A hand-finished botanical study from Priscilla Susan Bury’s A Selection of Hexandrian Plants (1831–34), among the most admired English flower folios of the nineteenth century. Bury drew her amaryllis and lily specimens from the family glasshouse near Liverpool; the plates were engraved by Robert Havell Jr., the same engraver then producing Audubon’s Birds of America. Deep crimson petals sit against a clean, uncluttered ground — all the aquatint richness of the original.
Each print is made to order as an archival giclée. Choose your paper: a heavyweight 285 gsm textured fine-art stock (our Museum weight) or a lighter 200 gsm matte (Studio) — in sizes from roughly 20×25 cm to 41×51 cm (shown in inches at checkout). And because we’re a Dublin framing studio first, you can bring your print into the workshop to have it mounted and framed by hand, with 10% off a bespoke frame.
A hand-finished botanical study from Priscilla Susan Bury’s A Selection of Hexandrian Plants (1831–34), among the most admired English flower folios of the nineteenth century. Bury drew her amaryllis and lily specimens from the family glasshouse near Liverpool; the plates were engraved by Robert Havell Jr., the same engraver then producing Audubon’s Birds of America. Deep crimson petals sit against a clean, uncluttered ground — all the aquatint richness of the original.
Each print is made to order as an archival giclée. Choose your paper: a heavyweight 285 gsm textured fine-art stock (our Museum weight) or a lighter 200 gsm matte (Studio) — in sizes from roughly 20×25 cm to 41×51 cm (shown in inches at checkout). And because we’re a Dublin framing studio first, you can bring your print into the workshop to have it mounted and framed by hand, with 10% off a bespoke frame.
