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Landscapes by American painter Dwight William Tryon (1849-1925). Various collections. Mostly with trees, one with just water.

"Morning." Undated. — “Morning.” Undated. Image courtesy Peabody Institute. In the public domain due to age. via http://www.urbanartantiques.com/2009/dwight-william-tryon-and-his-early-spring/

"After Sunset looking East." 1915. Painting. — “After Sunset looking East.” 1915. Painting. In the public domain in the United States because the artist has been dead over 70 years. via https://commons.wikimedia.org/wiki/File:After_sunset_looking_east_dwight_william_tryon.jpeg

"Apple Blossoms." ca. 1895. — “Apple Blossoms.” ca. 1895. Painting. Signed D W Tryon 1805″ on the bottom right. Uploaded by and collection of the Brooklyn Museum. In the public domain in the United States because it was published before January 1, 1924. via https://commons.wikimedia.org/wiki/File:Brooklyn_Museum_-_Apple_Blossoms_-_Dwight_William_Tryon_-_overall.jpg

"Before Sunrise, June 1905." 1905. — “Before Sunrise, June.” 1905. Oil on canvas. Image © 2019 Detroit Institute of Arts. Fair use license. via https://www.dia.org/art/collection/object/sunrise-june-63762

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Family portraits by American painter Eastman Johnson. Living from 1824 to 1906 he studied art in Düsseldorf, The Hague and Paris. One of the founders of the Metropolitan Museum of Art.

Portrait of the Brown family. Based on a Matthew Brady photograph. 1869. Collection of the de Young Museum, San Francisco. Cc0 license 1.0. via https://commons.wikimedia.org/wiki/File:Portraits_(The_Brown_Family)_by_Eastman_Johnson,_1869,_oil_on_canvas,_based_on_a_Mathew_Brady_photograph_-_De_Young_Museum_-_DSC00950.JPG

Christmas Time: The Blodgett Family. 1864. Collection of the Metropolitan Museum of Art. In the public domain due to age. via https://www.metmuseum.org/art/collection/search/11258

Alfrederick Hatch Family. 1870-1871. Collection of the Metropolitan Museum of Art. In the public domain. via https://www.metmuseum.org/art/collection/search/11263

Group of four decorative designs for initial letters. Flemish. Lieven Cruyl, artist (1634-1709). From a current auction catalogue from Swann Galleries. Cruyl was a priest but also did etchings.

“A.” 16th-17th. c. Flemish. Pen and brown ink and wash with gilt lettering. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/LIEVEN-CRUYL–Ghent-1634-1709-Ghent–Group-of-4-decorative-d?saleno=2586&lotNo=631&refNo=785355

“P.” 16th-17th. c. Flemish. Pen and brown ink and wash with gilt lettering. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/LIEVEN-CRUYL–Ghent-1634-1709-Ghent–Group-of-4-decorative-d?saleno=2586&lotNo=631&refNo=785355

Somewhere near Scotland just a little while ago. Genre scenes by artist Sir David Wilkie. Living from 1875 to 1841, he was Principal Painter in Ordinary to King William IV and Queen Victoria.

“The Letter of Introduction.” 1813. Scottish. Oil on panel. Collections of the Scottish National Gallery, Edinburgh. In the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:Sir_David_Wilkie_-*The_Letter_of_Introduction*-_Google_Art_Project.jpg

“The Blind Fiddler.” 1806. Scottish. Collections of the Tate Galleries, London. Oil paint on mahogany. Cc0 License 3.0. via https://www.tate.org.uk/art/artworks/wilkie-the-blind-fiddler-n00099

“The Peep-o’-Day Boys’ Cabin, in the West of Ireland.” 1835-1836, exhibited in 1836. Scottish. Oil on canvas. Collections of the Tate Galleries, London. Cc0 License 3.0. via https://www.tate.org.uk/art/artworks/wilkie-the-peep-o-day-boys-cabin-in-the-west-of-ireland-n00332

“The First Ear-Ring.” 1834-1835, exhibited in 1835. Scottish. Oil on mahogany. Collections of the Tate Galleries, London. Cc0 License 3.0. via https://www.tate.org.uk/art/artworks/wilkie-the-first-ear-ring-n00328

Study for “Blind Man’s Buff”. 1811. Scottish. Oil on mahogany. Collections of the Tate Galleries, London. Cc0 License 3.0. via https://www.tate.org.uk/art/artworks/wilkie-study-for-blind-mans-buff-n00921

People being very chic, advertisements that ran in the January, 1936 issue of Paris “Vogue”. Can’t get more stylish than that. Collections of the BnF Gallica, the digital version of the Bibliothèque Nationale de France.

“L’hiver aux Pyrénées.” Skiing. View 4, January, 1936 issue of Paris Vogue. Illustrator’s signature not legible. Collections of the Bibliothèque Nationale de France, the BnF Gallica. Artwork itself in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/bpt6k936228j/f12.item#

“Quadrilles ou rayés s’accordent avec l’uni.” Playing croquet. View 105, page 40, January, 1936 issue of Paris Vogue. Collections of the Bibliothèque Nationale de France, the BnF Gallica. Artwork itself in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/bpt6k936228j/f105.item

Les élevès du Studio Corposano exécutent ici un mouvement de flexion en avant et légèrement dé côté dans une détente musculaire côntrolée et une expiration profonde. Exercice qui tend à acquérir souplesse et nonchalance, fondements de la grâce.” Modern dance. Page 51. January, 1936 issue of Paris Vogue. Collections of the Bibliothèque Nationale de France, the BnF Gallica. Artwork itself in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/bpt6k936228j/f182.item#

Sports and modern dance at the height of fashion. Why wear baggy old sweatpants when you can deck out in these.

Fix up your home the Gothic Revival way before the Prince Regent comes for the weekend. Ideas from “Fragments on the theory and practice of landscape gardening: including some remarks on Grecian and Gothic architecture,” which was published in London in 1816 and was written by H. Repton with the help of his son J. Adey Repton. Collections of the University of Wisconsin.

“Luxury of Gardens.” Page 289. Published in London by J. Taylor on February 1, 1816. Collections of the University of Wisconsin. Image
© Board of Regents of the University of Wisconsin System. Artwork itself in the public domain due to age. via https://search.library.wisc.edu/digital/ARNROAEXKQQ7R38Y/pages/ARTXV3M5KE2V7R8F

“Park Keeper’s Lodge, Cobham.” Page 291, Collections of the University of Wisconsin. Image
© Board of Regents of the University of Wisconsin System. Artwork itself in the public domain due to age. via https://search.library.wisc.edu/digital/ARNROAEXKQQ7R38Y/pages/AMXKD4SDYKMZAD8M

“The School House at Longnor, Shropshire.” Page 293. Published in London by J. Taylor on February 1, 1816. Collections of the University of Wisconsin. Image
© Board of Regents of the University of Wisconsin System. Artwork itself in the public domain due to age. via https://search.library.wisc.edu/digital/ARNROAEXKQQ7R38Y/pages/AL2VWEKJZWD5RV83

A selection of Roman sites done in gouache by Italian topographical artist Carlo Labruzzi who lived from 1748 to 1817. His drawings were very popular with those making the Grand Tour.

“Arch of Galliano.” 18th-19th c. before 1817. Gouache heavy cream laid paper. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/CARLO-LABRUZZI–Rome-1748-1817-Perugia–Group-of-4-gouache-d?saleno=2586&lotNo=610&refNo=789501.

“Waterfalls in the Villa Maecenas in Tivoli.” 18th-19th c. before 1817. Gouache heavy cream laid paper. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/CARLO-LABRUZZI–Rome-1748-1817-Perugia–Group-of-4-gouache-d?saleno=2586&lotNo=610&refNo=789501.

“Tempio della Fortuna Virile.” 18th-19th c. before 1817. Gouache heavy cream laid paper. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/CARLO-LABRUZZI–Rome-1748-1817-Perugia–Group-of-4-gouache-d?saleno=2586&lotNo=610&refNo=789501.

“Avanzo del Tempio della Concordia.” 18th-19th c. before 1817. Gouache heavy cream laid paper. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/CARLO-LABRUZZI–Rome-1748-1817-Perugia–Group-of-4-gouache-d?saleno=2586&lotNo=610&refNo=789501.

Please note that the auction house catalog lists the titles and I have done my best to identify which is which but I could be wrong. Thank you! Sarah.

The ancient world. Plates from “Collection Of Etruscan, Greek, And Roman Antiquities From The Cabinet Of The Honorable William. Hamilton His Britannic Majesty’s Envoy Extraordinary At The Court Of Naples. – Naples.” Commissioned by Hamilton with text by Pierre Francois Hughes, baron d’Hancarville. Printed in Naples. Not sure who did the artwork. Probably Prince Hoare who is mentioned in connection with them by the Royal Academy but he is not on the title page.

“Vulcan presents arms to Thetis.” 1766-1767. British. Plate from “Collection Of Etruscan, Greek, And Roman Antiquities From The Cabinet Of The Honorable William Hamilton His Britannick Maiesty’s Envoy Extraordinary At The Court Of Naples.” Archival ID#17/4746. Etching with hand coloring. Commissioned by Hamilton with text written by Pierre-François Hugues, baron d’Hancarville. Collections of the Royal Academy, London. © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/vulcan-presents-arms-to-thetis

“Bearded Dionysus, seated, and Pan, taken from an attic lekythos.” 1766-1767. British. Plate from “Collection Of Etruscan, Greek, And Roman Antiquities From The Cabinet Of The Honorable William Hamilton His Britannick Maiesty’s Envoy Extraordinary At The Court Of Naples.” Archival ID#052044. Etching with hand coloring. Commissioned by Hamilton with text written by Pierre-François Hugues, baron d’Hancarville. Collections of the Royal Academy, London. © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/O52044 Credit line: (c) (c) Royal Academy of Arts /

“The Meidias Hydria: The rape of the daughter of Leucippus by the Dioscuri, Castor and Pollux, attic hydria.” 1766-1767. British. Plate from “Collection Of Etruscan, Greek, And Roman Antiquities From The Cabinet Of The Honorable William Hamilton His Britannick Maiesty’s Envoy Extraordinary At The Court Of Naples.” Archival ID#052046. Etching with hand coloring. Commissioned by Hamilton with text written by Pierre-François Hugues, baron d’Hancarville. Collections of the Royal Academy, London. © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/the-meidias-hydria-the-rape-of-the-daughter-of-leucippus-by-the-dioscuri

“Woman’s head with cap, from a Campanian hydria.” 1766-1767. British. Plate from “Collection Of Etruscan, Greek, And Roman Antiquities From The Cabinet Of The Honorable William Hamilton His Britannick Maiesty’s Envoy Extraordinary At The Court Of Naples.” Archival ID#052042. Etching with hand coloring. Commissioned by Hamilton with text written by Pierre-François Hugues, baron d’Hancarville. Collections of the Royal Academy, London. © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/colour-plate-of-womans-head-with-cap-from-a-campanian-hydria

Sir William Hamilton was the British ambassador to the court in Naples and collected vases which he thought were Etruscan but turned out to be Greek. At the time there was great interest in antiquity and many experts or sort of experts like the man who Hamilton got to write the text. Not like now with PhD programs and other credentials. Several volumes, dedicated to King George III. These are all in the collections of the Royal Academy in London.

More flower pictures, these being colored etchings done in the 18th century by Magdalena (Maddalena) Bouchard who flourished ca. 1772 to 1793. Daughter of the publisher/bookseller Giovanni Bouchard, she probably worked in Rome.

“**Germander (Teucrium boeticum): flowering stem.**” 1775. Italian. Colored etching by Magdalena Bouchard. Wellcome Collection. In the public domain due to age. via https://wellcomecollection.org/works/bxa4wq32

“**Waterwort (Elatine sp.): flowering stem.**” 1770s. Italian. Colored etching by Magdalena Bouchard. Wellcome Collection. In the public domain due to age. via https://wellcomecollection.org/works/wvdjb7nk

“**Periwinkle (Vinca sp.): entire sterile plant.**” 1772. Italian. Colored etching by Magdalena Bouchard. Wellcome Collection. In the public domain due to age. via https://wellcomecollection.org/works/khvqyfww

The biographical information about Magdelena (Maddalena) Bouchard is taken from her entry on the website of the Royal Academy in London which has more of her lovely flowers. See it and them here https://www.royalacademy.org.uk/art-artists/name/maddalena-bouchard