Swedish Grace and Grandeur: The Aquatint Legacy of Ulrik Thersner, 1825

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...

This beautiful original hand-colored antique print, made by Ulrik Thersner in 1824, is a fine example of his work. Thersner, known for his detailed and atmospheric landscapes, would have drawn this view of Djursholm Castle with great care, capturing not only the architectural features of the castle but also the surrounding natural landscape and pastoral life, as seen in the foreground with figures and livestock. The aquatint technique allowed Thersner to produce gradations of tone that give the print a remarkable depth and a lifelike quality, a characteristic that was particularly prized in the early 19th century for the way it mimicked the subtleties of watercolor paintings. The composition of the print, with the castle situated amidst the verdant trees and the inclusion of human and animal figures, creates a harmonious balance between the built environment and the natural world, reflecting the romantic sensibilities of the time. The view "from the S.E. angle" provides a unique perspective of the castle, emphasizing its prominence and setting within the landscape. As a historical document, the print serves as a valuable visual record of Djursholm Castle and its environs in the early 1800s. As an artwork, it stands as a testament to Thersner's skill as an artist and his contribution to the tradition of Swedish topographical art. 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...

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...

The image is an original steel engraving of Somerset House, a large Neoclassical building situated on the south side of the Strand in central London. The engraving was drawn by Tomb...

The butterflies featured in the plates from "A History of British Butterflies" by Morris are: 1. **Dingy Skipper (Erynnis tages):** This small butterfly has a wingspan of about 30 m...

Title: Dacelo Gigantea Better know as the Laughing Kookaburra, by Shaw 1825. In eastern Australia, the raucous cackle of the Laughing Kookaburra is an...

A hand-colored aquatint engraving dated January 1, 1825 and engraved by T. Sutherland, London. Titled "South Sea Whale Fishery", after a painting by Will...

A fine Neil Welliver aquatint on embossed Rives BFK paper, pencil signed, titled and numbered 32/500 in the lower margin. Professional framing in a natural wood frame and matting in ...

Presenting a lovely 19C Aquatint Engraving of the Quay at Waterford in Waterford city in Ireland. This engraving has been hand embellished with aquatint color(s) and is from Ireland circa 1820-40. It features a scene of the Quay or Port of Waterford from circa 1820. We are basing this upon the attire of the figures in the engraving and the tall ships. It features Reginald’s Tower (still located at the Waterford Quay to this day). Georgian Quay buildings, a number of moored tall ships and row boats, barrels, horses and carts, women and British soldiers. The engraving was professionally reframed and matted in Dallas in the 1980’s and the rear of the frame says that it was “Museum Mounted and Matted”. The frame has a lovely Grecian pattern around the front. If you are Irish...

Beautiful etching and aquatint from Hungarian artist Joseph A Pecsenke. This work is unframed with minor handling marks to margins. Work is in overall good condition.

On offer two superb and large aquatints (with original hand color) depicting the “Explosion on, and Sinking of Her Majesty’s Ship BOYNE” Plate 1. “View of His Majesty's Ship Boyne...

Elegant 20th century lithograph-aquatint signed and dated lower right, numbered 10/40 lower middle and titled lower left in pencil. Actual size without the frame 35" x 23".5.