California Turkey Vulture John J Audubon

Collectors and appraisers often encounter the phrase “California Turkey Vulture” attached to a large Audubon bird print. It’s a telltale sign of a cataloging shortcut—and a potential source of misidentification that can cost real money. John James Audubon issued two different large raptor plates that get conflated in search listings and inherited descriptions:

• Turkey Vulture (also called Turkey Buzzard; species: Cathartes aura)
• California Vulture (now recognized as the California Condor; species: Gymnogyps californianus)

Understanding which one you have—along with which edition—directly drives authentication, condition reporting, and valuation.

“California Turkey Vulture” is a Misnomer—Here’s What You Likely Have

What many people call the “California Turkey Vulture” is Audubon’s plate labeled “California Vulture,” which depicts the species we now call the California Condor. In modern taxonomy it’s Gymnogyps californianus; Audubon’s plate uses obsolete nomenclature and simply titles it “California Vulture.”

Key subject differences:

• California Vulture (Condor)

  • Immense proportions; heavy bill; mostly black plumage with pale underwing patches in flight; bare head.
  • Composition typically emphasizes scale and power; the bird reads as massive even when wings are closed.
  • Title reads “California Vulture.” This is the condor, not the common Turkey Vulture.

• Turkey Vulture (Turkey Buzzard)

  • Slimmer body; distinctive red head in adults; two-toned wings in flight but overall more gracile.
  • Often shown perched; proportions are notably smaller and lighter than the condor.
  • Title reads “Turkey Buzzard” or “Turkey Vulture” depending on edition.

For appraisal and cataloging, use the plate’s printed title line, not inherited file names or family lore.

Editions That Matter: Havell, Bien, and Octavo

Audubon’s bird plates exist in several major editions. Each has its own telltale production traits, paper, and market.

1. Havell Double Elephant Folio (London, 1827–1838)

• Printing: Copperplate engraving/etching with aquatint; hand-colored.
• Paper: Wove paper by J. Whatman or J. Whatman Turkey Mill; dated watermarks visible when backlit (e.g., “J WHATMAN 1835”).
• Size: Approx. 39.5 x 26.5 inches (sheet); strong platemark indentation around the image.
• Imprints: Below the image you should find credits such as “Drawn from Nature by John J. Audubon” on the left and “Engraved, Printed & Coloured by R. Havell” on the right.
• Market: The most coveted and valuable edition across the board.

2. Bien Edition (New York, 1860–1861)

• Printing: Large-format chromolithography by Julius Bien & Co.
• Paper: Thinner; generally no Whatman watermark; no copperplate platemark.
• Imprints: Credit lines for Julius Bien, New York.
• Size: Similar footprint to Havell but printed by color stones; dot/stone patterns visible under magnification.
• Market: Scarcer than many assume due to Civil War interruption; values can be strong for dramatic plates.

3. Octavo Editions (Philadelphia, 1840s onward)

• Printing: Hand-colored lithographs (early octavo by J. T. Bowen) and later chromolithographic iterations.
• Size: Much smaller (roughly 10 x 6.5 inch sheets); often bound; some have text or plate numbers on the verso.
• Market: Affordable entry point; excellent for subject collectors, but not directly comparable to folio values.

Practical identification sequence:

• Measure sheet size first. Huge sheet? You’re likely in folio territory (Havell or Bien). Small sheet? Octavo.
• Look for a platemark. Deep copperplate impression indicates Havell. No platemark suggests Bien or later litho.
• Backlight for watermark. “J WHATMAN” or “TURKEY MILL” with a date supports Havell.
• Read the imprint line for “R. Havell” (London) versus “Julius Bien” (New York) or “J. T. Bowen” (Philadelphia).

Diagnosing the California Vulture (Condor) Plate

If you suspect a condor:

• Title: Should read “California Vulture.”
• Taxonomy note: The bird is now Gymnogyps californianus, but Audubon’s plate predates the modern name. The historical title is correct for the period.
• Composition tells: Massive bird, imposing posture, heavy ivory-toned bill, broad wings; the overall impression is of sheer size.
• Edition cues:
  • Havell: Hand-applied watercolor with subtle gradations; aquatint textures; plate mark present; Whatman watermark.
  • Bien: Litho color layers; patterned color dots under magnification; no plate mark; Bien imprint.
  • Octavo: Small format; lithographic technique; bound margins or stitch holes common.

Beware hybrids: A Havell image later “recolored” or with margins built up can deceive at first glance. Always correlate multiple clues—title, sheet size, platemark, watermark, and imprint.

Condition, Restoration, and Value Drivers

Value is a function of subject desirability, edition, condition, margins, and color quality. The same plate title can swing dramatically in price based on these factors.

High-impact variables:

• Edition

  • Havell DE folios command the highest prices; iconic raptors and rare species are especially strong.
  • Bien large-format prints can be important, but values typically trail Havell.
  • Octavo plates are collected selectively; values are usually a fraction of folio prices.

• Sheet and margins

  • Full, untrimmed margins are prized. Close or uneven trimming, especially into the imprint line or plate number, reduces value.
  • Binding-edge trimming (left margin) is common; note it precisely.

• Color and technique

  • Original hand-color on Havell plates shows brushwork and layered washes; later overcoloring is common and usually penalized.
  • Faded, splotchy, or oxidized pigments (particularly greens) diminish appeal.

• Condition issues

  • Foxing, toning, mat burn, creases, tears, and repairs should be disclosed with measurements and locations.
  • Water staining and cockling are serious; mold or acidity migration from old backings also matters.
  • Restorations can be acceptable if professional and stable, but they should be documented.

• Subject desirability

  • California Vulture (Condor) is a charismatic, dramatic plate with sustained demand.
  • Turkey Vulture is collectible, but generally at lower price points than the condor.

Indicative market ranges (broad, condition-dependent, and subject to change):

• Havell California Vulture (Condor): high five figures to low six figures; exceptional examples higher.
• Havell Turkey Vulture: often mid–five figures, sometimes higher with excellent margins and color.
• Bien large-format raptors: mid–four to mid–five figures, depending on scarcity and condition.
• Octavo condor or turkey vulture: mid–three to low–four figures for clean examples.

Note: These are directional only. Fresh-to-market provenance, exceptional color, and period framing can push results higher; conversely, trimming, stains, or over-restoration depress them.

How to Authenticate: Visual and Paper Forensics

• Platemark and pressure: A tactile, beveled impression around the image is a hallmark of copperplate printing (Havell).
• Watermark: Backlight the sheet. “J WHATMAN” or “J WHATMAN TURKEY MILL” with a year between 1827 and 1838 supports Havell authenticity.
• Imprint typography: Period letterforms, placement, and spellings matter. Compare “Engraved, Printed & Coloured by R. Havell” vs “Julius Bien & Co., New York.”
• Ink and color under magnification:
  • Havell hand-color shows brush strokes and puddling in dense areas; aquatint particles form tonal fields without regular dot matrices.
  • Lithography (Bien, octavo) presents layered color stones, with halftone-like patterns or stippling typical of chromolithography.
• Paper surface and size: Havell paper is robust, with deckle edges sometimes partial; octavo sheets are small and often trimmed by bindings.
• Odors and acidity: Prolonged display in wood frames can acidify sheets; a faint, musty smell or embrittled edges may signal conservation needs.

Cataloging and Appraisal Notes Worth Including

• Exact title as printed (e.g., “California Vulture”).
• Edition attribution with evidence: imprint credit, sheet size, platemark, watermark presence/absence.
• Paper description: watermark text/date if seen; sheet dimensions to the millimeter.
• Color assessment: original hand-color, later color, retouching, or oxidation.
• Condition narrative: foxing, toning, mat burn, tears/repairs, restorations, staining; margin widths on all four edges.
• Provenance: dealer invoices, auction records, collection labels, or family history—attach copies when available.
• Framing advisory: recommend de-framing for inspection if the watermark or margins cannot be seen.

Ethical and Conservation Considerations

The California Condor remains one of North America’s most endangered birds. While Audubon’s plate is a nineteenth-century artifact with its own market history, it’s good practice to:

• Avoid overstating scarcity beyond edition facts; rarity claims should be supportable.
• Prioritize conservation-grade handling: stable humidity, UV-filtering glazing, 100% rag mats, and acid-free backings.
• Disclose all restorations. Transparency helps protect both the market and future scholarship.

A Practical Checklist for Owners and Appraisers

• Identify the subject by the printed title: “California Vulture” (condor) vs “Turkey Vulture/Buzzard.”
• Measure the sheet. Around 39.5 x 26.5 inches suggests folio (Havell or Bien); around 10 x 6.5 inches suggests octavo.
• Check for a platemark. Present: likely Havell. Absent: Bien or later litho.
• Backlight for watermark. “J WHATMAN” or “TURKEY MILL” with a date supports Havell.
• Read the imprint line. Look for “R. Havell” (London), “Julius Bien” (New York), or “J. T. Bowen” (Philadelphia).
• Inspect color under magnification. Hand-applied watercolor vs lithographic dots.
• Document margins. Record widths on all sides; note trimming into imprints or plate numbers if present.
• Assess condition. Note foxing, toning, mat burn, tears/repairs, cockling, stains, or overcoloring.
• Gather provenance. Invoices, labels, old catalog entries, and exhibition histories add confidence.
• Decide on conservation. If framed with acidic materials, plan for professional de-framing and archival re-mounting.

FAQ

Q: My family calls it a “California Turkey Vulture.” Is that a real Audubon title? A: No. The likely correct title is “California Vulture,” Audubon’s depiction of the California Condor. The true “Turkey Vulture” (or “Turkey Buzzard”) is a separate plate.

Q: How can I tell if my large print is a Havell or a Bien? A: Look for a copperplate platemark and a J. Whatman watermark—both point strongly to a Havell. Bien prints lack a platemark and show chromolithographic dot patterns under magnification, with a Julius Bien imprint.

Q: Are trimmed margins a deal-breaker? A: Not necessarily, but they reduce value. Trimming into the imprint line or plate number is more serious than even trimming. Always document exact margins.

Q: Can original hand-color be “refreshed” without hurting value? A: Later overcoloring generally harms value. Professional conservation aims to stabilize and clean, not repaint. Any retouching should be disclosed in appraisal notes.

Q: What’s a ballpark value for a California Vulture (condor) plate? A: A genuine Havell double-elephant folio example typically brings high five to low six figures depending on color quality, margins, and condition. Bien and octavo versions are generally lower. Always cite recent comparables and condition specifics.

By separating subject from edition, and paper evidence from hearsay, you can quickly triangulate authenticity and market position for Audubon’s vulture plates—avoiding the “California Turkey Vulture” trap and producing defensible appraisals.