Tail-piece for Burns’ poems. Alnwick, vol. 1, 1808.
Thomas Bewick, from An account of the art of typography, as practised in Alnwick from 1781 to 1815, by C. Clark Burman, Alnwick, 1896.
(Source: archive.org)
Tail-piece for Burns’ poems. Alnwick, vol. 1, 1808.
Thomas Bewick, from An account of the art of typography, as practised in Alnwick from 1781 to 1815, by C. Clark Burman, Alnwick, 1896.
(Source: archive.org)
Catnach’s trade cut (adapted to bookplate).
Thomas Bewick, from An account of the art of typography, as practised in Alnwick from 1781 to 1815, by C. Clark Burman, Alnwick, 1896.
(Source: archive.org)
Cut on title page of “Instructions for Hussars.” Catnach, 1803.
Thomas Bewick, from An account of the art of typography, as practised in Alnwick from 1781 to 1815, by C. Clark Burman, Alnwick, 1896. Only fifty illustrated copies of this book were printed.
(Source: archive.org)
Tailpiece vignette to an article about archeological finds in Campania.
From La gazette des beaux-arts (The gazette of fine arts), Paris, 1880.
(Source: archive.org)
Charles Robinson, headpiece vignette to the content page of Lullaby-land; songs of childhood, selected by Kenneth Grahame, New York, circa 1897.
(Source: archive.org)
Vignette from Relazione del solenne ingresso dell’ illustrissimo e reverendissimo monsignor Francesco Castellini, vescovo di Tivoli nella detta città… (Report on the solemn entry of Illustrious and Reverend Monsignor Francesco Castellini, bishop of Tivoli in that city…), by Generoso Salomoni, Rome, 1758.
(Source: archive.org)
Opening vignette to book IV, from Notre-Dame de Paris (The Hunchback of Notre-Dame), by Victor Hugo, Paris, 1844.
Via archive.org.







