The armed hunter
On the left, the hunter stands behind the wall with his gun upright against his shoulder and a stiff, wary look on his face.

“This lithograph by Honoré Daumier offers a humorous yet pointed critique of bourgeois vanity, showing a hunter's exaggerated pride over a small partridge. It's a classic example of Daumier's ability to capture human foibles with wit and sharp observation.”
In this lithograph, a hunter stands proudly over his kill, a partridge, his dog at his side. The title, "Ce perdreau est mort sur mon terrain..." (This partridge died on my land...), hints at the self-importance and territoriality of the Parisian bourgeoisie, a frequent target of Honoré Daumier's satire. The scene, published in the humorous newspaper Le Charivari in 1857, captures a moment of quiet triumph for the hunter, whose exaggerated posture and stern expression underscore the absurdity of his pride. Daumier often used such everyday scenarios to comment on broader societal traits, here poking fun at vanity and ownership. The stark contrasts of light and shadow, typical of lithography, emphasize the figures and their immediate surroundings, drawing the viewer's eye to the hunter's satisfied gaze and the small, lifeless bird.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
On the left, the hunter stands behind the wall with his gun upright against his shoulder and a stiff, wary look on his face.
The farmer on the right holds his nose with a splayed hand, a gesture that turns his scorn into the picture's punchline.
Between the two men, a dog's head peeks over the top of the wall. It is easy to miss, and it suggests the dog may have fetched the bird.
Heavy cabbages fill the foreground, showing what the farmer protects. The hunter's trespass costs him real crops.
The caption below gives the farmer's line: the partridge died on his land, so it will be buried in his stomach. The joke only lands once you read it.
The full narration walks you through Ce perdreau est mort sur mon terrain..., from Émotions de Chasse, published in Le Charivari, October 10, 1857 — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
C'est peut-être bon...mais c'est égal..., from Les Hippophages, published in Le Charivari, October 23, 1856
1856 · The Metropolitan Museum of Art
Adèlaïde...Il me semble que je vois...la comète! (Adelaide...I think I see the comet!), from Croquis Parisiens, published in Le Charivari, February 18, 1857
1857 · The Metropolitan Museum of Art
Archimède riant des efforts impuissants que font les Anglais pour mettre à flot le Leviathan, from Actualités, published in Le Charivari, December 5, 1857
1857 · The Metropolitan Museum of Art
Ayant enfin trouvé..., from Actualités, published in Le Charivari, August 14, 1857
1857 · The Metropolitan Museum of Art
Ce qui nous prouve comme quoi il est... inutile..., from Croquis Dramatiques, published in Le Charivari, May 23, 1857
1857 · The Metropolitan Museum of Art
Absinthe: The first glass, the sixth glass, from 'The Chinese of Paris," published in Le Charivari, December 22, 1863
1863 · The Metropolitan Museum of Art
A happy evening party in Clichy, from 'News of the day,' published in Le Charivari, March 16, 1865
1865 · The Metropolitan Museum of Art
A sudden awakening, from 'Parisian sketches,' published in Le Charivari, November 1, 1865
1865 · The Metropolitan Museum of Art
Beyond Daumier and Naturalism: works from the same years.
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Same era · 1840s–1870s
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Same era · 1840s–1870s
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Pierre-Auguste Renoir · 1864 · Foundation E.G. Bührle Collection
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Édouard Manet · 1864 · Art Institute of Chicago