A finely detailed 1825 hand-colored copperplate engraving of Muscicapa Psalura from George Shaw’s General Zoology, expertly engraved by Mrs. Griffith and printed in London. This collectible natural history plate exemplifies early 19th-century scientific illustration, distinguished by elegant linework, precise coloration, and the refined craftsmanship of Britain’s leading engravers.
This exquisite 19th-century engraving, titled “Muscicapa Psalura,” originates from Part II of George Shaw’s monumental General Zoology or Systematic Natural History—one of the most ambitious scientific publications of the early 1800s. Produced around 1825, the work displays the hand-colored artistry and copperplate engraving techniques that defined Georgian natural history illustration.
The bird—an early classification within the Muscicapa (flycatcher) family—is rendered with impeccable precision: meticulous cross-hatched feather textures, elegant tail plumes, and vivid hand-applied watercolor hues of blue, yellow, red, and sage. The composition exemplifies the period’s union of science and aesthetics, where accuracy served both scholarly needs and the era’s growing appetite for visually compelling natural history prints.
The engraving is attributed to Mrs. Griffith, a skilled but historically under-documented engraver who collaborated with some of Britain’s finest illustrators. Many plates in the Shaw series were engraved after artwork prepared under the editorial oversight of Charles Heath, one of the most respected engravers of the time, and James Francis Stephens, an esteemed entomologist and assistant in the British Museum’s zoological collections. Their combined involvement ensured exceptional scientific accuracy.
The plate bears clean typographic labeling (“MUSCICAPA: PSALURA.”), a hallmark of early 19th-century zoological plates. The verso shows the expected plate embossing and impression line, further confirming authenticity.
This engraving reflects the period’s intellectual spirit—an age when exploration, taxonomy, and artistic mastery converged to create some of the most elegant printed works in natural history.
Born in Bierton, Buckinghamshire, Shaw was one of Britain’s most influential natural historians. Educated at Oxford, he became a Fellow of the Royal Society and later Assistant Keeper of Natural History at the British Museum. Shaw authored several groundbreaking zoological texts, often working at the forefront of classifying newly discovered species during the age of global exploration. General Zoology (1800–1826) is considered his magnum opus—completed posthumously by James Francis Stephens.
Though biographical details are scarce—as was common for women in scientific illustration—Mrs. Griffith was an accomplished early 19th-century British engraver known for her collaboration on major zoological and botanical publications. Her plates are prized for their delicate linework, accuracy, and sensitivity to color application, reflecting a high level of training in copperplate engraving during an era when few women were publicly credited for such work.
One of the most prolific engravers of the Georgian and Victorian period, Heath was known for his technical mastery, crisp linework, and involvement in numerous literary and scientific publications. His influence touches many plates in Shaw’s General Zoology, ensuring quality and consistency across the series.
Born in London, Stephens was an entomologist and zoological scholar who succeeded Shaw in continuing General Zoology. He studied and worked closely with the British Museum’s zoological collections. His involvement as both editor and contributor enhanced the scientific precision of the engravings.
The Shaw–Stephens–Heath collaborations mark a turning point in natural history publishing: the synthesis of scientific taxonomic rigor with the engraved artistry that defined late Georgian Britain. Mrs. Griffith’s involvement is especially significant, as she represents the group of skilled, often uncredited women engravers whose contributions supported the visual identity of British natural history engraving.
“Muscicapa Psalura,” c.1825, hand-colored copperplate engraving from Shaw’s General Zoology, engraved by Mrs. Griffith, 12.5×18 in., printed London. Provenance: Mitch Morse Gallery → Artfind Gallery.
ARTFIND GALLERY — CERTIFICATE OF VALUE & AUTHENTICATION
Title: Muscicapa Psalura
Date: c.1825
Medium: Original hand-colored copperplate engraving
Dimensions: 12.5 × 18 in.
Engraver: Mrs. Griffith (after George Shaw’s General Zoology)
Publication: Part II of General Zoology or Systematic Natural History (London)
Printing: Early 19th-century English zoological press; plate impression visible
Provenance: Mitch Morse Gallery (NYC & Europe) → Artfind Gallery, Washington, DC
Authenticity Statement: Artwork retains period paper, plate mark, hand coloring, and typographic labeling consistent with 1820s London natural history plates.
Estimated Market Value: See ranges below.
Certified By: Artfind Gallery, Washington, DC
Illustrated & printed in London, c.1825 for Shaw’s General Zoology
Acquired by: Mitch Morse Gallery (NYC & Europe)
Transferred to private collectors via Mitch Morse Gallery
Current Owner: Artfind Gallery, Washington, DC
A rare c.1825 hand-colored copperplate engraving of Muscicapa Psalura from George Shaw’s General Zoology, engraved by Mrs. Griffith in London. Exquisite early natural history detail with original plate mark and vivid period coloration. Offered by Artfind Gallery with documented provenance.
The Strange-tailed Tyrant female, initially identified as Muscicapa psalura but more accurately recognized by its true name Alectrurus risora.
A finely detailed 1825 hand-colored copperplate engraving of Muscicapa Psalura from George Shaw’s General Zoology, expertly engraved by Mrs. Griffith and printed in London. This collectible natural history plate exemplifies early 19th-century scientific illustration, distinguished by elegant linework, precise coloration, and the refined craftsmanship of Britain’s leading engravers.
This exquisite 19th-century engraving, titled “Muscicapa Psalura,” originates from Part II of George Shaw’s monumental General Zoology or Systematic Natural History—one of the most ambitious scientific publications of the early 1800s. Produced around 1825, the work displays the hand-colored artistry and copperplate engraving techniques that defined Georgian natural history illustration.
The bird—an early classification within the Muscicapa (flycatcher) family—is rendered with impeccable precision: meticulous cross-hatched feather textures, elegant tail plumes, and vivid hand-applied watercolor hues of blue, yellow, red, and sage. The composition exemplifies the period’s union of science and aesthetics, where accuracy served both scholarly needs and the era’s growing appetite for visually compelling natural history prints.
The engraving is attributed to Mrs. Griffith, a skilled but historically under-documented engraver who collaborated with some of Britain’s finest illustrators. Many plates in the Shaw series were engraved after artwork prepared under the editorial oversight of Charles Heath, one of the most respected engravers of the time, and James Francis Stephens, an esteemed entomologist and assistant in the British Museum’s zoological collections. Their combined involvement ensured exceptional scientific accuracy.
The plate bears clean typographic labeling (“MUSCICAPA: PSALURA.”), a hallmark of early 19th-century zoological plates. The verso shows the expected plate embossing and impression line, further confirming authenticity.
This engraving reflects the period’s intellectual spirit—an age when exploration, taxonomy, and artistic mastery converged to create some of the most elegant printed works in natural history.
Born in Bierton, Buckinghamshire, Shaw was one of Britain’s most influential natural historians. Educated at Oxford, he became a Fellow of the Royal Society and later Assistant Keeper of Natural History at the British Museum. Shaw authored several groundbreaking zoological texts, often working at the forefront of classifying newly discovered species during the age of global exploration. General Zoology (1800–1826) is considered his magnum opus—completed posthumously by James Francis Stephens.
Though biographical details are scarce—as was common for women in scientific illustration—Mrs. Griffith was an accomplished early 19th-century British engraver known for her collaboration on major zoological and botanical publications. Her plates are prized for their delicate linework, accuracy, and sensitivity to color application, reflecting a high level of training in copperplate engraving during an era when few women were publicly credited for such work.
One of the most prolific engravers of the Georgian and Victorian period, Heath was known for his technical mastery, crisp linework, and involvement in numerous literary and scientific publications. His influence touches many plates in Shaw’s General Zoology, ensuring quality and consistency across the series.
Born in London, Stephens was an entomologist and zoological scholar who succeeded Shaw in continuing General Zoology. He studied and worked closely with the British Museum’s zoological collections. His involvement as both editor and contributor enhanced the scientific precision of the engravings.
The Shaw–Stephens–Heath collaborations mark a turning point in natural history publishing: the synthesis of scientific taxonomic rigor with the engraved artistry that defined late Georgian Britain. Mrs. Griffith’s involvement is especially significant, as she represents the group of skilled, often uncredited women engravers whose contributions supported the visual identity of British natural history engraving.
“Muscicapa Psalura,” c.1825, hand-colored copperplate engraving from Shaw’s General Zoology, engraved by Mrs. Griffith, 12.5×18 in., printed London. Provenance: Mitch Morse Gallery → Artfind Gallery.
ARTFIND GALLERY — CERTIFICATE OF VALUE & AUTHENTICATION
Title: Muscicapa Psalura
Date: c.1825
Medium: Original hand-colored copperplate engraving
Dimensions: 12.5 × 18 in.
Engraver: Mrs. Griffith (after George Shaw’s General Zoology)
Publication: Part II of General Zoology or Systematic Natural History (London)
Printing: Early 19th-century English zoological press; plate impression visible
Provenance: Mitch Morse Gallery (NYC & Europe) → Artfind Gallery, Washington, DC
Authenticity Statement: Artwork retains period paper, plate mark, hand coloring, and typographic labeling consistent with 1820s London natural history plates.
Estimated Market Value: See ranges below.
Certified By: Artfind Gallery, Washington, DC
Illustrated & printed in London, c.1825 for Shaw’s General Zoology
Acquired by: Mitch Morse Gallery (NYC & Europe)
Transferred to private collectors via Mitch Morse Gallery
Current Owner: Artfind Gallery, Washington, DC
A rare c.1825 hand-colored copperplate engraving of Muscicapa Psalura from George Shaw’s General Zoology, engraved by Mrs. Griffith in London. Exquisite early natural history detail with original plate mark and vivid period coloration. Offered by Artfind Gallery with documented provenance.
The Strange-tailed Tyrant female, initially identified as Muscicapa psalura but more accurately recognized by its true name Alectrurus risora.
