What is the history behind 19th-century ornithological prints?

During the 19th century, interest in natural history surged, leading to increased demand for detailed scientific illustrations of flora and fauna. Artists and naturalists documented species through detailed hand-coloured engravings and lithographs for publications and display in private collections.

What materials were traditionally used in framing 19th-century prints?

Prints from this era were typically printed on rag paper and often featured hand-tinted watercolour details. Frames were commonly crafted from carved wood with gilt or gesso finishes, frequently paired with fabric or paper mounts and protected under glass.

How can you identify authentic 19th-century bird prints?

Authentic period prints usually display evidence of plate impression lines from copperplate engraving or characteristic grain from lithographic stones. Additionally, natural age marks such as foxing on paper and authentic patina or oxidisation on gilt frames indicate period production.

How do you style antique bird prints in a modern interior?

Pairing framed natural history prints in symmetry, such as hanging them vertically or side by side, creates balanced wall displays. They work well when positioned above a sideboard, flanking a fireplace mantel, or integrated into a wider gallery wall.

How should framed antique paper prints be cared for and preserved?

Keep antique prints away from direct sunlight and high humidity to prevent paper fading, warping, or foxing. Dust frames gently with a soft dry cloth and avoid harsh chemical cleaners on giltwood or glass surfaces.

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A Pair of 19th Century Framed Bird Prints

Name: A Pair of 19th Century Framed Bird Prints
Brand: Antique
SKU: SA945512
Price: 775 GBP
Availability: InStock

19th century

For Sale by Tigers Decorative

Description

A pair of 19th Century oval framed bird prints, by Rev F.O Morris, B.A member of The Ashmolean Society, circa 1852. These are presented in our handmade copies of an original Regency frame. These frames are made in our workshop, using the traditional methods of wood, plaster, gesso, bole and gilding with 23 carat gold leaf. The frames have a delicate yellow ochre coloured wash between the nulling and outer mould and the glass has a verre eglomise boarder. They are subtly aged and finished with a period or hand cast brass picture ring for hanging.

Cirl Buntingl, Wood Lark

The prints came from ''A History Of British Birds'' by The Rev F.O. Morris, Circa 1852. Francis Orpen Morris (1810 - 1893) was a clergyman and a naturalist. He was a prolific writer on natural history subjects.

Benjamin Fawcett (1808 - 1893) was an English nineteenth century woodblock colour printer. In about 1845 he formed a close working association with Francis Orpen Morris. This relationship would last nearly 50 years and have a profound effect on British ornithology. Morris wrote the text for books which were financed and printed by Fawcett, and were engraved by Alexander Francis Lydon (1836–1917), who had started his career as Fawcett's apprentice.

At first wood-engraving illustrations were coloured by hand, but later a system of colouring from multiple wood blocks was used. Hand-coloured wood engraving started with an accurate painting of the subject. This picture was then carved on a wooden block, standing proud in order to pick up the ink. The block was then placed in a printing press to give a black-and-white print, which was then hand-coloured. The wooden print blocks were carved with great attention detail. Pear and boxwood were sufficiently hard and fine-grained, making them durable and capable of showing fine detail.

Fellow engraver W. D. Ridley wrote: "Benjamin Fawcett was undoubtedly a born genius in the best sense of the word; for in a remote country town in the early days of railway facilities, when it must have been difficult to buy high-grade colour inks, he brushed all difficulties aside, purchased his own boxwood shipped direct from Turkey, matured it, sawed it in slices, surfaced it accurately, drew the whole of his work, Morris's British Birds, upon these blocks himself, and with the aid of his clever wife, actually produced the first edition so far as the blocks were concerned, "If there was a secret which produced the fine results it would have been - Benjamin Fawcett engraving every one of the three hundred and sixty plates for this work on wood with his own hand, making the inks himself from the costliest powders and the most expensive varnishes procurable and each specimen plate for the colourers painted by his wife.

Physical Dimensions

Height

30cm (11.81")

Width

25cm (9.84")

Depth

3.5cm (1.38")

Declaration

Tigers Decorative has dated these Framed Antique Bird Prints to the 19th Century.

Reference Numbers

Sellingantiques Reference

SA945512

Dealers Internal Reference

TD2039

Description

A pair of 19th Century oval framed bird prints, by Rev F.O Morris, B.A member of The Ashmolean Society, circa 1852. These are presented in our handmade copies of an original Regency frame.

“

These frames are made in our workshop, using the traditional methods of wood, plaster, gesso, bole and gilding with 23 carat gold leaf.

Tigers Decorative

The frames have a delicate yellow ochre coloured wash between the nulling and outer mould and the glass has a verre eglomise boarder. They are subtly aged and finished with a period or hand cast brass picture ring for hanging.

fig 1. Pair of 19th-century oval bird prints in beaded giltwood frames with blue fabric mounts. — fig 1. A Pair of 19th Century Framed Bird Prints

Cirl Buntingl, Wood Lark

The prints came from ''A History Of British Birds'' by The Rev F.O. Morris, Circa 1852. Francis Orpen Morris (1810 - 1893) was a clergyman and a naturalist. He was a prolific writer on natural history subjects.

fig 2. Pair of 19th-century oval bird prints in beaded giltwood frames with blue fabric mounts. — fig 2. A Pair of 19th Century Framed Bird Prints

Benjamin Fawcett (1808 - 1893) was an English nineteenth century woodblock colour printer. In about 1845 he formed a close working association with Francis Orpen Morris. This relationship would last nearly 50 years and have a profound effect on British ornithology. Morris wrote the text for books which were financed and printed by Fawcett, and were engraved by Alexander Francis Lydon (1836–1917), who had started his career as Fawcett's apprentice.

fig 3. Pair of 19th-century oval bird prints in beaded giltwood frames with blue fabric mounts. — fig 3. A Pair of 19th Century Framed Bird Prints

At first wood-engraving illustrations were coloured by hand, but later a system of colouring from multiple wood blocks was used. Hand-coloured wood engraving started with an accurate painting of the subject. This picture was then carved on a wooden block, standing proud in order to pick up the ink. The block was then placed in a printing press to give a black-and-white print, which was then hand-coloured. The wooden print blocks were carved with great attention detail. Pear and boxwood were sufficiently hard and fine-grained, making them durable and capable of showing fine detail.

fig 4. Pair of 19th-century oval bird prints in beaded giltwood frames with blue fabric mounts. — fig 4. A Pair of 19th Century Framed Bird Prints

Fellow engraver W. D. Ridley wrote: "Benjamin Fawcett was undoubtedly a born genius in the best sense of the word; for in a remote country town in the early days of railway facilities, when it must have been difficult to buy high-grade colour inks, he brushed all difficulties aside, purchased his own boxwood shipped direct from Turkey, matured it, sawed it in slices, surfaced it accurately, drew the whole of his work, Morris's British Birds, upon these blocks himself, and with the aid of his clever wife, actually produced the first edition so far as the blocks were concerned, "If there was a secret which produced the fine results it would have been - Benjamin Fawcett engraving every one of the three hundred and sixty plates for this work on wood with his own hand, making the inks himself from the costliest powders and the most expensive varnishes procurable and each specimen plate for the colourers painted by his wife.