Plate 67 Red-winged Starling or Marsh Blackbird - John James Audubon
Archival giclée
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Description
A detailed ornithological study of the Red-winged Blackbird from John James Audubon's Birds of America, featuring hand-coloured engraving techniques.
This print originates from the monumental publication, The Birds of America, produced by John James Audubon between 1827 and 1838. Audubon sought to document every bird species in North America, often depicting them in their natural habitats with a focus on anatomical precision and behavioural accuracy. This specific plate captures the Red-winged Starling, now commonly known as the Red-winged Blackbird, perched upon and flying around the branches of a flowering shrub.
The composition demonstrates the characteristic approach of Audubon, who often arranged multiple specimens on a single page to provide a comprehensive view of the species. The male is shown in flight, displaying the distinctive red and yellow epaulets that give the bird its name. Below, the female and juvenile specimens are depicted with more muted, streaked plumage, reflecting the sexual dimorphism typical of the species. The branches are rendered with delicate precision, providing a sense of scale and environment without overwhelming the subjects.
Audubon worked with engraver Robert Havell Jr. to translate his original watercolours into the large-format copperplate engravings that define this series. The process involved etching the outlines and using aquatint to create tonal depth, followed by hand-colouring by a team of assistants. This method allowed for the reproduction of fine details, such as the texture of the feathers and the subtle variations in colour across the wings. The resulting image is a clear record of the species as observed in the early 19th century. It remains a primary reference for ornithologists and art historians interested in the intersection of scientific observation and artistic representation during the Romantic period.
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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 67 Red-winged Starling or Marsh Blackbird - 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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