Plate 3. Prothonotary Warbler - John James Audubon
Archival giclée
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Description
A detailed hand-coloured aquatint of the Prothonotary Warbler from John James Audubon's seminal work, The Birds of America.
This print originates from the monumental publication, The Birds of America, produced by John James Audubon between 1827 and 1838. The work depicts the Prothonotary Warbler, identified in the plate as Sylvia protonotarius, perched upon a cane vine. Audubon, a naturalist and painter, sought to document North American avian species in their natural poses, often choosing to depict them in active, life-sized compositions rather than static, scientific specimens.
The image displays the male and female birds amidst the foliage of the cane vine. The male, positioned in the upper portion of the composition, exhibits the characteristic golden-yellow plumage and dark wings associated with the species. Below, the female is shown in a slightly different posture, allowing the viewer to observe the subtle variations in colour and form. The botanical elements are rendered with precision, providing a context that reflects the habitat of the warbler. The engraving process, executed by Robert Havell Jr., translates Audubon's original watercolour studies into a medium that allows for the reproduction of fine detail and delicate colour washes.
Audubon's approach to ornithological illustration was distinct for its time. By placing the birds within their environment, he provided a narrative quality to his scientific records. The composition relies on the interplay between the linear quality of the vine and the rounded forms of the birds. The white background, typical of the Havell edition, ensures that the focus remains entirely on the subjects. This print represents a specific moment in the history of natural science, where artistic observation and biological documentation converged. The attention to the texture of the feathers and the structure of the leaves demonstrates the technical skill required to produce such large-scale, hand-finished prints. It remains a primary reference for the study of 19th-century American natural history illustration.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Plate 3. Prothonotary Warbler - John James Audubon
Artist Biography
John James Audubon
He was born illegitimate in 1785 in Les Cayes, Saint-Domingue (now Haiti), the son of a French merchant and a Creole woman. He was sent to America at eighteen to avoid Napoleonic conscription. He was also a serial fabricator: he claimed his father was an admiral (he was a captain), said his family had been imprisoned in the Bastille (they had not), and invented frontier stories about fighting wolves and sleeping in igloos. He ran a dry-goods store in Kentucky and was jailed for bankruptcy in 1819.
The paintings themselves are extraordinary: precise, dynamic, and composed with a narrative quality that goes beyond scientific illustration. His legacy is contested. The National Audubon Society and several regional chapters dropped his name in 2023 because of his documented history as an enslaver. He died in 1851.
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