Antique Prints

Since 1763 the name 'Russborough' has been synonymous with collecting and dealing in fine art. In the closing decades of the last century the historic town of Port Hope has become home to Lord Russborough's Annex, which specialises in an individual mix of antique maps, paintings and prints.

While Lord Russborough's Annex features a great many works of museum calibre, we also offer a wonderful selection of prints priced at under $100.

Fine Art
British Paintings in oil
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An extract of our prints currently available:

A Diaglogue At Waterloo
Battle of Waterloo
C.W. Battle of Waterloo watrcolour
Waterloo the Moment of Victory
Napoleon At Waterloo
Waterloo three incidents
Dighton,The defence of Hougoumont
Dighton,The charge of the French Cavalry
"Scotland Forever!"
Scotland Forever - Lady Butler1  2
"Quatre Bras"1 2 3
Meeting of Wellington and Blücher
Wellington & Blucher- Stevengraph
The Waterloo Banquet
Beadle J.P.The Captive Eagle

Duke of Wellington showing the field of battle of his greatest victory over the French to the young Queen Victoria!


"The most infamous army I ever commanded..."
-The Iron Duke on his troops at Waterloo.

Engraved By T.H. Atkinson after Sir Edwin Landseer. London Ca.1851

A fine copper engraving depicting the old Duke of Wellington showing the field of battle of his greatest victory over the French to the young Queen Victoria, On that occasion views of the battle were presented during an informal picnic.

Five exquisitely drawn and engraved horses are also portrayed. The bronze monumental lion may be seen atop the mound in the rear, raised by the Dutch between 1823 and 1826 on the spot where it is believed the Prince of Orange was wounded. The mound required 290,485 cubic meters of earth from the surrounding fields to attain a height of 40.5 meters Note the fine detail as illustrated in this photograph which concentrates on the young ladies book.

The original painting, finished in 1850, presently hangs in the Speaker's Guest Room within the British House of Lords, London.

Sir Edwin Henry Landseer RA. RI. (1802-1873) was without doubt one of the finest animal painters England has ever produced. He was born in London, the son of John Landseer ARA. He first exhibited works at the Royal Academy in 1815, at the precocious age of 13. He was elected ARA at the age of 24, and RA some five years later in 1831. Further honours followed - he was knighted in 1850, received a gold medal at the Paris Exhibition of 1855, and in 1866 was elected President of the Royal Academy, a position which he declined to accept.

Landseer was noted for his pictures of horses, dogs and stags but they often have a sentimentality of treatment which today feels uncomfortable. It is not surprising therefore that he became a particular favorite of Queen Victoria , indeed it was Landseer that taught her to etch. His most familiar works however are not paintings at all - but the huge lions that surround Nelson’s column in Trafalgar Square, London; nevertheless most galleries with a representative collection of 19th Century British art will have something by him and Lord Russborough’s Annex is no exception, we have available fine copies of numerous works including perhaps his most famous- The Monarch of the Glen.

Copper Engraving, deacidified & repaired.
Click for more information on the printing technique.

Approx. 26 1/2 x 46 1/2

Ref. (Ref. LRA 783/REL >DDSL)       SOLD
Price Code E: Click Here for Pricing Details





Click here to view larger image

                                                                                          Wellington (on the composition of his army at Waterloo)

[Wellington at the scene]

Engraved by John Burnet  after the painting by J.A. Atkinson, portraits by A.W. Devis
RARE.  Copper engraving  [London] 1819
161/2 x 231/4” excluding letters (42 x 59 cm)

Depicted is a general scene toward the end of the battle on 18 June 1815, with Wellington in attendance, from the British vantage,  Portraits of the main allied participants are identifiable, including that of the 'Iorn' Duke  Wellington; who, despite his generally poor opinion of his troops (quoted above) is shown saluting the capture of a French Eagle standard by Sergeant Ewart of the Scots Greys.  Napoleon’s  Garde Impériale are shown in disorderly retreat signifining the moment of Allied victory.

This image was considered scarce even in 1819, as contrary to the original intention of the engraver, there were never very many copies of this image published, making it highly desirable for today’s collector of military and particularly Waterloo images.
Waterloo produced many iconic myths and also courageous heroes, not least among them the actions of many members of the cavalry.  It seems unlikely that the Duke of Wellington said that Waterloo was won on the playing fields of Eton, not least because Eton had no playing fields, in the modern sense at that time. But he undoubtedly did say : “It was a damned nice thing  [‘nice’ meaning close and all too finely balanced], the  nearest thing  you ever saw  in your life.”  Warner , P.  The British Cavalry. p.116 .
Little wonder then, that this battle was regarded as one of the most significant in British history,  much as ‘The Battle of Britain’ was to be over a hundred years later.

John Burnet 1784-1868  became a Scottish painter, etcher and engraver of historical subjects, after his contemporaries and old masters. Born in Midlothian, he lived in Edinburgh. He was one of the first engravers to specialize in the reproduction of paintings for the new middle class collector, and he pioneered the use of steel plates, although this image is engraved into copper and was not widely circulated. He died in Stoke-Newington.

John Augustus Atkinson 1775 - 1831/3?  was a painter, etcher and aquatint engraver of historical subjects. In 1784 he accompanied his uncle to Russia in the service of the Empress Catherine.

Arthur William Devis  1762 - 1822 Following the shipwreck in ca. 1783 of the Antelope, aboard which he was listed as draughtsman, Devis travelled on to Bengal, India were he became a society painter of portraits. Upon his return to England he exhibited some 65 pictures at the Royal Academy between 1779 - 1821.

Ref. RB1/LNN/ s.ande > DALN Price Code E  SOLD    Click Here for Pricing Details

Click for more information on the printing technique.   RETURN TO MILITARY CATALOGUE

C.W. battle of Waterloo ptg

C. W.
Attributed to
Col. Charles Waller
19th. Cent. British School

The Battle of Waterloo 1815

Original painting in Watercolours on paper  1816 inscribed( bottom left ) with Monogramme ‘CW’
French lines and wash panel mat.
9 x 11 3/8  (22.9 x 28.9 cm.)
Ref. 645 CB1(186)/ RNN/ a.anan > VNN   SOLD  PRICE CODE C

Sabers flash and musket fire is exchanged, as a French column advance upon the British square of serried ranks of determined fire, only to be repelled during the Battle of Waterloo 1815. Uniform details are not clear, but we believe depicted  are Third Regiment of Foot Guards (now Scots Guards), French Cuirassiers and Régiment d’Infanterie de Ligne.
The standard infantry weapon across all the armies was the muzzle-loading musket. The musket could be fired three or four times a minute, throwing a heavy ball inaccurately for a hundred metres or so. Each infantryman carried a bayonet for hand-to-hand fighting, which fitted the muzzle end of his musket.
Provided the infantry were able to form square, they were largely impervious to cavalry attack by the French Cuirassiers, as neither the British nor the French cavalry horses could be brought to ride through an unbroken infantry line and the infantry could not be attacked in flank.

The Battle of Waterloo was fought on Sunday, 18 June 1815 near Waterloo in Belgium, part of the United Kingdom of the Netherlands at the time. A French army under the command of Napoleon Bonaparte was defeated by two of the armies of the Seventh Coalition: an army consisting of units from the United Kingdom, the German Legion, the Netherlands, Hanover, Brunswick and Nassau, under the command of the Duke Of Wellington, referred to by many authors as the Anglo-allied army, and a Prussian army under the command of Field Marshal Blücher. The battle marked the end of the Napoleonic Wars.  It is regarded as one of the decisive battles of British History, and was the battle that ended the dominance of the French Emperor Napoleon over Europe; the end of an epoch.

C.W. believed to be Col. Charles D. WALLER ƒl. 1795-1826
An artillery officer  and amateur topographer, who was a pupil of Paul Sandby at Wollwich. His work is close to that of the master. He entered the Royal Artillery in 1788 promoted Captain 1795 and a full Colonel in 1819  From 1818 to 1826  he commanded Charlemont Fort in Co. Armagh. 

Provenance:  Parker Gallery London 1992
Private collection Mississauga  1992- 2020

Beadle Captive Eagle

Taken by the Royal Dragoons from the 105th. French Regiment at Waterloo.
Engraved by W.A. Cox after James Prinsep Beadle

Hand tinted mezzotint.     Published Henry Graves & Co. London 1900. Heraldic Battle honours and eagle below image. matted, Non-glare glazing, set into heavy gilt-wood and gesso frame.
19 3/4 x 23" (53 x 58.4 cm.)  including letters.  Frame 29 1/2 x 33 1/2"

Ref.  CB8 (186)/ANN/ a.anan >LLN          PRICE CODE  C 

Delineated is a  significant psychological incident during the Battle of Waterloo. Corporal Styles of the 1st Royal Dragoons, jubilantly displays the captured French Imperial Eagle of the 105th. Régiment d’Infanterie de Ligne, to the cheering Black Watch. Behind him can be seen The Duke of Wellington. The eagle is now held in the National Army Museum at Chelsea, London.

James Prinsep Beadle (1863–1947), was an English painter of historical and military scenes. Beadle found the subject of the Peninsular War, particularly interesting and visited Spain and Portugal in 1912 to sketch the battlefields. As late as 1924, the artist was still paintings scenes from the Peninsular War, but the events of 1914-1918 were also occupying his mind,

Stuben Napoleon in the midst of it

[Mounted, and in the thick of it ]

RARE.  Mezzotint  engraved by (Mrs.?)W.H. Simmons after the painting by Charles Steuben,  [London 1838] Trimmed to 16 ¾  x 21 ¾ ” (42 .5 x 55.2 cm) excluding letters 

Despite the fact that Napoleon was suffering from a painful bout of piles on Sunday 18 June1815 (on such details the course of history may be altered), and spent most of the day 3/4 mile away at Rossomme, this image shows him mounted on his white charger Marengo, supposedly in the thick of the battle. It was only about 7.30 pm. that a last stand was made near La Belle Alliance Inn   (just visable, upper left), Marshal Ney is portrayed alongside the Emperor surrounded by members of the Imperial Guard and surprisingly a loan kilted Highlander Highlander being a representation of  Marshal Etienne-Jacques-Joseph-Alexandre MacDonald, Duke of Taranto (November 17, 1765  September 7, 1840).  Shortly thereafter Napoleon’s army was routed and he departed the field of battle.

Baron Charles Auguste Guillaume  de Steuben (1788 - 1856)  was a 19th cent. French painter active during the Napoleonic era. He trained with Gustave Courbet.

Mrs. Simmons was the wife of William Henry Simmons (1811 -1882)  a  noted and very successful engraver, born and died in London, and pupil of Finden, he reproduced pictures by many of the famous artists of his day. He later abandoned line engraving in preference for the more complex mixed media mezzotint and became one of the foremost exponants of that style. Of his wife we can find no information.

Ref. LRA 2045/DNN/o.anng >GOL   SOLD
Price Code C: Click Here for Pricing Details   Click for more information on the printing technique.

Waterloo Napoleon retreating


Having witnessed the flight of his Imperial Guard, and the British in pursuit from the opposite height.
 Drawn by Capt. George Jones & engraved by Mr. Samuel Mitan published in Christopher Kelly A Full and Circumstantial Account of the Memorable Battle of Waterloo. London March 15, 1817
Hand coloured etching.     7 x 9" inc. letters (17.8 x 22.9 cm)    PRICE CODE  B
 Ref. JS1/sn/ v.anno > DVL

Waterloo French eagle_captured


[Drawn by Capt. George Jones & engraved by Mr. Samuel Mitan] published in  Christopher Kelly A Full and Circumstantial Account of the Memorable Battle of Waterloo. London Oct 26th., 1816
Hand coloured etching.    6 3/8 x 8 1/8" inc. letters (16.3 x 20.5 cm)    PRICE CODE  B
 Ref. JS2/sn/ v.anno > DVL

waterloo_napoleon_ pursued

"The attack succeeded in eery point;The enemy was forced from his position on the heights and fled in utmost confusion" vide Duke of Wellington's dispatch.

Drawn by Capt. George Jones & engraved by Mr. Samuel Mitan published in Christopher Kelly A Full and Circumstantial Account of the MemorableBattle of Waterloo. London Feb 15, 1817
Hand coloured etching.         6 5/8 x 9" inc. letters (16.8 x 22.9 cm)    PRICE CODE  B
 Ref. JS3/sn/ v.anno > DVL
Click for more information on the printing technique                Click Here for Pricing Details 

Lady Butler Waterloo Images:



Scotland forever 1

"Scotland Forever!"
[1881 (1885)]

after the original painting by Lady Butler

The charge of the Scots Greys at Waterloo

B/W photogravure, some restoration, [Published] Copyright by S Hildesheimer Co. Ltd. Manchester; Ca 1885.
13 1/2 x 26"

Ref.LRA1122 /LN/v. annr>LAL SOLD Price code C
Sotland forever cold

Scotland Forever.

Elizabeth Thompson,
[Lady Butler]

[1881 (1890)]

The Charge of The Scots Greys at Waterloo

Descriptive text (bottom left).

Published Buffalo Pictorial Co., Buffalo, NY [ca1890]
15 X 27 7/8" excluding letters.

(Ref.DS0570 /DAL/dov>LAL) SOLD Price code C

Elizabeth Thompson, (Lady Butler)
[1881 (1890)]
Chromolithograph. Title in Italics below image, matted, glazed, mahogany gloss lip plastic faux wood frame, glazed. nd. [ca1890]

14 ¾  X 26"approx including letters. Frame 20 ¾ x 30 "
Ref. RY6 (179)/DDN/r.ando>LLN SOLD  
 Although nicely presented, there are alas some condition issues, two repaired tears within image right. They do however make the price of this very collectable image very affordable.





LB Quatre Bras 179

"Quatre Bras" The afternoon of June 16th 1815

after the original painting by Lady Butler
Quotation from Waterloo Campaign below image.

B/W photogravure after the mixed media engraving.

Published as a supplement to Holly Leaves Christmas number of Illustrated Sporting and Dramatic News, Dec. 1913 by permission of Fine Art Society London.
12 3/4 x 26 1/2" excluding letters. Frame 23 1/2 x 36 3/4
Ref.RY5(179) /ANN/r. ando>SOL PRICE CODE D

"Quatre Bras" The afternoon of June 16th 1815
after the original painting by Lady Butler

B/W photogravure after the mixed media engraving.
Some browning & water stains.

Published as a supplement to Holly Leaves Dec. 1913 by permission of Fine Art Society London.
12 3/4 x 26 1/2" excluding letters.

(Ref.LRA1125 /ANN/v. annr>GLN) SOLD Price code C

Another Copy Reduced Size 8 1/2 x 17 3/4" 21.6 x 45.1 cm.) C. Taber & Co.
Ref. TMcC2/DNN/ dn.andl> ASL SOLD

What a difference a day makes !

meeting of wellington and Blucer

 from the original wall painting in the Palace of Westminster
Lumb Stocks RA. after Daniel Maclise RA.

Transfer Lithograph (from engraving) matted, glazed, black wood frame.
 11 7/8 x 34 1/2  (30.2 x 87.7 cm) excluding letters  Frame: 19 1/4 x 41 1/4"

 Ref. 71NY3/DNN/s.andd >ENN    SOLD    PRICE CODE B      Click here for price guide.

Another Copy
Frame  size 21 1/4 x 43 5/8" Ref.RB1(180)/ANN/e.ando>DDNN PAIR   PRICE CODE D
together with

'The Death of Nelson at the Battle of Trafalgar'

Published by The Art Union [(1872) 1875], after the 1868 painting. Wellington and Blucher mounted on horses, with cavalry behind them, shake hands in front of ruined building surrounded by numerous mounted and dismounted soldiers and bandsman; dead and wounded lying in the foreground. The French army is seen in pursuit along the road behind. A somewhat fanciful rendering of one of the great melodramatic moments in history.

Late in the evening on the day of the battle of Waterloo (Sunday, June 18th. 1815) Wellington and Blücher met on horseback outside the somewhat battered but aptly named La Belle Alliance inn where they briefly shook hands and congratulated each other on their victory. "Quelle affaire!" the elderly Prussian Marshal exclaimed,  - Wellington said afterwards that was all the French he knew. Blücher also suggested La Belle Alliance would be a good name for the battle, but the Duke made no reply.

Following the meeting of the victorious leaders, during the rest of the night the Prussians pursued the remnants of the routed French army, from the inn, down the road toward France by which they had come.

Daniel Maclise, R.A. (1806 -1870) was an  Irish historical painter whose fame rests chiefly on a series of lithograph portraits of contemporary celebrities and on two vast frescoes that he painted in the Royal Gallery in the House of Lords. of which this is a copy of one.


Thomas Stevens

"Wellington & Blucher - Meeting after the Battle of Waterloo"

Stevengraph-pure silk weaving Ca. 1870.  2 ½ x7” matt/mount is approximately 7 ¾ x 11 ½”  Frame:  9 x 12 ¾”
The mount is the original period with letters, and it is set into a reverse painted black lacquer glass within a Hogarth frame. On the verso are two official German Post Office 100 ph. stamps commemorating Gebhard Leberecht von Blücher 1742-1819.

Ref. GH 113/GL/g.ands> AAL SOLD   PRICE CODE B

Original 1870’s Stevengraph pure coloured silk weaving, being a beautiful miniature picture of "Wellington & Blucher - Meeting after the Battle of Waterloo".
The pair to 'The Death of Nelson' Both pictures are after the paintings by the Irish artist Daniel Maclise (1806-70), commissioned for the Royal Gallery in the rebuilt Houses of Parliament. Maclise shows the sombre aftermath of the battle of Waterloo with the tired commanders surrounded by the wounded as they shake hands at La Belle Alliance.

The Death of Nelson shows the dying Admiral on the deck of HMS Victory at Trafalgar, supported by Hardy and surrounded by fellow officers, sailors and marines. The battle rages on as the wounded are tended. Both paintings depicting Britain's heroes were, and still are, very popular. They were reproduced in a variety of forms for an eager market.

Thomas Stevens started his business in Coventry in 1862. He started with pure silk bookmarks and progressed to pictures and portraits after 1879. Known and collected as a Stevengraph. The genius of Stevens was the ability to adapt his Jacquard looms to produce multi-coloured silk weavings. 
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