Abbas Mirza, Prince Royal of Persia Print (Longman, Hurst, Rees, Orme & Brown)

Collectors often encounter this work as a small portrait print on thick paper (frequently around 8×10 inches or similar), with Persian handwriting around the border and a Roman-alphabet title that reads “Abbas Mirza, Prince Royal of Persia.” Many examples also show a publisher line referencing Longman, Hurst, Rees, Orme & Brown and a date in the early 1820s.

This guide explains how to authenticate the print, what condition details matter most, and how the market for comparable nineteenth-century Middle Eastern portrait prints behaves. If you own an example with hand-applied gold or extensive Persian annotations, value can swing significantly based on originality and preservation.

Headline valuation: for many private-sale examples, a realistic market range is often roughly $250–$800, with a common “clean, authentic, nicely framed” target band around $400–$500. Exceptional provenance, rare states, or period hand-coloring can exceed this, while trimming, stains, or modern reproductions can fall well below.

What is the “Abbas Mirza” print?

Abbas Mirza (1789–1833) was the crown prince of Qajar Persia and a central figure in early nineteenth-century modernization efforts. Western travel narratives of the period often included engraved portraits of prominent rulers and court figures. The print you’re researching is commonly associated with Sir Robert Ker Porter’s illustrated travel work, published in London with plates dated around 1821–1822.

Because these plates circulated in book form first, collectors encounter multiple “looks” for the same image: a true book plate (often black-and-white), later hand-colored impressions, trimmed sheets removed from bindings, and modern reproductions made for decorative framing. Persian border inscriptions can be authentic period annotation, later collector embellishment, or a modern decorative addition—so the border is a value driver and a risk factor.

Authentication checklist: engraving vs later reproduction

Start with three quick questions: (1) Is it an engraving/etching or a later photomechanical print? (2) Does it show book-plate characteristics (plate mark, laid paper, publisher line)? (3) Is the Persian writing contemporaneous?

• Plate mark: under raking light, you should see an impressed rectangle around the image area if it’s an intaglio plate print.
• Ink character: engraved lines look slightly raised or “ink rich” under magnification; dot patterns (halftone) point to later reproduction.
• Publisher line: look for a crisp imprint referencing “Longman, Hurst, Rees, Orme & Brown” and the plate date (often early 1820s).
• Paper: early 1800s book plates are commonly on laid or wove paper; bright white, smooth, modern stock is a red flag.
• Margins: plates extracted from books are often trimmed close; heavy trimming reduces value unless the work is rare.
• Persian annotations: compare ink aging and stroke behavior to the printed linework; perfectly uniform “marker-like” handwriting can signal recent addition.
• Gold accents: genuine period gilding typically shows subtle wear and irregularity; very metallic, uniform paint can be modern.

Condition factors that move value the most

For early nineteenth-century prints, paper condition matters more than most owners expect. Collectors pay a premium for clean sheets with legible imprint lines and stable paper.

• Foxing and toning: scattered brown spots, overall yellowing, or water tide lines reduce value and can be hard to treat safely.
• Repairs: tape stains, backing removal damage, and mends along folds (especially a central book fold) are common and typically discounted.
• Trimming: cut-down margins reduce desirability. If the publisher/date line is trimmed off, value drops sharply.
• Hand-coloring: period coloring can add value; later color (or heavy overpainting) usually doesn’t.
• Framing: archival matting and UV glazing help; “dry-mounted” or glued prints are penalized by most knowledgeable buyers.

Comparable auction results (what the market pays)

Exact Abbas Mirza impressions don’t appear in every dataset, so appraisers triangulate using close neighbors: nineteenth-century Middle Eastern portrait prints, Orientalist chromolithographs, and framed Persian manuscript/miniature prints with calligraphy borders.

From Appraisily’s auction datasets, here are four concrete comps to anchor expectations:

• Swann Auction Galleries (Dec 7, 2023), Lot 278: large chromolithograph of Ahmad Shah Qajar (circa 1910) — $1,250 hammer.
• Hoch LTD. (Mar 5, 2023), Lot 172: Eduard Hildebrandt, four Oriental scene chromolithographs — $300 hammer.
• Elstob Auctioneers (Apr 14, 2022), Lot 314: after Carl Werner, four Orientalist chromolithographs — £220 hammer.
• Antique Arena Inc (Feb 1, 2025), Lot 126: Persian Nastaliq manuscript miniature print, framed — $200 hammer.

These comps show the spread: large, visually striking royal portrait chromolithographs can bring four figures, while groups of decorative Orientalist prints trade in the low hundreds. Your Abbas Mirza sheet typically sits between these extremes depending on size, condition, and authenticity of enhancements (annotation/gilding).

Pricing your Abbas Mirza print: a practical range

Use the following framework when you set an asking price (or when you decide whether to consign vs sell privately):

• $100–$250: later decorative reproduction, heavy foxing, or trimmed without the imprint line.
• $250–$500: plausible early impression, readable publisher/date line, moderate toning, standard framing.
• $500–$800: strong impression with intact margins, attractive period hand-coloring and/or believable period annotations.
• $800+: documented provenance, rare state, exceptional color/gilding, museum-grade condition.

If you’re insuring the piece (replacement value), the figure may be higher than what a fast auction would produce—especially if you need to replace it with an example that includes a clear imprint line and stable paper.

How to sell (and how to describe it so buyers trust you)

Print buyers look for specifics. If you’re listing the piece online, include: (1) full-sheet photo, (2) closeup of the imprint line (publisher/date), (3) raking-light photo showing the plate mark, (4) closeups of the Persian handwriting and any gold highlights, (5) measurements of the sheet and image area.

In your description, avoid over-claiming (e.g., “original painting” or “manuscript”) if it is a printed plate. Instead, use careful language such as “nineteenth-century engraved portrait print” and note any uncertainty (“handwritten Persian annotations, age unknown”). That transparency typically increases buyer confidence and reduces returns.

Care and framing tips

• Keep it out of direct sun: UV light accelerates toning and can fade hand-coloring.
• Avoid adhesives: do not tape the sheet to a backing board; use archival corners or a hinge-mount by a framer.
• Stable humidity: paper expands and contracts—avoid hanging near kitchens, bathrooms, or exterior walls.
• Don’t “clean” with erasers: you can abrade the ink and paper surface; consult a paper conservator for treatment.