1820s Prints

Antique Sugarcane Botanical Print – Saccharum officinarum, Hayne Plate 100 Description: This finely executed botanical engraving depicts Saccharum officinarum, the sugarcane plant, shown with scientific clarity and quiet elegance. The composition presents the full growth habit with segmented canes and flowering plume, accompanied by precise analytical details of the inflorescence and spikelets, as well as a separate cross-section of the cane. The balance between clarity and restraint is characteristic of early German academic botany at its best. The print originates from Friedrich Gottlob Hayne’s monumental work Getreue Darstellung und Beschreibung der in der Arzneykunde gebräuchlichen Gewächse, published in Berlin in the early 19th century. Hayne was one of the most important botanical authors of his time, and his work played a crucial role in standardizing the visual language of medicinal and economic botany across Europe. Each plate was engraved on copper and then carefully hand colored, combining scientific accuracy with refined aesthetic appeal. Sugarcane held enormous economic and medicinal importance in the 18th and 19th centuries, linked to global trade networks, colonial agriculture, and the production of sugar as both food and pharmaceutical ingredient. As such, this plate carries strong historical resonance beyond its botanical subject, appealing equally to collectors of natural history, economic botany, and early scientific illustration. Visually, the print works exceptionally well as a stand-alone sheet. The calm composition, generous margins, and soft hand coloring make it particularly attractive for interior settings, from classic libraries to contemporary spaces where natural history prints are used as architectural accents. Condition report: Good antique condition. Light, even age toning to the paper consistent with age. Minor surface marks and soft handling wear visible on close inspection. Plate impression visible. No major tears or losses. Framing tips: This print benefits from a wide mat to emphasize its scientific elegance. Recommended combinations include a black or dark walnut frame with an ivory or parchment mat for a classic look, or a slim natural oak frame with an off-white mat for a lighter, contemporary presentation. Avoid overly dark mats, which can overpower the delicate hand coloring. Technique: Copper engraving with original hand coloring Maker: Friedrich Gottlob Hayne, Berlin, early 19th century Keywords: antique botanical print, sugarcane print, sugar cane botanical, saccharum officinarum, antique plant illustration, hand colored botanical, 19th century botanical print, natural history wall art, framed botanical print, antique agricultural print, economic botany illustration, tropical plant artwork, colonial trade decor, kitchen botanical wall art...

Handcolored Copperplate Engraving of Cashmere Goats and Sheep, Friedrich Johann Bertuch, 1823 This is an exquisite handcolored copperplate engraving depicting a group of Cashmere go...

Austrian Grenz Regiment Soldiers in the Field, Early 19th Century Detailed description: This hand-colored lithograph, likely created in the early 1820s, features soldiers from the ...

Botanical Brilliance: Edward Dalton Smith’s Copperplate Engravings 1829 This exquisite pair of hand-colored copperplate engravings represents the precision and artistry of the celeb...

Pair of Hand-Colored Botanical Engravings of Decorative Garden Flowers, London 1828 Description: This exquisite pair of early 19th-century botanical engravings showcases the grace a...

Wonderful pair of cactus prints. Lithographs Original hand color Published by S.Curtis. Dated 1826 Unframed.

Title: Pair of Hand-Colored Botanical Engravings of Wild and Cultivated Flowers, London 1828 Description: This vibrant pair of early 19th-century botanical engravings exemplifies th...

Pair of Hand-Colored Botanical Engravings of Garden Flowers, London 1828 Description: This beautifully preserved pair of early 19th-century botanical engravings exemplifies the arti...

Antique Fruit Prints by Poiteau and Turpin, Hand-Colored Botanical Engravings Description: This exquisite compilation features three antique bot...

Great map of Europe Drawn under the direction of Arrowsmith. Copper-plate engraving. Published by Longman, Hurst, Rees, Orme and Brown, 1820 ...

Title: Lilium speciosum (Elegant Lily) – Hand-Colored Botanical Engraving by Desmares, circa 1825 Description: This exquisite hand-colored copperplate engraving features Lilium sp...

Pair of Hand-Colored Botanical Engravings of Garden Flowers, London 1828 Description: This elegant pair of early 19th-century botanical engravings beautifully illustrates the spirit...

Wonderful pair of botanical prints Lithographs after drawings by W.Herbert Original hand color Published by S.Curtis. Dated 1826 Unframed. Free shipping

Pair of Hand-Colored Botanical Engravings of Spring Flowers, London 1828 This elegant pair of early 19th-century botanical engravings captures the charm and precision of British bot...

Antique print titled 'Interior of the late Theatre Royal Drury Lane (..)'. Old print of the Theatre Royal, Drury Lane, as it was between 1794 and 1809 showing the tiers of boxes stage left and the chandelier-lit auditorium with a small party of visitors standing in one of the boxes, as if being shown around. The Theatre Royal, Drury Lane, commonly known as Drury Lane, is a West End theatre and Grade I listed building in Covent Garden, London, England. The building faces Catherine Street (earlier named Bridges or Brydges Street) and backs onto Drury Lane. The building is the most recent in a line of four theatres which were built at the same location, the earliest of which dated back to 1663, making it the oldest theatre site in London still in use. According to the author Peter Thomson, for its first two centuries, Drury Lane could "reasonably have claimed to be London's leading theatre". For most of that time, it was one of a handful of patent theatres, granted monopoly rights to the production of "legitimate" drama in London (meaning spoken plays, rather than opera, dance, concerts, or plays with music). The first theatre on the site was built at the behest of Thomas Killigrew in the early 1660s, when theatres were allowed to reopen during the English Restoration. Initially known as "Theatre Royal in Bridges Street", the theatre's proprietors hired prominent actors who performed at the theatre on a regular basis, including Nell Gwyn...

Pair of Hand-Colored Botanical Engravings of Garden Flowers, London 1828 Description: This beautifully preserved pair of early 19th-century botanical engravings exemplifies the arti...

Flamingo & Swan – Antique hand-coloured lithograph, c.1828 Description: A graceful early 19th-century ornithological plate depicting two elegant waterbirds: the Flamingo (Le Flamand...

Title: Botanical Print: Mirabelle, St. Catherine, White Plum & Apricot, 1821 Description: This beautiful botanical print features four varieties of European stone fruits: the Mirabe...

The Antiquaries – Boilly Satire on Collectors, Hand-Colored, c.1823 Description: The Antiquaries is one of Boilly’s most enduringly popular compositions, portraying a group of elder...

Italian Regional Costumes: Sarzana, Sesto, Rome and Florence, 1823 This hand-colored lithograph presents six detailed bust portraits of Italian women dressed in traditional regional...

Antique 1828 Satirical Print When First I Saw Thee Graceful Move Hand-Colored This engaging and humorous hand-colored etching is titled 'When First I Saw Thee Graceful Move' and was...

Pair of Hand-Colored Botanical Engravings of Flowering Plants, London 1828 This graceful pair of early 19th-century botanical engravings captures the refinement and scientific curio...

Pair of Hand-Colored Botanical Engravings of Garden Flowers, London 1828 This refined pair of early 19th-century botanical engravings represents the artistic and scientific excellen...

Wonderful prints of Regency furniture Aquatints with original color. From Ackermann's Repository. 3 dated 1825. One dated 1810 Unframed.

Portrait of Friedrich Wilhelm II, King of Prussia, circa 1810–1825 This finely executed antique print presents a distinguished profile portrait of Friedrich Wilhelm II (1744–1797), ...

Title: Roman Carnival Costumes & Festivity - 1820 Etching of Celebration Description: This lively 1820 etching, titled "Carnival at Rome," captures the vibrant spirit of a Roman car...

Antique 1828 Satirical Print A Fool to Pleasure Yet a Slave to Fame Hand-Colored This hand-colored etching titled *A Fool to Pleasure Yet a Slave to Fame* was published in 1828 as p...

Antique print titled 'Het Opperhoofd der Botocoedos Kerengnatnuck en zyn gezin'. Original antique print of a Botocudo chief with his family. Botocudo are South American Indian pe...

Pair of Hand-Colored Botanical Engravings of Roses and Spring Flowers, London 1828 This charming pair of early 19th-century botanical engravings exemplifies the grace and precision ...

Title: Pair of Hand-Colored Botanical Engravings of Wild and Garden Flowers, London 1828 Description: This charming pair of early 19th-century botanical engravings reflects the refi...

Title: Pair of Hand-Colored Botanical Engravings of Ornamental Flowers, London 1828 Description: This striking pair of early 19th-century botanical engravings offers a vivid glimpse...

1823 Hand-Coloured Engraving - Gauchos Lassoing Cattle in Buenos Aires, Argentina Description: This 1823 hand-coloured copperplate engraving from Friedrich Johann Bertuch's "Bilderb...

Title: Antique Botanical Print of Aristolochia à Fleurs Labellées - 19th Century Description: This antique botanical print, titled "Aristolochie à Fleurs Labellées," is a stunning 1...

Wonderful pair of botanical prints Lithographs after drawings by Curtis Original hand color Published by S.Curtis. Dated 1826 Unframed. Free shipping

Great map of South Africa. Drawn under the direction of Arrowsmith. Copper-plate engraving. Published by Longman, Hurst, Rees, Orme and Br...

This illustration, titled "Péruvienne" and stemming from around 1820, likely portrays a European interpretation of a Peruvian woman, possibly an actress dressed for a theatrical role...

Reading the Will – Boilly Satirical Inheritance Scene, c.1823 Description: In Reading the Will, Boilly captures a moment of collective anticipation as relatives lean in to hear the ...

Consultation of Physicians – Boilly Satirical Medical Scene, c.1823 Description: One of the most iconic plates from Boilly’s Humorous Designs, Consultation of Physicians presents a ...

Costume Print: Female of Civita Castellana, 1820 Hand-Colored Engraving This engaging hand-colored engraving depicts a woman in traditional attire from Civita Castellana, a pictures...

Great images by Thomas Rowlandson from the "Tour of Dr Syntax" Etching and aquatint after drawings by Rowlandson. Published by Ackermann, dated 1819-1820 Some foxing to some of th...

Scarlet Ibis & Glossy Ibis – Antique hand-coloured lithograph, c.1828 Description: This vibrant early 19th-century ornithological print depicts two striking wading birds: the Scarle...

Great map of Hungary Drawn under the direction of Arrowsmith. Copper-plate engraving. Published by Longman, Hurst, Rees, Orme and Brown, 1820 Unframed.

Procession to the Colosseum Through the Arch of Titus, Rome, 1824 This captivating hand-colored engraving titled “Procession to the Colosseum” depicts a solemn religious scene unfol...

Antique map titled 'Essai sur la Geographie de l'Ile Timor.' A map showing Timor and the surrounding nearby islands (Floris, Sabrao, Solor, Lomblem, Panter, Ombai and Wetter. With ...

Large original hand-colored antique ornithological print made by Selby and published around 1826. This engraving is an exquisite print fro...

Gentle Repose at Österby: An 1824 Aquatint by Ulrik Thersner. This aquatint by Ulrik Thersner, created in 1824, depicts the serene landscape of Österby in Sweden. The image is suffused with a gentle light that bathes the scene in a warm, inviting glow. It features two individuals on horseback in the foreground, suggesting a tranquil pace of life and leisurely exploration. Their presence adds a narrative element to the scene, inviting viewers to contemplate the journey the riders are undertaking. The central focus of the aquatint is the stately building situated by the water, likely a manor house or a significant estate of the time, reflecting the architectural style of the early 19th century. The estate is flanked by expansive, lush greenery and tall trees, with a prominent pine tree in the foreground that anchors the composition. The detailed rendering of the foliage and the atmospheric perspective in the background create a sense of depth and spaciousness. In Skåne, Thersner had drawn several mansions in 1816, and he decided to publish a counterpart to Erik Dahlbergh's Suecia antiqua et hodierna. He called his work Fordna och present Sverige, and in 1817 began its publication. Carl Fredrik Akrell engraved the images, which were executed in aquatint. Eventually, Wilhelm Maximilian Carpelan joined the publication. The Scania part was completed in 1823, Östergötland was started in 1820 and Uppland and Södermanland in 1824-25. Thersner himself wrote the text for the pictures. After Thersner's death, his widow, with the help of friends, continued the publication, which had never received public support. Michael Gustaf Anckarsvärd took over the publication, in lithographic form, until 1843. The work could be continued, partly with the drawings left by Thersner as templates, partly by Anckarsvärd and others contributing new drawings. In general, Anckarsvärd's work is considered superior to Thersner's. In 1843, the work was taken over by Thersner's daughter, Thora Thersner (1818-1867). She continued publishing until her death. Thora Thersner lithographed her drawings herself, which are usually considered conscientious, if somewhat dry and weak. During her time, among other things, the part about Närke (1838-55) was continued and completed. At the time of Thora Thersner's death, the entire work comprised 91 booklets, containing 364 plates with text. The publication had cost each subscriber 682 kroner and 50 öre. More about the maker: Ulrik Thersner was a multifaceted individual, having an impactful military career alongside his work as a draftsman and topographer. Born on April 2, 1779, in Kyrkslätt parish in Finland, Thersner began his military service early, becoming a ship's boy in the Swedish navy at the tender age of seven. His naval service during Gustav III's Russian War...

Title: Tivoli Costumes & Temple of Vesta - 1819 Etching of Italian Heritage Description: This enchanting 1819 etching, titled "Costumes of Tivoli," ...

Pair of Hand-Colored Botanical Engravings of Garden Flowers, London 1828 This exquisite pair of early 19th-century botanical engravings exemplifies the precision and grace of Englis...

Antique print, titled: 'Ile Timor. Vue prise aux Environs de Coupang.' - ('Timor Island. View taken near Coupang'). Source: 'Voyage autour du monde sur les corvettes Uranie et la Phy...

Traditional Headwear from Italy: Turin, Rome, Subiaco and More – 1823 Print This hand-colored lithograph, marked “No. 3,” is the third plate from a striking early 19th-century series documenting traditional European costume, particularly regional headwear. Published in London on December 1, 1823, by Baldwin, Cradock & Joy, this print showcases six distinct styles worn by women across Italy, offering a comparative glimpse into local identity, ceremonial dress, and religious symbolism. At the center top is a dramatic blue hooded garment labeled “Penitent.” Worn with the face obscured, this penitential garment features a small red cross emblem, likely representing affiliation with a religious brotherhood or spiritual order. It stands out starkly from the other portraits and introduces a solemn, sacred tone. To its left, a view from behind shows a woman from “Settimo” wearing a stylized crown of hairpins radiating like a sunburst, secured by a horizontal golden bar. Below her elaborately embroidered collar, a red ribbon is neatly tied. To the right, a woman from “Turin” wears an exquisite bonnet of pleated white lace, creating a fan-like halo above her head. Her large gold cross...

Woman in Traditional Madrid Dress – Hand-Colored Engraving, c.1820 This refined hand-colored engraving, titled *Costume de Madrid* and numbered 61 from the *Costumes de divers Pays*...

Title: Traditional Woman from Majorca – Hand-Colored Engraving, c.1820 Description: This elegant hand-colored engraving, titled *Costume de Majorque* (Costume of Majorca), is plate No. 74 from the renowned series *Costumes de divers Pays*, published in Paris around 1820. Drawn by Gaté and engraved by Gatine, this piece captures a woman from the island of Majorca in her traditional attire, reflecting the refined charm and cultural richness of early 19th-century Mediterranean dress...

Harness Print: Traditional Mule and Oxen Tack in Italy, 1820s Hand-Colored Engraving This fascinating hand-colored engraving, titled *Harness of the Mule & Oxen in Italy*, presents ...

Title: Roman Carnival Horse Race & Festive Corso - 1820 Etching Description: This dynamic 1820 etching, titled "Horse Race at Rome, in Carnival," vividly captures the exhilarating a...

Woman of Aran, Spanish Pyrenees – Hand-Colored Engraving, c.1820 This striking hand-colored engraving, titled Femme d’Aran, Pyrénées espagnoles (Woman of Aran, Spanish Pyrenees), is...

Title: The Pyramids of Egypt – A Scenic 1828 Copper Engraving Description: This hand-colored copper engraving titled The Pyramids of Egypt provides a stunning depiction of Egypt's...

Martynia Proboscidea (Unicorn Plant) – Hand-Colored Botanical Engraving by Desmares, circa 1825 Description: This original hand-colored copperplate engraving depicts *Martynia prob...

This hand-colored lithograph from the 19th century depicts an officer from the King's German Legion, specifically the "2nd Cavalry Regiment," also known ...

Traditional Headdresses from Italy and France: Florence, Ostia, Castà – 1823 This hand-colored lithograph, marked “No. 5,” is the fifth plate in a captivating 1823 series published in London by Baldwin, Cradock & Joy, illustrating traditional headdresses from across Europe. With a focus on Italian regional fashion, but also including a figure from Languedoc (France), the print showcases the diversity and creativity of 19th-century women's headwear in both ceremonial and everyday contexts. At upper left, a woman from Montefiascone wears a simple yet elegant white veil draped loosely over her hair and shoulders. Her scarlet sleeve ribbons and golden earring add a dash of vibrancy to an otherwise modest ensemble. In contrast, the central figure from Lariana dons one of the most dramatic headpieces on the sheet: a large, bright yellow hat embellished with blue ribbon and multiple ornamental loops. Her necklace with a red cross pendant suggests a religious or festival connection. To the upper right, the figure from Languedoc is rendered in profile wearing a striking purple bonnet with vertical ridges, trimmed with white lace, and set against a yellow collar. This French addition provides an interesting cross-cultural comparison within a primarily Italian series. The bottom row continues with a woman from Florence, shown from behind with her dark hair intricately braided and adorned with a long pink and white ribbon that drapes down her back—an emblem of grace and femininity. The central bottom figure from Ostia wears a wide-brimmed felt hat...

The Road 1825: ‘Commercial Traveller’ — A Large Hand-Coloured Aquatint After Owen Bailey; published in London, Circa 1825–1830 A particularly large and imposing hand-coloured aquatint depicting a trotting horse — named in the lower margin as ‘Commercial Traveller’ — shown in full action drawing a two-wheeled gig at speed along an open road. The horse, a powerful bay or dark chestnut rendered with muscular authority, is caught at the moment of extended trot: near foreleg advanced, haunches driving, the ground thrown up in a small cloud of dust at the hooves. The gentleman driver, dressed in a dark coat and low-crowned hat, sits upright in the gig holding the reins with composed ease, a small terrier or spaniel seated beside him on the box — an appealing detail that gives the composition unusual intimacy. To the left of the road stands a simple stone or wooden milestone, a quietly functional element that anchors the composition geographically and suggests the turnpike road context of the scene. The background opens to a spacious, rolling landscape with a glint of water or estuary in the middle distance and a broadly rendered sky of cumulus cloud. The composition is typical of the ambitious large-format trotting horse print as produced for the English sporting market of the 1820s and 1830s: a wide horizontal format, the horse dominating the picture plane, the landscape ground kept low and unencumbered to emphasise speed and energy. The hand-colouring is applied with care and consistency: the horse’s warm brown coat is modelled with subtlety, the gig’s dark ironwork contrasting with the pale covered seat, and the sky washed in the greys and ochres characteristic of period aquatints in good preservation. The lower margin carries the title ‘THE ROAD 1825’ in spaced capitals, with the subtitle ‘Commercial Traveller’ in italic script below. The plate is signed ‘Owen Bailey, London’ in the lower margin. Dimensions 30¼ inches (76.8 cm) high, 38 inches (96.5 cm) wide, 1¼ inches (3.2 cm) deep, framed. Provenance Private American collection. Condition: Good with with Truguard UV glass to protect from light damage. Historical Context Owen Bailey was a London-based sporting artist active in the second and third decades of the nineteenth century, working in the tradition of F.C. Turner, James Pollard, and Henry Alken. His paintings of trotting horses and driving subjects were reproduced as large-format hand-coloured aquatints published for the broad sporting print market. The ‘Road’ series — of which ‘The Road 1825’ is a representative title — celebrated the open turnpike road as a theatre for the display of horses’ speed and quality, and reflected the intense popular interest in trotting and fast driving that characterised the Regency sporting world. The 1820s were the peak period for the English trotting and fast-driving print. Publishers catering to the sporting and aspiring middle-class market produced large-format plates that were sold individually or in matched pairs for display in dining rooms, libraries, and halls. The format of a single named horse in harness, shown at speed with a stone milestone or country background, became a near-standard formula, and prints of this type were produced in considerable numbers. The finest examples — of which this is one — combine genuine artistic quality with a social documentary interest in the fashions of dress, vehicle design, and road culture of the Regency period. Selected Bibliography Egerton, Judy. British Sporting and Animal Paintings, 1655–1867: The Paul Mellon Collection. London: Tate Gallery / Yale Center for British Art, 1978. Nevill, Ralph. Old English Sporting Prints...