1820s Prints

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

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...

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...

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

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...

Title: Ancient Greek Theatre Architectural Plan by Ambroise Tardieu, 1825 Description: Original antique architectural engraving showing the plan and arrangement of an ancient Greek ...

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...

Title: Plato at Cape Sounion with His Disciples, Ambroise Tardieu, 1825 Description: Original antique engraving depicting Plato with his disciples at Cape Sounion in Attica, Greece,...

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...

Wonderful set of 12 botanical prints. Hand coloured copper-plate engravings After drawings by John Curtis and William Herbert Published by S.Curtis 1826 Unframed. The measuremen...

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...

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

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

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 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...

This print is an old-colored lithography by Carl Wilhelm Hahn from around 1820 and it's listed in Nissen's bibliographic catalog of zoological books,...

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...

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...

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...

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...

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 ...

Atlantic Puffin & Tufted Puffin – Antique hand-coloured lithograph, c.1828 A finely hand-coloured lithograph from the early 19th century showing two striking seabirds: the Atlantic ...

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...

Benjamin Maund, Ten Copperplate Engravings, Judy Cormier Gilt Frames, 19th c. One of several spectacular groupings of engravings fresh from a Bronxvill...

Antique print titled '1. Echinus verticillatus 2. Echinoneus semilunaris (..)'. Old print of the sand dollar and other sea urchins. This print originates from 'Iconographie du rè...

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...

A original hand coloured copperplate engraving from George Smith’s The Cabinet-Maker and Upholsterer’s Guide published by Jones & Co, London, 1826. George Smith was upholsterer and ...

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...

Costume Print: Traditional Dress of Rome, 1820 Hand-Colored Engraving This charming hand-colored engraving depicts two figures in traditional dress from Rome, Italy, capturing a mom...

Title: Antique Print of Ancient Greek Coins and Medals, Tardieu, 1825 Description: Original antique engraved plate depicting a collection of ancient Greek coins and medals, published for the atlas accompanying Jean-Jacques Barthélemy’s celebrated Voyage du jeune Anacharsis en Grèce. Titled “Médailles Grecques tirées du Cabinet Royal,” the plate illustrates eleven groups of Greek coins selected from the French Royal Cabinet, presenting both obverse and reverse designs. The finely engraved examples display an appealing variety of classical imagery, including profile portraits and helmeted heads, seated and standing deities, temples, animals and Greek inscriptions. Several coins feature the owl of Athena, one of the most recognizable symbols of ancient Athens and a celebrated motif on Athenian coinage. Other designs include a dolphin, architectural and religious subjects, mythological figures and intricately rendered portrait heads. The different sizes of the coins are carefully represented, creating an attractive numismatic study as well as a decorative work of classical scholarship. The plate was engraved by Pierre-Antoine Tardieu, after drawings by A. Saint-Aubin, as indicated in the engraved credit beneath the composition. An especially appealing print for collectors interested in ancient Greek coins, numismatics, classical archaeology and Greek mythology. Engraver: Pierre-Antoine Tardieu After: A. Saint-Aubin Title: Médailles Grecques tirées du Cabinet Royal Publication: Paris Date: 1825 Technique: Engraving on paper Plate: Pl. 39 Subject: Ancient Greek coins and medals Condition: Good antique condition with general age toning, scattered foxing and occasional small stains and marks. A more noticeable brown spot is present towards the lower part of the sheet. Old mounting or tape residue is visible along the upper margin, with some discoloration along the outer edges. The engraved coin designs remain strong, clear and highly detailed. Please study the photographs carefully as they form an important part of the condition description. Original antique engraving. Not a modern reproduction. Sold unframed. Any framed or interior images shown are for presentation and inspiration only. Keywords: Ancient Greek Coins, Greek Medals...

Picturesque 1822 engraving of the pyramid built as a tomb for Gaius Cestius, circa 18 BC. Luigi Rossini (1790-1857) was an Italian artist celebrated for his view...

Antique Print - Plaza de Mayo, Buenos Aires, 1820s - Jules Ferrario This historically rich print, titled "Plaza de Mayo, Buenos Aires," originates from Jules Ferrario's renowned series "Le Costume Ancien et Moderne," specifically from Volume II, plate 2. The print offers a captivating depiction of the Plaza de Mayo, one of the most significant public squares in Buenos Aires, Argentina. It beautifully captures the essence of the plaza during the early 19th century, featuring local inhabitants engaged in daily activities, architectural landmarks, and a dynamic urban atmosphere. The intricate detailing and careful hand coloring enhance the visual impact, providing a window into the architectural and social fabric of Buenos Aires during this period. This piece is invaluable for collectors interested in South American history, urban landscapes, and antique lithography. It not only serves as a decorative artwork but also as an important document that highlights the urban development and cultural milieu of Buenos Aires in the early 1800s. It remains in good condition, with colors that have retained their depth and vibrancy, making it a prized addition to any collection of historical prints. In more detail: Line & aquatint etching with original hand colouring on wove (vellin) paper. From: ‘Il Costume Antico e Moderno …, l’America.’ , by Giulio Ferrario, published in Milan in 17 volumes (first issue), published sequentially between c. 1815/1816 until 1826 after first being issued in 143 weekly installments. This Italian volume has the date 1821. The second issue was published in 21 volumes in 1827. The work appeared in Italian and French. Smaller size editions with smaller much less elaborate plates were published in Florence (1823-38), Naples (1831-42) and even a 16mo. editon in Livorno (1830). Original blindstamp at bottom right image. The sources used for this work are wide including van Humboldt, von Wied etc. Made by ‘D.K. Bonatti’ after ‘Giulio Ferrario’. Giulio Ferrario was founder of the ‘Societa Tipografica de Classici Italiani’ and served as the director of the Braidense National Library in Milan, Italy. Artists that worked on this monumental work are: Gallo Gallina, D.K. Bonatti, A. Biasioli, L. Rossi, Paolo Fumagalli, Gaetano Zancon (1771-1816), G. Bigatti, C. Bramati, G. Gallo, C. Bottiglia, G. Castellini, Antonio Rancati (1784-1816), Vittorio Raineri, Sydney Parkinson...

A pair of early 19th century tinsel prints published by J. Redington depicting Paul Clifford and Jonathan Wilde. 7 ½ by 9 ½ inches Paper shows cockling and toning. Frames distressed.

(England, 1697-1764) "The Distrest Poet" is a hand-colored engraving published in The Works of William Hogarth, from the Original Plates, Restored by James Heath. The work was publi...

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

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

The title of this original antique print is the "Königl. Hannover. Garde Hussaren Regt.", which translates to "Royal Hanoverian Guard Hussar Regiment". This unit would have been part of the army of the Kingdom of Hanover, which, during various periods, was in personal union with the United Kingdom. The Guard Hussars would have been a prestigious cavalry unit, likely serving as both ceremonial guards and elite troops. The uniform, with its rich decoration and distinctive Hussar features, suggests a high ceremonial as well as functional military significance. The King's German Legion...

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 ...

Antique Print - Indigenous Warriors, Early 19th Century South America - Ferrario-Bonatti Line & aquatint etching with original hand colouring on wove (vellin) paper. This compellin...

Title: Cinchona Bark Varieties: An Illustrated Botanical Atlas (1826) Description: This rare and finely illustrated botanical atlas, 'Versuch einer Monographie der China. Nur Atlas...

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...

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

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...

Young Woman from Bucharo, Spanish Pyrenees – Hand-Colored Engraving, c.1820 This finely detailed hand-colored engraving, titled Jeune femme de Bucharo, Pyrénées espagnoles (Young Wo...

Botanical Print: Common & Spanish Hazelnut, Le Jardin Fruitier, 1821 This captivating botanical print features two varieties of hazelnuts: the Common Hazelnut (Noisette franche) and...

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

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

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 ...

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...

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 ...

"Botanical Illustration of Cardamine amara (Bittercress)" Description: This hand-colored copperplate engraving, created by F. Guimpel, depicts Cardamine amara, commonly known as Bi...

Costume Print: Italian Gestures with Traditional Dress, “Cattivo!” Series, 1820s This delightful hand-colored engraving is part of a rare and humorous series titled *Italian Gesture...

Funeral Procession in Rome with Hooded Figures and Clergy, London 1820 This remarkable hand-colored print, titled “A Funeral Procession in Rome,” offers an evocative portrayal of a traditional Roman Catholic funeral rite in early 19th-century Italy. Drawn by the artist K. Brodtmann in 1820 and published by William Sams in London, this lithograph provides a vivid, carefully staged glimpse into a deeply ceremonial aspect of Roman religious life. At the center of the composition is the coffin, ornately draped and carried on a litter adorned with tall white candles. Hooded penitents in long white robes, known as *confratelli*, process solemnly in front of and behind the bier. These members of religious brotherhoods, identifiable by their distinctive pointed hoods and blue cord sashes, traditionally took part in such rituals of public devotion and mourning. Behind them follows a group of clergy in white surplices and black cassocks. One priest stands out in an elaborate gold-embroidered chasuble, emphasizing his seniority or special role in the rite. To the right, more acolytes and a hooded standard-bearer carrying a religious banner complete the scene. At the far left, a layman hefts a large wooden cross...

Antique map titled 'Geographical, Statistical and Historical Map of Russia'. Old map of the Russian Empire, encompassed on three sides by English language text. Originates from L...

Artocarpus incisa (Breadfruit Tree) – Hand-Colored Botanical Engraving, circa 1825 Description: This striking hand-colored copperplate engraving features *Artocarpus incisa, commo...