ALL: Master Collection List




Artist Dates



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Date of Work





Initialed in the lithographic stone.


11 1/2"


11 1/2"


Art & Design Study Collection


Stored: FF_006_T


UND Art Collections Repository

Artist Bio

Honoré Daumier was a prolific painter, printmaker and caricaturist born in 1808 in Marseille, France. In 1822 Daumier studied under Alexandre Lenoir, an artist and archaeologist that was dedicated to saving French monuments during the French Revolution. One year later he went on to attend the Académie Suisse. His works are best known for commenting and critiquing on the 19th century social and political life in France. Honoré Daumier's works can be found at the Louvre, the Metropolitan Museum of Art, the Rijksmuseum, and several other prominent collections internationally. The University of North Dakota holds more than 1600 works by Daumier, the vast majority of which are part of the Lilly Jacobson Collection, which can be accessed here:

Aside from making powerful politically-charged images that reflected his pro-republican views, Daumier satirized lawyers, doctors, businessmen, professors, and lifestyles of the bourgeoisie. Although the inscriptions that accompany Daumier’s lithographs were not written by him, one might assume they mostly conveyed the spirit of the artist’s intent behind his images.

Additional Information


Published in Le Charivari

Originl text: Quelle nouvelle dans le journal?....

- On dit qu'on a vu auprès de Rouen trois crocodiles qui remontaient la seine...

- Fichtre!... ils sont peut-être arrivés ici à Paris à l'heure qu'il est.... et moi qui allais me mettre à l'eau!.....

English: - Any news in the papers?

- They just said they have seen some crocodiles in Rouen swimming up the Seine!

- Damn it... they surely must have arrived in Paris already... and I was just about to go swimming.

Lithograph, published in Le Charivari, initialed in the lithographic stone

Purchased with funds from the Myers Foundations

University Art Collections: Art & Design Study Collection

While this image could be interpreted as a satire on the hazards of swimming in the Seine, it is also lambasting Parisian newspapers, which were infamous for printing “canards,” or false news stories, as a way of maintaining readership on slow news days.


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