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The lithographs on page 3 differ but the printed texts on pages 1, 2 and 4 are identical.
The purpose of such specimens was as follows: Daumier collectors were well aware of the fact that because of censorship pressure LA CARICATURE was in financial difficulties.
The specimens already conveyed to the public an idea about the look of the future Charivari.
We are not yet sure about the first date of appearance of these specimens, but can assume they were published between February and December 1, 1832 when the first Charivari edition came out.
Daumier also produced some feather lithographs in the style of Seymour in his series "La Chasse".There surely exist more than these 14 drawings that carry a watermark, but these have not yet been identified.Taking into account that the Daumier Register by now found more than 1000 additional drawings compared to the existing work catalogues, the number of those carrying a watermark still seems to be negligible.Already during his lifetime, Daumier complained about forgeries being offered on the market.As one might imagine, the number of imitations has increased over time and we are being contacted regularly from all over the world to issue authentications of drawings or paintings. We are trying to help our clients to save on the eventual expenses while complying with international Art standards. 23 Back to Index Most Daumier collectors are familiar with „LES BLANCHISSEURS“ (DR39), today one of the most cherished lithographs by Daumier.
Back to Index Good news for the Daumier community: Daumier’s original lacquered clay of King Louis XIV has reappeared on the Art market after 47 years of hiding in the apartment of a French Art dealer in New York known to the Daumier Register. “LES BLANCHISSEURS” (DR39) was deposited with the censor as black and white print (without text au verso) on August 22, 1832.