1820s Prints

Nictago Jalapa (Marvel of Peru) – Hand-Colored Botanical Engraving by Desmares, circa 1825 Description: An original hand-colored copperplate engraving of the flowering plant Nictago Jalapa, commonly known today as Mirabilis jalapa or Marvel of Peru. This elegant botanical illustration features large, vibrant leaves and trumpet-shaped blossoms in striking yellow, red, and variegated tones. The print is engraved by Desmares, as indicated by the signature "Desmares, Sc." beneath the Latin name. This plate was published in Paris by Panckoucke around 1825 as part of the renowned series "Le Jardin des Plantes: Histoire Naturelle des Plantes," an ambitious natural history project associated with the Muséum national d'Histoire naturelle. Known for its scientific accuracy and exquisite hand-coloring, the series was a landmark in early 19th-century botanical publishing. This print exemplifies the refinement of French Enlightenment-era botanical art and is ideal for collectors of antique florals, natural history prints, or early scientific illustration. Keywords: antique botanical print...

Traditional Costumes from Frascati, Perugia, Albano and Monastic Orders – 1823 This hand-colored lithograph, labeled “No. 4,” continues the beautifully detailed series of European c...

Title: Antique Animal Engraving with Sloth, Armadillos and Pangolin – Early 19th Century Description: This striking early 19th-century hand-colored engraving captures a fascinating ...

Title: 1829 Etching of Temple Bar in Bustling Regency London Description: This remarkable antique print portrays Temple Bar, the historic gateway that once marked the boundary betwe...

Title: Tivoli Costumes & Temple of Vesta - 1819 Etching of Italian Heritage Description: This enchanting 1819 etching, titled "Costumes of Tivoli," ...

Traditional Headwear from Italy: Turin, Rome, Subiaco and More – 1823 Print This hand-colored lithograph, marked “No. 3,” is the third plate from a striking early 19th-century series documenting traditional European costume, particularly regional headwear. Published in London on December 1, 1823, by Baldwin, Cradock & Joy, this print showcases six distinct styles worn by women across Italy, offering a comparative glimpse into local identity, ceremonial dress, and religious symbolism. At the center top is a dramatic blue hooded garment labeled “Penitent.” Worn with the face obscured, this penitential garment features a small red cross emblem, likely representing affiliation with a religious brotherhood or spiritual order. It stands out starkly from the other portraits and introduces a solemn, sacred tone. To its left, a view from behind shows a woman from “Settimo” wearing a stylized crown of hairpins radiating like a sunburst, secured by a horizontal golden bar. Below her elaborately embroidered collar, a red ribbon is neatly tied. To the right, a woman from “Turin” wears an exquisite bonnet of pleated white lace, creating a fan-like halo above her head. Her large gold cross...

Harness Print: Traditional Mule and Oxen Tack in Italy, 1820s Hand-Colored Engraving This fascinating hand-colored engraving, titled *Harness of the Mule & Oxen in Italy*, presents ...

Title: Capuchin Monks & Roman Serenity - 1820 Etching of Devotion Description: This serene 1820 etching, titled "Capuchin Monks, Rome," offers a glimpse into the quiet, contemplativ...

Funeral Procession in Rome with Hooded Figures and Clergy, London 1820 This remarkable hand-colored print, titled “A Funeral Procession in Rome,” offers an evocative portrayal of a traditional Roman Catholic funeral rite in early 19th-century Italy. Drawn by the artist K. Brodtmann in 1820 and published by William Sams in London, this lithograph provides a vivid, carefully staged glimpse into a deeply ceremonial aspect of Roman religious life. At the center of the composition is the coffin, ornately draped and carried on a litter adorned with tall white candles. Hooded penitents in long white robes, known as *confratelli*, process solemnly in front of and behind the bier. These members of religious brotherhoods, identifiable by their distinctive pointed hoods and blue cord sashes, traditionally took part in such rituals of public devotion and mourning. Behind them follows a group of clergy in white surplices and black cassocks. One priest stands out in an elaborate gold-embroidered chasuble, emphasizing his seniority or special role in the rite. To the right, more acolytes and a hooded standard-bearer carrying a religious banner complete the scene. At the far left, a layman hefts a large wooden cross...

Great map of South Africa. Drawn under the direction of Arrowsmith. Copper-plate engraving. Published by Longman, Hurst, Rees, Orme and Br...

Artocarpus incisa (Breadfruit Tree) – Hand-Colored Botanical Engraving, circa 1825 Description: This striking hand-colored copperplate engraving features *Artocarpus incisa, commo...

Costume Print: Traditional Dress of Rome, 1820 Hand-Colored Engraving This charming hand-colored engraving depicts two figures in traditional dress from Rome, Italy, capturing a mom...

Costume Print of Naples Woman with Grapes, Published London 1824 This finely hand-colored print titled “Naples: A Female Costume” presents a richly detailed portrayal of a Neapolita...

Title: Roman Carnival Costumes & Festivity - 1820 Etching of Celebration Description: This lively 1820 etching, titled "Carnival at Rome," captures the vibrant spirit of a Roman car...

Great map of Central America. Drawn under the direction of Arrowsmith. Copper-plate engraving. Published by Longman, Hurst, Rees, Orme and Brown, 1820 Unframed.

Antique horse print titled 'Plate 4th Affection, dedicated by permission to his most Gracious Majesty George the Fourth (..)'. Artists and Engravers: In 1827, British artist Henry Barnard Chalon (1770-1849), designed and lithographed a portfolio of six prints illustrating the “passions” of horses. Chalon had been appointed animal painter to the Duchess of York...

Pair of Hand-Colored Botanical Engravings of Spring Flowers, London 1828 This elegant pair of early 19th-century botanical engravings captures the charm and precision of British bot...

Title: Pair of Hand-Colored Botanical Engravings of Wild and Cultivated Flowers, London 1828 Description: This vibrant pair of early 19th-century botanical engravings exemplifies th...

Pair of Hand-Colored Botanical Engravings of Decorative Garden Flowers, London 1828 Description: This exquisite pair of early 19th-century botanical engravings showcases the grace a...

Pair of Hand-Colored Botanical Engravings of Garden Flowers, London 1828 This refined pair of early 19th-century botanical engravings represents the artistic and scientific excellen...

Pair of Hand-Colored Botanical Engravings of Flowering Plants, London 1828 This graceful pair of early 19th-century botanical engravings captures the refinement and scientific curio...

Title: Pair of Hand-Colored Botanical Engravings of Ornamental Flowers, London 1828 Description: This striking pair of early 19th-century botanical engravings offers a vivid glimpse...

Traditional Head Dresses of Dieppe, France – Costume Study, 1823 This hand-colored lithograph titled “Head Dresses at Dieppe” offers a refined visual study of traditional French female headdresses from the coastal town of Dieppe in Normandy. Published in London on December 1, 1823, by the well-known firm of Baldwin, Cradock & Joy, the print forms part of a broader early 19th-century fascination with regional European costume, particularly among British collectors and travel enthusiasts. The composition is striking in its simplicity and elegance. Three distinct women’s headpieces are displayed against a clean, uncluttered background, allowing their design and symbolism to speak clearly to the viewer. The headdresses are meticulously detailed and richly hand-colored, suggesting both ceremonial and regional variation. On the left, a profile view reveals a tall, conical headdress in lavender with a long, flowing veil pinned at the top. This type is reminiscent of medieval hennins and suggests local continuity in ceremonial dress. The woman wears a gold hoop earring and a striped shawl, emphasizing her social and regional identity. At center, a woman in three-quarter profile wears a fan-shaped, white headpiece with radiating pleats, secured by a decorative blue band across the crown. Her deep red shawl and golden earring contribute to a look of formal dignity, suggestive of local festivals or important social occasions. On the right, a frontal view shows a woman wearing a purple cap over a white veil that falls along the sides of her face, topped with a large gold cross...

Pair of Hand-Colored Botanical Engravings of Garden Flowers, London 1828 Description: This beautifully preserved pair of early 19th-century botanical engravings exemplifies the arti...

Pair of Hand-Colored Botanical Engravings of Garden Flowers, London 1828 Description: This elegant pair of early 19th-century botanical engravings beautifully illustrates the spirit...

Botanical Print: Common & Spanish Hazelnut, Le Jardin Fruitier, 1821 This captivating botanical print features two varieties of hazelnuts: the Common Hazelnut (Noisette franche) and...

Title: Antique Primate Engraving of a Sapajou Atèle Hybride and Macaque Domestique - 19th Century Description: This exquisite antique print captures two fascinating primate species,...

Title: Antique Primate Engraving of a Sapajou Atèle Hybride and Macaque Domestique - 19th Century Description: This exquisite antique print captures two fascinating primate species,...

Title: Antique Engraving of Rodents: Hamster, Jerboa, Pocket Gopher, and Beaver - 19th Century Description: This fascinating antique engraving depicts four distinct rodent species: ...

Antique 1828 Satirical Print A Fool to Pleasure Yet a Slave to Fame Hand-Colored This hand-colored etching titled *A Fool to Pleasure Yet a Slave to Fame* was published in 1828 as p...

Title: Lilium speciosum (Elegant Lily) – Hand-Colored Botanical Engraving by Desmares, circa 1825 Description: This exquisite hand-colored copperplate engraving features Lilium sp...

Servant from Salamanca – Hand-Colored Engraving, c.1820 This vibrant hand-colored engraving, titled Servante de Salamanque (Servant from Salamanca), is plate No. 70 from the acclaim...

Young Woman from Bucharo, Spanish Pyrenees – Hand-Colored Engraving, c.1820 This finely detailed hand-colored engraving, titled Jeune femme de Bucharo, Pyrénées espagnoles (Young Wo...

Woman in Traditional Madrid Dress – Hand-Colored Engraving, c.1820 This refined hand-colored engraving, titled *Costume de Madrid* and numbered 61 from the *Costumes de divers Pays*...

Antique print titled 'Interior of the late Theatre Royal Drury Lane (..)'. Old print of the Theatre Royal, Drury Lane, as it was between 1794 and 1809 showing the tiers of boxes stage left and the chandelier-lit auditorium with a small party of visitors standing in one of the boxes, as if being shown around. The Theatre Royal, Drury Lane, commonly known as Drury Lane, is a West End theatre and Grade I listed building in Covent Garden, London, England. The building faces Catherine Street (earlier named Bridges or Brydges Street) and backs onto Drury Lane. The building is the most recent in a line of four theatres which were built at the same location, the earliest of which dated back to 1663, making it the oldest theatre site in London still in use. According to the author Peter Thomson, for its first two centuries, Drury Lane could "reasonably have claimed to be London's leading theatre". For most of that time, it was one of a handful of patent theatres, granted monopoly rights to the production of "legitimate" drama in London (meaning spoken plays, rather than opera, dance, concerts, or plays with music). The first theatre on the site was built at the behest of Thomas Killigrew in the early 1660s, when theatres were allowed to reopen during the English Restoration. Initially known as "Theatre Royal in Bridges Street", the theatre's proprietors hired prominent actors who performed at the theatre on a regular basis, including Nell Gwyn...

Antique horse print titled 'Plate 5th Courage, dedicated by permission to his most Gracious Majesty George the Fourth (..)'. Artists and Engravers: In 1827, British artist Henry Barnard Chalon (1770-1849), designed and lithographed a portfolio of six prints illustrating the “passions” of horses. Chalon had been appointed animal painter to the Duchess of York...

Austrian Grenz Regiment Soldiers in the Field, Early 19th Century Detailed description: This hand-colored lithograph, likely created in the early 1820s, features soldiers from the ...

Antique horse print titled 'Plate 1st Rage & Agony, dedicated by permission to his most Gracious Majesty George the Fourth (..)'. Artists and Engravers: In 1827, British artist Henry Barnard Chalon (1770-1849), designed and lithographed a portfolio of six prints illustrating the “passions” of horses. Chalon had been appointed animal painter to the Duchess of York...

Maker: Sams, W. (1793-1842). Title: "Distribution of Wine on the Morning of St. Louis." Handcolored etching and aquatint from W. SAMS, A Tour through Paris (1822-1824), with ...

This hand-colored aquatint is a topographical view of Djursholm Castle in Danderyd, Sweden, and it is a part of Ulrik Thersner's ambitious project, "Fordna och närvarande Sverige" (Antiquity and Present Sweden). This work aimed to be a modern counterpart to Erik Dahlbergh's "Suecia antiqua et hodierna," a significant 17th-century work that showcased Sweden's historical and contemporary landscapes, buildings, and monuments through engravings. Ulrik Thersner's endeavor in creating "Fordna och närvarande Sverige" involved drawing several mansions, among other subjects, and began publishing these works in 1817. The technique used, aquatint, is a form of etching that allows for the creation of images with tonal variations, resembling watercolor paintings, which makes it particularly suited for detailed and atmospheric topographical representations like the one of Djursholm Castle. Carl Fredrik Akrell, a notable engraver, worked on engraving Thersner's images, which were then executed in aquatint, a process that allows for a rich gradation of tones and a painterly quality. Wilhelm Maximilian Carpelan later joined the publication effort, indicating a collaborative process in bringing Thersner's vision to fruition. The parts of the series were published over a period, with Skåne completed in 1823, and the regions of Östergötland, Uppland, and Södermanland addressed in the years 1820 and 1824-25. Thersner's personal involvement in writing the text for the pictures underlines the detailed and scholarly approach taken in producing this series. Thersner's "Fordna och närvarande Sverige" would have been an invaluable contribution to the documentation of Swedish cultural heritage and landscape during the early 19th century, providing a vivid pictorial record that would have appealed to both the scholarly community and the general public interested in the country's history and geography. The print of Djursholm Castle that you are referring to would be a part of this important series. More about the maker: Ulrik Thersner was a multifaceted individual, having an impactful military career alongside his work as a draftsman and topographer. Born on April 2, 1779, in Kyrkslätt parish in Finland, Thersner began his military service early, becoming a ship's boy in the Swedish navy at the tender age of seven. His naval service during Gustav III's Russian War...

"Botanical Illustration of Sonchus oleraceus (Common Sow Thistle)" Description: This exquisite hand-colored copperplate engraving by F. Guimpel, from the early 19th century, featur...

The print is from "Il Costume Antico e Moderno" by Giulio Ferrario, specifically depicting the "Le Lullunge" feast in Senegambia. This festival is illustrated as part of the extensive series detailing the customs, costumes, and daily life of people from different parts of the world. The illustration captures a lively and culturally significant dance that forms part of the "Le Lullunge" celebrations, showcasing traditional attire and communal participation, which are central to the event in Senegambian culture. The illustration not only serves as a vibrant representation of the dance and celebration but also as an ethnographic record from the early 19th century, emphasizing the richness of Senegambian traditions. The term "Senegambia" historically referred to a region in West Africa that encompassed parts of what are today known as Senegal and The Gambia. This area is known for its rich cultural heritage, including vibrant festivals and communal celebrations like the one depicted in the illustration. The "Le Lullunge" feast, as illustrated in Giulio Ferrario's "Il Costume Antico e Moderno," captures the traditional dances and social practices of the peoples in this West African region. This original antique hand-colored print depicts a vibrant scene of Native African dance, possibly part of a ceremonial or ritualistic activity. The individuals are animatedly engaged in dance, with their limbs dynamically positioned, suggesting vigorous movement. Each figure is adorned with elaborate feathered headdresses and carries feathers or other items as part of their dance. These accessories likely have cultural significance, possibly denoting status, role in the ceremony, or spiritual symbolism. The attire of the dancers is simple yet functional for their vigorous activity, consisting of skirts that allow for ease of movement. Their outfits are decorated with additional elements that may indicate tribal affiliation or personal achievement. The dancers are barefoot, connecting them physically and symbolically to the earth, which is a common aspect in many African cultural practices emphasizing a connection to nature. The setting of the dance is outdoors, under a large tree, indicating the importance of natural surroundings for the event. This could be a communal gathering place, chosen for its significance within their community or for its natural beauty and tranquility. Overall, this image captures a moment of cultural expression, highlighting the importance of dance in Native African traditions as a form of communication, celebration, or spiritual practice. The detail and color used in the depiction aim to convey the vibrancy and energy of the scene, reflecting the artist’s perspective on these cultural practices. In more detail: From: ‘Il Costume Antico e Moderno …, l’America.’ , by Giulio Ferrario, published in Milan in 21 volumes by Antonio Fortunato Stella in 1827 (first edition, second issue). The 17 volumes of the first issue were published sequentially between c. 1815/1816 until 1826 after first being issued in 143 weekly installments. The work appeared in Italian and French. Smaller size editions with smaller much less elaborate plates were published in Florence (1823-38), Naples (1831-42) and even a 16mo. editon in Livorno (1830). Original blindstamp at bottom right image. The sources used for this work are wide. Made by ‘Gallo Gallina’ after ‘Giulio Ferrario’. Giulio Ferrario was founder of the ‘Societa Tipografica de Classici Italiani’ and served as the director of the Braidense National Library in Milan, Italy. Artists that worked on this monumental work are: Gallo Gallina, D.K. Bonatti, A. Biasioli, L. Rossi, Paolo Fumagalli, Gaetano Zancon (1771-1816), G. Bigatti, C. Bramati, G. Gallo, C. Bottiglia, G. Castellini, Antonio Rancati (1784-1816), Vittorio Raineri, Sydney Parkinson...

Antique Print - Soldiers at Rio de la Plata, Eastern Beach - Ferrario-Bonatti 1821 This vibrant hand-colored etching, titled "Soldiers of the Eastern Beach of the Rio de la Plata Re...

Antique Print - Indigenous Dress and Interiors, South America - Ferrario-Bonatti 1821 This hand-colored etching, titled "Indigenous Dress and Interiors of South America," offers a u...

The image is a detailed print titled "Funeral di un Brahamano," which is Italian and translates to "Funeral of a Brahmin." The scene depicts a traditional Hindu funeral ceremony wher...

This image is an illustration depicting a traditional scene or ceremony. The caption on the side reads "Costumi Caratteristici" which translates from Italian to "Characteristic Custo...

This print from "Illustrations of British Ornithology" by Prideaux John Selby features the Little Auk in both its summer and winter plumages. The illustration captures the distinctiv...

Antique print titled "Danze de' Chiliesi" (Dance of the Chileans), from the historical work "Il Costume Antico e Moderno" by Giulio Ferrario. The print, created in 1821, showcases a traditional Chilean dance, vividly captured in line and aquatint etching with original hand coloring on wove (vellin) paper. The scene depicts a group of Chilean dancers in a circular formation, engaging in a traditional dance. The dancers are adorned in colorful attire, featuring breechcloths, leggings, and vibrant headdresses with feathers, which reflect their cultural heritage and the festive nature of the dance. The setting is outdoors, possibly during a community celebration or ritual, indicated by the natural backdrop and the casual yet organized arrangement of the figures. Cultural and Historical Significance This print is significant as it provides a visual documentation of Chilean cultural practices from the early 19th century, emphasizing the traditional dances that were an integral part of community gatherings and celebrations. The artwork, by C. Bramati and Paolo Fumagalli after designs by Giulio Ferrario, is part of a larger series that aimed to capture the costumes and customs of people around the world, offering insights into the diversity of cultural expressions during a time of burgeoning global awareness. The detailed depiction not only highlights the dance but also serves as an ethnographic record, preserving aspects of Chilean culture that might have evolved or faded over time. This work, along with others in the series, was widely distributed and appreciated for its educational and artistic value, making significant contributions to the understanding of global cultural heritage in the 19th century. ‘Tavole XXVIII. Danze de’ Chiliesi.’ Line & aquatint etching with original hand colouring on wove (vellin) paper. Sheet size: 33 x 23,5 cm. (13 x 9,3 inch). Image size: 21 x 15,5 cm. (8,3 x 6,1 inch). In more detail: From: ‘Il Costume Antico e Moderno …, l’America.’ , by Giulio Ferrario, published in Milan in 17 volumes (first issue), published sequentially between c. 1815/1816 until 1826 after first being issued in 143 weekly installments. This Italian volume has the date 1821. The second issue was published in 21 volumes in 1827. The work appeared in Italian and French. Smaller size editions with smaller much less elaborate plates were published in Florence (1823-38), Naples (1831-42) and even a 16mo. editon in Livorno (1830). Original blindstamp at bottom right image. The sources used for this work are wide including van Humboldt, von Wied etc. Made by ‘C. Bramati and Paola Fumagalli’ after ‘Giulio Ferrario’. Giulio Ferrario was founder of the ‘Societa Tipografica de Classici Italiani’ and served as the director of the Braidense National Library in Milan, Italy. Artists that worked on this monumental work are: Gallo Gallina, D.K. Bonatti, A. Biasioli, L. Rossi, Paolo Fumagalli, Gaetano Zancon (1771-1816), G. Bigatti, C. Bramati, G. Gallo, C. Bottiglia, G. Castellini, Antonio Rancati (1784-1816), Vittorio Raineri, Sydney Parkinson...

This is an hand-colored illustration of an officer from the King's German Legion, specifically the 3rd Hussar Regiment, also known as the Duke of Cambrid...

The engraving is captioned as "Mode of Fighting in the Navigator's Islands" and depicts a scene of conflict among the indigenous people of the Navigator's Islands, now known as the ...

A satirical engraving of John Wilkes, a notable figure in 18th-century British politics known for his radical views and fierce criticism of the monarchy and government. Wilkes was ...

Antique print titled 'Chinoise de Qualité'. Old print of a Chinese lady holding a bird, China. Also shows pagodas. Source unknown, to be determined. Artists and Engravers: An...

Great map of China Drawn under the direction of Arrowsmith Copper-plate engraving Published by Longman, Hurst, Rees, Orme and Brown, 1820 Unfr...

Gentle Repose at Österby: An 1824 Aquatint by Ulrik Thersner. This aquatint by Ulrik Thersner, created in 1824, depicts the serene landscape of Österby in Sweden. The image is suffused with a gentle light that bathes the scene in a warm, inviting glow. It features two individuals on horseback in the foreground, suggesting a tranquil pace of life and leisurely exploration. Their presence adds a narrative element to the scene, inviting viewers to contemplate the journey the riders are undertaking. The central focus of the aquatint is the stately building situated by the water, likely a manor house or a significant estate of the time, reflecting the architectural style of the early 19th century. The estate is flanked by expansive, lush greenery and tall trees, with a prominent pine tree in the foreground that anchors the composition. The detailed rendering of the foliage and the atmospheric perspective in the background create a sense of depth and spaciousness. In Skåne, Thersner had drawn several mansions in 1816, and he decided to publish a counterpart to Erik Dahlbergh's Suecia antiqua et hodierna. He called his work Fordna och present Sverige, and in 1817 began its publication. Carl Fredrik Akrell engraved the images, which were executed in aquatint. Eventually, Wilhelm Maximilian Carpelan joined the publication. The Scania part was completed in 1823, Östergötland was started in 1820 and Uppland and Södermanland in 1824-25. Thersner himself wrote the text for the pictures. After Thersner's death, his widow, with the help of friends, continued the publication, which had never received public support. Michael Gustaf Anckarsvärd took over the publication, in lithographic form, until 1843. The work could be continued, partly with the drawings left by Thersner as templates, partly by Anckarsvärd and others contributing new drawings. In general, Anckarsvärd's work is considered superior to Thersner's. In 1843, the work was taken over by Thersner's daughter, Thora Thersner (1818-1867). She continued publishing until her death. Thora Thersner lithographed her drawings herself, which are usually considered conscientious, if somewhat dry and weak. During her time, among other things, the part about Närke (1838-55) was continued and completed. At the time of Thora Thersner's death, the entire work comprised 91 booklets, containing 364 plates with text. The publication had cost each subscriber 682 kroner and 50 öre. More about the maker: Ulrik Thersner was a multifaceted individual, having an impactful military career alongside his work as a draftsman and topographer. Born on April 2, 1779, in Kyrkslätt parish in Finland, Thersner began his military service early, becoming a ship's boy in the Swedish navy at the tender age of seven. His naval service during Gustav III's Russian War...

This original antique aquatint is a picturesque depiction of Söderfors, a place likely to be in Sweden, given the naming convention and style of the artwork. Crafted by Ulrik Thersner in 1825, the image portrays a vibrant, pastoral scene set by a rushing waterway, suggesting the presence of a river or stream. The landscape is dotted with buildings that have the architectural hallmarks of early 19th-century Swedish design. A group of figures is depicted in the foreground, which adds a human element and scale to the scene. Söderfors, if it is the same location known today, has a historical industrial background and is located in Uppsala County, Sweden. The area has been known for its ironworks and manufacturing history dating back to the 17th century. It is a locality situated in Tierp Municipality, Uppsala County, Sweden with 1,572 inhabitants in 2010 If the aquatint represents this area, it may have captured Söderfors at a time when it was transitioning from a more agricultural society to one influenced by industrialization. Today, the region may still have remnants of its historical past, although it would have undoubtedly undergone significant changes since Thersner's time. More about the maker: Ulrik Thersner was a multifaceted individual, having an impactful military career alongside his work as a draftsman and topographer. Born on April 2, 1779, in Kyrkslätt parish in Finland, Thersner began his military service early, becoming a ship's boy in the Swedish navy at the tender age of seven. His naval service during Gustav III's Russian War...

Antique print, titled: 'Ile Timor.' - ('Timor Island'). Full-length portrait of a native female from the Indonesian island Timor. Source: 'Voyage autour du monde sur les corvette...

The print is a beautifully detailed hand-colored lithograph from the early 19th century, attributed to Carl Wilhelm Hahn. It showcases the Spangled C...

Large original antique print with two illustrations of birds, which are finely detailed and colored, from a series of ornithological studies. The print is engraved with the signature...

This engraving is from Prideaux John Selby's "Illustrations of British Ornithology," depicting two species of plovers. It shows the Ring Plover in two different stages of life—adult ...

A beautifully detailed print from Prideaux John Selby's "Illustrations of British Ornithology," depicting the Little Gull in various stages of plumage. The artwork features an adul...