“St. Cloud – Vue des Cascades,” Isidore-Laurent Deroy (French, 1797–1886), c. 1840s, hand-colored steel-engraved lithograph from France en Miniature

$650.00

“St. Cloud – Vue des Cascades,” 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, 10 × 6.5 in., with publisher and printer imprints present.

This refined 19th-century hand-colored steel-engraved lithograph of the Cascades at Saint-Cloud, created by French illustrator Isidore-Laurent Deroy and printed by the acclaimed Parisian atelier Lemercier & Cie, depicts one of the most celebrated garden features of the Domaine de Saint-Cloud before its destruction in 1870. Part of the collectible France en Miniature series, the print features lively figures, elegant fountains, and exquisite architectural detailing—ideal for collectors of antique French prints, garden history art, Grand Tour works, and 19th-century topographical views.

Artwork Description

This beautifully rendered steel-engraved and hand-colored lithograph presents an animated and elegant view of the Cascades of Saint-Cloud, once among the most admired water features of Europe. Deroy’s elevated vantage point captures the layered terraces, sculptural niches, theatrical staircases, and the rhythmic movement of water jets that defined the famed gardens of the Château de Saint-Cloud.

In the foreground, finely dressed visitors socialize, stroll, and admire the fountains—reflecting the 19th-century Parisian tradition of promenading in royal parks. The hand-applied color introduces soft greens, ochres, and blues, enlivening the manicured hedges, expansive trees, and animated water effects. The precision of the steel engraving delivers architectural clarity while the hand coloring adds atmospheric charm.

The imprint includes:

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

  • “Paris E. Morier, 5 rue du Pont de Lodi” — publisher.

  • “Imp. Lemercier, Paris” — one of the premier print studios of 19th-century France.

As the Château and much of the gardens at Saint-Cloud were destroyed in 1870, Deroy’s print is not only aesthetically delightful but historically significant, preserving a view that no longer exists. This work is a classic example of 19th-century French topographical engraving at its highest technical level.

Biographies

ISIDORE-LAURENT DEROY (1797–1886) – Artist

Born in Paris in 1797, Isidore-Laurent Deroy became a major figure in 19th-century topographical and architectural illustration. The son of the painter and printmaker Achille Deroy, he was immersed in artistic training from an early age and developed a mastery of drawing, watercolor, and lithographic translation. He worked during a period when France was actively documenting its national monuments, landscapes, and public works as part of a cultural effort to educate and celebrate national identity.

Deroy contributed illustrations to prominent publishers, travel volumes, architectural atlases, and city-view series—most notably France en Miniature. His works are admired for their elegant draftsmanship, clarity of line, and sensitivity to atmosphere. He collaborated frequently with Lemercier, allowing his drawings to be reproduced with exceptional technical finesse. Deroy also exhibited in the Paris Salon and his works appear in institutional collections throughout France. His prints remain valued for their historical accuracy and refined aesthetic.

LEMERCIER & CIE (Printer, Paris)

Lemercier & Cie, founded by Rose-Joseph Lemercier, became one of Europe’s greatest lithographic establishments during the 19th century. The studio pioneered advancements in chromolithography, architectural plate printing, and high-precision steel engraving transfer. Working with leading artists, government agencies, and major publishers, Lemercier produced some of the finest illustrated books and engraved views of the century. Their imprint is a hallmark of technical excellence.

E. MORIER (Publisher, Paris)

Operating from 5 rue du Pont de Lodi, E. Morier specialized in illustrated travel plates, architectural engravings, and cultural prints aimed at the burgeoning middle-class market for educational and decorative imagery. Morier’s collaboration with Deroy and Lemercier resulted in exquisitely crafted plates that remain sought after by collectors of French topographical art.

Isidore-Laurent Deroy (1797–1886), “St. Cloud – Vue des Cascades,” c. 1840s. Steel-engraved, hand-colored lithograph from France en Miniature, 10 × 6.5 in. Printed by Lemercier & Cie, published by E. Morier. Very good antique condition; strong color and fine detail.

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

Artist: Isidore-Laurent Deroy (1797–1886)
Title:St. Cloud – Vue des Cascades
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, Paris
Date: c. 1840s
Dimensions: 10 × 6.5 inches
Authentication: Original 19th-century impression; publisher and printer imprints present; consistent with known techniques and materials of Deroy and Lemercier.
Current Owner: Artfind Gallery, Washington, DC

This document certifies the authenticity and period production of the artwork described above.

Provenance Chain (Collector Format)

  1. Publisher: E. Morier, Paris (c. 1840s)

  2. Private European Collection

  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…

“St. Cloud – Vue des Cascades,” 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, 10 × 6.5 in., with publisher and printer imprints present.

This refined 19th-century hand-colored steel-engraved lithograph of the Cascades at Saint-Cloud, created by French illustrator Isidore-Laurent Deroy and printed by the acclaimed Parisian atelier Lemercier & Cie, depicts one of the most celebrated garden features of the Domaine de Saint-Cloud before its destruction in 1870. Part of the collectible France en Miniature series, the print features lively figures, elegant fountains, and exquisite architectural detailing—ideal for collectors of antique French prints, garden history art, Grand Tour works, and 19th-century topographical views.

Artwork Description

This beautifully rendered steel-engraved and hand-colored lithograph presents an animated and elegant view of the Cascades of Saint-Cloud, once among the most admired water features of Europe. Deroy’s elevated vantage point captures the layered terraces, sculptural niches, theatrical staircases, and the rhythmic movement of water jets that defined the famed gardens of the Château de Saint-Cloud.

In the foreground, finely dressed visitors socialize, stroll, and admire the fountains—reflecting the 19th-century Parisian tradition of promenading in royal parks. The hand-applied color introduces soft greens, ochres, and blues, enlivening the manicured hedges, expansive trees, and animated water effects. The precision of the steel engraving delivers architectural clarity while the hand coloring adds atmospheric charm.

The imprint includes:

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

  • “Paris E. Morier, 5 rue du Pont de Lodi” — publisher.

  • “Imp. Lemercier, Paris” — one of the premier print studios of 19th-century France.

As the Château and much of the gardens at Saint-Cloud were destroyed in 1870, Deroy’s print is not only aesthetically delightful but historically significant, preserving a view that no longer exists. This work is a classic example of 19th-century French topographical engraving at its highest technical level.

Biographies

ISIDORE-LAURENT DEROY (1797–1886) – Artist

Born in Paris in 1797, Isidore-Laurent Deroy became a major figure in 19th-century topographical and architectural illustration. The son of the painter and printmaker Achille Deroy, he was immersed in artistic training from an early age and developed a mastery of drawing, watercolor, and lithographic translation. He worked during a period when France was actively documenting its national monuments, landscapes, and public works as part of a cultural effort to educate and celebrate national identity.

Deroy contributed illustrations to prominent publishers, travel volumes, architectural atlases, and city-view series—most notably France en Miniature. His works are admired for their elegant draftsmanship, clarity of line, and sensitivity to atmosphere. He collaborated frequently with Lemercier, allowing his drawings to be reproduced with exceptional technical finesse. Deroy also exhibited in the Paris Salon and his works appear in institutional collections throughout France. His prints remain valued for their historical accuracy and refined aesthetic.

LEMERCIER & CIE (Printer, Paris)

Lemercier & Cie, founded by Rose-Joseph Lemercier, became one of Europe’s greatest lithographic establishments during the 19th century. The studio pioneered advancements in chromolithography, architectural plate printing, and high-precision steel engraving transfer. Working with leading artists, government agencies, and major publishers, Lemercier produced some of the finest illustrated books and engraved views of the century. Their imprint is a hallmark of technical excellence.

E. MORIER (Publisher, Paris)

Operating from 5 rue du Pont de Lodi, E. Morier specialized in illustrated travel plates, architectural engravings, and cultural prints aimed at the burgeoning middle-class market for educational and decorative imagery. Morier’s collaboration with Deroy and Lemercier resulted in exquisitely crafted plates that remain sought after by collectors of French topographical art.

Isidore-Laurent Deroy (1797–1886), “St. Cloud – Vue des Cascades,” c. 1840s. Steel-engraved, hand-colored lithograph from France en Miniature, 10 × 6.5 in. Printed by Lemercier & Cie, published by E. Morier. Very good antique condition; strong color and fine detail.

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

Artist: Isidore-Laurent Deroy (1797–1886)
Title:St. Cloud – Vue des Cascades
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, Paris
Date: c. 1840s
Dimensions: 10 × 6.5 inches
Authentication: Original 19th-century impression; publisher and printer imprints present; consistent with known techniques and materials of Deroy and Lemercier.
Current Owner: Artfind Gallery, Washington, DC

This document certifies the authenticity and period production of the artwork described above.

Provenance Chain (Collector Format)

  1. Publisher: E. Morier, Paris (c. 1840s)

  2. Private European Collection

  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…

“ST CLOUD” - “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.