19th Century Prints

The fishes in the images are part of a genus that includes groupers. They are likely from "Strack: Naturgeschichte in Bildern", that refers to a work on natural history by Strack, a...

This print from "Illustrations of British Ornithology" by Prideaux John Selby features the Little Auk in both its summer and winter plumages. The illustration captures the distinctiv...

This collage presents a curated anthology of mollusk illustrations, emphasizing the elegance of their spiral forms—a hallmark of marine gastropods. Each image, a hand-colored engravi...

Mappe-Monde. En deux Hemispheres Pour le Dictionnaire Géographique. Author: Vosgien and Caillot Source / Publication: Le Dictionnaire Géographique, ou Description de toutes les Parti...

Title: "Charge of Valor: The Medieval French Knight" Description: This vibrant antique print captures the dynamic energy of a French knight in full gallop. ...

Title: "Aquatic Elegance: Molluscan Diversity Illustrated" Description: This horizontal collage exhibits a selection of marine mollusks from the "Dictionnaire Universel d'Histoire N...

This antique engraving in frame depicts various mythical creatures and heraldic symbols in old original hand-coloring. Itresembles the style of Friedrich Justin Bertuch. Friedrich Justin Bertuch (1747–1822) was a German publisher and patron of the arts who is well-known for his "Bilderbuch für Kinder" (Picture Book for Children), which was published in multiple volumes from 1790 to 1830. This extensive work included thousands of hand-colored illustrations covering a wide array of subjects, from animals and plants to costumes, mythological figures, and more. The images depicted in the engraving include: 1. A large bird with spread wings at the bottom of the image, possibly an eagle, which is a common symbol of power and is widely used in heraldry. 2. A rooster with dragon-like wings and a tail, standing on a pedestal, which might be a chimera or a cockatrice, creatures often found in mythology and heraldic emblems. 3. A phoenix or a peacock, burning with flames around it, symbolizing rebirth and immortality, next to a tent and a figure in medieval clothing...

This engraving is from Prideaux John Selby's "Illustrations of British Ornithology," depicting two species of plovers. It shows the Ring Plover in two different stages of life—adult ...

Title: "Marine Mollusk Masterpieces: Artistry from the Depths" This collection of hand-colored engravings, meticulously crafted, offers a window into the diverse world of marine mol...

Large original hand-colored antique ornithological print made by Selby and published around 1826. The print from Prideaux John Selby's "Il...

Large original hand-colored antique ornithological print made by Selby and published around 1826. This particular print from Prideaux John...

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

A beautifully detailed print from Prideaux John Selby's "Illustrations of British Ornithology," depicting the Little Gull in various stages of plumage. The artwork features an adul...

Large original hand-colored antique ornithological print made by Selby and published around 1826. The image is a colored etching from "Ill...

Large original antique print with two illustrations of birds, which are finely detailed and colored, from a series of ornithological studies. The print is engraved with the signature...

This original antique engraving features a pair of Dippers, also known as water ouzels, which are small, stout, aquatic songbirds. This print from Prideaux John Selby's "Illustration...

Large original hand-colored antique ornithological print made by Selby and published around 1826. The text identifies the species depicted i...

The illustrations are from "Dictionnaire Universel d'Histoire Naturelle" directed by Charles d'Orbigny, which was an ambitious encyclopedia of natural history published in Paris in t...

Antique anatomy print showing the skull / cranium. This print originates from 'Anatomie De L'Homme Ou Descriptions Et figures Lithographiees De Toutes Les Parties Du Corps Humain', b...

1880s Noah’s Ark print in gilt wood frame. Great images, great color.

Great image of The Battle of Waterloo Fine steel engraving with a highly decorative border. Published by Tallis C.1850 Unframed. The size given is the paper size

Great images of ancient Egypt Copper-plate engravings. Published C.1800 Unframed.

Wonderful set of 6 bird prints. Lovely bright colours. Chromolithographs by Leighton Brothers Published circa 1880 Unframed. The measurement given is the paper size of...

This beautiful original hand-colored antique print, made by Ulrik Thersner in 1824, is a fine example of his work. Thersner, known for his detailed and atmospheric landscapes, would have drawn this view of Djursholm Castle with great care, capturing not only the architectural features of the castle but also the surrounding natural landscape and pastoral life, as seen in the foreground with figures and livestock. The aquatint technique allowed Thersner to produce gradations of tone that give the print a remarkable depth and a lifelike quality, a characteristic that was particularly prized in the early 19th century for the way it mimicked the subtleties of watercolor paintings. The composition of the print, with the castle situated amidst the verdant trees and the inclusion of human and animal figures, creates a harmonious balance between the built environment and the natural world, reflecting the romantic sensibilities of the time. The view "from the S.E. angle" provides a unique perspective of the castle, emphasizing its prominence and setting within the landscape. As a historical document, the print serves as a valuable visual record of Djursholm Castle and its environs in the early 1800s. As an artwork, it stands as a testament to Thersner's skill as an artist and his contribution to the tradition of Swedish topographical art. 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...

Lot of 5 col. aquatints, by Mathew DUBOURG after various artists. These original antique prints were drawn (designated by "Del.", short for delineavit, Latin for "he/she drew it") by J.H. Clark and were published and sold on May 1st, 1813. Edw. Orme Bend Street London" refers to Edward Orme, a publisher based on Bond Street in London, known for producing and selling high-quality prints during the early 19th century. The term "Sculp", short for "sculpsit," indicates the engraver, in this case, M. Dubourg, who would have been responsible for engraving the images onto a surface for printing. These details highlight that the prints are of English origin and were produced by notable figures in the London art scene at the time. Edward Orme's establishment was a significant purveyor of prints, and such detailed works would have been collected by those with an interest in art, culture, and the wider world. This date places the prints in the early 19th century, a period rich in exploration and documentation of various cultures around the world through art. These prints would have served as a way for people to see and learn about activities and practices from different parts of the world that they might never have the chance to witness in person. The detailed and colored nature of the prints suggests that they were likely intended for an audience with an interest in the exotic and the educational. Description: This collection of five prints offers a vivid tableau of hunting and gathering practices from various corners of the globe during the 18th and 19th centuries. Each print captures a moment of interaction between humans and nature, showcasing the diverse methods and environments in which these activities took place. 1. "Finland Bear Hunting...

Great image of swans. Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Cpt. brown with original hand color. Published...

Superb set of 8 prints of European Art Treasures Chromolithographs Published by Louis Gruner, 1862. The prints are in good condition. The white mounts have condition issues. This ...

Decorate a study of office with this elegant suite of antique black and white prints. Created in Paris France circa 1870 by Helio Catala Freres and edited by Charles Massin et Cie, e...

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...

This original antique aquatint is a picturesque depiction of Söderfors, a place likely to be in Sweden, given the naming convention and style of the artwork. Crafted by Ulrik Thersner in 1825, the image portrays a vibrant, pastoral scene set by a rushing waterway, suggesting the presence of a river or stream. The landscape is dotted with buildings that have the architectural hallmarks of early 19th-century Swedish design. A group of figures is depicted in the foreground, which adds a human element and scale to the scene. Söderfors, if it is the same location known today, has a historical industrial background and is located in Uppsala County, Sweden. The area has been known for its ironworks and manufacturing history dating back to the 17th century. It is a locality situated in Tierp Municipality, Uppsala County, Sweden with 1,572 inhabitants in 2010 If the aquatint represents this area, it may have captured Söderfors at a time when it was transitioning from a more agricultural society to one influenced by industrialization. Today, the region may still have remnants of its historical past, although it would have undoubtedly undergone significant changes since Thersner's time. 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...

This hand-colored aquatint is a topographical view of Djursholm Castle in Danderyd, Sweden, and it is a part of Ulrik Thersner's ambitious project, "Fordna och närvarande Sverige" (Antiquity and Present Sweden). This work aimed to be a modern counterpart to Erik Dahlbergh's "Suecia antiqua et hodierna," a significant 17th-century work that showcased Sweden's historical and contemporary landscapes, buildings, and monuments through engravings. Ulrik Thersner's endeavor in creating "Fordna och närvarande Sverige" involved drawing several mansions, among other subjects, and began publishing these works in 1817. The technique used, aquatint, is a form of etching that allows for the creation of images with tonal variations, resembling watercolor paintings, which makes it particularly suited for detailed and atmospheric topographical representations like the one of Djursholm Castle. Carl Fredrik Akrell, a notable engraver, worked on engraving Thersner's images, which were then executed in aquatint, a process that allows for a rich gradation of tones and a painterly quality. Wilhelm Maximilian Carpelan later joined the publication effort, indicating a collaborative process in bringing Thersner's vision to fruition. The parts of the series were published over a period, with Skåne completed in 1823, and the regions of Östergötland, Uppland, and Södermanland addressed in the years 1820 and 1824-25. Thersner's personal involvement in writing the text for the pictures underlines the detailed and scholarly approach taken in producing this series. Thersner's "Fordna och närvarande Sverige" would have been an invaluable contribution to the documentation of Swedish cultural heritage and landscape during the early 19th century, providing a vivid pictorial record that would have appealed to both the scholarly community and the general public interested in the country's history and geography. The print of Djursholm Castle that you are referring to would be a part of this important series. 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...

Dated between 1738-1806 Mitsusada Tosa Printed 1806-1808 Engraver Jihei Inoue Printer Kisaburo Hori

Rare, original 19th century woodblock print. Beautiful Edo period print from the original publisher. Quality framed with conservation glass in an black painted frame. Red Blue Gree...

A framed architectural engraving of a wall in Pompeii titled "In Casa Pseudourbana Di Pompei piano superiore Parete corta dell'antistuf...

Superb set of 5 prints of European Art Treasures Chromolithographs Published by Louis Gruner, 1862. The prints are in good condition. The white mounts have condition issues. This ...

This original handcolored lithograph depicts a Templar knight in full war attire, mounted on a galloping horse. The knight is armored, carrying a sword raised high, likely in a charg...

Title: "Noble Roman Lady of the Middle Ages" Description: The print shows a portrayal of a "Dame Noble Romaine," which translates to "Noble Roman Lady," from the Middle Ages. It is ...

Great image of deer. Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Cpt. brown with original hand color. Published:...

Nicely framed. From the estate of John Dingman.

The image depicts a snake, specifically labeled as "Erpeton tentaculatus," which is commonly known as the tentacled snake. It is a species found in Southeast Asia and is remarkable f...

Lithograph on paper by Amalfi in the province of Salerno Italy datable to around the mid-19th century depicting the view of the ancient ruins with the village the perched village and the sea, signed lower right Auguste Anastasi...

The print, titled "Demoiselle," which translates to "Young Lady" or "Damsel," depicts a young noblewoman from the Middle Ages. It is another hand-colored engraving from the 1847 seri...

This original antique print for sale depicts a series of medieval armor pieces, specifically designed for head protection, known as helmets. These helmets exhibit a variety of styles...

Great image of shrike Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Cpt. brown with original hand color. Published...

Great image of a whale. Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Cpt. Brown with original hand color. Publish...

This print depicts three turtles, each with distinct patterns and colors on their shells and skin: 1. **Top Turtle**: This turtle has a relatively dark shell with light markings that emphasize the ridges of the scutes (the individual plates that make up the turtle's carapace or shell). The plastron (the belly part of the shell) appears to be lightly colored with dark seams. The skin of the turtle is striped with light and dark bands, suggesting a pattern that may help with camouflage or identification among species. 2. **Bottom Left Turtle (labeled 'a')**: This specimen has a shell with a more vibrant green color and bold, light-colored markings. The plastron is red with a symmetrical pattern, which is quite distinctive. This coloration may be characteristic of a particular species or could be an artistic interpretation to highlight anatomical details. 3. **Bottom Right Turtle (labeled 'b')**: The shell of this turtle is green with a lighter central area and dark borders on the scutes, while the plastron is a contrasting red with a white pattern. The green color extends to the skin, with lighter stripes on the limbs. The print shows illustrations of turtles, and it seems to label them as "Emys picta" and "Emyde peinte," which could refer to painted turtles...

The engraving by Samuel Neele, titled "Portrait of Bennilong," is a significant historical representation from G. A. Cooke's "Modern and Authentic System of Universal Geography," published in circa 1802. It portrays Bennelong, an Eora man from New Holland (now Australia), who learned English and traveled to England with Governor Arthur Phillip in 1792. This image reflects Bennelong's unique position as a cultural intermediary and is a remarkable example of early cross-cultural encounters between Indigenous Australians and Europeans. Some more interesting facts about Woollarawarre Bennelong from an article in the Independent of March 2011: The grave of Woollarawarre Bennelong, an Aboriginal leader who played a key role in early Australian colonial history, has been discovered in a suburban front garden – solving a 200-year-old mystery. One of the first Aborigines to interact with British colonists, Bennelong – a senior member of the Wangal tribe – struck up a friendship with the first governor of New South Wales, Arthur Phillip. When Phillip sailed home to England, he took the Wangal man with him, dressed him in Regency finery and introduced him to London high society. When Bennelong returned to Australia, he was ostracised by the indigenous and European communities. In 1813, having sunk into alcoholism, he died – but exactly where he was buried has been the subject of speculation ever since. Now, after protracted detective work by an environmental scientist, Peter Mitchell, Bennelong's final resting-place has been found, The Sun-Herald newspaper reported yesterday. The discovery represents the missing link in Bennelong's extraordinary story, and is certain to reignite interest in a man who tried to bridge the gap between black and white – a challenge still facing Australians today. Dr Mitchell, the honourary associate professor of physical geography at Sydney's Macquarie University, scoured the archives for references to the grave, which he matched against geographical records to place it in the Sydney suburb of Putney. Surveyors from the local Ryde Council then pinpointed its location, between a front lawn and a central reservation. Before urban sprawl took over, the area was part of the estate of James Squire, Australia's first commercial brewer, who has given his name to a line of popular modern beers. An ex-convict, Squire befriended Bennelong before he died and buried him in his own orchard. The precise location of the grave is being kept secret, until Aboriginal leaders have been consulted about the next steps. Ryde Council wants to use ground-penetrating equipment to explore the site. A Ryde councillor, Vic Tagg, described the find as "fantastic", saying it would rewrite history. Relations between Bennelong and Phillip got off to an unpromising start in 1789, nearly two years after the First Fleet...

Description: This print, a page from the work "Costume du Moyen Age" from 1847, depicts a regal figure representing Edward III, one of the most notable kings of England during the me...

Title: "Regal Contemplation: Queen Margaret of Scotland in 'Costume du Moyen Âge'" Description: This 1847 lithograph from "Costume du Moyen Âge" exquisitely depicts Queen Margaret of Scotland, a historical figure known for her piety and influence. The queen is portrayed in a moment of quiet reflection, her hands delicately poised as if in gentle conversation or mid-prayer. Her royal attire is intricately detailed, with a blue robe that falls in soft, luxurious folds, indicative of her regal status. The robe is cinched at the waist with a richly embroidered golden girdle, accentuating the queen's stature. Her sleeves are adorned with patterns that echo the girdle's design, and they tighten at the wrists, a common fashion of the era. Queen Margaret's head is crowned with a simple yet elegant circlet, from which her veil flows behind her in a graceful arc, adding a sense of ethereal beauty to her presence. The stark white of the veil provides a contrast to the deep, vibrant colors of her gown, and her calm expression embodies the revered tranquility she was known for. Next to her is a prie-dieu, a type of prayer desk...

The engraving is captioned as "Mode of Fighting in the Navigator's Islands" and depicts a scene of conflict among the indigenous people of the Navigator's Islands, now known as the ...

[English Gentlemen], from Vanity Fair twelve chromolithographs, on wove papers. Printed by Vincent Brooks Day & Son., with various dates from 1875 to 1897. Eight are by Spy, two are by Ape, one by "T" and one by Lib. Professionally framed with black and gilt frames and beige silk mats, with margins, apparently in excellent condition, not examined out of the frames. Titles comprise: "Accrington", June 11, 1892, "Newcastle Upon Tyne" July 18, 1893, "A New Peer", October 5, 1878, "South Bucks", June 4, 1896, "South Kensington", September 2, 1897, "Lord Salisbury's Manners", July 13, 1893, "The Blister", August 4, 1888, "A Postmaster General", April 30, 1892, "Sir James Miller", September 6, 1890, "Sol", October 28, 1897, "A Young Man" September 11, 1875, and "A Naturalist", September 9, 1882. Vanity Fair was a weekly magazine published in London, founded & edited by Thomas Gibson Bowles. His aim was to expose to contemporary vanities of Victorian society. From 1868 to 1914, full page colour lithographs appeared in most weekly issues, frequently lampooning or lauding their subjects which included artists, athletes, royalty, politicians, scientists, authors, actors, sportsmen, lawyers, diplomats, soldiers, clergy, scholars and other celebrities of the day - mostly British, but also many other internationally significant personalities. Over 2,300 of these colour cartoons were printed, and they are considered the chief cultural legacy of the magazine, forming a pictorial record of many of the most significant public figures of the period. They are renowned throughout the world and highly collectible and recognisable. Famous artists contributed to Vanity Fair, typically under pen names. The best remembered today is Leslie Ward (1851-1922), who signed his works as "Spy", and whose caricatures account for well over half of those featured in Vanity Fair. So famous have these fabulous prints become, Vanity Fair caricatures today often are referred to simply as "Spy Cartoons...

Title: "Devout Reflection: A Medieval Bourgeoise in Prayer" Description: This print presents a serene image of a woman, labeled as a bourgeoise, engaged in an act of devotion. Her a...

Title: "Medieval Valor: Sir Richard Vernon in Full Armor from 'Costume du Moyen Âge'" Description: This exquisite 1847 lithograph from the collection "Costume du Moyen Âge" presents...

Stampa raffigurante tavola n. 21 da incisione su lastra d’acciaio e tratta dall’Atlante illustrato pubblicato da F.A. Brockhaus, in Lipsia 1869-1875 l’enciclopedia iconografica del...

Title: War Canoes of Otaheite equipp'd for Engagement as represented by Captn. Cooke This detailed engraving depicts the "War Canoes of Otaheite (Tahiti), as represented by Capt'n C...

The following descriptions are based on the visual characteristics observed from the illustrations: 1. **Ruellia Ciliosa** - This plant features an upright growth habit with slender...

These exquisite lithographs from the "Costume du Moyen Âge" series, published in 1847, offer a captivating glimpse into the world of medieval fashion and elegance. Each print showcas...

This set of four engravings in detail with compendium landscape details and related prey animals are done in steel engraved plates and come from the first quarter of the 19th century...