Early 1800s Prints

Antique 1808 aquatint engraving titled "Doctor's Commons" drawn by Thomas Rowlandson, engraved by Auguste Charles Pugin, aquatint by Joseph Constantine Stadler. Published in London, ...

This rare engraving by John Whessell (c 1760 - 1840) was published in 1802 by John Day and is extensively inscribed below: “To the Right Honorable Lord Somerville. This print is...

Great set of 5 fishing prints Copper-plate engravings Published by Bunney & Gold, London Unframed The measurement give below is for one print. Free shipping.  

Great image of a stag Copper-plate engraving Published by Bunny and Gold . Dated 1801 Unframed.

The hand colored engraving by Descourtis depicting a true cave in the Orange region of France with curious admirers with a dog and a soldier, in a period walnut and ebonized frame

Great set of sea battles Copper-plate engravings. Published by J.Stratford, London. Dated 1803 Unframed. Free shipping.

A scene of White Horse Hill, which is located in the county of Berkshire. The text in the image states: "Engrav'd for England Display'd" and "View of White Horse Hill in the County ...

This engraving is part of a collection showcasing the beauty of England and Wales, a series that was common in the 18th and 19th centuries to celebrate and document the picturesque landscapes and significant towns of Britain. The text provided in the last image offers several details: 1. The title of the engraving is "BRIDGENORTH. Shropshire." 2. It was engraved by J. Greig from a drawing by the late E. Dayes. 3. The engraving was published in London by Vernor, Hood & Sharpe Poultry, February 1st, 1807. 4. It was created for "The Beauties of England and Wales." The artwork depicts Bridgnorth, a town in Shropshire, England. The engraving would have been intended to capture the charm and appeal of Bridgnorth, with its notable bridge and surrounding architecture. Engravings like this one were often collected by those who appreciated the artistry of such views and by those who were interested in the topographical and historical significance of the location. E. Dayes (the late Edward Dayes) was a well-known artist of the period, and J. Greig was the engraver who transferred Dayes' artwork into the medium of engraving. The publication date of February 1st, 1807, places this work in the early 19th century, a time when such engravings were a popular form of mass media, providing a visual understanding of places that many people might not have the opportunity to visit themselves. The engraving serves as both an artistic and historical record, capturing Bridgnorth in the early 19th century with a level of detail and craftsmanship that is characteristic of the period's topographical art...

An original hand-colored engraving of Norwich in England. The text within the image provides several pieces of information about the print: 1. "NORWICH." - This is the title of th...

This engraving is the orginal frontispiece of a book, entitled "Description des nouveaux jardins de la France et de ses anciens chateaux," which translates from French as "Descriptio...

This scarce first edition hand colored engraving is from Sir Charles Linnaeus & Ebenezer Sibley's "A Genuine and Universal System of Natural-History" or the "Magazine of Natural History." Carl Linnaeus (also known as Carl von Linné...

This illustration depicts two shrikes, specifically identified as "Lanius Spinitorquus Lin.," which is likely an old scientific name used in the past. The text "Drondrecher 1.Mannche...

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...

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

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...

This is an 1820 copperplate engraving by Denon, expertly crafted by Hawkesworth, depicting the ruins of the Temple of Hermopolis in Egypt. Ruins of the Temple of Hermopolis, Upper ...

The title for the provided engraving could be "Ceremonial Rites: A Human Sacrifice in Otaheite," capturing the gravity of the depicted event. This print likely illustrates a solemn a...

The image depicts a copperplate engraving of a sea otter from Nootka Sound, located in Quadra and Vancouver Island on the North West Coast of America. This particular engraving was...

The engraving titled "Interview Between Captain Wallis And Oberea, Queen Of Otaheite" captures a pivotal moment between British explorer Captain Samuel Wallis and the Tahitian Queen ...

This engraving presents a profile view of the Sphinx, capturing its grandeur alongside the Pyramids of Giza in Egypt. It is a testament to the ancient ...

The 1801 engraving depicts a figure labeled as "A Savage of the Admiralty Isles in the South Sea." The image portrays a solitary indigenous man standing with a paddle in hand, exudin...

This engraving from George Alexander Cooke's "A Modern and Authentic System of Universal Geography" depicts a New Caledonian warrior in the poised position of throwing a spear. His m...

The engraving depicts the intricately carved inner door of the sanctuary of the Temple of Isis located in Tentyra (modern Dendera), Upper Egypt. This temple was dedicated to the godd...

Title: "Relics of Antiquity: Egyptian Sphinx and Colossal Statues of Canopus" Description: This print showcases two striking images from George Alexander Cooke's "Universal Geograph...

The print is an early 19th-century engraving depicting the Khoikhoi people, historically referred to as the Hottentots, which is an outdated term. The Khoikhoi are indigenous inhabit...

Title: "Social Hierarchy of the Nagai Tartars - An Etching by Geissler, ca. 1800" Description: This etching by Christian Gottfried Heinrich Geissler, titled "Nagai Tartars," is a fine representation of the German School from around the year 1800. It portrays three figures, labeled to indicate their social standing: a woman of distinction, her daughter, and a female servant, numerically annotated as 1, 2, and 3 respectively. The detailed depiction captures the intricate attire and cultural fashion of the period, reflecting the societal structure and familial roles within the Nagai Tartar community. The women are adorned in traditional garments that signify their status and identity, while the setting suggests a backdrop typical of their environment, providing a glimpse into the life of the Tartar people at the turn of the 19th century. The Nagai or Nogai Tartars were part of the Nogai Horde, a confederation that occupied the Pontic–Caspian steppe from about 1500 until they were displaced in the 17th century by the Kalmyks and Russians. They were named after Nogai Khan, a Mongol ruler, and were divided into groups such as the Budjak and Yedisan in the area north of the Black Sea. The Nogais were known to be pastoral nomads who grazed sheep, horses, and camels and were also involved in trade, raiding, and tribute. They spoke a form of Kypchak Turkic and were Muslim, although their religious institutions were not strongly developed. The societal structure of the Nogais was quite fluid, with personal prestige playing a significant role in their political organization. They were historically known for their slave raids across Eastern Europe, which were an important part of their economy. The term "Tatar" broadly refers to Turkic-speaking peoples, mainly found in west-central Russia and other former Soviet Republics. It was originally used to refer to various nomadic groups from the vast Central and Northern Asian region then known as Tartary. The largest Tatar group is the Volga Tatar from the Volga region in Russia. There are several Tatar groups, including the Volga Tatars and the Crimean Tatars, with the latter being subdivided into groups such as the Tats and the Nogai. The Tatars have a rich history that dates back to the 5th century when nomadic tribes in northeastern Mongolia around Lake Baikal were first recognized. They became part of Genghis Khan's army in the 13th century and were known to Europeans as Tatars. Following the disintegration of the Mongol Empire, the Tatars were particularly associated with the western part of the empire, the Golden Horde...

The engraving shows the majestic ruins of the Palace of Luxor, located in the village of Luxor near the site of ancient Thebes in Upper Egypt. Luxor was once a flourishing city and t...

This engraving portrays three distinct figures: an Egyptian Mamluk, an Egyptian lady, and an Almee or dancing girl, representative of Egypt's social diversity. The Mamluk stands prom...

Various Articles Implements And Used By The Savages Of New Caledonia In The South Sea Description: This 1801 copperplate engraving from George Alexander Cooke's "Universal Geography" displays various tools and clothing of the indigenous people of New Caledonia in the South Sea. Items depicted include a mask, a basket for containing feathers, a warrior's cap, instruments for tattooing, a club, a spear, and other artifacts integral to the daily and ceremonial life of the New Caledonian people. The engraving provides a visual documentation of the cultural artifacts encountered by explorers like Captain James Cook during their voyages. The print includes various items used by the indigenous people of New Caledonia: 1. A mask, likely used in rituals or ceremonies. 2. A basket for containing feathers, possibly for storage or transport of valuable items. 3. A cap worn by warriors, part of their traditional attire. 4. Tattooing instruments for marking the skin with cultural or status symbols. 5. A club, which could be a weapon or a symbol of power. 6. A spear, used for hunting or as a weapon. 7. An adze, a tool for woodworking...

The engraving shows two Mamluks: one in full military attire, and the other, of a higher order, in full ceremonial dress. The detailed illustration captures the distinctiveness of th...

The engraving titled "Natives Of Caria, A Province Of Anatolia In Turkey In Asia" depicts two individuals from Caria, a historical region in what is now modern Turkey. The attire and...

Title: "The Natives of Otaheite Attacking Capt. Wallis, The First Discoverer of that Island" This engraving depicts a significant historical encounter between the natives of Tahiti ...

A head and shoulders frontal portrait of a man named by Cook as Mourua, of Mangaia, Cook Islands, visited by Cook in March 1777. Title: "Portrait of a Mangean Islander by John Webbe...

Etching and engraving entitled 'A Grandee of Circassia arrayed with his full accoutrements and a Circassian of the lower class, in his shaggy cloak, called Burki'. Lettered 'Geissler...

Great image of butterflies Copper-plate engraving by Milton Published by Longman & Rees, London Dated 1802 Unframed. Free shipping.

Great map of India Copper-plate engraving Published C.1780 Three small worm holes to right side of map and one bottom left corner Unframed.

Great image of Mount Vesuvius Copper-plate engraving by Lowry Published by Longman & Rees, London Dated 1802 Unframed. Free shipping.

Great image of insects Copper-plate engraving by Milton Published by Longman & Rees, London Dated 1802 Unframed. Free shipping.

Great image of fungi Copper-plate engraving by Milton Published by Longman & Rees, London Dated 1802 Unframed. Free shipping.

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

Great map of Asia Copper-plate engraving Published C.1780 Two small worm holes to right side of map Unframed.

Great map of Italy Copper-plate engraving Published C.1780 Unframed.

Wonderful print of the Royal Golden Barge Copper-plate engraving Published C.1800 Unframed.     

Great map of South America Copper-plate engraving Published C.1780 Two small worm holes to left side of map Unframed.

A pair of beautiful engravings by Laborge, printed in 1808. These rare images were hand colored from copper plates. Custom hand made French mats with gold banding on archival board. ...

Pair of etchings and engravings on laid paper by William Grainger (1765–1809), after William Hamilton. Death of General Wolfe at the Siege of Quebec: The general is sitting up, supported by an officer kneeling beside him, as another runs towards them in grief, the battle raging behind; from Lyttleton's 'History of England' (London 1803-05). Published by J Stratford, London, Holbern Hill, 1802. General Burgoyne Addressing the Indians at their War Feast in Canada: Burgoyne on horseback to right, accompanied by two officers on foot, talking with three Canadian Indian...

Redouté (1759-1840) and Pancrace Bessa (1772–1846) after; engraved by Pierre-Joseph (1759-1840). Dimensions Height: 20.08 in. (51 cm) Width: 13.39 in. (34 cm) From the se...

Antique print titled 'Menschelijke Offerhande in eene Morai of Otahiti verrigt'. Antique print depiciting a Human Sacrifice, in a Morai, in Otaheite. Originates from 'Reizen Rondom...

Wonderful ethnographical print. Copper-plate engraving Published circa 1810 Unframed.  

This dramatic Revolutionary War engraving of the Battle of Bunker Hill is after the famous 1785 oil-on-canvas by John Trumbull. Capturing the intensity of the battle, the engraving centers on Major John Small restraining a “lobster-back” from bayoneting Major General Joseph Warren. Warren lies mortally wounded in the midst of chaos around him. In the background, British forces are seen cresting the last defenses of the brave, yet green army of Colonial soldiers. The Battle of Bunker Hill was fought on June 17, 1775, in the early stages of the American Revolutionary War. The battle is named after Bunker Hill in Charlestown, Massachusetts. Although it was the original objective of both the Colonial and British troops, the area was only peripherally involved in the battle. Rather, the majority of the combat took place on the adjacent Breed’s Hill. The battle pitted a more organized British force against a young and inexperienced American militia. Although considered a tactical victory for the British, it came at the cost of considerable casualties, including a large number of officers. The battle demonstrated that the inexperienced American militia was able to stand up to the British army troops in battle. The battle results discouraged the British from any further frontal attacks against well-defended front lines. American casualties were comparatively fewer, although their losses included Gen. Joseph Warren. During the battle, the patriot-turned-painter John Trumbull (1756-1843) was stationed in Roxbury on the far side of Boston, where he could hear the sounds of fighting. In late 1785, Trumbull decided to devote himself to the depiction of Revolutionary War scenes, a series of eight epic pictures. From the beginning, Trumbull intended for the paintings to be later engraved for sale. Trumbull began the oil-on-canvas of The Death of General Warren at the Battle of Bunker’s Hill and The Death of General Montgomery in the Attack of Quebec, in the studio of Benjamin West in London. Bunker’s Hill was completed in March 1786; Trumbull started Attack of Quebec in February 1785 and finished it before he brought it to Paris in 1786. He then started The Declaration of Independence at Thomas Jefferson's house in Paris. As soon as Bunker’s Hill was completed, Trumbull searched for a suitable engraver in London. He was unsuccessful, as many British engravers were nervous about engraving an American battle...

Antique print titled 'Castiglione'. Original antique print of the Battle of Castiglione. The Battle of Castiglione saw the French Army of Italy under General Napoleon Bonaparte a...

Sellier, François Noël (b.1737) after; Pancrace Bessa (1772–1846) and Pierre-Joseph (1759-1840) Corydalis (from Greek korydalís "crested lark") is a genus of about 470 species of ...

Great image of a whaling scene Copper-plate engraving Published C.1800 Unframed.

Great map of Switzerland Copper-plate engraving by Barlow Published by Brightly & Kinnersly, Bungay, Suffolk. Dated 1807 Unframed.

Wonderful print of a Yeoman of The Guard Copper-plate engraving after N.C Goodnight Published circa 1800 Unframed.

Vue du Connétable de la ville de Gatchine (View of the Obelisk of Town of Gatchina) circa 1800. After an original by Semion Fedorovich Shchedrin, 1798. Engraving, 13 x 18 in. (33 ...

Wonderful print of Sir Thomas Fairfax Copper-plate engraving by Engleheart after Bowers Published by Edward Jeffrey. Dated 1808 Unframed. .

Great map of Netherlands Copper-plate engraving by Barlow Published by Brightly & Kinnersly, Bungay, Suffolk. Dated 1807 Unframed.