Timeless Intaglio

This is a remarkable hand-colored folio sized lithograph entitled "Dendrochelidon Mystaceus" (Bearded Tree-Swift) by John Gould from his monograph "The Birds of Great Britain", publi...

This is a remarkable hand-colored folio sized lithograph entitled "Euplocomus Vielloti" (Viellot's Crested Fireback) by John Gould from his monograph "The Birds of Great Asia", publi...

This is a hand-colored folio sized lithograph entitled "Gallinago Major" (Great Snipe) by John Gould from his monograph "The Birds of Great Britain", published in London in 1862-1879...

This is a hand-colored folio sized lithograph entitled "Gallinago Scolopacinus" (Common Snipe) by John Gould from his monograph "The Birds of Great Britain", published in London in 1...

This is a hand-colored folio-sized lithograph entitled "Nycticorax Griseus" (Night-Heron) by John Gould from his monograph "The Birds of Great Britain...

This is a hand-colored folio-sized lithograph entitled "Otidiphaps Nobilis" (Pheasant Pigeon) by John Gould from his monograph "The Birds of Asia", published in London in 1862-1879. The print, which was drawn by Gould and H. C. Richter and lithographed by Walter, depicts two Pheasant Pigeon birds...

This is a hand-colored folio-sized lithograph entitled "Pitta Atricapilla (Black-headed Pitta) by John Gould, which is plate 19 from his monograph "The Birds of Asia", published in L...

This is a hand-colored folio-sized lithograph entitled "Muscipeta Incei" ( (Ince's Paradise Flycatcher)) by John Gould, which is plate 19 from his monograph "The Birds of Great Brita...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "a. Pisum Minus sine Putamine, b. Pisa Indicum". It is plate 819 in Weinma...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "Pisum Mapis flore pupureo". It is plate 818 in Weinmann's monumental publ...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "Caryophyllus Anglicus flore". It is plate 326 in Weinmann's monumental pu...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "Cereus Erectus Altissimo Surinamensis (Cereus Cactus Plant)". It is plate...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "Stramonia Aegyptiaca foetida semine pallido flore albo duplici triplicive...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "Digitalis rubra floribus albis maculatis. Digitalis angustifolia flore fe...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Mespilus Aronia Azarolie B. Mespilus Vulgaris Neflier". It is plate 7...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Lathyrus Major Peremis Richern B. Lathyrus Narbonensis Flore Albescen...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Geniculata Wieder Kraief, B. Genipa seu Ganipaba". It is plate 531 in...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Esula seu Tithyinalus Africanus SpinosusCera Effigie, B. Esula seu Ti...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Convolvulus Major Folio Subrotundo Purpureg Albo, B. Convolvulus Major...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Bardana Major Folio Non Serrato, Napoliere, B. Bdellifera Arbor, de Qu...

This is a hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741), entitled "A. Alcea Folio Lacinato, B. Alcea Vesicaria, C. Alchimilla minima, D. ...

This is a large original hand-colored aquatint etching entitled "The Mountains of Samayut" (Ethiopia) drawn by Henry Salt and engraved by D. Havell. It was ...

This beautiful, original hand-colored orchid lithograph entitled "Lycaste Harrisoniae Eburnea" Orchids by John Nugent Fitch is plate 100 in Robert Warner's publication 'The Orchid Al...

This is a hand-colored copper plate engraving entitled "Chamemelum Romanum flore simplici (Chamomile), Cincus Sativus (False saffron, Safflower), Chamaemelum Romanum Flore (Roman Chamomile)", depicting flowering Chamomile, Safflower and Roman Chamomile plants respectively from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. This beautiful colorful engraving is printed on thin laid chain-linked paper with wide margins. There are a few small spots and some irregularity of the lower edge. There is some bleed-through of text from the verso. The print is otherwise in excellent condition with striking hand-coloring. The sheet measures 22.25" high and 17.38" wide. Basilius Besler (1561–1629) was an apothecary and botanist. He was curator of the Willibaldsburg Castle garden of Johann Konrad von Gemmingen, prince bishop...

This is a hand-colored copper-plate engraving entitled "Gelsiminum Catalonicum, Mairana Latifollia, Euphasiaramosa Pratensis Flore Albo, Euphasia Minus Ramosa Flore Excereruleo Purpurascente", depicting flowering Jasmine, Mountain Laurel...

"The Doorway of Baalbec" is a 19th century full folio sized duotone lithograph, representing plate 81 in the Egypt and Nubia volumes of David Roberts’ large folio edition, published ...

"Entrance to the Citadel of Cairo" is a 19th century full folio sized duotone lithograph from the Egypt and Nubia volumes of David Roberts’ large folio edi...

This rare original John James Audubon hand-colored royal octavo lithograph is entitled "The Jaguar", No. 21, Plate CI, 101 from Audubon's "Quadrupeds of North America". It was drawn ...

A 17th century engraving entitled "The Card Game" by old master artist Alexander de Voet after a painting by Cornelis de Vos, created in 1632. The pain...

This is an original John James Audubon hand-colored royal octavo lithograph entitled "The Cougar, Male", No. 20, Plate XCVI, 96 from Audubon's "Quadrupeds of North America". It was d...

This is a hand-colored copperplate engraving entitled "Tulipa viridiscoloris, Fritillaria iuncifolns, Allium Vrsinum" depicting flowering tulip, fritillary and wild garlic plants fro...

This hand-colored sea chart is entitled "Edinburgh Firth" from "Great Britain's Coasting Pilot. Being a New and Exact Survey of the Sea-Coast of England" by Captain Greenville Collin...

This Winslow Homer wood engraving entitled "On the Beach at Long Branch, The Children's Hour", was published in Harper's Weekly in the August 15, 1874 ed...

This 18th century hand-colored copperplate celestial map by Johann Doppelmayr entitled "Theoria Planetarum Primariorum In qua ipsorum motus in Copernican...

This is a framed 16th century map and city view of Canterbury, England entitled "Cantuarbury" by Braun & Hogenburg, from their famous landmark atlas of city views 'Civitates Orbis Terrarum' (Atlas of the Cities of the World), which was first published in Cologne, Germany in 1572. The map of Canterbury was first published in 1588. It depicts a detailed birdseye view of the completely walled and fortified city of Canterbury, with its cathedral the most prominent feature. The coat of arms of England, Canterbury, and the Archbishop of Canterbury are included. This beautifully hand-colored map is presented in a gold-colored wood frame with a beaded inner trim and a paprika-colored mat that highlights details in the map. The frame measures 18.75" high by 22.25" wide by 0.875" deep. There is a central vertical fold, as issued. The map is in excellent condition. Braun and Hogenberg's 'The Civitates Orbis Terrarum' was the second atlas of maps ever published and the first atlas of cities and towns of the world. It is one of the most important books published in the 16th century. Most of the maps in the atlas were engraved by Franz Hogenberg and the text, with its descriptions of the history and additional factual information of the cities, was written by a team of writers and edited by Georg Braun. The work contained 546 bird-eye views and map views of cities and towns from all over the world. It gave graphic representation of the main features of the illustrated cities and towns, including the buildings and streets. Although the ordinary buildings are stylized, the principal buildings are reproduced from actual drawings created on location. The principal landmarks and streets can still be recognized today. In addition, the maps often include the heraldic arms of the city, the nature of the surrounding countryside, the important rivers, streams and harbors, even depicting stone bridges, wooden pontoons, flat-bottomed ferries, ships and working boats, wharves and jetties, as well as land-based activities, including horsemen, pedestrians, wagons, coaches, and palanquins. Small vignettes are often included which illustrate the trade, occupations and habits of the local inhabitants, such as agriculture, paper-making and textiles, as well as local forms of punishment, such as gibbets, wheels, floggings etc. Large figures dressed in their local costume are often presented out of proportion in the foreground. The aim of the authors was to give as much information as possible in a pleasing visual form. They succeeded in creating maps that were both informative and decorative works of art. The atlas is a wonderful glimpse of life in medieval Europe. Georg Braun (1541-1622) was German Catholic...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta dell'interno dell'Anfiteatro Flavio detto il Colosseo" (View of the interior of the Flavian Amph...

This is a hand-colored folio sized lithograph entitled "Grypus Naevius" (Saw-bill Hummingbird with Nest & Eggs) by John Gould, published in his "A Monograph of the Trochilidae, or Family of Humming-birds", published in London in 1850. The print, which was drawn by Gould and Henry Richter and lithographed by Hullmandel and Walton, depicts three black, brown and peach-colored hummingbirds about a nest, containing at least two eggs. The beautiful soft grey-green foliage includes a white, soft pink and cranberry-colored flower. This beautiful Gould hand-colored hummingbird lithograph is augmented with iridescent gum-arabic paint. It is in excellent condition. The original text page is included, which has extensive foxing, as lower quality paper was used for the text pages. There are several other unframed Gould hummingbird lithographs available via our 1stdibs storefront. Two or more of these would make an attractive display grouping. A discount is available for purchase of a set depending on the number. These additional Gould hummingbirds...

The four plates in this "Four Times of the Day" set were created utilizing both engraving and etching techniques by William Hogarth in 1738. Hogarth's original copper plates were refurbished where needed by James Heath and these engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's original copper plates were used for printing. Most were melted down during World War I for the construction of bombs. Printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. The inscription below each print reads "Invented Painted & Engraved by Wm. Hogarth & Publish'd March 25. 1738 according to Act of Parliament". These large folio sized "Four Times of the Day" engravings/etchings are presented in complex gold-colored wood frames with black bands and scalloped gold inner trim. A majority of each thick impressive frame is covered with glass applied near the outer edge. Each frame measures 25.75" high, 22.25" wide and 1.88" deep. There are a few small dents in the edge of these frames, which are otherwise in very good condition. "Morning" has two focal areas of discoloration in the upper margin and some discoloration in the right margin, a short tear in the left margin and a short tear or crease in the right margin. "Noon" has a spot in the upper margin that extends into the upper image, but it is otherwise in very good condition. "Evening" has a faint spot in the upper margin, but it is otherwise in very good condition. "Night" is in excellent condition. The "Four Times of the Day" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Victoria and Albert Museum. Through this series Hogarth is portraying early 18th century London street life at "Four Times of the Day". His characters are exhibiting their personalities, quircks, strange activities, but he also wants to draw attention the disparities between the wealthy aristocracy and the common working class. Plate 1, "Morning" depicts morning in Covent Garden in the winter in front of Tom King...

This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Kish-Ke-Kosh, Fox Brave", lithographed by J. T. Bowen after a painting by Charles Bird King and published by Rice and Hart & Co. in Philadelphia in 1848. Kish-Ke-Kosh, means 'The Man with One Leg' or 'He with a Cut Hoof'. He had a reputation for being a fierce warrior. He was a representative of the delegation of Sioux and Fox and Sauk chiefs who attended the gathering with the War Department in 1837. The Fox tribe lived in the Great Lakes region of the United States and merged with the Sauk tribe. This original McKenney and Hall hand-colored lithograph is printed on a sheet measuring 10.38" high and 7" wide. There are tiny spots in the lower left margin, another in the right lower margin and mild smudging in the left margin, but the print is otherwise in very good condition. The original descriptive text pages, 119-120, from McKenney and Hall's 19th century publication are included. Col. Thomas J. McKenney was Superintendant of The Bureau of Indian Affairs from 1816 until 1830. He was one of a very few government officials to defend American Indian interests and attempt to preserve their culture. He travelled to Indian lands meeting the Native American leaders. He brought with him an accomplished artist, James Otto Lewis...

This is a 19th century colored aquatint and stipple engraving finished by hand entitled "White Hamburgh Grape", drawn and engraved by George Brookshaw and published in London in 1812 as plate 60 in his 'Pomona Britannica; or, A Collection of the Most Esteemed Fruits'. It depicts a cluster of pale green grapes still on the vine. The vine and leaves are shown in attractive shades of green and brown. The plant lays on a brown textured background with shadows to impart 3-dimensionality. The scene is reminiscent of an engraving in an 18th century artistically stylized human anatomy atlas. There is a light brown title rectangle in the lower center which is blank, suggesting this may be a more rare preproduction proof. There are wide white margins. This striking engraving is presented in a reddish brown decorative wood frame with a darker brown scroll-work outer trim and a gold-colored inner fillet and a thick light beige mat. The frame measures 26" high, 22" wide and 1.13" deep. It is glazed with UV conservation glass. There is a tiny spot in the lower margin on the left and another in the left margin. The print and frame are otherwise in excellent condition. There is a second Brookshaw engraving that is framed in identical moulding, although a slightly different size and a different color mat. It depicts a Silver Rock Melon. The two prints would make a striking display pairing...

This original framed graphic art lithographic poster entitled "Chez Panisse Cafe & Restaurant Seventeenth Birthday" was created by David Lance Goines in 1...

This is an original John James Audubon hand-colored lithograph entitled "Reddish Egret, 1. Adult, Full Spring Plumage 2. Young in Full Spring Plumage Two Years Old", No. 75, Plate 371 from Audubon's "Birds of America, lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1870-1871. It depicts an adult reddish egret standing in the water with leg up, looking to the left at a young white egret standing on land looking to the right at the adult bird. A beautiful landscape is depicted. This original hand-colored Audubon egret...

This is an original 19th century hand-colored folio-sized lithograph entitled "Gallinula Chloropus" (Moorhen) by John Gould, published in his "Birds of Great Britain", published in London between 1862 and 1873. The print, which was drawn by Gould and Henry Richter and lithographed by Walter & Cohn, depicts a family of Moorhens, including two adults and six babies in a beautiful landscape. The adults are in the water and the babies are lying on the leaves a flowering lilly pad. This striking Gould hand-colored moorhen family lithograph is augmented with gum-arabic paint. The sheet measures 14.88" high and 21.75" wide. It is in excellent condition, other than a spot in the upper portion of the right margin and two small spots at the edge of the lower margin on the left. The original descriptive text pages from Gould's 19th century publication are included. There are several other unframed Gould hummingbird lithographs available on our 1stdibs and InCollect storefronts. Two or more of these striking lithographs would make an attractive display grouping. A discount is available for purchase of a set depending on the number. These additional Gould hummingbirds may be viewed by typing Timeless Intaglio...

This original limited edition graphic art lithographic poster entitled "Carousel Animals" was created by David Lance Goines in 1984 in his Berkeley ...

This is a 17th century engraving entitled "Messire Nicolas Lambert Seigneur de Thorigny, Conseiller du Roy" by Pierre Drevet after a painting by Noicolas de Largillière, published in Paris in 1698. This portrait depicts a three-quarter length view of Nicolas Lambert de Thorigny, who is dressed in elaborate robes and collar of a wealthy Parisian nobleman of the time. He is seated directed to the left and looking directly at the viewer. He is holding an inscribed note in his right hand. A magnificent billowing curtain is in the background. Lambert's coat of arms is shown in the center of the lower inscription area. In the inscription area is lettered with title, production detail: "Nic. Largilliere pinxit" and "Petr. Drevet sculpsit", and publication detail: "Se vend a Paris chez Drevet rüe du Foin au coin du College de Maître Gervais". Nicolas Lambert, Seigneur de Thorigny (1600-1664), was a French nobleman and military commander who lived in the 17th century. He served in the French army during the Thirty Years' War, a conflict that took place from 1618 to 1648 and involved many European powers. Lambert fought in several battles during the war and rose to the rank of colonel. After the war, Lambert returned to France and became involved in politics. He served as a member of the Estates General, a legislative body that advised the king, and as a governor of several provinces. He was a counsellor and confidant of King Louis XIV. He had the title of Président de la Chambre des Comptes. He also became a member of the French Academy of Sciences, a prestigious institution that promotes scientific research and scholarship. Lambert was known for his military expertise, his intelligence, and his commitment to public service. He iInherited the Hôtel Lambert in Paris from his brother Jean Baptiste in 1644 and hired some of the most prominent artists of the time, including Charles Le Brun to decorate and furnish the building. This beautiful old master engraving was created with impressive detailed technique. It is printed on laid, chain-linked paper. The sheet measures 18.5" high and 13.38" wide. The sheet is adhered to an archival backing paper at the top. There is a faint horizontal center fold and mild discoloration in the inscription area and in the upper margin on the right, with mild wrinkling here. The print is otherwise in very good condition, considering its age. This engraving is so rare, that no comparable prints could be identified for sale online. It is currently only listed in museum collections, including: The Metropolitan Museum of Art, The British Museum, The Louvre, The Riksmuseum, The Victoria & Albert Museum, The Fitzwilliam Museum at the U. of Cambridge, The Boston Museum of Fine Arts, Harvard Art Museums, The Finnish National Museum, The Philadelphia Museum. It is shown in the Metropolitan Museum's Cataloque of French paintings entitled: "French Paintings in The Metropolitan Museum of Art, published in 2018, page 36. The page is included in the photos. Nicolas de Largillière (1656-1746) was a French portrait painter who achieved great success and acclaim during the late Baroque and Rococo periods. He was born in Paris and trained under the painter Antoine Goubeau. He studied in Antwerp and London before returning to France. While in England he was a favorite painter of King Charles II and King James II of England...

This early 18th century hand-colored copperplate map of North and South America entitled "Totius Americae Septentrionalis Et Meridionalis Novissima Repraesentatio" was created by Johann Baptist Homann and published in Nuremberg, Germany, between 1710 and 1731. The map details cities, forts, mountains, forests and lakes, as well as districts. There is a decorative cartouche in the lower left which depicts a volcano, scenes representing the people in their native costumes, as well as animals and plants of the Americas. A village is seen in the background on the left. A second smaller decorative cartouche in the upper right includes text and a series of allegorical figures. A large portion if the north central and western portions of North America is left without detail, because the region was largely unexplored at the time this map was created. The map also shows "Terra Esonis Incognita", representing a mythical continuous land bridge from North America to Asia, a northwest passage. The map preceded the French and...

This is an original 19th century hand-colored folio-sized McKenney and Hall lithograph of a Native American entitled "Tshusick, An Ojibway Woman", lithographed by J. T. Bowen after a...

This beautiful 19th century framed engraving "The Fighting Temeraire" by James Tibbetts Willmore is based on an original painting by the renowned British artist J.M.W. Turner. It was published by James S. Virtue & Co. in London between 1859-1875. It depicts the once mighty British warship the HMS Temeraire being towed away down the river Thames by a much smaller steamboat to a ship-breaking yard to be broken up for scrap. The Temeraire was first launched in 1798 and represented the pinnacle of British ship-building. 180-feet long, constructed of English oak and armed with 98 guns, she was one of the largest warships of the period. The Temeraire became a symbol of British pride and military power that endured throughout the 19th century. The man-of-war served during the French Revolutionary and Napoleonic Wars and was among the last serving ships to have been at the Battle of Trafalgar in 1805. It became one of the many older ships put out of service in the 1830s and 1840s. The once mighty and feared ship symbolizes a once magnificent, but now obsolete, technology. Turner seems to lament her inglorious final journey, being towed by a less magnificent, but modern steam powered tugboat. The Turner painting was created in 1838 and is now held in the National Gallery in London. Willmore's engraving, created in 1859, captures the dramatic scene with great detail and skill. The image has become an iconic representation of the decline of Britain's naval power and the transition from sail to steam in the 19th century. The sunset in the background is symbolic of the sun going down on British naval power and tradition. The painting conveys profound and diverse themes that are central to the human experience: those of mortality and change, technology and progress, heroism and brutality. The painting demonstrates Turner’s skill as an artist. His ability to produce scenes of great beauty that are dramatic, but are also symbolic, stimulating both thoughtful analysis, as well as emotion. Turner's painting was voted by the British public in a 2005 BBC radio sponsored survey to be the British people's favorite painting of all time. In 2020 it was included on a new British banknote...

This is a framed original 19th century hand-colored lithograph entitled "Petra, Shewing the Upper or Eastern End of the Valley" by David Roberts, from his Egypt, The Holy Land and Nubia volumes of the large folio edition, published in London by F. G. Moon in 1842. The lithographs were prepared by Louis Haghe (1806-1885) from drawings and paintings by Roberts. The resultant large folio editions of 'The Holy Land' and 'Egypt & Nubia' are considered the greatest lithographically illustrated works issued in the 19th century. This is one of Roberts' most famous and collectible works. The scene captures a view of the magnificent ruins of Petra in what is Jordan today, as it appeared on March 8, 1839, on the day of Roberts' visit. Multiple Arab men are approaching Petra; some on foot and others riding camels. They are dressed in their colorful local costumes. Roberts' signature and hand written date are reproduced in the plate on the left. This hand-colored lithograph is printed on wove paper with wide margins. There is some loss of color in the text in the title and a faint dark curvilinear area in the upper right. The print is otherwise in very good condition. It is presented in a gold-colored wood frame with a tan mat. It is glazed with UV protected conservation glass. All framing materials used are archival museum quality. The frame measures 23.5" high, 30.5" wide and 1.25" deep. There are two additional iconic David Roberts hand-colored lithographs for sale on 1stdibs that are matted and framed in identical styles, although slightly different sizes. They are scenes of Approach of Simoon, Desert of Gizeh and the Citadel of Cairo. They can be viewed by typing their reference #'s, LU1173211955452 and LU1173211970142, into the 1stdibs search field or typing Timeless Intaglio in the search field and tapping on the drop down name to be taken to our storefront. Two or all three of these pieces would make for a striking display grouping. A discount is available for the purchase of multiple pieces. David Roberts (1796-1864) was a Scottish painter who specialized in landscapes, architectural subjects, and scenes from the Middle East and Europe. Born in Edinburgh, Roberts began his career at age ten as an apprentice to a house painter and eventually became a scene painter for theater companies in Edinburgh and London. In the 1820s, J. M. W. Turner recognized his artistic talent and encouraged him to become a full-time artist. He began to focus on painting landscapes and architecture. In 1838 he traveled to Egypt and soon after to the Holy Land, concluding in Jerusalem. Roberts' travels in the Middle East had a profound impact on his art, and he produced a series of highly detailed and realistic paintings and sketches of the region's famous ruins and other landmarks, including the Pyramids of Giza, the Sphinx, the Temple of Abu Simbel...

This is an original framed 19th century hand-colored lithograph entitled "The Citadel of Cairo, Residence of Mehmet Ali-Egypt" by David Roberts, from his Egypt, The Holy Land and Nubia volumes of the large folio edition, published in London by F. G. Moon in 1849. The lithographs were prepared by Louis Haghe (1806-1885) from drawings and paintings by Roberts. The resultant large folio editions of 'The Holy Land' and 'Egypt & Nubia' are considered the greatest lithographically illustrated works issued in the 19th century. This is one of Roberts' most famous and collectible works. The scene captures a view of the Citadel and Mosques with addititional buildings on a hill in the background as it appeard on the day of Roberts' visit. An Arab man is looking down from a ledge as a camel caravan passes below People are dressed in their colorful local costumes. Roberts' signature and hand written title are reproduced in the plate on the lower eft. This hand-colored lithograph is printed on wove paper with wide margins. The print is in very good condition. It is presented in a gold-colored wood frame with a tan mat. It is glazed with UV protected conservation glass. All framing materials used are archival museum quality. The frame measures 23.63" high, 29" wide and 1.25" deep. There are two additional iconic David Roberts hand-colored lithographs for sale on 1stdibs that are matted and framed in identical styles, although slightly different sizes. They are scenes of Approach of Simoon, Desert of Gizeh and the Petra. They can be viewed by typing their reference #'s, LU1173211955452 and LU1173211969422, into the 1stdibs search field or typing Timeless Intaglio in the search field and tapping on the drop down name to be taken to our storefront. Two or all three of these pieces would make for a striking display grouping. A discount is available for the purchase of multiple pieces. David Roberts (1796-1864) was a Scottish painter who specialized in landscapes, architectural subjects, and scenes from the Middle East and Europe. Born in Edinburgh, Roberts began his career at age ten as an apprentice to a house painter and eventually became a scene painter for theater companies in Edinburgh and London. In the 1820s, J. M. W. Turner recognized his artistic talent and encouraged him to become a full-time artist. He began to focus on painting landscapes and architecture. In 1838 he traveled to Egypt and soon after to the Holy Land, concluding in Jerusalem. Roberts' travels in the Middle East had a profound impact on his art, and he produced a series of highly detailed and realistic paintings and sketches of the region's famous ruins and other landmarks, including the Pyramids of Giza, the Sphinx, the Temple of Abu Simbel...

This is an original framed 19th century hand-colored folio-sized lithograph entitled "Diphogena Aurora" (Bolivian Rainbow Hummingbirds) by John Gould, from his "Monograph of the Trochilidae, or Family of Hummingbirds", published in London in 1853. The print depicts two Bolivian Rainbow hummingbirds feeding on the nectar of small flowers on a branch. This striking framed Gould hand-colored lithograph is presented in a antiqued gold frame, a gold-colored fillet, and a light tan French mat, embellished with a mint-colored broad band. The frame measures 32" high, 25.5" wide and 1.25" thick. The hand-coloring is enhanced by the use of gum-arabic paint on the hummingbirds heads and necks, giving them an iridescent appearance. The descriptive text page from Gould's original publication is included. It is affixed to the back of the frame in a clear sleeve. The piece is in excellent condition. There are several other unframed Gould bird lithographs available on our 1stdibs and InCollect storefronts. Two or more of these striking lithographs would make an attractive display grouping. A discount is available for purchase of a set depending on the number. These additional Gould hummingbirds may be viewed by typing Timeless Intaglio in the 1stdibs or InCollect search field to be taken to our storefront. John Gould (1804-1881]) was an English ornithologist and artist. He, like his American contemporary John James Audubon, published a number of books on birds in the mid 19th century, illustrated by hand-colored lithographs. His wife and fellow artist, Elizabeth Gould, and several other artists including Edward Lear and Henry Constantine Richter produced lithographs for his various publications. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. Charles Darwin referenced Gould’s work in his book, "On the Origin of Species" and Gould named a bird after Darwin; "Darwin's finches". Gould began his career in London as a taxidermist, but in 1827 became the first curator and conservator at the museum of the Zoological Society of London. In this position naturalists brought him collections of birds from all over the world. He began creating drawings and eventually hand-colored lithographs with his wife and Edward Lear, which were the basis for his first publications. Darwin brought him specimens from the Galapagos Islands, including 12 species of finches which had never been described. In 1838, Gould and his wife travelled to Australia and their work led to the seven volume publication of “The Birds of Australia”. Gould had a fascination for hummingbirds and collected specimens of 320 varieties before ever seeing a live hummingbird on a trip to the United States in 1857. He eventually published “A Monograph of the Trochilidae, or Family of Humming-birds". Other large publications include: "The Birds of Europe"," A Monograph of the Ramphastidae, or Family of Toucans”, “A Synopsis of the Birds of Australia, and the Adjacent Islands”, “A Monograph of the Odontophorinae, or Partridges of America”, “The Birds of Asia”, “The Birds of Great Britain” and "The Birds of New Guinea and the Adjacent Papuan Islands, including many new species recently discovered in Australia". John Gould (1804-1881) was a British ornithologist and illustrator who is best known for his monumental work, "The Birds of Europe," published between 1832 and 1837. Gould was born in Lyme Regis, Dorset, England, and began working as a taxidermist and natural history dealer in London in the 1820s. In 1827, Gould was appointed the first curator and preserver of birds at the Zoological Society of London, where he began to build his collection of specimens and began to study the birds of the world. He published his first monograph, "A Century of Birds from the Himalaya Mountains," in 1831, which included 80 plates of Himalayan birds. Gould continued to publish numerous volumes on the birds of the world throughout his life, including "The Birds of Australia" (1840-1848) and "The Birds of Great Britain" (1862-1873). His works were highly regarded for their accuracy and detail, and he was one of the most prominent ornithologists of his time. In addition to his work as an ornithologist, Gould was also a successful businessman, and he used his profits to fund expeditions and to support the scientific community. He was elected a Fellow of the Royal Society in 1843, and he was awarded the Royal Medal...

This is an original 18th century hand-colored map entitled "A New & Correct Chart of All The Known World Laid down according to Mercator's Projection" by Emanuel Bowen. It was published in 1744 in London in John Harris's "Navigantium atque Itinerantium Bibliotheca" or "A Complete Collection of Voyages and Travels". This highly detailed and colorful map depicts the world. as it was known in the mid 18th century. A majority of the northern and central portions of Canada and America are left blank due to the purity of knowledge at the time this map was published. The map is embellished with four Compass Roses in the lower left, lower center, lower right and center, along with many rhumb lines. There a is a decorative title cartouche in the upper left. This colorful, attractive, historical and interesting 1744 map presents the entire world on Mercator's projection as it was understood in the middle part of the 18th century, before the landmark explorations of Captain’s Cook, Vancouver, Wilkes and others. It is an example of a nautical chart, a type of map that was designed specifically for use by mariners. The map is centered on the equator and includes both the Eastern and Western Hemispheres. The continents of North America, South America, Europe, Africa, and Asia are depicted, as well as various islands in the Atlantic, Pacific, and Indian Oceans. The map is laid out according to the Mercator projection, a type of cylindrical map projection that was developed in the 16th century by Flemish cartographer Gerardus Mercator. This projection has the advantage of preserving angles and shapes, making it useful for navigation. The map presents a paucity of inland detail, particularly for the Americas, but major cities, geographical landmarks, and regions are included. Ocean currents and Tradewinds are identified, as well as the magnetic declination lines or magnetic variance, which refers to the difference between true north and compass north. The continents are color coded, enhancing the beauty of this map. The three compass roses indicate the directions of the cardinal points. The depiction of the western coast of America, the Pacific and Australia are interesting. There was very little exploration of Australia between the navigations of William Damper in 1699 and Tobias Furneaux in 1773. Most of the maps detail relies on the 17th century Dutch expeditions to Australia's western coast, by Abel Tasman and William Janszoon. Van Diemen's Land (Tasmania) and New Guinea appear connected to the Australian continent. New Zealand appears as a single landmass. North of New Zealand there is a landmass labelled 'Ter d' St. Esprit' which probably represents the New Hebrides Islands. This map precedes the accurate exploration of the South Pacific and east coast of Australia by Captain James Cook later in the 18th century. The map includes ‘Drakes' Port,' the site where Sir Francis Drake supposedly landed in 1579 during his 1579 circumnavigation of the globe. Here he claimed territory for England, restocked, and repaired his vessels. Drake named the region New Albion. The exact location of Drake's Port is a cartographic mystery. Drake's Harbor is believed to be in the region of San Francisco Bay, Bodega Bay, San Pablo Bay...

This is a framed 18th century Giovanni Battista Piranesi etching entitled: "Veduta interna del Sepocro di Santa Costanza, fabbricat...

This is a framed original 19th century hand-colored folio-sized lithograph entitled “Strix Flammea” (Barn Owl) by John Gould, from his "Birds of Great Britain", published in London between 1862 and 1873. The print depicts an adult Barn Owl perched on a log its three baby owls to the left. Another adult owl in the background on the right, presumably a male, watches over his family. There are leaves on the right contributing to this pleasant landscape composition. This striking framed Gould...

This is a hand-colored antique engraving depicting the natural history of the Admirable Butterfly and the Small Magpie Moth, which is plate 6 from Moses Harris' publication "The Aure...

This striking hand-colored botanical mezzotint and line engraving is entitled Malus domestica, Pomier, Apfelbaunt (Apple)". It is plate 704 in Johann Weinmann's monumental publicatio...

A hand-colored copper plate engraving depicting flowering "Melocactos" (Turk's Cap Cactus or Mother-in-law's Cushion), "Rosa Hiericontea aperta" (Rose of Jericho Unfolded), "Rosa Hie...

This is a striking original antique colored botanical mezzotint and line engraving of two varieties of corn or maize, which is finished with hand-coloring. It is entitled "Frumentum ...

This is a hand-colored copper plate engraving entitled "Amaranthus Tricolor", depicting a flowering Amaranthus Tricolor plant from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. Amaranthus tricolor, known as edible amaranth, is a species of flowering plant in the genus Amaranthus. The plant is often cultivated for ornamental and culinary purposes. Cultivars have a striking yellow, red, and green foliage. It is known as Joseph's coat in some areas, after the biblical figure Joseph, who is said to have worn a coat of many colors. Amaranthus tricolor is one of several species of amaranth cultivated in warm regions across the world. This beautiful colorful engraving is printed on thin laid chain-linked paper with very wide margins. There is a short crease in the upper right corner, mild irregularity of the left, right and lower edges and some bleed-through of text from the verso. The print is otherwise in excellent condition with striking hand-coloring. The sheet measures 22.13" high and 17.13" wide. Basilius Besler (1561–1629) was an apothecary and botanist. He was curator of the Willibaldsburg Castle garden of Johann Konrad von Gemmingen, prince bishop...

This is an original antique colored botanical mezzotint and line engraving of banana plants, which is finished with hand-coloring. It is entitled "Banana 2. Mauze, Baradis-feigen", p...