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Style: Victorian
Edward Strauss, Vanity Fair composer violinist music portrait, 1895
Edward Strauss, Vanity Fair composer violinist music portrait, 1895

Edward Strauss, Vanity Fair composer violinist music portrait, 1895, 1895

$120

Edward Strauss, Vanity Fair composer violinist music portrait, 1895

Located in Melbourne, Victoria

'Eduard Strauss' Chromolithograph, 1895. Vanity Fair musician portrait of Eduard Strauss (1835 – 1916) the Austrian composer. 400mm by 270mm (sheet)

Category

Late 19th Century Victorian Portrait Prints

Materials

Lithograph

Frances Sargent Osgood, American poet, antique portrait engraving print, 1872

Alonzo ChappelFrances Sargent Osgood, American poet, antique portrait engraving print, 1872, 1872

$95

Frances Sargent Osgood, American poet, antique portrait engraving print, 1872

By Alonzo Chappel

Located in Melbourne, Victoria

'Frances Sargent Osgood' Steel-engraving after the painting by Chappel. 1872. Facsimile signature below the image. Frances Sargent Osgood (1811-1850) was an American poet and one of the most popular women writers during her time and was also famous for her exchange of romantic poems with Edgar Allan Poe. Alonzo Chappel...

Category

Early 19th Century Victorian Portrait Prints

Materials

Engraving

'on 1 China station', Vanity Fair naval portrait chromolithograph, 1894
'on 1 China station', Vanity Fair naval portrait chromolithograph, 1894

'on 1 China station', Vanity Fair naval portrait chromolithograph, 1894, 1894

$66Sale Price|20% Off

'on 1 China station', Vanity Fair naval portrait chromolithograph, 1894

Located in Melbourne, Victoria

'on 1 China station' Vanity Fair portrait of Admiral Sir Edmund Robert Fremantle GCB CMG (1836 –1929). 400mm by 270mm (sheet)

Category

Late 19th Century Victorian Portrait Prints

Materials

Lithograph

Corney Grain, Vanity Fair caricature portrait, 1885
Corney Grain, Vanity Fair caricature portrait, 1885

Sir Leslie WardCorney Grain, Vanity Fair caricature portrait, 1885, 1885

$95

Corney Grain, Vanity Fair caricature portrait, 1885

By Sir Leslie Ward

Located in Melbourne, Victoria

'Corney Grain' Chromolithograph. 1885. Vanity Fair portrait of Corney Grain (1844-1895) playing the piano. Corney Grain was a British barrister turned actor, entertainer, and music...

Category

Early 20th Century Victorian Portrait Prints

Materials

Lithograph

Miniature Fashion Lithograph Portraits, 19th C., 2
Miniature Fashion Lithograph Portraits, 19th C., 2

Miniature Fashion Lithograph Portraits, 19th C., 2, 19th Century

$910

Miniature Fashion Lithograph Portraits, 19th C., 2

Located in Astoria, NY

Two Victorian Miniature Fashion Portraits, Hand-colored Lithographs on Paper, 19th century, unsigned, ornate giltwood frames. Image: 3" H x 2.25" W; frame: 4.75" H x 4" W x 1" D.   ...

Category

19th Century Victorian Portrait Prints

Materials

Paper, Lithograph

'Finger Prints', Sir Edward Richard Henry, Vanity Fair caricature portrait, 1895

Sir Leslie Ward'Finger Prints', Sir Edward Richard Henry, Vanity Fair caricature portrait, 1895, 1895

$90

'Finger Prints', Sir Edward Richard Henry, Vanity Fair caricature portrait, 1895

By Sir Leslie Ward

Located in Melbourne, Victoria

'Finger Prints' Chromolithograph. 1905. Vanity Fair portrait of Sir Edward Richard Henry, 1st Baronet GCVO KCB CSI KPM (1850-1931) who was the Commissioner of Police of the Metropo...

Category

Early 20th Century Victorian Portrait Prints

Materials

Lithograph

Love and Death.
Love and Death.

Sir Frank ShortLove and Death., 1900

$1,000Sale Price|33% Off

Love and Death.

By Sir Frank Short

Located in Plano, TX

Love and Death (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1900. Mezzotint. Hardie 71 between i and ii. 24 1/2 x 12 (sheet 27 1/4 x 13 3/ 8). Edition 350 in state one. London, Published May 1st 1900 by Robert Dunthorne ,5 Vigo Street, London W. Rubbing and discoloration from a previous mat in the margins, well outside the image. A rich proof printed on Japon paper. Signed in pencil by Watts and by Short. Housed in an archival folder ------------------------------------------------------------------------------------------------------- Winged Love...

Category

Early 1900s Victorian Portrait Prints

Materials

Mezzotint

Waiting room at the Admiralty (*no Misnomer)

George CruikshankWaiting room at the Admiralty (*no Misnomer), 1820

$175

Waiting room at the Admiralty (*no Misnomer)

By George Cruikshank

Located in Middletown, NY

London: Thomas McLean, 1820. Second Edition. Etching with handcoloring in watercolor on cream wove paper (published 1835), 8 3/8 x 11 1/2 inches (210 x 29 0mm), full margins. Second...

Category

Early 19th Century Victorian Portrait Prints

Materials

Watercolor, Etching

General Sir Francis Grenfell KCB, Vanity Fair military caricature portrait, 1889
General Sir Francis Grenfell KCB, Vanity Fair military caricature portrait, 1889

Sir Leslie WardGeneral Sir Francis Grenfell KCB, Vanity Fair military caricature portrait, 1889, 1889

$120

General Sir Francis Grenfell KCB, Vanity Fair military caricature portrait, 1889

By Sir Leslie Ward

Located in Melbourne, Victoria

Vanity Fair portrait of General Sir Francis Grenfell KCB Chromolithograph, 1889. Field Marshal Francis Wallace Grenfell, 1st Baron Grenfell, GCB, GCMG, PC was a British Army offic...

Category

Late 19th Century Victorian Portrait Prints

Materials

Lithograph

Vanity Fair 'Joe', portrait of Sir Joseph Lyons

Vanity Fair 'Joe', portrait of Sir Joseph Lyons, 1910

$120

Vanity Fair 'Joe', portrait of Sir Joseph Lyons

Located in Melbourne, Victoria

'Joe' Hentschel-Colourtype. 1910. Vanity Fair portrait of Sir Joseph Lyons who founded the famous Cafe shops. 380mm by 265mm (sheet)

Category

Early 20th Century Victorian Portrait Prints

Materials

Lithograph

The Hon. Stephen Coleridge, Vanity Fair caricature chromolithograph print, 1910
The Hon. Stephen Coleridge, Vanity Fair caricature chromolithograph print, 1910

The Hon. Stephen Coleridge, Vanity Fair caricature chromolithograph print, 1910, 1910

$120

The Hon. Stephen Coleridge, Vanity Fair caricature chromolithograph print, 1910

Located in Melbourne, Victoria

'Anti-Vivisection' Vanity Fair portrait of The Hon. Stephen Coleridge Hentschel-Colourtype. 1910. Stephen William Buchanan Coleridge (1854-1936) was an English author, barrister,...

Category

Early 20th Century Victorian Portrait Prints

Materials

Lithograph

Eliza Cook, English author and Chartist poet, antique portrait engraving print

Eliza Cook, English author and Chartist poet, antique portrait engraving print, 1872

$95

Eliza Cook, English author and Chartist poet, antique portrait engraving print

Located in Melbourne, Victoria

'Eliza Cook' Steel-engraving after a photograph by John Watkins, 1872. Facsimile signature below the image. Eliza Cook (1818 - 1889) was an English author, Chartist poet and writer...

Category

Early 19th Century Victorian Portrait Prints

Materials

Engraving

Leonard Braund, Empire Cricketeer, English cricket portrait lithograph, 1905

Albert Chevallier TaylerLeonard Braund, Empire Cricketeer, English cricket portrait lithograph, 1905, 1905

$295

Leonard Braund, Empire Cricketeer, English cricket portrait lithograph, 1905

By Albert Chevallier Tayler

Located in Melbourne, Victoria

Leonard Braund was a bowler for Somerset and England. Tayler was an English artist who was a member of the Royal Academy of Painters. He was a cricketer himself, and in 1905 he made...

Category

Early 20th Century Victorian Portrait Prints

Materials

Lithograph

Gregor MacGregor, Empire Cricketeer, Scottish cricket sport portrait lithograph

Albert Chevallier TaylerGregor MacGregor, Empire Cricketeer, Scottish cricket sport portrait lithograph, 1905

$295

Gregor MacGregor, Empire Cricketeer, Scottish cricket sport portrait lithograph

By Albert Chevallier Tayler

Located in Melbourne, Victoria

Gregor MacGregor was a Scottish wicketkeeper for Middlesex and England. Tayler was an English artist who was a member of the Royal Academy of Painters. He was a cricketer himself, a...

Category

Early 20th Century Victorian Portrait Prints

Materials

Lithograph

19th century color lithograph portraits ship seascape patriotic flags military
19th century color lithograph portraits ship seascape patriotic flags military

Nathaniel Currier19th century color lithograph portraits ship seascape patriotic flags military, 1846

$4,850

19th century color lithograph portraits ship seascape patriotic flags military

By Nathaniel Currier

Located in Milwaukee, WI

The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country. 9.5 x 13.5 inches, artwork 20 x 23.38 inches, frame Entitled in the image Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "2 Spruce N.Y." and "No. 1" Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y." Framed to conservation standards using 100 percent rag matting and housed in a gold gilded moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Category

1850s Victorian Portrait Prints

Materials

Watercolor, Lithograph

Victorian portrait prints for sale on 1stDibs.

Find a wide variety of authentic Victorian portrait prints available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. Many Pop art paintings were created by popular artists on 1stDibs, including Sir Leslie Ward, George Cruikshank, Sir Frank Short, and Currier & Ives. Frequently made by artists working with Lithograph, and Engraving and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Victorian portrait prints, so small editions measuring 4.34 inches across are also available. Prices for portrait prints made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $95 and tops out at $2,500, while the average work sells for $180.

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