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Thank you for your visit. We go far beyond the typical glossy Audubon prints that flood the internet. Aside from actual originals, our collections feature unique archival Audubon fine art produced through the physical use of actual originals. This allows our clients to experience a true connection to the 180-year-old engravings. One of our proudest offerings is the Princeton Audubon Double Elephant Edition, which is not only the world's only direct camera Audubon edition but also considered the finest of all Audubon prints. If you have originals that you're looking to sell, we invite you to visit our consignment page. And if you're in search of a great deal on world-class fine art, our cart automatically applies discounts to most Audubon facsimile prints and Audubon reproduction prints. For a discount on multiple prints, simply reach out to us via phone or email with your preferred list.
"Princeton Audubon Prints and Ed were simply amazing to work with. Ed is knowledgeable, communicative, honorable, and patient. He deftly handles transactions and shares in the enthusiasm of both seller and buyer. He marketed and sold several beautiful Audubon original elephant folio prints on my behalf. I look forward to another opportunity to work with him."
Consider consigning your prints to Princeton for a variety of reasons. With 25 years of online experience in selling originals, we provide a unique service that allows you, as the owner, to hold physical possession of the prints until funds from the buyer are received. Our simple instructions for packing and shipment ensure a smooth process for all parties involved. This method reduces costs, increases your payout, and minimizes the risk of shipping damage by only requiring the print to be shipped once.
"With their astounding detail, definition, and color, the Princeton direct-camera facsimiles have long set the standard in Audubon Birds of America lithographs." - Louise Mirrer, The New-York Historical Society. "True prints, true colors, incredible detail. Princetons are simply the finest Audubon facsimiles ever produced!” - William Steiner, Audubon print collector and author of Audubon Prints: A Collector’s Guide To Every Edition. "Of all the Audubon reproductions, Princetons come the closest in appearance and quality to the originals." Chris Lane, guest appraiser on PBS Antiques Roadshow. "Princeton Audubons stand above all other modern offset facsimile reproductions. The colors are bright, fresh and natural looking, and the amount of detail seen in the images is extraordinary." - Audubon expert Ron Flynn.
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The dimensions for Havells on average are 26 1/4" x 39 1/4". Occasionally, about an inch more or less is trimmed from one of the longer sides where previous owners may have removed original binding marks. Additionally, there should be a rectangular impression, a border within the paper border, that surrounds the printed image. This crease is caused by the edges of the inked copper engraving plates being pressed into the paper. Here is a comprehensive list of all double elephants, along with their respective copper plate sizes. If the print is unframed, carefully hold it up to a source of light and view the back. All untrimmed Audubon double elephant folio Birds of America prints have a visible countermark. Here is what it should look like. However, finding the countermark on larger images may be difficult. The countermark is like a watermark, but it consists only of lettering and lacks artistic elements. It stretches about 10 inches across the paper and is approximately 1 inch in height. The countermark is either 'J Whatman/Turkey Mill' or 'J Whatman' with a date following, typically ranging from 1825 to 1838.
Between the years 1827 and 1838, John James Audubon, a renowned artist and naturalist, devoted a significant portion of his life to depicting the birds and quadrupeds of North America. He accomplished this by producing a collection of 435 large-sized, hand-colored etchings with aquatints under the title 'The Birds of America'. These exquisite works were published in London, England and showcased Audubon's unique artistic style. Notably, the majority of these reproductions were skillfully executed by Robert Havell and Sons, often with direct involvement from Audubon himself.
The larger birds in Audubon's illustrations were often depicted in feeding positions in order to fit on the largest copper engraving plates available at that time, measuring approximately 27 x 39 inches. Among these birds, the wild turkey was the largest, while one of the minute hummingbirds held the title of smallest. Audubon's Birds of America publication solidified its status as the definitive depiction of American birds in realistic settings. These antique prints, over 180 years old, are commonly referred to as the Audubon-Havell double elephant folio edition due to being printed on giant 'double elephant' folio sheets made of 100% cotton rag watermarked Whatman paper.
Following the momentous accomplishment of his extensive project, The Birds of North America, John James Audubon turned his focus towards exploring the realm of mammals. Teaming up with his two sons, Victor Gifford and John Woodhouse, they joined forces with Mister John Bachman, who offered valuable textual insights and played a crucial role in managing the research initiatives.
While some scholars claim that Audubon's work on the quadrupeds lacks consistency, the majority concur that the knowledge he acquired from studying birds allowed him to refine his technique to a point where he produced his finest work focusing on these mammals.
The Viviparous Quadrupeds of North America, an incredibly detailed work, was officially published in three volumes between 1845 and 1848. More than 303 sets printed in the Imperial size make these lithographs rare and highly valuable today. Each lithograph measures 22 x 28 inches and features the legend "Lith. Printed & Cold. by J.T. Bowen, Phila."
Audubon selected Whatman paper for his originals. This paper, manufactured in Kent, England, was renowned for its quality. James Whatman, the creator of wove paper, continued producing it until his passing in 1759. The business was then taken over by his son James, who later sold it to Thomas Hollingsworth in 1792. The Hollingsworth family carried on the papermaking tradition until 1976. The dimensions of this double elephant paper are approximately 29 x 39 inches, and it features a watermark on the back - J WHATMAN - along with a date. Some sheets also bear the countermark TURKEY MILL, which is believed to reference the mill's original purpose of grinding Turkey wheat from India. The watermark can be seen on the back of untrimmed Havells while held up to a source of light and stretches across the paper for about 10 inches. Look a few inches within the long edge of the paper.
Notably, important figures such as George Washington and Napoleon utilized Whatman paper for significant documents. Even Queen Victoria herself employed Whatman paper for her personal stationery.
An Audubon print can either be an original created by Audubon or his family during the 19th century, or one of the reproductions made later. Both Audubon and those who made reproductions used paper for printing. All of these prints can be referred to as Audubon prints, which is a broad term. However, it is best to differentiate by calling the originals 'original Audubon prints'. It is important to be cautious as some Audubon print websites do not clearly distinguish between 19th-century originals and their own reproductions, sometimes mislabeling their reproductions as Havells (Audubon's engraver) instead of acknowledging them as reproductions of Havells. You may also come across common reproductions presented as originals on sites like eBay. Additionally, prints advertised as vintage Audubon prints are usually reproductions with little or no value. All of the prints on this website are either Audubon original prints or Audubon fine art prints, and are clearly marked as such. Clicking on "Browse" above will show "Audubon Original Galleries" and "Audubon Fine Art Galleries."
When it comes to Audubon prints, their value can vary depending on factors such as condition and provenance. While there is no fixed price list, guidance can be provided based on auction and private sales. It's important to note that prices listed online or in physical stores should be considered asking prices. Additionally, the presence of script at the bottom of a print does not guarantee its originality, as reproductions may also include such script. The value of smaller Audubon originals, like the octavo birds and mammals, can range from less than $100 to several thousand dollars, depending on image popularity and print condition. On the other hand, larger Imperial mammals measuring about 21 x 28 inches are generally valued from around $500 to tens of thousands of dollars, again depending on image popularity and print condition. Finally, Audubon Havells typically sell for at least $1,000 for smaller images, but larger images can fetch upwards of $150,000, once again depending on image popularity and print condition. Do not hesitate to contact us if you need further assistance.
Absolutely. Return prints for any reason in original packaging within 14 days of their delivery for a complete refund, less shipping.
Absolutely. Return prints for any reason in original packaging within 14 days of their delivery for a complete refund, less shipping.
Most orders, such as the Princeton Audubon Double Elephant Edition and the Princeton Audubon Fine Art Edition, and the Essex New-York Historical Society Edition, the Princeton Audubon Baby Elephant Edition, and the Lord-Hopkins originals are shipped the day following your order. Rare-Prints orders may take a few days to a week before shipping. $20 domestic USPS Priority Mail 2Day shipping. Free domestic shipping on orders $500 or more, not including original Havells and Imperials which are shipped at actual cost and may take several days to process and pack. Most original octavos ship the Monday following your order.
International shipping to Australia, Aruba, Bahamas, Barbados, Belgium, Bermuda, Cayman Islands, Costa Rica, Czechia, Denmark, Finland, France, Germany, Ireland, Italy, Monaco, Netherlands, Norway, Poland, St. Martin, Switzerland, United Kingdom, U.S. Outlying Islands, British Virgin Islands, Austria will be the actual cost determined when processing order. You may email us for an estimate. We ship worldwide.
Please call us with any questions or special requests. 908.510.1621.
We ship our prints in heavy art mailing tubes - the safest way to ship fine art. You may open either end and carefully pull out the wrapped print. Remove the tape and gently unroll the print. Always lift a print from the two top corners.
If you wish, we can ship the print(s) directly to your framer.
Most orders, such as the Princeton Audubon Double Elephant Edition and the Princeton Audubon Fine Art Edition, and the Essex New-York Historical Society Edition, the Princeton Audubon Baby Elephant Edition, and the Lord-Hopkins originals are shipped the day following your order. Rare-Prints orders may take a few days to a week before shipping. $20 domestic USPS Priority Mail 2Day shipping. Free domestic shipping on orders $500 or more, not including original Havells and Imperials which are shipped at actual cost and may take several days to process and pack. Most original octavos ship the Monday following your order.
International shipping to Australia, Aruba, Bahamas, Barbados, Belgium, Bermuda, Cayman Islands, Costa Rica, Czechia, Denmark, Finland, France, Germany, Ireland, Italy, Monaco, Netherlands, Norway, Poland, St. Martin, Switzerland, United Kingdom, U.S. Outlying Islands, British Virgin Islands, Austria will be the actual cost determined when processing order. You may email us for an estimate. We ship worldwide.
Please call us with any questions or special requests. 908.510.1621.
We ship our prints in heavy art mailing tubes - the safest way to ship fine art. You may open either end and carefully pull out the wrapped print. Remove the tape and gently unroll the print. Always lift a print from the two top corners.
If you wish, we can ship the print(s) directly to your framer.
We do not frame our prints. They are shipped to you or to your framer is a heavy art mailing tube. We suggest you give the framer a picture of the room where the framed print will be displayed so that he can match not only the print but the decor. An accent lamp adds to the beauty of your display,
Please note these examples of our prints after framing.
Of course, you may choose any local framer and tell them you desire conservation or archival framing. Such framing ensures that nothing acidic comes in contact with the print.
We do not frame our prints. They are shipped to you or to your framer is a heavy art mailing tube. We suggest you give the framer a picture of the room where the framed print will be displayed so that he can match not only the print but the decor. An accent lamp adds to the beauty of your display,
Please note these examples of our prints after framing.
Of course, you may choose any local framer and tell them you desire conservation or archival framing. Such framing ensures that nothing acidic comes in contact with the print.
Yes. Are you interested in consigning your original Audubon prints to Princeton Audubon? Call us at 908-510-1621 or email us at princetonaudubonprints@gmail.com or sign into your google sheets account and simply use this form. Describe your print or collection and add photos. Include the part number from the top left and the plate number (usually in Roman numerals) from the top right. Include the name and the measurements of the prints, length and width. If your print is framed, measure from the inside edges of the frame, length and width. Do not measure only the visible area within the matting. There are no other fees or charges. If we accept your print(s) our maximum commission is 25%. We will at that time ask for (1) any provenance available, such as previous owners (if known) before you acquired it, and (2) high-quality photos of print, front and back. Octavos and Imperials need only one photo of the front and back. Havells require five photos of both the front and back - one showing the entire print and one of the top right quarter, one of the top left quarter, one of the bottom right quarter, and one of the bottom left quarter. Additionally, take a photo of the watermark on the back of Havells. Please call us if you need assistance. We generally have the owner (you) keeping physical custody of the prints until we receive the funds. We can assist you in proper storage of the prints.
Yes. Are you interested in consigning your original Audubon prints to Princeton Audubon? Call us at 908-510-1621 or email us at princetonaudubonprints@gmail.com or sign into your google sheets account and simply use this form. Describe your print or collection and add photos. Include the part number from the top left and the plate number (usually in Roman numerals) from the top right. Include the name and the measurements of the prints, length and width. If your print is framed, measure from the inside edges of the frame, length and width. Do not measure only the visible area within the matting. There are no other fees or charges. If we accept your print(s) our maximum commission is 25%. We will at that time ask for (1) any provenance available, such as previous owners (if known) before you acquired it, and (2) high-quality photos of print, front and back. Octavos and Imperials need only one photo of the front and back. Havells require five photos of both the front and back - one showing the entire print and one of the top right quarter, one of the top left quarter, one of the bottom right quarter, and one of the bottom left quarter. Additionally, take a photo of the watermark on the back of Havells. Please call us if you need assistance. We generally have the owner (you) keeping physical custody of the prints until we receive the funds. We can assist you in proper storage of the prints.
Originally from Princeton New Jersey, we now are located in Jacksonville Florida. We do not have a bricks and mortar store, but will gladly meet travelers and locals by appointment. You can see our prints in several museums around the country, such as The New-York Historical Society and the Key West Audubon House.
Originally from Princeton New Jersey, we now are located in Jacksonville Florida. We do not have a bricks and mortar store, but will gladly meet travelers and locals by appointment. You can see our prints in several museums around the country, such as The New-York Historical Society and the Key West Audubon House.
Thank you, but no. Although some modern editions present themselves as originals, the actual originals were produced in the nineteenth century by Audubon and his family. Princetons are often mistaken as originals since they are the world's only direct camera re-creations. But most of our prints have the edition number penciled in under the script at lower left, denoting that they are not originals but part of a limited edition.
Thank you, but no. Although some modern editions present themselves as originals, the actual originals were produced in the nineteenth century by Audubon and his family. Princetons are often mistaken as originals since they are the world's only direct camera re-creations. But most of our prints have the edition number penciled in under the script at lower left, denoting that they are not originals but part of a limited edition.
Princetons are absolutely exact documents of the actual originals, and often confused as such. How can I tell that my print is an authentic Princeton and not an Audubon original?
Being direct camera productions, Princetons have the same appearance of the Originals. They also have the same size and a similar feel of the originals. Side by side you cannot tell the difference with the naked eye. However, most Princetons sold from our offices have the embossed Princeton seal at the lower right and the edition number penciled in at the lower left.
The paper is Mohawk Superfine Cover Stock which is specially toned to match the average tone of the existing originals and is recommended by The Library of Congress for archives. The paper is not heavy such as that of a giclee, but strong and firm such as the actual original Whatman paper. There is no plate mark, false plate mark, or counter mark on a Princeton.
Further, Princetons are printed on a 300 line, meaning that 300 tiny dots of ink will fit along a one inch line. This is exceptional printing far beyond common reproductions. You will need a high powered loupe to distinguish these minute points of ink.
Princetons are absolutely exact documents of the actual originals, and often confused as such. How can I tell that my print is an authentic Princeton and not an Audubon original?
Being direct camera productions, Princetons have the same appearance of the Originals. They also have the same size and a similar feel of the originals. Side by side you cannot tell the difference with the naked eye. However, most Princetons sold from our offices have the embossed Princeton seal at the lower right and the edition number penciled in at the lower left.
The paper is Mohawk Superfine Cover Stock which is specially toned to match the average tone of the existing originals and is recommended by The Library of Congress for archives. The paper is not heavy such as that of a giclee, but strong and firm such as the actual original Whatman paper. There is no plate mark, false plate mark, or counter mark on a Princeton.
Further, Princetons are printed on a 300 line, meaning that 300 tiny dots of ink will fit along a one inch line. This is exceptional printing far beyond common reproductions. You will need a high powered loupe to distinguish these minute points of ink.
Rarely. Some of his oils have a cameo included. But our original engraving of the Snowy Egret has a figure approaching from the bottom right which has been said to be Audubon. For this reason, many collectors desire this print. You decide.
Rarely. Some of his oils have a cameo included. But our original engraving of the Snowy Egret has a figure approaching from the bottom right which has been said to be Audubon. For this reason, many collectors desire this print. You decide.
The number at top left of each double elephant is a group number. There were 87 such groups consisting of 5 prints each. The number at top right is the individual plate number, from 1 to 435. These plate numbers were usually in Roman numerals. Interestingly, plate numbers ending with a 1 or 6 will be a larger bird or composition. Why? Audubon released prints to subscribers in groups of five, with the first print in each group generally being a large bird or a full page composition. Smaller numbers appearing next to birds within the image correspond to the type, sex or maturity of each bird as noted in the bottom script.
The number at top left of each double elephant is a group number. There were 87 such groups consisting of 5 prints each. The number at top right is the individual plate number, from 1 to 435. These plate numbers were usually in Roman numerals. Interestingly, plate numbers ending with a 1 or 6 will be a larger bird or composition. Why? Audubon released prints to subscribers in groups of five, with the first print in each group generally being a large bird or a full page composition. Smaller numbers appearing next to birds within the image correspond to the type, sex or maturity of each bird as noted in the bottom script.
"It is now a month since my work was begun by Mr. Lizars; the paper is of unusual size, called 'double elephant', and the plates are to be finished in such superb style as to eclipse all of the same kind in existence." - J.J. Audubon, December 10, 1826
And 'eclipse all' he did! No other ornithology prints could measure up to Audubon's - literally! As indicated above, the term 'double elephant' refers to the unusual (double) size of the paper used by Audubon and his engravers (Havell followed Lizars) for the original "Birds of America." The untrimmed paper measured a gargantuan 29 1/2 x 39 1/2 inches! Officially, the proper English measurement for double elephant paper is 40 x 27 inches - untrimmed. Elephant paper is a bit smaller, measuring 28 x 23 inches untrimmed.
Why such a large (double) size? Audubon insisted that each bird be depicted life-size. When you consider the immense proportions of subjects such as the Brown Pelican or of the White Pelican or the American Flamingo, the necessity of choosing 'double elephant' paper becomes obvious.
But to this, Audubon himself adds ...
"Merely to say, that each of my illustrations is of the size of nature, were too vague ... Not only is every object, as a whole, of the natural size, but also every portion of each object. The compass aided me in its delineation, regulated and corrected each part, ... The bill, the feet, the legs, the claws, the very feathers as they project one beyond another, have been accurately measured." John James Audubon. Ornithological Biography, Volume 1
"It is now a month since my work was begun by Mr. Lizars; the paper is of unusual size, called 'double elephant', and the plates are to be finished in such superb style as to eclipse all of the same kind in existence." - J.J. Audubon, December 10, 1826
And 'eclipse all' he did! No other ornithology prints could measure up to Audubon's - literally! As indicated above, the term 'double elephant' refers to the unusual (double) size of the paper used by Audubon and his engravers (Havell followed Lizars) for the original "Birds of America." The untrimmed paper measured a gargantuan 29 1/2 x 39 1/2 inches! Officially, the proper English measurement for double elephant paper is 40 x 27 inches - untrimmed. Elephant paper is a bit smaller, measuring 28 x 23 inches untrimmed.
Why such a large (double) size? Audubon insisted that each bird be depicted life-size. When you consider the immense proportions of subjects such as the Brown Pelican or of the White Pelican or the American Flamingo, the necessity of choosing 'double elephant' paper becomes obvious.
But to this, Audubon himself adds ...
"Merely to say, that each of my illustrations is of the size of nature, were too vague ... Not only is every object, as a whole, of the natural size, but also every portion of each object. The compass aided me in its delineation, regulated and corrected each part, ... The bill, the feet, the legs, the claws, the very feathers as they project one beyond another, have been accurately measured." John James Audubon. Ornithological Biography, Volume 1
Here is a list of copper plate sizes.
The sizes listed above will correspond to the plate mark impression on Havells.
Audubon originals are often referred to by a specific plate number. These large smooth copper plates, numbered from 1 to 435, had reverse images etched into them such as shown here for the Labrador Falcon and Hooping Crane. The plate was then (1) Black-inked, (2) Dampened paper was pressed upon it. (3) The paper was pulled from the plate, resulting in a properly oriented black and white image. (4) The image was then hand colored. This was repeated about 200 times, after which the engravings lost their crisp edge. This is why many original documents and works of art from this time period were limited to about 200 copies.
Here is a list of copper plate sizes.
The sizes listed above will correspond to the plate mark impression on Havells.
Audubon originals are often referred to by a specific plate number. These large smooth copper plates, numbered from 1 to 435, had reverse images etched into them such as shown here for the Labrador Falcon and Hooping Crane. The plate was then (1) Black-inked, (2) Dampened paper was pressed upon it. (3) The paper was pulled from the plate, resulting in a properly oriented black and white image. (4) The image was then hand colored. This was repeated about 200 times, after which the engravings lost their crisp edge. This is why many original documents and works of art from this time period were limited to about 200 copies.
A copper plate is just like it sounds, a large smooth rectangular sheet of copper. Havell, often under the direct supervision of Audubon himself, would then engrave with precision tools a reverse image of the watercolor study into the copper plate. Some plates being as large as 27 1/2 x 39 1/2 inches, and others being smaller for the smaller images. When finished, the plates were inked and dampened paper (all paper being double elephant size, 27 1/2 x 39 1/2 inches, untrimmed) was placed upon them, and then both were run through rollers of a press. The paper was then pulled, or peeled off the plate. What resulted was a properly oriented black and white image, no longer reversed.
A copper plate is just like it sounds, a large smooth rectangular sheet of copper. Havell, often under the direct supervision of Audubon himself, would then engrave with precision tools a reverse image of the watercolor study into the copper plate. Some plates being as large as 27 1/2 x 39 1/2 inches, and others being smaller for the smaller images. When finished, the plates were inked and dampened paper (all paper being double elephant size, 27 1/2 x 39 1/2 inches, untrimmed) was placed upon them, and then both were run through rollers of a press. The paper was then pulled, or peeled off the plate. What resulted was a properly oriented black and white image, no longer reversed.
Audubon chose Whatman paper for his originals. Manufactured in Kent, England, this was the finest paper available. James Whatman developed wove paper, and continued manufacturing it until his death in 1759. His son, James, then ran the business, but sold it to Thomas Hollingsworth in 1792. The Hollingsworth family continued making this paper until 1976.
This double elephant paper measures about 29 x 39 inches and has a watermark on the back - J WHATMAN - often followed by a date. Some sheets additionally have TURKEY MILL countermarked into the paper. This is thought to refer to the mills original purpose, grinding Turkey wheat from India.
Here is a picture of the making of double elephant Whatman paper.
George Washington signed State documents on Whatman paper, Napoleon wrote his will on Whatman paper while on the Island of St. Helena, William Blake used it for four of his illuminated books and Queen Victoria used Whatman paper for her personal stationary.
Audubon chose Whatman paper for his originals. Manufactured in Kent, England, this was the finest paper available. James Whatman developed wove paper, and continued manufacturing it until his death in 1759. His son, James, then ran the business, but sold it to Thomas Hollingsworth in 1792. The Hollingsworth family continued making this paper until 1976.
This double elephant paper measures about 29 x 39 inches and has a watermark on the back - J WHATMAN - often followed by a date. Some sheets additionally have TURKEY MILL countermarked into the paper. This is thought to refer to the mills original purpose, grinding Turkey wheat from India.
Here is a picture of the making of double elephant Whatman paper.
George Washington signed State documents on Whatman paper, Napoleon wrote his will on Whatman paper while on the Island of St. Helena, William Blake used it for four of his illuminated books and Queen Victoria used Whatman paper for her personal stationary.
The watermark, which is actually a countermark, can be seen on the back of untrimmed Havells while held up to a source of light and stretches across the paper for about 10 inches. Look a few inches within the long edge of the paper. The name J Whatman is followed by the year the paper was manufactured. The name Turkey Mill appears in some countermarks, evidently alluding to the mill’s original purpose of grinding Turkey Wheat from India.
The watermark, which is actually a countermark, can be seen on the back of untrimmed Havells while held up to a source of light and stretches across the paper for about 10 inches. Look a few inches within the long edge of the paper. The name J Whatman is followed by the year the paper was manufactured. The name Turkey Mill appears in some countermarks, evidently alluding to the mill’s original purpose of grinding Turkey Wheat from India.
The Lord-Hopkins Collection represents the last known prints to come out of Bowen's Philadelphia studio. Discovered in 1923 by Mary A. Guerrero Lord who was visiting her mother Henrietta Potter James, owner of the house on the corner of South 9th Street in Philadelphia and what is now known as Bonaparte Ct. Her home was earlier rented by Joseph Bonaparte, Napoleon’s older brother and Audubon’s friend. The prints were bundled and abandoned in a back alley near the second studio that Bowen used in the 1800’s when producing Audubon’s birds and quadrupeds. We cannot definitively say why these test sheets and pattern prints were purposely kept for some time by Bowen, and perhaps forgotten after his death. We will provide a Certificate of Authenticity noting that they are part of the Lord-Hopkins collection - the last known prints to come from Bowen’s studio. These prints are part of American printmaking history. The condition, ranging from poor to fair, is not of prime concern, due to their historical value. Many are uncolored, allowing one to see the printmaking process. We suggest collectors frame them to archival standards. In some cases we have the matching original, colored, in our Imperial gallery.
The Lord-Hopkins Collection represents the last known prints to come out of Bowen's Philadelphia studio. Discovered in 1923 by Mary A. Guerrero Lord who was visiting her mother Henrietta Potter James, owner of the house on the corner of South 9th Street in Philadelphia and what is now known as Bonaparte Ct. Her home was earlier rented by Joseph Bonaparte, Napoleon’s older brother and Audubon’s friend. The prints were bundled and abandoned in a back alley near the second studio that Bowen used in the 1800’s when producing Audubon’s birds and quadrupeds. We cannot definitively say why these test sheets and pattern prints were purposely kept for some time by Bowen, and perhaps forgotten after his death. We will provide a Certificate of Authenticity noting that they are part of the Lord-Hopkins collection - the last known prints to come from Bowen’s studio. These prints are part of American printmaking history. The condition, ranging from poor to fair, is not of prime concern, due to their historical value. Many are uncolored, allowing one to see the printmaking process. We suggest collectors frame them to archival standards. In some cases we have the matching original, colored, in our Imperial gallery.
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