured lithograph on paper. Initialed in plate lower right. Unframed. 10 x 12.5 inches (25.6 cm x 31.5 cm). Good condition with typical wear, some discolouration, several small tears at the edges professionally repaired, lightly tipped onto backing. Catalogue Raisonne No. 484. Includes a copy of 1984 receipt from Craddock and Barnard (London UK). From the Gary Robertson Historical Print Collection (Regina). This print can be found in several permanent collections including the Musee Canavalet (Paris) and the Minneapolis Institute of Art.
HONORE DAUMIER (French, 1808-1879) "La Veille des Thermopyles" 1842 - Lithograph on newsprint (third state of three, from Le Charivari, 1842). Initialed in plate lower left. Unframed. Image is 10 x 7.8 inches (25.7 cm x 20 cm), sheet is 12 x 8.25 inches (30.5 cm x 20.8 cm). Good condition with typical wear, 2-cm section missing at the left edge at the margin, lightly tipped onto backing. Catalogue Raisonne No. 926, State iii/iii. Includes a copy of 1987 receipt from Craddock and Barnard (London UK) stating "The above are original artists' prints over 50 years old". From the Gary Robertson Historical Print Collection (Regina). This print (the same state, Charivari newsprint) can be found in the National Gallery of Art (Washington) and Colorado State University.
HONORE DAUMIER (French, 1808-1879) "La Femme a Barbe" 1867 - Lithograph on newsprint (second state of two, from Le Charivari, February 6, 1867). Initialed in plate lower right. Unframed. Image is 10 x 8.5 inches (25.7 cm x 22 cm), sheet is 11.25 x 11.5 inches (28.4 cm x 29.4 cm). Good condition with typical wear, 3.5-cm tear at the right edge at the margin, lightly tipped onto backing. Catalogue Raisonne No. 3555, State ii/ii. From the Gary Robertson Historical Print Collection (Regina). This print (the same state, Charivari newsprint) can be found in the Metropolitan Museum of Art (New York), the National Gallery of Art (Washington) and the Musee des Beaux-Arts (Marseille).
Honore Daumier, French (1808-1879) Lot of 2 Early Prints c. Late 19th C. on Newspapers. Condition: Yellowing Due to Age. Dimensions: 14" x 9.75". Provenance: From a NYC Home. Please note the absence of a Condition Report does not imply that there are no condition issues with this lot. Please contact us for a detailed Condition Report. It is the Buyer's responsibility to inspect each lot and deem their own opinions on Condition, Description, Provenance, and Validity before purchasing. Please make an appointment to preview or ask for Condition Reports. Condition Reports are rendered as an opinion by the staff of the Auction House and not as statements of fact. REMEMBER ALL SALES ARE FINAL AND ALL ITEMS ARE SOLD AS-IS, WHERE IS.
Pencil Signed Antique Honore Daumier Print, "Les Gens de Justice". Honore-Victorin Daumier (1808-1879), was a painter, sculptor and printmaker, famous for socially and politically-conscious, artistic works. Pencil-signed pieces by this important printmaker are exceedingly rare, and much-sought-after by fine art collectors worldwide. Measures approx. 15 1/2" X 13 1/4". RBFineArts CFL Inc. Shipping, Payment & Auction Policies: PLEASE MAKE SURE YOU HAVE READ THE TERMS AND CONDITIONS BEFORE YOU BID. Any registration and/or bid placed by you does guarantee RBFineArts CFL Inc. you have read and will abide by the following Terms and Conditions of the sale. All sales are recorded. These Terms and Conditions control this Auction in all regards and supersede all previous announcements, advertisements, catalogs, and published information however distributed. All announcements from the Auction block will take precedence over any Internet description or printed material. 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Posten von 21 Lithographien mit figürlichen Darstellungen. Verschiedene Zustände, teils besch. Bis 22x 26 cm. 1x im R. Beigegeben: Posten Graphiken mit figürlichen Darstellungen. 19. Jh. Alters- und Gebrauchsspuren sowie Buch "Monsieur Daumier", mit Gesamtbestand der Druckgraphik Daumiers.
HONORÉ DAUMIER (Marseille 1808–1879 Valmondois) L'avocat lisant. Circa 1868–70. Oil on canvas. 41.5 × 33 cm. Provenance: - Possibly Collection Jean-Baptiste-Camille Corot (1796–1875), Paris. - Collection Arsène Alexandre (1859–1937), Paris. - Collection Adolphe Tavernier (1853–1945), Paris. - Sale Galerie Georges Petit, Collection Adolphe Tavernier, Paris, 6.3.1900, lot 14. - Sale Hotel Drouot, Collection Adolphe Tavernier, Paris, 15.4.1907, lot 9. - With Galerie Druet, Paris. - Aubry Collection, Paris. - Collection Eduard Bühler (1862–1932), Winterthur. - By descent, collection Dr. Robert Bühler (1902–1971), Winterthur (label verso). - By descent, private collection, Switzerland. Exhibited: - Paris 1901, Exposition Daumier, par le Syndicat de la presse artistique, École des Beaux-Arts, May 1901, no. 75. - St. Petersburg 1912, Exposition centennale de l’art français, Institut Français, no. 242, as "Avocat" (remnants of a label verso). - Basel 1921, Exposition de peinture française, Société des Beaux-Arts, no. 46. - Winterthur 1942, Der Winterthurer Privatbesitz I, Kunstmuseum Winterthur, 5.9.-1.11.1942, no. 77, as "L'avocat" (label verso). - Paris 1946, La peinture française du XIXe siècle en Suisse, Gazette des Beaux-Arts, no. 38a. - Paris 1953, Monticelli et le Baroque Provençal, Musée de l'Orangerie des Tuileries, June - September 1953, no. 29. - Paris 1959, De Géricault à Matisse: Chefs-d’Oeuvre français des collections suisses, Petit Palais, no. 36 (label verso). - Wolfsburg 1961, Französische Malerei von Delacroix bis Picasso, veranstaltet vom Volkswagenwerk, Stadthalle Wolfsburg, 8.4.–31.5.1961, no. 39 (label verso). - London 1961, Daumier: Paintings and Drawings, Tate Gallery, June - July 1961, no. 86, as “A Lawyer reading a Document” (label verso). - Schaffhausen 1963, Die Welt des Impressionismus, Museum zu Allerheiligen, 29.6.–29.9.1963, no. 31, as “Lesender Advokat” (label verso). Literature: - Erich Klossowski: Honoré Daumier, Munich 1923, 2nd edition, p. 97, no. 116. - Eduard Fuchs: Der Maler Daumier, Munich 1927, p. 46, no. 22a. (with illustration). - Jacques Lassaigne: Daumier, Paris 1938, p. 81 (with illustration). - Jacques Lassaigne: Daumier, in: Jacques Lassaigne (ed.), Les Grands Maîtres de la Peinture, Paris 1946, p. 27 (with illustration). - Jean Adhémar: Honoré Daumier, Paris 1954, pl. 21. - Curt Schweicher: Daumier, London 1954, AB45pl. 24. - Arts et Livres de Provence: Daumier, Marseilles 1955, p. 16. - Robert Rey: Honoré Daumier, London 1966, p. 66 (with illustration on p. 67). - Karl Eric Maison: Honoré Daumier. Catalogue raisonné of the paintings, watercolours and drawings, London 1968, p. 168, no. I-213, pl. 117. ‘L'avocat lisant’ by Honoré Daumier presents us with the image of a lawyer standing before a massive pillar inside the Palais de Justice in Paris, the setting for many of Daumier's depictions of lawyers. Clad in a black gown and engrossed in his documents, the lawyer appears to be reacquainting himself with his files just before the start of a trial. Daumier skilfully reproduces the lawyer's posture, which exudes an air of ruthless severity and pretentious complacency, even beneath his ample gown. He also succeeds in lending the painting an uneasy undertone through the dramatic lighting and the resulting strong contrasts of light and dark. This is particularly evident in the face of the lawyer, which Daumier has distorted into an ominous-looking visage. The shadows of other lawyers can also be glimpsed in the background to the left. Are they possibly opponents of the lawyer here, or even schemers who are up to shady tricks behind his back? This tension, together with the trenchant characterisation of the lawyer, makes the present work one of the most impressive oil paintings on canvas that Daumier created in the course of his artistic career, which spanned more than 50 years. ‘L'avocat lisant' is a striking example of Daumier's treatment of a key theme within his oeuvre, namely satirising representatives of the legal profession. This work is a departure, however, from his usual medium of lithography. As a result of his criticism of society and the government in his art, Daumier was censored many times and was sentenced to six months in prison in 1832 for a satirical depiction of King Louis Philippe as Gargantua – the insatiable glutton and drunkard. This was one of the reasons why Daumier harboured a lifelong aversion to the French judiciary, but at the same time was fascinated by jurisprudence and its protagonists. Honoré Daumier's satirical examination of the Parisian legal system of his time was not only based on his own experiences in court. After his release from prison, he also began attending public trials at the Palais de Justice, which was located not far from his studio on the Île Saint-Louis. Daumier succeeded in capturing the peculiarities of the Parisian courtrooms and commenting on them in a mordant fashion. He not only portrayed the sometimes absurd theatricality of the proceedings, but also addressed the abuse of power by bored or corrupt judges. In the 1840s and 1850s, for example, Daumier published several series of lithographs with titles such as ‘Gens de Justice’ (1845–1848) or ‘Physiognomie du Palais de Justice’ (1852), which were extremely popular, boosting his career as an artist and encouraging him to continue to pursue this subject matter. The repeated depiction of lawyers as merciless servants of a ruthless judiciary makes it clear that Daumier was critical of this profession, but at the same time also fascinated by it. As well as enjoying an important standing in Daumier's oeuvre, the painting ‘L'avocat lisant’ also boasts an illustrious provenance and a long exhibition history. It is assumed that the work was once part of the collection of Jean-Baptiste Camille Corot (1796–1875), with whom Daumier maintained a close artistic friendship from around 1847. The painting also belonged for a time to the famous art critic Arsène Alexandre (1859–1937), who owned a dozen of Daumier's major works. The influential Bühler family of industrialists from Winterthur also owned the painting and were responsible for the work being shown at numerous important exhibitions throughout Europe, particularly in the middle of the 20th century. This exceptional provenance emphasises the outstanding quality of the artwork on offer here. ------------------------------------------------- HONORÉ DAUMIER (Marseille 1808–1879 Valmondois) L'avocat lisant. Um 1868–70. Öl auf Leinwand. 41,5 × 33 cm. Provenienz: - Wohl Sammlung Jean-Baptiste Camille Corot (1796–1875), Paris. - Sammlung Arsène Alexandre (1859–1937), Paris. - Sammlung Adolphe Tavernier (1853–1945), Paris. - Auktion Galerie Georges Petit, Collection Adolphe Tavernier, Paris, 6.3.1900, Los 14, als "La Lecture du placet". - Auktion Hotel Drouot, Collection Adolphe Tavernier, Paris, 15.4.1907, Los 9, als "Salle des Pas Perdus". - Galerie Druet, Paris. - Sammlung Aubry, Paris. - Sammlung Eduard Bühler (1862–1932), Winterthur. - Durch Erbschaft, Sammlung Dr. Robert Bühler (1902–1971), Winterthur (verso mit Etikett). - Durch Erbschaft, Schweizer Privatbesitz. Ausstellungen: - Paris 1901, Exposition Daumier, par le Syndicat de la presse artistique, École des Beaux-Arts, Mai 1901, Nr. 75. - St. Petersburg 1912, Exposition Centennale de l’Art français, Institut Français, Nr. 242, als “Avocat” (verso mit Resten eines Etiketts). - Basel 1921, Exposition de peinture française, Société des Beaux-Arts, Nr. 46. - Winterthur 1942, Der Winterthurer Privatbesitz I, Kunstmuseum Winterthur, 5.9.–1.11.1942, Nr. 77, als “L’avocat” (verso mit Etikett). - Paris 1946, La peinture française du XIXe siècle en Suisse, Gazette des Beaux-Arts, Nr. 38a. - Paris 1953, Monticelli et le Baroque Provençal, Musée de l'Orangerie des Tuileries, Juni – September 1953, Nr. 29. - Paris 1959, De Géricault à Matisse: Chefs-d’Œuvre français des Collections suisses, Petit Palais, Nr. 36 (verso mit Etikett). - Wolfsburg 1961, Französische Malerei von Delacroix bis Picasso, veranstaltet vom Volkswagenwerk, Stadthalle Wolfsburg, 8.4.–31.5.1961, Nr. 39 (verso mit Etikett). - London 1961, Daumier: Paintings and Drawings, Tate Gallery, Juni – Juli 1961, Nr. 86, als “A Lawyer reading a Document” (verso mit Etikett). - Schaffhausen 1963, Die Welt des Impressionismus, Museum zu Allerheiligen, 29.6.–29.9.1963, Nr. 31, als “Lesender Advokat” (verso mit Etikett). Literatur: - Erich Klossowski: Honoré Daumier, München 1923, 2. Auflage, S. 97, Nr. 116. - Eduard Fuchs: Der Maler Daumier, München 1927, S. 46, Nr. 22a. (mit Abb.). - Jacques Lassaigne: Daumier, Paris 1938, S. 81 (mit Abb.). - Jacques Lassaigne: Daumier, in: Jacques Lassaigne (Hrsg.), Les Grands Maîtres de la Peinture, Paris 1946, S. 27 (mit Abb.). - Jean Adhémar: Honoré Daumier, Paris 1954, Abb. 21. - Curt Schweicher: Daumier, London 1953, Abb. 24. - Arts et Livres de Provence: Daumier, Marseilles 1955, S. 16. - Robert Rey: Honoré Daumier, London 1966, S. 66 (mit Abbildung auf S. 67). - Karl Eric Maison: Honoré Daumier. Catalogue raisonné of the Paintings, Watercolours and Drawings, Bd. I: The Paintings, London 1968, S. 168, Nr. I-213, Abb. 117. "L’avocat lisant" von Honoré Daumier zeigt uns einen Anwalt vor einem mächtigen Pfeiler im Inneren des Palais de Justice in Paris, dem Schauplatz zahlreicher Advokaten-Darstellungen Daumiers. Gehüllt in seine schwarze Robe und vertieft in die Lektüre der Unterlagen scheint sich der Anwalt unmittelbar vor dem Beginn eines Prozesses nochmals seiner Strategie zu versichern. Gekonnt vermag es Daumier, die kantige Körperhaltung des Advokaten wiederzugeben, welche auch unter dessen weiter Robe disziplinierte Strenge und prätentiöse Selbstgefälligkeit ausstrahlt. Auch gelingt es ihm, durch die dramatische Lichtführung und die dadurch entstehenden starken hell-dunkel Kontraste, dem Gemälde eine unbehagliche Stimmung zu verleihen. Dies äussert sich zudem im Gesicht des Advokaten, das Daumier zu einer bedrohlich wirkenden Grimasse verzerrt. Links im Hintergrund sind zudem die Umrisse anderer Juristen zu erhaschen. Handelt es sich hier vielleicht sogar um die Prozessgegner des gezeigten Advokaten, die ihrerseits ihr Vorgehen nochmals abstimmen? Diese erzeugte Spannung macht gemeinsam mit der pointierten Charakterisierung des Advokaten das vorliegende Gemälde zu einer der eindrücklichsten Arbeiten in Öl auf Leinwand, die Daumier im Laufe seiner mehr als 50 Jahre andauernden künstlerischen Laufbahn schuf. "L’avocat lisant" sticht insoweit aus jenem Themenkomplex innerhalb des Gesamtwerks von Daumier hervor, in welchem sich der Künstler insbesondere im Medium der Lithografie mit der satirischen Darstellung von Gesetztesvertretern befasst. Aufgrund seines gesellschafts- und regierungskritischen Werkes wurde Daumier im Laufe seiner Schaffensphase vielfach zensiert und 1832 wegen einer satirischen Darstellung, die König Louis-Philippe I. (1773–1850) als Gargantua – den unersättlichen Fresser und Säufer – zeigt, sogar zu einer sechsmonatigen Gefängnisstrafe verurteilt. Auch deshalb begegnete Daumier zeit seines Lebens der französischen Justiz mit einer gewissen Abneigung, gleichzeitig aber auch mit einer Faszination gegenüber der Jurisprudenz und deren Akteuren. Als Grundlage für seine kritische Auseinandersetzung mit dem Rechtssystem im Paris des 19. Jahrhunderts dienten Honoré Daumier nicht nur seine eigenen Erfahrungen vor Gericht. Nach seiner Haftentlassung begann er zudem auch öffentlichen Gerichtsprozessen im Palais de Justice, das sich unweit seines auf der Île Saint-Louis gelegenen Ateliers befand, beizuwohnen. Daumier gelang es dabei, die Eigenheiten in den Pariser Gerichtssälen treffend einzufangen und bissig zu kommentieren. So hielt Daumier in seinem künstlerischen Werk nicht nur die teils absurde Theatralik bei der Prozessführung fest, er setzte sich auch mit dem Machtmissbrauch gelangweilter oder bestechlicher Richter auseinander. In den 1840er-Jahren etwa veröffentlichte Daumier die Lithographie-Serie mit dem Titel "Gens de Justice" (1845–1848), die sich äusserster Beliebtheit erfreute, seine Karriere als Künstler zusätzlich antrieb und ihn darin bestärkte, sich auch weiterhin in seinem künstlerischen Werk mit der Pariser Justiz zu befassen. In Daumiers Lithographie "Grand escalier du Palais de justice" (Abb. 2), die 1848 im Rahmen dieser Serie erschienen ist, sind bereits einige bildkompositorische Elemente zu erkennen, die Daumier später in dem hier angebotenen Gemälde wieder aufgriff. So entdecken wir im Hintergrund rechts oberhalb der grossen Treppe einen Pfeiler, der demjenigen in unserem Gemälde ähnelt und dem dieselbe Funktion innerhalb der beiden Kunstwerke zukommt: Er verdeutlicht die Macht und die Stabilität des Rechtsstaates. Auch die Figur eines Juristen, die links im Hintergrund hastig die Treppe hinaufeilt, taucht in abgewandelter Form im vorliegenden Los auf. Hier sind es die Schemen zweier Advokaten, die dem Gemälde ein narratives Element verleihen und zusätzliche Spannung erzeugen. Das etwa zwanzig Jahre nach der Lithographie-Serie "Gens de Justice" entstandene Werk "L'avocat lisant" kann somit als eine ölmalerische Weiterentwicklung und reifere Neuinterprätation der Advokatendarstellungen aus Daumiers druckgrafischem Werk betrachtet werden. Neben der gewichtigen Position im Gesamtwerk Daumiers blickt sein Gemälde "L’avocat lisant" zudem auf eine illustre Provenienz und eine lange Ausstellungshistorie zurück. So wird angenommen, dass das Werk einst Teil der Sammlung von Jean-Baptiste Camille Corot (1796–1875) war, mit dem Daumier ab etwa 1847 eine innige Künstlerfreundschaft pflegte. Das Gemälde gehörte ausserdem zeitweise dem berühmten Kunstkritiker Arsène Alexandre (1859–1937), der ein ganzes Duzend an Hauptwerken Daumiers sein Eigen nennen konnte. Auch die einflussreiche Winterthurer Industriellenfamilie Bühler besass das Gemälde und zeigte sich verantwortlich dafür, dass das Werk Mitte des 20. Jahrhunderts auf zahlreichen wichtigen Ausstellungen in ganz Europa zu sehen war. Diese ausserordentliche Provenienz unterstreicht die herausragende Qualität des hier angebotenen Kunstwerks.
Honoré DAUMIER (1808-1879), Les Robert - Macaire: Nr.51, Nr.4, Nr. 69, Nr. 58, Nr. 99; Lithographie, 22,5 x 17 cm, hinter Glas gerahmt. Alters- und Gebrausspuren.
DAUMIER, HONORÉ 1808 Marseille - 1879 Valmondois Konvolut Karikaturen, ca. 150 Blätter Ca. 150 Lithographien. Gebräunt, fleckig, min. beschädigt, tlw. beschnitten, tlw. auf dünnen Karton aufgezogen. Verschiedene Maße. Aus verschiedenen Serien.
DAUMIER, HONORÉ 1808 Marseille - 1879 Valmondois Konvolut Karikaturen, ca. 120 Blätter Ca. 120 Lithographien. Gebräunt, fleckig, min. beschädigt, tlw. beschnitten, tlw. auf dünnen Karton aufgezogen. Verschiedene Maße. Aus verschiedenen Serien.
DAUMIER, HONORÉ 1808 Marseille - 1879 Valmondois Fünf Genreszenen Fünf Lithographien. Jeweils im Stein monogrammiert, betitelt und mit Angaben zum Herausgeber. Tlw. Knickfalten, tlw. gebräunt. BA: 27 x 21,5 cm bis 29,5 x 22,5 cm. Rahmen. "-Et dire que c'est aujourd'hui la St. Médard!" und "Aux petits des oisons ils donnent la mangeaille..." aus "Pastorales, "-Eh! bien en regardant ce tableau de près on finit par y découvrir..." aus "Choquis Pris Au Salon", "Inconvénient d'avoir un parent qui se nomme Babylas..." aus "Tout Ce Qu'On Voudra" und "Un premier voyage en chemin de fer" aus "Les Beaux Jours De La Vie".
Actualités Tenant aussi à consulter sa petite table pour savoir s'il sera définitivement vainqueur. Aus Charivari. Lithographie. 21×24 cm. Rückseitig Text. (Aufgezogen). {Dazu:} La manœuvre à bord. Aus Charivari. Lithographie. 20×24 cm. (Beschn. u. besch., aufgezogen). Beide Blätter in der Platte sign. bzw. monogr. R. (35713)
Honoré Daumier (Marseille 1808 - 1879 Valmondois) L’Avocat saluant Bronze / Bronze 15 cm hoch / 15 cm high Signatur / Signature Auf dem Fuss mit dem Giesserstempel "CIRE M. PASTORI PERDUE" und der Nummerierung "1/20 B" With foundry mark "CIRE M. PASTORI PERDUE" and numbered "1/20 B" on the foot Werkverzeichnis / Catalogue Raisonné Gobin 46 Gobin 46 Provenienz / Provenance Slg. Eberhard W. Kornfeld, Bern The Eberhard W. Kornfeld Collection, Bern Zustand / Condition In brauner Patina. In guter Erhaltung In brown patina. In good condition Erläuterungen / Comments Neben der Auflage von 30 Bronzen, die von Valsuani gegossen wurden, entstanden 20 Exemplare vor 1960 in der Giesserei Pastori in Genf. Diese sind mit der Nummerierung auf 20 und dem Buchstaben "B" gekennzeichnet. Vom "Grüssenden Advokaten" existieren drei Aquarelle im Schaffen Daumiers, die die Figur in ähnlichem Stil darstellen. In addition to the edition of 30 bronzes cast by Valsuani, 20 copies were created before 1960 in the Pastori foundry in Geneva. These are marked with the number 20 and the letter "B". In Daumier's oeuvre, there are three watercolours of the "Greeting Advocate" that depict the figure in a similar style. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2024; 10:15 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Auf Anfrage / On request
