Landscapes by American painter Dwight William Tryon (1849-1925). Various collections. Mostly with trees, one with just water.
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.
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Dress up the house like you are the Empress Josephine with window treatments from George Smith’s 1808 work “A Collection of Designs for Household Furniture and Interior Decoration.” Published in London by J. Taylor.
George Smith was Upholder Extraordinary to His Royal Highness the Prince of Wales.
Live in the 18th century at least until you turn the television on. Plates of ornamental designs from 1728 taken from James Gibbs’ work “A book of architecture: containing designs of buildings and ornaments.”
Gardens to dream your way into whenever you want. Color plates from “Fragments on the theory and practice of landscape gardening: including some remarks on Grecian and Gothic architecture.” Published in London in 1816, it was written by H. Repton with the help of his son J. Adey Repton. Collections of the University of Wisconsin.
© 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
© 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
© 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
© 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
© 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
Imagery from Mariano Eduardo de Rivero and Juan Diego de Tschudi’s 1851 work “Antigüedades peruanas” (Peruvian Antiquities). via the Biblioteca Virtual del Patrimonio Bibliográfica, Madrid.
What it must have looked like in the royal palace in Copenhagen in 1830. Interiors by German/Danish watercolorist Charles Frederick de Brocktorff. Born between 1775 and 1785, he died in 1850. He fought in the Napoleonic wars before becoming an artist.
Several of these show the furniture with what we would call slipcovers making me think that they are either of rooms in a summer house or rooms with the upholstered furniture in slipcovers for the summer.
Views of the West Indies in 1835. Antigua in the Lesser Antilles. Aquatints after L. Stobwasser that were commissioned by the Moravian Church as a way of promoting their work on the island.
Lunchtime with a blizzard blowing in somewhere on the plains of eastern Nebraska . . .
Oh to be here.
Farm life and that fun what with the fields to gaze out on in their beautiful shades of green and yellow when the crops came in. Vegetable garden to hoe and a veritable ribbon of tomatoes to can until the stove feels red hot and the kitchen feels hotter with the flies dancing on the other side of the screen door. Ones in the store in pretty cans with pictures but the other ladies carrying on. Something about a real wife growing her own food and not being lazy and buying it canned by someone else somewhere else with the stems and things living someplace else in their giant mound.
A writer turned into a gentleman wheat farmer and that not . . . . just not. . . Skies that go on forever and the children to tend and knit sweaters for while they grow like weeds. But not normal things for them to do. Jumping from haylofts and walking into town instead of taking the streetcar into town to window shop and have lunch at the lunch counter in the big café in the train station.
A grand life but a photograph falling out of the back of the album that fell behind the bookcase and a dreamtime back. Wanting to be a model and the neighbor lady knowing someone at Neiman Marcus. Getting a job wearing evening gowns for rich ladies to see while their granddaughters sit on little gold chairs on either side with eyes big as saucers. Not a forever thing for sure but a dream lived for real instead of in your head . . .
Visions of how the Sultan’s sister lived. French artist Antoine-Ignace Melling. Living from 1763 to 1831, he lived in Constantinople for 18 years before returning to Paris. He counted among the “Levantine Artists”.
Antoine Ignace Melling was trained in both architecture and painting. At the age of 19, he went to Constantinople as part of the Russian Ambassador’s retinue. After successfully completing several commissions for Hatice Sultan, the sister of Selim III, which included the renovation of her palace at Ortakeï. Melling was employed as the Sultan’s architect in 1795. His position as royal architect gave him a privileged opportunity to observe the Ottoman court. (The description is a reworking of the description on the website of Donald A. Heald Rare Brooks).
A selection of plates taken from “Oriental ceramic art : illustrated by examples from the collection of W.T. Walters” which came out in 1897 as a limited edition of 500 copies. L. Prang and Company, lithographers. Published by D. Appleton and Company.
Visions of a Levant that isn’t coming back. Plates from drawings by Scottish artist David Roberts (1796-1864). Most of these being of Sinai but not entirely. All of them taken from the website of Alexandre Antique Prints, Maps and Books.
David Roberts first sketched in his journals “on the spot” the vaious subjects which, on returning to London, he transcribed into finished paintings and watercolors. These then formed the basis of the lithographs drawn and printed by Louis Haghe. It is interesting to note that in some instances Roberts’ original drawings were twice or three times the size of the published print, which indicated the skill of Haghe and his assistants in transferring Roberts’ designs onto lithographic stones.