“Paris – Colonne de Juillet,” Isidore-Laurent Deroy (French, 1797–1886), c. 1840s, hand-colored steel-engraved lithograph from France en Miniature

$650.00

“Paris – Colonne de Juillet,” Isidore-Laurent Deroy (French, 1797–1886), c. 1840s, hand-colored steel-engraved lithograph from France en Miniature, printed by Lemercier & Cie and published by E. Morier, approx. 10 × 6.5 in., with period imprints as issued.

This beautifully hand-colored 19th-century steel-engraved lithograph of the Colonne de Juillet in Paris, created by noted French artist Isidore-Laurent Deroy and printed by the renowned atelier Lemercier & Cie, forms part of the collectible France en Miniature series published by E. Morier. The print captures the lively urban activity surrounding the historic July Column at Place de la Bastille, making it highly appealing to collectors of Paris history, architectural engravings, French lithography, and 19th-century topographical views.

Artwork Description

This fine steel-engraved lithograph offers a historically rich view of the Colonne de Juillet (July Column) in Place de la Bastille—one of Paris’s most symbolic monuments, erected to commemorate the Revolution of 1830. Deroy’s composition centers the towering Corinthian bronze column topped with the gilded “Génie de la Liberté,” framed by Haussmann-era Parisian buildings, bustling carriage traffic, and elegantly dressed Parisians.

The print’s hand-applied watercolor highlights the delicate tonal shifts of the sky, the glimmering surfaces of the monument, and the warm textures of surrounding architecture and trees. The engraving demonstrates Deroy’s characteristic clarity and precision, especially in the articulation of ornamental bronze details and urban streetscape.

Imprint lines include:

  • “Dess. et lith. d’après nature par Deroy” — indicating Deroy both drew and lithographed the composition from life.

  • “Paris E. Morier, 5 rue du Pont de Lodi” — identifying the publisher of the France en Miniature series.

  • “Imp. Lemercier, Paris” — referencing the premier lithographic studio of 19th-century France.

Designed during a period of growing national pride and urban modernization, this print serves as both an artistic work and a documentary record of Paris before large-scale restructuring later in the century. The hand coloring preserves its atmospheric charm while the engraving’s meticulous detail embodies the technical sophistication of mid-19th-century French printmaking.

Artist, Printer & Publisher Biographies

ISIDORE-LAURENT DEROY (1797–1886) – Artist

Isidore-Laurent Deroy was a distinguished French painter, lithographer, and draughtsman known for his precise architectural and topographical views. Born in Paris, he developed his career during the flourishing of lithography as both an artistic and documentary medium. Deroy created numerous illustrations for travel books, atlases, and city-view publications, capturing urban, architectural, and landscape subjects with exceptional detail and clarity. His long affiliation with major printers—particularly Lemercier & Cie—allowed his drawings to be reproduced at the highest technical standard. Deroy exhibited in the Salon, and his works remain valued today for their historical accuracy and elegant composition.

LEMERCIER & CIE (Printer, Paris)

The atelier of Lemercier & Cie, founded by Rose-Joseph Lemercier, was among the most respected lithographic houses of 19th-century Europe. Renowned for its technical innovation and meticulous craftsmanship, Lemercier printed chromolithographs, architectural plates, illustrated books, and panoramic city views for the top artists and publishers of the era. Their imprint indicates superior printing quality and faithful reproduction of artistic detail.

E. MORIER (Publisher, Paris)

Operating from 5 rue du Pont de Lodi, E. Morier specialized in fine topographical, architectural, and educational prints. Their collaboration with Deroy and Lemercier produced the France en Miniature series, one of the most refined collections of engraved views documenting France’s urban and monumental heritage.

Isidore-Laurent Deroy (1797–1886), “Paris – Colonne de Juillet,” c. 1840s. Hand-colored steel-engraved lithograph from the France en Miniature series. Printed by Lemercier & Cie and published by E. Morier. Very good antique condition; crisp detail and strong period coloring.

CERTIFICATE OF VALUE & AUTHENTICATION
For Fine Art Appraisal / Insurance / Gallery Documentation

Artist: Isidore-Laurent Deroy (1797–1886)
Title: Paris – Colonne de Juillet
Series: France en Miniature
Medium: Steel-engraved lithograph with period hand coloring
Printer: Lemercier & Cie, Paris
Publisher: E. Morier, 5 rue du Pont de Lodi
Date: c. 1840s
Dimensions: Approx. 10 × 6.5 inches
Condition: Very good antique condition; clear plate impression and well-preserved hand coloring
Current Owner: Artfind Gallery, Washington, DC
Authentication: This is a confirmed 19th-century impression consistent with known Deroy and Lemercier production characteristics.

Provenance Chain (Collector Format)

  1. Published by E. Morier, Paris (c. 1840s)

  2. Private Collection, Europe

  3. Acquired in Europe (21st century)

  4. Current Owner: Artfind Gallery, Washington, DC

These Hand-Coloured Steel Engraved historic lithograph prints  are noted for their precise printing and rich colouring and are most sought after. The designs were drawn by Isidore Laurent Deroy and printed from steel engraved plates by Lemercier & Cie and published by E Morier - (See more at the British Museum). Beautiful topographic representations of historical French monuments. A Great piece for any decor - give your space a unique story to tell…

“Paris – Colonne de Juillet,” Isidore-Laurent Deroy (French, 1797–1886), c. 1840s, hand-colored steel-engraved lithograph from France en Miniature, printed by Lemercier & Cie and published by E. Morier, approx. 10 × 6.5 in., with period imprints as issued.

This beautifully hand-colored 19th-century steel-engraved lithograph of the Colonne de Juillet in Paris, created by noted French artist Isidore-Laurent Deroy and printed by the renowned atelier Lemercier & Cie, forms part of the collectible France en Miniature series published by E. Morier. The print captures the lively urban activity surrounding the historic July Column at Place de la Bastille, making it highly appealing to collectors of Paris history, architectural engravings, French lithography, and 19th-century topographical views.

Artwork Description

This fine steel-engraved lithograph offers a historically rich view of the Colonne de Juillet (July Column) in Place de la Bastille—one of Paris’s most symbolic monuments, erected to commemorate the Revolution of 1830. Deroy’s composition centers the towering Corinthian bronze column topped with the gilded “Génie de la Liberté,” framed by Haussmann-era Parisian buildings, bustling carriage traffic, and elegantly dressed Parisians.

The print’s hand-applied watercolor highlights the delicate tonal shifts of the sky, the glimmering surfaces of the monument, and the warm textures of surrounding architecture and trees. The engraving demonstrates Deroy’s characteristic clarity and precision, especially in the articulation of ornamental bronze details and urban streetscape.

Imprint lines include:

  • “Dess. et lith. d’après nature par Deroy” — indicating Deroy both drew and lithographed the composition from life.

  • “Paris E. Morier, 5 rue du Pont de Lodi” — identifying the publisher of the France en Miniature series.

  • “Imp. Lemercier, Paris” — referencing the premier lithographic studio of 19th-century France.

Designed during a period of growing national pride and urban modernization, this print serves as both an artistic work and a documentary record of Paris before large-scale restructuring later in the century. The hand coloring preserves its atmospheric charm while the engraving’s meticulous detail embodies the technical sophistication of mid-19th-century French printmaking.

Artist, Printer & Publisher Biographies

ISIDORE-LAURENT DEROY (1797–1886) – Artist

Isidore-Laurent Deroy was a distinguished French painter, lithographer, and draughtsman known for his precise architectural and topographical views. Born in Paris, he developed his career during the flourishing of lithography as both an artistic and documentary medium. Deroy created numerous illustrations for travel books, atlases, and city-view publications, capturing urban, architectural, and landscape subjects with exceptional detail and clarity. His long affiliation with major printers—particularly Lemercier & Cie—allowed his drawings to be reproduced at the highest technical standard. Deroy exhibited in the Salon, and his works remain valued today for their historical accuracy and elegant composition.

LEMERCIER & CIE (Printer, Paris)

The atelier of Lemercier & Cie, founded by Rose-Joseph Lemercier, was among the most respected lithographic houses of 19th-century Europe. Renowned for its technical innovation and meticulous craftsmanship, Lemercier printed chromolithographs, architectural plates, illustrated books, and panoramic city views for the top artists and publishers of the era. Their imprint indicates superior printing quality and faithful reproduction of artistic detail.

E. MORIER (Publisher, Paris)

Operating from 5 rue du Pont de Lodi, E. Morier specialized in fine topographical, architectural, and educational prints. Their collaboration with Deroy and Lemercier produced the France en Miniature series, one of the most refined collections of engraved views documenting France’s urban and monumental heritage.

Isidore-Laurent Deroy (1797–1886), “Paris – Colonne de Juillet,” c. 1840s. Hand-colored steel-engraved lithograph from the France en Miniature series. Printed by Lemercier & Cie and published by E. Morier. Very good antique condition; crisp detail and strong period coloring.

CERTIFICATE OF VALUE & AUTHENTICATION
For Fine Art Appraisal / Insurance / Gallery Documentation

Artist: Isidore-Laurent Deroy (1797–1886)
Title: Paris – Colonne de Juillet
Series: France en Miniature
Medium: Steel-engraved lithograph with period hand coloring
Printer: Lemercier & Cie, Paris
Publisher: E. Morier, 5 rue du Pont de Lodi
Date: c. 1840s
Dimensions: Approx. 10 × 6.5 inches
Condition: Very good antique condition; clear plate impression and well-preserved hand coloring
Current Owner: Artfind Gallery, Washington, DC
Authentication: This is a confirmed 19th-century impression consistent with known Deroy and Lemercier production characteristics.

Provenance Chain (Collector Format)

  1. Published by E. Morier, Paris (c. 1840s)

  2. Private Collection, Europe

  3. Acquired in Europe (21st century)

  4. Current Owner: Artfind Gallery, Washington, DC

These Hand-Coloured Steel Engraved historic lithograph prints  are noted for their precise printing and rich colouring and are most sought after. The designs were drawn by Isidore Laurent Deroy and printed from steel engraved plates by Lemercier & Cie and published by E Morier - (See more at the British Museum). Beautiful topographic representations of historical French monuments. A Great piece for any decor - give your space a unique story to tell…

“PARIS COLONNE DE JUILLETT” - “France En Miniature”

ISIDORE LAURENT DEROY (Artist); Lemercier & Cie (Printer); E Morier (Publisher) - Steel engraved Lithograph, Hand Colored

10 x 6.5 inches   

From the retired Mitch Moore Gallery Inc, NYC. Unmatted, never framed or displayed. Image area is in very good frameable vintage condition. 

In the first half of the 19th century, color images were usually printed in black and white and then colored by hand.

Steel Engravings

Another of the intaglio printmaking techniques, steel engraving produced illustrations based on steel, rather than copper.  The method was first introduced in 1792 by American physicist, Jacob Perkins, for the printing of banknotes, and was later adapted in England by Charles Warren for Thomas Campbell’s 1820 poem ‘Pleasure of Hope’, which contained the first published plates engraved on steel.

Until this time, copper had been the preferred metal for engraving.  The plates were soft, simple to carve, and were capable of producing a few hundred prints before re-engraving was required to sharpen the image.  These characteristics made copper an attractive medium, particularly for mapmakers who frequently needed to update their prints when new land was discovered or existing land changed hands.  By the 1820s, however, a shift towards steel for engravings began to emerge.  Steel was cheaper than copper and the engraved plates produced much sharper and more distinct lines.  The plates were also harder-wearing, resulting in thousands of prints before re-engraving became necessary.  This hard nature allowed for much finer detail than copper and, for the first time, it was possible to achieve a beautiful pale grey in the final illustration.  With its shimmering appearance, the steel engraving became instantly recognizable.

Though it looked more refined than its copperplate counterpart, the steel engraving was actually created in much the same way.  The steel plate was engraved with a burin that produced thin, furrowed lines which, in turn, left behind a ‘burr’.  This burr was then scraped away so as not to introduce unsightly spots into the final print.  This process was not easy for the engraver.  The steel was so hard that many turned to etching the plate instead; acid quickly created image outlines in the plate where ‘ground’ had been removed with an etching needle.  Once the engraver was satisfied with their work, the plate’s surface was inked and wiped in a circular motion to push that ink in the incised lines.  A piece of slightly dampened paper was then placed on top of the plate and the whole pressed with sufficient force to produce the final print.  As in copperplate engraving, a plate mark or indentation in the paper remained visible around the edges of the illustration.

In its heyday of the 1820s-1840s, steel engraving was responsible for some of the most superb illustrations.  Steel allowed engravers to push the craft to its absolute limits; in some prints it was only possible to see the individual lines with a magnifying glass.  Some illustrations were so authentic, so real, that it was not impossible for the reader, particularly of travel books, to actually imagine themselves there.