French Satirical Honore Daumier Lithograph. AMI DE PERSONNE with Authentication. Caricature – 20th Century, France. Bertauts, Paris'; “Ami De Personne” (Nobody’s Friend). 15″ X 132″; initialed in stone with authentication label verso. FRONT INSCRIPTION: Souvenir d’Artistes 311 – En v’la un, il pourrait bien etre malheureux comme les pierres, que je lui donnerais pas por un sou d’ovrage. Honore Daumier Original Lithograph Nobody’s Friend. The bottom of the print reads: en. V’ la’ un, il pourrait bien etre malheureux comme les pierres, que je lui donmerais pas pour un sou d’ouvrage. He could be unhappy like the stones, which I would not give him for a penny of work. Print is in excellent condition. Comes with a wooden frame. The frame measures 15″ X 13″. Print has some fading on the sides. Print is so well made. The print doers not showing any dots or pixel, like cheap or even expensive print show. Colors are very bright and vivid. At first I thought it was an ink drawing. I sell ink drawings and those look the same as this one. There is no pixel or dot mark on this print. This piece has personalized wording. The Parisian public rightly admired Honoré Daumier as the newspaper. Who so perceptively skewered their daily lives, but they never accepted him as a painter. Daumier died blind and a pauper without ever having received a painting commission. A glazier’s son who moved to Paris at age eight, Daumier spent his time after apprentice jobs copying works in the. When a museum official persuaded his parents to allow him to become an artist, he began his artistic training, mastering the new medium of. For his biting depictions of Emperor Louis-Philippe in the weekly journal. In 1832, Daumier spent six months in prison and began painting. After the state suppressed. In 1835, Daumier joined. And turned to social satire. He ridiculed the bourgeoisie and the legal system and unsentimentally showed the misery of the masses with his crayon, much as Charles Dickens observed London in words. Daumier’s paintings were made mostly between 1855 and 1870, when his work for. Was slow and before he lost his sight. His nearly four thousand lithographs, in addition to his paintings, drawings, watercolors, and sculptures comprise the largest visual legacy of any artist before 1900.