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No, not the typical glossy Audubon type prints that flood the internet, but unique archival Audubon fine art produced through the physical use of actual originals, giving our clients a connection to the 180-year-old engravings. Among the prints we sell is our own Princeton Audubon Double Elephant Edition, which is the world's only direct camera Audubon edition and said to be the finest of all Audubon prints. Have originals you wish to sell? Please visit our consignment page. Looking for a great deal on world-class fine art? Our cart makes automatic discounts for most fine art. Need a discount on multiple prints? Call us or email us with your preferred list of prints.
An Audubon print is either an original produced by Audubon and/or his family during the ninteenth century or any of the later reproductions. Audubon produced prints on paper, as did those who produced reproductions. They are all Audubon prints, a rather generic term. Thus it is best to differentiate by simply terming the originals as original Audubon prints. We advise caution as several Audubon print websites do not clearly distinguish between ninteenth century originals and their own reproductions, sometimes terming their reproductions as Havells (Audubon's engraver) instead of reproductions of Havells. You will also often see common reproductions on sites such as eBay presented as originals. Further, Audubon prints advertised as vintage are usually reproductions of little or no value.
All original Audubon prints have value. However, there is no price list since each print differs from the other regarding condition and provenance. Guidance can be given based on auction and private sales. All prices listed for originals on the Internet or bricks and mortar stores should be considered asking prices. A word of caution - the presence of script at the bottom of the print saying that it was drawn from nature by Audubon, or engraved by Havell or Bowen, does not indicate originality, as reproductions also reproduce such script. The smallest of Audubon originals, the octavo birds and mammals can have a value of less than one hundred dollars to several thousand dollars, depending on the popularity of the image and condition of the print. Imperial mammals which measure about 21 x 28 inches are generally valued from about five hundred dollars to tens of thousands of dollars, again depending upon the popularity of the image and condition of the print. Audubon Havells rarely sell for less than one thousand dollars for smaller images but can sell for upwards of one hundred and fifty thousand for the larger images, again depending upon the popularity of the image and the condition of the prints.
“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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Rarely did John James Audubon include recognizable civilization in his engravings. Here in the background appears the harbor of Charleston, SC, as it appeared in 1832. Some of the buildings exist today. Castle Pinkney is at the far left. This huge double elephant (life-size) is from the collection of a Charleston resident whose ancestors reach to a signer of The Declaration of Independence. Long-billed Curlew, Princeton Fine Art Edition.
View allWe accept consignments of Audubon originals. Why consign your prints to Princeton? We have 25 years of online experience in selling originals and uniquely have you the owner hold physical possession of the prints until funds from the buyer are received.
Learn moreAbsolutely. 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 afigure approaching from the bottom rightwhich 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 afigure approaching from the bottom rightwhich 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.
Between 1827 and 1838, John James Audubon, brilliant artist and naturalist who dedicated much of his life to painting the birds and quadrupeds of North America, published in London, England, in 'his own style', a series of 435 large-sized, hand-colored etchings with aquatints in a folio entitled The Birds of America. These were reproduced primarily by Robert Havell and Sons from Audubon's watercolor paintings and often under the direct supervision of Audubon himself. Since he portrayed each bird life size, the larger birds often had to be drawn in feeding positions to fit on the largest copper engraving plates then available, approximately 27 x 39 inches. The largest bird was the wild turkey, and the smallest was one of the minute hummingbirds. With the final publication of these prints, Audubon established his Birds of America as the definitive portrayal of American birds in realistic settings. These antique original prints, now more than 180 years old, are known in the print trade as the Audubon-Havell double elephant folio edition because each was printed on giant "double elephant" folio sheets of 100% cotton rag watermarked Whatman paper. Continue...
After finishing his monumental work, The Birds of North America, John James Audubon set his sights on the mammals. Working with his two sons, Victor Gifford and John Woodhouse to complete the paintings, they partnered with Mister John Bachman who contributed text and helped manage the research. Though some scholars say that Audubon’s work on the quadrupeds is inconsistent, most agree that the experience he gained working on the birds allowed a perfection of his technique that gave rise to the pinnacle of his life’s work in the best of these mammals. This incredibly detailed work is officially termed The Viviparous Quadrupeds of North America. These mammals of North America were published in three volumes, dating 1845, 1846, and 1848. Somewhat more that 303 Imperial sets were printed. These are rare and very valuable today. These lithographs were printed on paper sized at 22 x 28 inches, termed the Imperial size. Besides the size, these prints are identified by the legend at the lower right "Lith. Printed & Cold. by J.T. Bowen, Phila." Continue...
Beautifully farmed Octavo mammals from the Chiswick Collection. COA included.
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 - 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. George Washington signed State documents on Whatman paper, Napoleon wrote his will on Whatman paper while on the Island of St. Helena, and, yes, 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.
Display as-is or simply drop into a frame.
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