Antique Natural HistoryOriginal plates from the naturalists' books, 1600s to 1900s
Stunning Decorative Old Hand-Colored Bird Print of a Pheasant
Stunning Decorative Old Hand-Colored Bird Print of a Pheasant, view 2

Close-ups

Stunning Decorative Old Hand-Colored Bird Print of a Pheasant, close-up 1Stunning Decorative Old Hand-Colored Bird Print of a Pheasant, close-up 2

Framed and on the wall

Stunning Decorative Old Hand-Colored Bird Print of a Pheasant, shown framed

Frame and rooms are illustrations of how the print could look; the description says what is included.

Stunning Decorative Old Hand-Colored Bird Print of a Pheasant

£160 ($215, €190)

Period original, not a reproduction.

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Shipped from the Netherlands, flat, insured and tracked, worldwide. Returns accepted within 14 days.

Date
Not stated
Size
10.4 × 6.7 in (26.5 × 17 cm)
Condition
Good, given age. Ghosting from text on the opposite page. . General age-related toning and/or occasional minor defects from handling. Please study scan carefully.
Artist or book
Buffon
Section
Birds
Reference
f_37381572

Antique Print-ARGUS-PHEASANT-Buffon-1839

Engraving with original hand colouring, heightened with arabic gum on wove (vellin) paper.

More info on the book in which it was published:

The 'Dictionnaire Classique des Sciences Naturelles' by Pierre Auguste Joseph Drapiez stands as a remarkable testament to 19th-century natural sciences. Published in Brussels in 1845, this work represents an expansive collation of knowledge, building upon the pioneering works of Buffon, Daubenton, Lacepede, Cuvier, de Jussieu, and other influential naturalists.

The prints within this compendium likely showcase a rich amalgamation of artistic precision and scientific accuracy. Drapiez, himself a Belgian naturalist, would have aimed for detailed representations of flora, fauna, and scientific phenomena, mirroring the illustrative styles prevalent during his time. Given the era's emphasis on illustration, these prints were likely engraved meticulously, possibly portraying intricate anatomical details or lifelike depictions of the natural world.

With Drapiez's background in natural history, the prints might bear testament to his commitment to scientific authenticity, aiming to educate and inspire scholars and enthusiasts alike. These engravings would have complemented the text, offering visual aids that elucidate the concepts and specimens discussed in the volume.

Overall, the prints of 'Dictionnaire Classique des Sciences Naturelles' likely serve as both artistic representations and invaluable scientific resources, encapsulating the essence of 19th-century natural history exploration and documentation.