Engraving Unsigned (16 results)

No Binding. Condition: Very Good. Original Antique Engraving. Humorous Color Engraving. Image Size 10 7/8" X 8 3/8"", With A Thin Border And Lettering Below, With Credits And Publisher's Information And Date, Title And Sub-Title. Very Large Margins. A Little Foxing To Margins.

Condition: Good. This original wood engraving is a portrait of a well fed, balding gentleman with a curled moustache, identified by an old pencil inscription in the lower left margin as Josef Ettenreich, the Viennese citizen who helped save the young Emperor Franz Joseph from an assassin in 1853. The print itself carries no title, signature or imprint. The sitter is shown head and shoulders, turned slightly to the left, with his hair brushed into waves at the sides of a high forehead. He wears a large dark bow tie at the neck, a pleated shirt with a single stud, a waistcoat and a dark coat, and a small cross of an order hangs from a ribbon on his lapel. The face is cut in fine parallel lines and cross hatching, and the figure is set against a lightly hatched background that fades out at the edges. On 18 February 1853 the Hungarian journeyman tailor János Libényi attacked Franz Joseph with a knife as the emperor walked on the Vienna bastions. The emperor's adjutant, Count Maximilian O'Donell, and Ettenreich, a passing Viennese citizen, overpowered the attacker. Ettenreich was rewarded by the emperor for his part. Portraits of the rescuers appeared in illustrated papers in the weeks that followed, and the attack also led to the building of the Votivkirche in thanks for the emperor's survival. Wood engraving, cut on the end grain of a hard boxwood block and printed with type, was the medium of the illustrated newspapers of the 1850s, and this portrait is printed on its own on a large, clean sheet. It is an appealing document of a dramatic moment in Habsburg history, and it would frame neatly with a wide mat for a study or a collection of Viennese and Austrian subjects. Condition: Good condition for its age. Light toning; faint bluish marks and a few small spots in the margins; old pencil inscription in the lower left margin. The image is clean. Please review the images for further condition details. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 33 cm x W 25 cm x D 0.02 cm Stock number: BG-14343-57. …

Condition: Good. This original engraved portrait shows a late nineteenth century gentleman with a strong, open face and a large curling moustache. The plate has no title, name or imprint; the only mark is a small engraved monogram, apparently the letters R and L combined, at the lower right of the image. The sitter is shown head and shoulders, turned to the right and looking off to the side. His thick gray hair is swept up from the brow, and he wears a high white wing collar with a dark bow tie, a buttoned waistcoat with a watch chain and a pin, and a dark jacket. The face and hair are worked in fine engraved line and stipple of great delicacy, and the figure dissolves into a soft vignette at the shoulders and sides. The portrait is printed within a deep plate mark at the center of a large, heavy sheet, leaving a wide plain area below the image where a name might have been added in a lettered state. Portraits of this kind were published in the 1880s and 1890s as frontispieces and supplements for illustrated literary and political journals, and the dress, the collar and the cut of the moustache place this one in those decades. The quality of the engraving is high, with a full range of tone from the bright whites of the shirt to the deep black of the jacket, and the wide margins give the sheet a fine presence. Unidentified portraits of this caliber are collected for the face and the craftsmanship as much as for the name, and this one has real character. It would frame well in a slim black or gilt molding with a wide mat, and it would sit easily in a study or library with other portraits of the period. Condition: Good condition for its age. Plate mark visible. Light toning with a few small spots to the margins, a small stain near the upper right corner and faint marks in the lower right margin. Please review the images for further condition details. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 29 cm x W 23 cm x D 0.02 cm Stock number: BG-14343-47.…

Condition: Good. A handsome eighteenth century portrait of a gentleman of rank, engraved on copper and shown half length, turned slightly to the right, with a confident half smile. He wears a long, full bottomed wig of tight curls falling over both shoulders, a lace cravat and jabot at the throat, a waistcoat buttoned down the front and a coat of richly figured silk, over which a voluminous cloak of patterned brocade is thrown back from the shoulders in deep folds. The engraver has given full attention to the textures of the costume. The curls of the wig are built up in lively, swelling lines, the lace is rendered in delicate open work, and the flowered brocade of the coat and cloak is worked in close patterns that catch the light. The face is modeled in fine, careful hatching, and the background is laid in an even dark tone of ruled lines that sets off the pale wig and lace. The image has been trimmed to its border and laid onto a larger sheet of paper, so the lettering that once named the sitter and the artists no longer survives. An old collector's note in pencil in the lower margin reads "Frankreich", German for France, with a stock number in red ink, suggesting the print was once filed with French portraits in a German collection. The costume, with the full wig worn long over the shoulders and the lace cravat, belongs to the first half of the eighteenth century, the age of Louis XV and of the courts of Germany. Even without a name, this is a fine example of the courtly portrait engraving of the period, valued for its rich surface and assured drawing. It will appeal to collectors of baroque portraiture and costume, and it would make a distinguished picture for a study, library or hallway, framed in a dark or gilt molding. Condition: Good condition for its age. Image laid onto a larger sheet; scattered foxing to the margins; stain, pencil and red ink inscriptions and a small chip at the lower right. Image clean. Please review the images for further condition details. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 14 cm x W 12 cm x D 0.02 cm Stock number: BG-14343-72.…

Condition: Fair. An original steel engraving of Paris on the Seine, lettered simply "Paris" beneath the image, with the imprint "London. Published by Thomas Kelly, 17, Paternoster Row, 1832." No artist or engraver is named. The view looks along the river to a long stone bridge of several arches, with tall houses lining the far bank. On the right the river front of the Louvre stretches into the distance, its corner pavilion with steep roofs and dormers in the foreground and a domed lantern above, while people walk along the quay beneath a lamp post. In the foreground fishermen in a rowing boat haul in a net, two laden barges lie moored near the bank, and a tall poplar rises beyond the quay. The print shows Paris in the early years of the July Monarchy, before the great rebuilding of the city under Napoleon III and Baron Haussmann, when the quays still kept their working river traffic, small sheds and moored boats. The sky and water are rendered in a fine grained tone that gives the scene a soft, atmospheric quality, a manner made possible by the hardness of steel plates, which could carry such delicate work through long print runs. Thomas Kelly of Paternoster Row was one of the most successful London publishers of books issued in weekly numbers, selling geographies, histories and collections of voyages and travels to a wide readership in the first half of the nineteenth century. By the early 1830s many of his plates were engraved on steel, as this one is. The particular book in which it appeared is not named on the sheet. It is an attractive early view of Paris for lovers of the city and collectors of French topography, and it would look well in a hallway, bedroom or study in a slim gilt or black frame. Condition: Good condition for its age. Toning, foxing and light staining in the margins, and a pale stain in the sky at the upper left of the image. Please review the images for further condition details. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 19 cm x W 24 cm x D 0.02 cm Stock number: BG-14391-45. …

Condition: Fair. This antique steel engraving of Stonehenge from the south west, on Salisbury Plain in Wiltshire, is an original print published in London by Thomas Kelly of 17 Paternoster Row in 1831. The plate is lettered "Stonehenge, from the South West." and carries Kelly's dated imprint. The view shows the great stone circle standing on the open downland, its trilithons, leaning uprights and fallen stones set against a broad, cloud filled sky, with a flock of birds wheeling to the right. A small carriage of sightseers drawn by a horse approaches from the left, a lone figure stands among the stones at the far right, and in the foreground a shepherd sits on the grass with his dog while his flock grazes nearby. The combination of rural life and early tourism appears in many views of the monument from this period. Stonehenge was already one of the most visited antiquities in England, and its origin was still a matter of lively debate among antiquaries. The imprint reads "London: Published by T. Kelly, 17, Paternoster Row, 1831." Thomas Kelly was one of the most successful London publishers of part works in the early nineteenth century, issuing geographies, histories and collections of voyages in weekly numbers for a wide readership. No engraver is named, and the book in which the plate appeared is not named on the sheet. The print is uncolored, with fine ruled work in the sky and rich tonal shading in the shadowed stones, which gives the scene an atmospheric, slightly romantic mood. It would suit a collector of Wiltshire topography or prehistoric monuments, and it would look well in a hallway, study or country interior, framed simply in oak or black. Condition: Good condition for its age. Toning with foxing and light staining to the margins; a ragged tear and small loss at the upper right corner, clear of the image. Please review the images for further condition details. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 19 cm x W 25 cm x D 0.02 cm Stock number: BG-14391-41.…

Condition: Good. A view of the Grand Ducal Castle at Schwerin seen across the water, a fairy-tale building of towers, turrets, domes and pinnacles rising above a stone embankment and balustraded terrace. The varied roofline, with conical spires, a gilded dome and an equestrian figure at the top, dominates the composition, while bare trees and shrubs soften the foreground. At right an arcaded loggia opens onto the water, and a grand staircase sweeps up from the garden terrace to the main building. The calm water in the foreground reflects the embankment, and a sky of light cloud sets off the dense architecture. Schwerin Castle stands on an island in the lake at Schwerin, the old capital of the grand duchy of Mecklenburg, and was rebuilt in the middle of the nineteenth century in a lavish historicist style inspired by the French Renaissance châteaux of the Loire. The print is captioned "GRAND-DUCAL CASTLE. SCHWERIN." in letterpress beneath the image. This is a wood engraving, printed with its caption as a book or periodical illustration. The engraver has used close, even lines to model the many facets of the building and lighter cutting for the sky, giving a clear and orderly image of a very complicated piece of architecture, with every window and turret distinct. A good piece for anyone who loves castles or German history, it would sit nicely on a bookcase wall or in a child's room, framed in black. Condition: Light wear to the top left corner. Age toning, darker at the edges; handling soiling along the edges and scattered foxing in the margins. Printed image clean. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 22.5 cm x W 30 cm x D 0.02 cm Stock number: BG-13194-92. …

Condition: Good. This antique engraving of a snow sledge drawn by dogs in Kamchatka is an original print published in London by Thomas Kelly in 1829, showing a driver in furs crossing the snows of the Russian Far East behind a team of dogs. The plate is lettered "A Snow Sledge Drawn by Dogs in Kamtschatka," using the old spelling of the peninsula. The scene is composed with a strong sense of movement. A man wrapped in heavy furs sits upright on a low curved sledge, raising a long pole, while a team of dogs harnessed in pairs strains ahead across open snow, the leading dog stretched out at full gallop. Tall firs and a bare tree frame the left side, snow covered mountains rise behind, and a rocky bank closes the foreground. Travel by dog sledge was one of the features of Kamchatka that most fascinated European readers, who knew the region chiefly from the accounts of the Russian expeditions of the eighteenth century and of Captain Cook's third voyage, whose ships called at Petropavlovsk in 1779. Descriptions of the Kamchadal sledges, drawn by teams of dogs and steered with a pole, were reprinted in many popular geographies. The imprint reads "London, Published by Thomas Kelly, 17, Paternoster Row, 1829." Kelly was one of the most prolific London publishers of the period, issuing geographies, voyages and histories in weekly parts illustrated with small engraved plates, and this view belongs to that popular market. The engraver is not named. The print is engraved in line, printed in black and uncolored. This Kamchatka engraving would suit a collection of Arctic and Siberian travel, dog sledging and winter scenes, or early nineteenth century geographical plates, and its fine line work reads well at close range in a study or hallway. Condition: Good condition for its age. Light toning and scattered foxing, mainly to the margins, with a few faint spots touching the image; soft wear at the lower corners. Please review the images for further condition details. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 20 cm x W 27 cm x D 0.02 cm Stock number: BG-14391-1.…

Condition: Fair. An early eighteenth century copperplate engraving of Milazzo on the north coast of Sicily, titled "MELAZZO" on a fluttering ribbon banner with tasseled ends across the top of the sky. The town spreads along a rocky headland seen from the sea: a castle with square towers and battlements crowns the hill, walls and houses step down the slope, and a round tower flying a flag guards the point at right. A few low buildings and small figures line the shore below. At left, a large sailing ship sends up a towering column of smoke, apparently on fire, while a second ship sails on the open sea at right and a rock breaks the water in the middle distance. The sea is described in bold, rhythmic engraved waves. The German caption engraved beneath the image describes Milazzo as a well fortified town and good harbor in the Kingdom of Sicily, which in the last war was besieged by the Spaniards for eight months, then abandoned by them when the Imperial relief approached, and restored to its rightful lord. This refers to the Spanish siege of Milazzo that began in 1718 during the War of the Quadruple Alliance. The plate number 205 is engraved at upper right, and an old ink number has been struck through in the top margin. No engraver or publisher is named on the sheet. The print is a copperplate engraving, with lively, open line work typical of the German view books of the period. The platemark and borderline frame the view and caption. A spirited small view with real historical bite, it suits a study, a library or a collection of Sicilian or Mediterranean views, and would look right in a narrow dark frame. Condition: Small loss or rounding to the bottom right and top left corners. Minor nicks along the top and bottom edges. Light, uneven toning, slightly darker toward the edges. Scattered light foxing and several larger brown spots in the margin. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 19 cm x W 31 cm x D 0.02 cm Stock number: BG-13194-99.…

Condition: Fair. This seventeenth century copper engraving shows Reinhold de Rosa at three quarter length in full plate armor, his long hair falling to his shoulders, with a mustache and pointed beard, a broad lace collar and a sash across his chest. He holds a commander's baton in his right hand and rests his left on his hip beside his sword, while a plumed helmet sits at his side. The portrait is enclosed in an oval band inscribed in Latin, and the whole sheet is filled with a dense trophy of war: banners and standards, lances, drums, a cannon and cannonballs, armor and a sextant, with touches of red color on the flags. The oval inscription names him as the most illustrious, noble and valiant lord Reinhold de Rosa, hereditary lord in Seewald, Gänsehof and other estates, in the service of His Royal Majesty in Poland and Sweden, colonel and commander of a regiment. A cartouche above carries the motto "Virtuti nil invium", nothing is impassable to virtue, beside the dates "Nat. 1590" and "Mort. 1664". Below the oval his coat of arms, three roses beneath a crested helm with peacock feathers, is flanked by two figures above a cartouche of Latin verse beginning "Te, Rosa, commendat terris Gens magna Parentum", signed "Martin Fridrich Seidel Consiliar. Brandenb." The Rosen family was a Baltic German noble house from Livonia whose members served the crowns of Sweden and Poland as soldiers throughout the Thirty Years War and the northern wars. Martin Friedrich Seidel (1621 to 1693) was a Brandenburg councilor and antiquarian who collected and commissioned portraits of distinguished men connected with Brandenburg and Prussia, and his signed dedication marks this plate as part of that circle. Portraits of this kind, with elaborate trophies, armorial bearings and dedicatory verse, are true documents of baroque military culture. This is a rare and characterful sheet for collectors of seventeenth century portraiture and military history. Condition: Fair to good condition for its age. Trimmed close; small losses and abrasions within the image, notably upper left and lower center; small tears at the upper edge; light soiling. Please review the images for further condition details. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 27 cm x W 18 cm x D 0.02 cm Stock number: BG-14343-71.…

Condition: Good. A wide panorama of Passau from the heights, with the old town filling a narrow tongue of land between two broad rivers. The eye follows the long point of the peninsula, crowded with houses, a large many-windowed building and the domed cathedral, out toward the meeting of the waters, with bridges and the far bank beyond. At right a fortress crowns the rocky hillside above the river, its walls running down to a round tower at the water's edge, and at left a twin-towered church stands on a wooded hill across the water. Trees in the foreground and a thin plume of smoke frame the view under a sky of long, banded clouds. Passau in Lower Bavaria is known as the City of Three Rivers, where the Inn and the Ilz flow into the Danube, and its cathedral of St. Stephen and the fortress of Veste Oberhaus are its great landmarks. The print is captioned "VIEW OF PASSAU." in letterpress beneath the image. This is a wood engraving, printed with its caption as a book or periodical illustration. The water is rendered in fine horizontal lines that give it a still, reflective surface, while the buildings and rocks are cut with crisp, firm strokes. A broad landscape format suits it to a space above a sofa or a desk, perhaps paired with other river views in matching frames. Condition: Light wear to the bottom left corner; minor nicks to the bottom edge. Age toning, darker at the edges; handling soiling along the edges and scattered foxing in the margins. Printed image clean. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 23 cm x W 32 cm x D 0.02 cm Stock number: BG-13194-93. …

Condition: Good. A steel engraved portrait lettered "Marquis of Argyll.", showing Archibald Campbell, 1st Marquess of Argyll (1607 to 1661), the leader of the Scottish Covenanters. He is shown half length in armor, with shoulder length dark hair, a turned up mustache and a small pointed beard, a deep collar of scalloped lace falling over a breastplate crossed by a broad pale sash. Beneath the image is the line "Engraved by permission from the original Painting at Inverary." Inveraray Castle on Loch Fyne is the seat of the Campbells, Dukes of Argyll, so the engraving reproduces the family's own portrait. The publisher's line at the foot of the sheet reads "William Mackenzie, London, Edinburgh & Glasgow." No engraver is named. Argyll was the most powerful man in Scotland in the 1640s. Chief of Clan Campbell, he led the Covenanting party against Charles I, fought a long and bitter struggle with the royalist Marquess of Montrose, and on New Year's Day 1651 placed the crown on the head of Charles II at Scone. After the Restoration he was tried for treason and beheaded in Edinburgh in 1661, and he has been remembered ever since both as a statesman of principle and as a formidable political operator. William Mackenzie of Glasgow was one of the most productive Victorian subscription publishers, issuing illustrated reference works, histories and biographies in parts, each with full page portraits of this kind. The style of the plate and the form of the imprint place this issue in the eighteen sixties. The engraving is crisp and well printed, with the steel ruling of the background, the gleam of the armor and the open pattern of the lace all rendered with care. It suits a collection of Scottish history, of Clan Campbell or of seventeenth century portraiture. Condition: Good condition for its age. A few small spots to the margins; faint pencil numbering in the lower left margin. Please review the images for further condition details. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 27 cm x W 18 cm x D 0.02 cm Stock number: BG-14343-12.…

Condition: Good. An elegant late eighteenth century profile portrait of a woman, engraved on copper and set within an oval near the top of a tall plate. She faces right, her powdered hair dressed in rolled curls at the side of the head and falling in ringlets at the nape, beneath a large bonnet of gathered muslin with a pleated frill and a band of ruching around the crown. A soft fichu of fine white fabric is drawn up around her shoulders. The plate carries no name, title or imprint. The engraving is accomplished work. The face is modeled in fine stipple, giving a smooth and luminous complexion, while the bonnet and fichu are drawn in crisp, flowing lines that catch every fold of the light fabric. The ground of the oval is laid in close cross hatching, so that the pale profile stands out clearly against a dark background in the manner of a cameo or a silhouette. Below the oval the plate is left blank for its full width, framed by a sharp plate mark, and the sheet itself has generous margins with deckled edges. The costume places the portrait in the years around 1785 to 1795, when the large ruffled bonnet, the powdered side curls and the loose fichu were the height of fashion among the prosperous families of France, Switzerland and the German lands. The profile format was especially popular in these years, encouraged by the vogue for silhouettes, portrait medallions and neoclassical cameos, and portraits like this one were often made privately for family and friends. With its strong design and clean, well inked image, this is a very decorative eighteenth century portrait. It would suit a collector of costume and fashion history or of eighteenth century portraiture, and it would look especially fine framed in a simple gilt or black molding with the full sheet showing. Condition: Good condition for its age. Light toning; deckled edges; a few small spots in the lower left margin and a faint crease to the lower left corner. The image is clean. Please review the images for further condition details. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 29 cm x W 22 cm x D 0.02 cm Stock number: BG-14343-61.…

Condition: Good. An original nineteenth century engraved portrait of the British admiral Edward Pellew, first Viscount Exmouth, lettered simply "Exmouth" in an engraved oval cartouche below the image. The admiral is shown at half length, turned slightly to the left, with white hair brushed forward and a heavy, weathered face. He wears full dress naval uniform with gold epaulets, the broad sash of the Order of the Bath across his chest and the stars of his orders on the breast, with a cross hanging at the neck. The portrait is set within a ruled frame with small rosettes in the four corners, and the name below is lettered in white capitals on a shaded oval with flourishes, a style typical of the encyclopedic portrait series of the middle of the nineteenth century. Above the frame at left a small reference is lettered "M.r CL. N.o 450". Edward Pellew (1757 to 1833) was one of the most celebrated frigate captains of the wars with Revolutionary France, famous for the capture of the French frigate Cleopatre in 1793 and for his rescue of the passengers and crew of the wrecked East Indiaman Dutton at Plymouth in 1796. As an admiral he commanded in the East Indies and the Mediterranean, and in 1816 he led the Anglo Dutch bombardment of Algiers that forced the release of more than a thousand Christian captives, for which he was raised to Viscount Exmouth. The engraving is fine and even, with the face built up in delicate stipple and line and the uniform rendered with crisp, dark cuts that give the print a strong tonal range. The sheet has generous margins, and its scale suits a single frame or a group of naval and military portraits. A narrow molding with a wide mat would set off the ornamental frame and the lettered cartouche, and the portrait would sit well in a study, a library or alongside marine prints of the Napoleonic period. Condition: Good condition for its age. A few spots to the upper margin; a small stain and pencil numbering in the lower margin; a fold along the right edge. Please review the images for further condition details. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 23 cm x W 14 cm x D 0.02 cm Stock number: BG-14343-3.…

Condition: Good. A steel engraved portrait of the Scottish poet, songwriter and journalist Charles Mackay, shown in later life. He is seen half length and turned to the right, with long, swept back gray hair, a dark coat with a velvet collar and a loosely tied bow at the neck, set against a finely ruled background within a single ruled border. Beneath the image is his facsimile signature, "Chas Mackay", the only lettering on the sheet; no artist, engraver or publisher is named. Charles Mackay (1814 to 1889) was born in Perth and worked as a journalist in London and Glasgow, where he edited the Glasgow Argus, before joining the Illustrated London News, which he later edited. His songs, among them "Cheer! Boys, Cheer!", were sung across the English speaking world, and during the American Civil War he reported from New York for The Times. He is best remembered today for Extraordinary Popular Delusions and the Madness of Crowds, first published in 1841, a study of financial bubbles and mass manias that has never gone out of print and is still quoted whenever markets lose their heads. The engraver has worked the face in fine stipple, which gives the skin its softness, and the clothing and background in line, the usual division of labor in the best portrait plates of the period. Presenting an eminent sitter with a facsimile signature in place of a printed caption was a favorite device of the biographical portrait galleries of the eighteen seventies, and the sitter's age, about sixty, points to a date around 1875. It is a quietly handsome portrait, well suited to a study or library, and of special interest to readers of Mackay's book on popular delusions, to collectors of Scottish literary portraits and to anyone drawn to the history of financial manias. Condition: Good condition for its age. Even toning and light soiling; soft handling creases to the upper edge and a faint diagonal crease in the lower right margin, clear of the image. Please review the images for further condition details. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 23 cm x W 14 cm x D 0.02 cm Stock number: BG-14343-2.…

Condition: Good. An original steel engraved portrait of Sir Francis Crossley, lettered beneath the image "Sir Francis Crossley, Bart." and published by William Mackenzie, whose imprint reads "William Mackenzie, Glasgow, Edinburgh & London." No painter or engraver is named on the plate. Crossley is shown three quarter length, standing and turned slightly to the left, with a full flowing beard and side whiskers. He wears a loose frock coat with a velvet collar over a buttoned waistcoat with a watch chain, and his right hand rests on the back of a chair holding a pair of gloves. The figure is set against a dark engraved ground, and the even, closely observed treatment of the cloth and the face suggests a likeness taken from a photograph. Sir Francis Crossley (1817 to 1872) was a partner in John Crossley and Sons of Dean Clough Mills in Halifax, which grew under him and his brothers into one of the largest carpet manufacturers in the world. He was a notable benefactor of his town, giving Halifax the People's Park, laid out by Joseph Paxton and opened in 1857, together with almshouses and an orphanage. He sat in Parliament for Halifax and later for the West Riding, and was created a baronet in 1863, the title used on this plate. William Mackenzie of Glasgow was one of the busiest Victorian subscription publishers, issuing illustrated biographical dictionaries, histories and family books in parts, many of them with full page engraved portraits printed on separate leaves like this one. The baronetcy of 1863 and the imprint together place this printing about 1865 to 1875. The portrait is printed in black on a sheet with wide margins. It is a strong image for a collector of Yorkshire history, of the textile industry or of Victorian philanthropy, and frames well in a narrow dark frame with a deep mat. Condition: Good condition for its age. A small spot to the upper right margin; faint pencil numbering in the lower margin. Please review the images for further condition details. This is an original antique print, not a modern reproduction. This item is sold unframed. Any framed or interior images are shown for presentation and inspiration only, unless the listing explicitly states that the item is sold framed. Size: H 27 cm x W 18 cm x D 0.02 cm Stock number: BG-14343-18.…