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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
Featured

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.
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.
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.
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

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.

Cornices and drapery in the Chinese style. Plate 3. Page 19 of George Smith’s A Collection of Designs for Household Furniture and Interior Decoration. 1808. Collections of the Sterling and Francine Clark Art Institute Library with the digitalization having been federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/collectionofdesi00smit/page/2/mode/1up
Drawing room window cornices. Page 23 of George Smith’s A Collection of Designs for Household Furniture and Interior Decoration. 1808. Collections of the Sterling and Francine Clark Art Institute Library with the digitalization having been federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/collectionofdesi00smit/page/n23/mode/1up
Window curtain. Page 28 of George Smith’s A Collection of Designs for Household Furniture and Interior Decoration. 1808. Collections of the Sterling and Francine Clark Art Institute Library with the digitalization having been federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/collectionofdesi00smit/page/n28/mode/1up
Continental Drapery. Plate 12. Page 33 of George Smith’s A Collection of Designs for Household Furniture and Interior Decoration. 1808. Collections of the Sterling and Francine Clark Art Institute Library with the digitalization having been federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/collectionofdesi00smit/page/n33/mode/1up
Continental Drapery and Window Curtains. Page 35 of George Smith’s A Collection of Designs for Household Furniture and Interior Decoration. 1808. Collections of the Sterling and Francine Clark Art Institute Library with the digitalization having been federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/collectionofdesi00smit/page/n35/mode/1up
Continental Drapery and Window Curtains. Page 37 of George Smith’s A Collection of Designs for Household Furniture and Interior Decoration. 1808. Collections of the Sterling and Francine Clark Art Institute Library with the digitalization having been federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/collectionofdesi00smit/page/n37/mode/1up
Window Curtain. Page 41 of George Smith’s A Collection of Designs for Household Furniture and Interior Decoration. 1808. Collections of the Sterling and Francine Clark Art Institute Library with the digitalization having been federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/collectionofdesi00smit/page/n41/mode/1up
Continental Drapery. Plate 13. Page 44 of George Smith’s A Collection of Designs for Household Furniture and Interior Decoration. 1808. Collections of the Sterling and Francine Clark Art Institute Library with the digitalization having been federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/collectionofdesi00smit/page/n44/mode/1up

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.”

Three Designs for Vases, done for the Right Honourable the Earl of Oxford. There are two vases well executed in Portland Stone according to the middle draught, which are set upon two large piers on each side of the principal Walk in the Garden at Wimpole in Cambridgeshire. Plate CXXXVIII. Page 316 of James Gibbs’ 1728 work A book of architecture: containing designs of buildings and ornaments. Collections of and digitalized by Oberlin College. In the public domain due to age. via https://archive.org/details/bookofarchitectu0000gibb/page/n316/mode/1up

Draughts of vases, etc. in the Antique manner, made for several persons at different times. Many of them have been executed both in marble and metal. Plate CXXXIX. Page 312 of James Gibbs’ 1728 work A book of architecture: containing designs of buildings and ornaments. Collections of and digitalized by Oberlin College. In the public domain due to age. via https://archive.org/details/bookofarchitectu0000gibb/page/n312/mode/1up
Eight Draughts of Marble Cisterns for Buffets. Plate CXLV. Page 324 of James Gibbs’ 1728 work A book of architecture: containing designs of buildings and ornaments. Collections of and digitalized by Oberlin College. In the public domain due to age. via https://archive.org/details/bookofarchitectu0000gibb/page/n324/mode/1up
Fifteen pedestals for busts. Plate CL. Page 334 of James Gibbs’ 1728 work A book of architecture: containing designs of buildings and ornaments. Collections of and digitalized by Oberlin College. In the public domain due to age. via https://archive.org/details/bookofarchitectu0000gibb/page/n334/mode/1up

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.

General view of Sherringham Bower, Norfolk: Abbot Upcher, Esquire. Page 305 of H. Repton and J. Adey Repton’s 1816 work Fragments on the theory and practice of landscape gardening: including some remarks on Grecian and Gothic architecture. Published in London by J. Taylor. 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
General view of Sherringham Bower, Norfolk – Abbot Upcher, Esquire. Page 306 of H. Repton and J. Adey Repton’s 1816 work Fragments on the theory and practice of landscape gardening: including some remarks on Grecian and Gothic architecture. Published in London by J. Taylor. 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
General view from the south and east fronts of the cottage at Endsleigh, Devonshire – Dutchess of Bedford. Page 330 of H. Repton and J. Adey Repton’s 1816 work Fragments on the theory and practice of landscape gardening: including some remarks on Grecian and Gothic architecture. Published in London by J. Taylor. 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
General view from the south and east fronts of the cottage at Endsleigh, Devonshire – Dutchess of Bedford. Page 330 of H. Repton and J. Adey Repton’s 1816 work Fragments on the theory and practice of landscape gardening: including some remarks on Grecian and Gothic architecture. Published in London by J. Taylor. 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
View from my own cottage, in Essex. Page 358 of H. Repton and J. Adey Repton’s 1816 work Fragments on the theory and practice of landscape gardening: including some remarks on Grecian and Gothic architecture. Published in London by J. Taylor. 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

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.

Title page. Image 360. Antigüedades peruanas, 1851. Don Mariano Eduardo de Rivero and Doctor Don Juan Diego de Tschudi, authors. Leopold Müller, Vienna, Austria, lithographer. Image © Ministry of Culture and Sport, Madrid. Fair use license. Artwork itself in the public domain due to age. via https://bvpb.mcu.es/es/consulta/registro.cmd?id=469741

Image 378. Antigüedades peruanas, 1851. Don Mariano Eduardo de Rivero and Doctor Don Juan Diego de Tschudi, authors. Leopold Müller, Vienna, Austria, lithographer. Image © Ministry of Culture and Sport, Madrid. Fair use license. Artwork itself in the public domain due to age. via https://bvpb.mcu.es/es/consulta/registro.cmd?id=469741
Image 382. Antigüedades peruanas, 1851. Don Mariano Eduardo de Rivero and Doctor Don Juan Diego de Tschudi, authors. Leopold Müller, Vienna, Austria, lithographer. Image © Ministry of Culture and Sport, Madrid. Fair use license. Artwork itself in the public domain due to age. via https://bvpb.mcu.es/es/consulta/registro.cmd?id=469741
Image 394. Antigüedades peruanas, 1851. Don Mariano Eduardo de Rivero and Doctor Don Juan Diego de Tschudi, authors. Leopold Müller, Vienna, Austria, lithographer. Image © Ministry of Culture and Sport, Madrid. Fair use license. Artwork itself in the public domain due to age. via https://bvpb.mcu.es/es/consulta/registro.cmd?id=469741
Image 412. Antigüedades peruanas, 1851. Don Mariano Eduardo de Rivero and Doctor Don Juan Diego de Tschudi, authors. Leopold Müller, Vienna, Austria, lithographer. Image © Ministry of Culture and Sport, Madrid. Fair use license. Artwork itself in the public domain due to age. via https://bvpb.mcu.es/es/consulta/registro.cmd?id=469741
Image 414. Antigüedades peruanas, 1851. Don Mariano Eduardo de Rivero and Doctor Don Juan Diego de Tschudi, authors. Leopold Müller, Vienna, Austria, lithographer. Image © Ministry of Culture and Sport, Madrid. Fair use license. Artwork itself in the public domain due to age. via https://bvpb.mcu.es/es/consulta/registro.cmd?id=469741
Image 436. Antigüedades peruanas, 1851. Don Mariano Eduardo de Rivero and Doctor Don Juan Diego de Tschudi, authors. Leopold Müller, Vienna, Austria, lithographer. Image © Ministry of Culture and Sport, Madrid. Fair use license. Artwork itself in the public domain due to age. via https://bvpb.mcu.es/es/consulta/registro.cmd?id=469741

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.

Design for an interior with green and white striped curtains and upholstery with a bed with a green and white canopy visible through a doorway in the background. ca. 1830. German/Danish. Watercolor. Charles de Brocktorff, watercolorist (born 1775-1785, died in 1850). Image © 2000–2023 The Metropolitan Museum of Art. Fair use license. Artwork itself in the public domain due to age. via https://www.metmuseum.org/art/collection/search/364298?sortBy=Relevance&ft=Charles+de+Brocktorff&offset=0&rpp=40&pos=6

Interior, Saint Petersburg? with a children’s nurse holding an infant and four children wearing white dresses with blue sashes. ca. 1825. German/Danish. Watercolor. Charles de Brocktorff, watercolorist (born 1775-1785, died in 1850). Image © 2000–2023 The Metropolitan Museum of Art. Fair use license. Artwork itself in the public domain due to age. via https://www.metmuseum.org/art/collection/search/363309?sortBy=Relevance&ft=Charles+de+Brocktorff&offset=0&rpp=40&pos=3
Design for interior with furniture upholstered in a yellow stripe. ca. 1830. German/Danish. Watercolor. Charles de Brocktorff, watercolorist (born 1775-1785, died in 1850). Image © 2000–2023 The Metropolitan Museum of Art. Fair use license. Artwork itself in the public domain due to age. via https://www.metmuseum.org/art/collection/search/364295?sortBy=Relevance&ft=Charles+de+Brocktorff&offset=0&rpp=40&pos=4
Design for a interior with a sofa upholstered in green and a striped tablecloth. ca. 1830. German/Danish. Watercolor. Charles de Brocktorff, watercolorist (born 1775-1785, died in 1850). Image © 2000–2023 The Metropolitan Museum of Art. Fair use license. Artwork itself in the public domain due to age. via https://www.metmuseum.org/art/collection/search/364297?sortBy=Relevance&ft=Charles+de+Brocktorff&offset=0&rpp=40&pos=5
Design for an interior with a long divan and other furniture upholstered in a yellow stripe. Looks like the same room as the other watercolor with the yellow upholstered furniture and some of the pieces look to be the same. ca. 1830. German/Danish. Watercolor. Charles de Brocktorff, watercolorist (born 1775-1785, died in 1850). Image © 2000–2023 The Metropolitan Museum of Art. Fair use license. Artwork itself in the public domain due to age. via https://www.metmuseum.org/art/collection/search/364296?sortBy=Relevance&ft=Charles+de+Brocktorff&offset=0&rpp=40&pos=7

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.

Ansichten von Missions und erlassungen der evangelischen Brüdergemeinde. 1835. The wrapper being in German because the Moravian Church was founded in Germany with the captions of the aquatints being in French. However in 1835 Antigua was a British colony. Image © 2023 William Reese Company. Fair use license. Artwork itself in the public domain due to age. via https://www.williamreesecompany.com/pages/books/WRCAM32930/l-stobwasser/ansichten-von-missions-niederlassungen-der-evangelischen-bruder-gemeinde-vues-des
Vue de Cedarhall dans l’isle of Antigua aux Indes occidentales. A view of plantation life on the island. In the foreground a male worker sits beneath a tree smoking a pipe and speaks to a woman who balances a basket on her head. In the middle ground workers hoe a field and cattle graze. Two large homes are seen in the background, situated on rolling hills before larger mountains. 1835. Aquatint plate, an engraving after original work by L. Stobwasser. Image © 2023 William Reese Company. Fair use license. Artwork itself in the public domain due to age. via https://www.williamreesecompany.com/pages/books/WRCAM32930/l-stobwasser/ansichten-von-missions-niederlassungen-der-evangelischen-bruder-gemeinde-vues-des
Vue de Gracebay dans l’Isle de Antigua. dans l’Isle d’Antigoa aux Indes occidentales. Two plantation workers – a man carrying a hoe and a woman holding an infant – walk uphill as goats forage and romp nearby. Grace Bay and mountains are seen in the background. 1835. Aquatint plate, an engraving after original work by L. Stobwasser. Image © 2023 William Reese Company. Fair use license. Artwork itself in the public domain due to age. via https://www.williamreesecompany.com/pages/books/WRCAM32930/l-stobwasser/ansichten-von-missions-niederlassungen-der-evangelischen-bruder-gemeinde-vues-des
Vue de Gracehill dans l’Isle de Antigua  aux Indes occidentales. Landscape with a plantation house situated in the background. In the foreground a female field worker and her three children carry sticks and provisions past the well dressed plantation owners, who carry umbrellas and wear top hats. 1835. Aquatint plate, an engraving after original work by L. Stobwasser. Image © 2023 William Reese Company. Fair use license. Artwork itself in the public domain due to age. via https://www.williamreesecompany.com/pages/books/WRCAM32930/l-stobwasser/ansichten-von-missions-niederlassungen-der-evangelischen-bruder-gemeinde-vues-des
Vue de l’Establissement des Missions a Saint Johns dans l’Isle d’Antigon aux Indes occidentales. A group of seven Antiguans, young and old, male and female, sits around a large tree in the courtyard of the Moravian mission complex. Other islanders are seen walking into or past various buildings. 1835. Aquatint plate, an engraving after original work by L. Stobwasser. Image © 2023 William Reese Company. Fair use license. Artwork itself in the public domain due to age. via https://www.williamreesecompany.com/pages/books/WRCAM32930/l-stobwasser/ansichten-von-missions-niederlassungen-der-evangelischen-bruder-gemeinde-vues-des

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 . . .

A model displays an evening dress for customers at Nieman-Marcus in Dallas, Texas. 1938 image. via Traces of Texas. https://scontent.ford4-1.fna.fbcdn.net/v/t1.6435-9/29356431_1844722892226498_2053980260050927616_n.jpg?_nc_cat=101&ccb=1-7&_nc_sid=730e14&_nc_ohc=pe2nun-A0kcAX8dw9BY&_nc_ht=scontent.ford4-1.fna&oh=00_AfBe2j7RgbQgthK6lmF9GRhrszu8XNroBoefGOiTweSLEA&oe=643E5E65

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”.

A Turkish wedding procession. Undated, by 1831. French. Graphite, watercolor and gouache, heightened with gum arabic. Antoine-Ignace Melling, watrercolorist (1763-1831). Image © CHRISTIE’S 2023. Fair use license. Artwork itself in the public domain due to age. via https://www.christies.com/en/lot/lot-6415579
Vue de la première cour intérieure du sérail à Constantinople (view of the first interior court of the serail in Constantinople). Undated, by 1831. French. Watercolor and ink. Antoine-Ignace Melling, watrercolorist (1763-1831). Image Alchetron © 2023 Fair use license. Artwork itself in the public domain due to age. via https://alchetron.com/Antoine-Ignace-Melling#antoine-ignace-melling-42c36d6e-9db3-4845-b140-bb6216476bd-resize-750.jpeg
Intérieur d’une partie du harem du Grand Seigneur (inside the harem of the Sultan). 1811. Engraved by Francois Denis Nee (1732-1817) after a watercolor by Antoine-Ignace Melling (1763-1831). via https://fineartamerica.com/featured/inside-the-harem-of-the-sultan-antoine-ignace-melling.html?product=art-print
Vue de la Seconde Cour Intérieure du Sérail (view of the inner courtyard of the Seraglio, Topkapi Palace from Voyage Pittoresque de Constantinople et des rives du Bosphore. 1809-1819. Engraving by Schroeder, Desmaisons, and Duparc after Antoine Ignace Melling. Image  © 2023 Donald A. Heald Rare Books.  Fair use license. Artwork itself in the public domain due to age. https://www.donaldheald.com/pages/books/8439/antoine-ignace-melling/vue-de-la-seconde-cour-interieure-du-serail

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.

PLATE XII. TWO PRIMITIVE PIECES. 1. TEACUP (Ch’a Wan), of the Hang-chou imperial ware (Kuan Yao) of the Southern Sung dynasty (1127-1279), of semi-globular form, curving in at the lip, with a circularly rimmed, slightly spreading foot, which has a pointed projection in the middle underneath. Invested with a minutely but deeply crackled glaze of grayish-blue color, becoming of more pronounced lavender tint inside the cup. The rim of the foot, where it is not covered by the glaze, shows the characteristic brownish iron-gray color of the paste, and the lip is reddish gray at the edge, where the glaze is thin. It is mounted on a carved stand of dark wood, and is of thick, solid material, in order to retain heat, as prescribed in the ceremonial of the tea clubs of the period. 2. VASE FOR FLOWERS (Hua Tsun), of typical Yuan dynasty porcelain (Yuan Tx’u, 1280-1367), of rounded quadrangular form, with two tubular handles, modeled after an archaic bronze sacrificial design. The glaze, which is spread on thickly, runs down in an unctuous mass, which does not completely cover the foot, and shows a grayish buff-colored paste of intense hardness; inside the mouth of the vase, it runs down for about an inch and also ends in an irregularly convoluted line. It is of grayish-blue color, with a shade of lavender, crackled with an irregular reticulation of deep lines, becoming pale brick-red round the upper rims of the vase and handles where the glaze is thin. The surface is stained in two places with mottled clouds of warm red passing into purple at the edges. Clouds of this kind, the result of some fortuitous oxidation during a firing, are highly valued by Chinese collectors; sometimes they are fancied to take the form of a bird or butterfly, or some other natural object. Page 12, Oriental ceramic art : illustrated by examples from the collection of W.T. Walters. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015239219/page/n12/mode/1up
PLATE XIII. FUCHIEN WHITE PORCELAIN. WINE-POT (Chiu Hu), of ivory white Fuchien porcelain (Chien Tz’u) modeled in the shape of an inverted pomegranate, and of about the natural size of the fruit, the dentated apex of which forms the foot. The handle is modeled as a branch that sends off two twigs to supply a relief decoration for the bowl as it winds up to make a loop on the cover, which it envelops in a crown of leaves. A line of verse is engraved on the back of the bowl.  2. CYLINDRICAL TEA-POT Ch’a Hu), of the same ivory-white porcelain, in the form of a joint of bamboo bounded around with a knotted cord, with a pair of bearded dragons of archaic lizardlike design with spreading bifid tails attached to it; the one crawling downward with its back bowed to make the handle, the other lifting its gaping mouth as the spout. The round cover is surmounted by the tiny figure of a grotesque lion. The design, freely and artistically treated, is clothed with a soft-looking lustrous glaze of the characteristic ivory-white tone of the finest old porcelain of the province of Fuchien, and the base, unglazed, shows the smooth, even texture of the paste. Page 20, Oriental ceramic art : illustrated by examples from the collection of W.T. Walters. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015239219/page/n20/mode/1up

PLATE XIV. TWO PIECES OF K’ANG-HIS BLUE AND WHITE. TALL TWO-HANDLED CUP AND COVER (Kai Wan), with each loop handle fashioned in the form of two dragons’ heads grasping a round jewel between their gaping jaws, and a bulging cover surmounted by a metal knob shaped like an acorn of European design. The cover, as well as the cup, is decorated in pale blue of pure color, with conventional borders of foliated panels brocaded with white flowers on a blue ground. The intervals on the cup are filled with groups of the paraphernalia of the scholar and artist, books on tables, brushes in vases, water receptacles, and scroll pictures, all enveloped with waving fillets, and mixed with tasseled wands and double diamonds, symbols of literary success. 2. SMALL JAR (Hsiao Kuan) painted in bright blue in the early K’ang-his style (1662-1722), with lotus flowers and reeds growing in water, flying insects, and lightly sketched floral sprays. The front of the vase displays, in an interval left in the floral decoration, a quarterfoil medallion containing the sacred Christian monogram I.H.S, with a cross above, and three nails meeting in a point below. Page 26, Oriental ceramic art : illustrated by examples from the collection of W.T. Walters. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015239219/page/n28/mode/1up
PLATE XV. CELADON BRUSH CYLINDER. (Pi T’ang), nine inches high, of tall, slender form, modeled in the shape of a section of bamboo, with a double ring worked in relief in the paste near the foot, between two lightly etched bands of scrolled design.  A Ch’ih-lung, the dragon of archaic bronzes, is represented in salient relief as coiled around the tube, with a scowling head and bristling mane, having flames proceeding from the shoulders and flanks. The cylinder is enameled with a celadon glaze of grayish-green tint, contrasting with the dragon, which is invested with a white enamel. The bottom is also celadon, leaving a wide encircling rim where the grayish biscuit is visible. Period K’ang-hsi (1662-1722). Page 36, Oriental ceramic art : illustrated by examples from the collection of W.T. Walters. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015239219/page/n36/mode/1up

PLATE XVII. K’ANG-HSU VASE DECORATED IN COLORS. CLUB-SHAPED VASE (Pang-chih l’ing), 17 ½ inches high, decorated in brilliant enamel colors, with touches of gold, of the best period of the reign of K’ang-hsi (1662-1722). The decoration is arranged in two large oblong panels and four larger circular panels, displayed upon a ground of floral brocade. The scrolled coral-red ground is studded with chrysanthemum blossoms, alternately tinted apple-green and celadon. The large panel in front has a picture of a gaily plumaged bird perched upon a branch of blossoming prunus, penciled in brown, with red flowers touched with gold, mingled with sprays of bamboo having the leaves filled in with bright green and over-glaze blue. The disk of the rising sun is seen above, partly hidden by the clouds of down ting, indicated in pale coral-red. The corresponding panel at the back has a bird on a branch of hydrangea shrub, interwoven with sprays of Hibiscus rosa-sinensis. The circular panels contain landscapes below, insects above, the Mantis religiosa, with millet and wild pinks in front, the grasshopper perched on grass, with trifid panicles and single chrysanthemums behind. The shoulder slope of the vase is decorated above with a band of scrolled chrysanthemum, with large red flowers and green leaves studding a purple ground, which is interrupted with four foliated medallions containing butterflies. The colors of the gadroon border around the foot, and of the diverse rings of conventional feet and diaper which encircle the upper part of the vase, are perfectly shown in the illustration. Page 50, Oriental ceramic art : illustrated by examples from the collection of W.T. Walters. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015239219/page/n50/mode/1up
PLATE XIX. IRIDESCENT IRON-RUST VASE. (L-ing), egg-shaped, with a small round mouth and a circularly rimmed foot, enameled with a dark-brown monochrome glaze, thickly speckled with minute points of deep metallic lustrous aspect, and irregularly flocked all over with clouds of vermillion color, the lip being covered with a ring of the same red. It is a striking example of the t’ieh-hsiu, or “iron-rust glaze,” of naturalistic color and inimitable metallic luster. The foot is enameled underneath with a dark olive-brown monochrome glaze of “bubbly” appearance. There is no mark inscribed, although it is evidently an early Ch’ien-lung piece (1736-95).   Page 62, Oriental ceramic art : illustrated by examples from the collection of W.T. Walters. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015239219/page/n62/mode/1up
 

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.

Approach to the Temple of Wady Saboua, Nubia. 1847. Part of a series of plates of David Robert’s work in the Levant that were published by F. G. Moon in London. Tinted lithograph after David Roberts. Louis Haghe, lithographer. Image © 2023 Alexandre Maps and Books. Artwork itself in the public domain due to age. via https://www.alexandremaps.com/pages/books/P518/david-roberts/approach-to-the-temple-of-wady-saboua-nubia
Ascent of the Lower Range of Sinai. 1844. Part of a series of plates of David Robert’s work in the Levant that were published by F. G. Moon in London. Tinted lithograph after David Roberts. Louis Haghe, lithographer. Image © 2023 Alexandre Maps and Books. Artwork itself in the public domain due to age. via https://www.alexandremaps.com/pages/books/P481/david-roberts/ascent-of-the-lower-range-of-sinai

Askelon. 1842. Part of a series of plates of David Robert’s work in the Levant that were published by F. G. Moon in London. Tinted lithograph after David Roberts. Louis Haghe, lithographer. Image © 2023 Alexandre Maps and Books. Artwork itself in the public domain due to age. via https://www.alexandremaps.com/pages/books/P489/david-roberts/askelon
Bab en Nasr, or Gate of Victory, and Mosque of El Hakim, Cairo. 1848. Part of a series of plates of David Robert’s work in the Levant that were published by F. G. Moon in London. Tinted lithograph after David Roberts. Louis Haghe, lithographer. Image © 2023 Alexandre Maps and Books. Artwork itself in the public domain due to age. via https://www.alexandremaps.com/pages/books/P526/david-roberts/bab-en-nasr-or-gate-of-victory-and-mosque-of-el-hakim-cairo
A Colossal Statue at the Entrance to the Temple of Luxor. 1847. Part of a series of plates of David Robert’s work in the Levant that were published by F. G. Moon in London. Tinted lithograph after David Roberts. Louis Haghe, lithographer. Image © 2023 Alexandre Maps and Books. Artwork itself in the public domain due to age. via https://www.alexandremaps.com/pages/books/P442/david-roberts/a-colossal-statue-at-the-entrace-to-the-temple-of-luxor
Colossi at Wady Saboua. 1847. Part of a series of plates of David Robert’s work in the Levant that were published by F. G. Moon in London. Tinted lithograph after David Roberts. Louis Haghe, lithographer. Image © 2023 Alexandre Maps and Books. Artwork itself in the public domain due to age. via https://www.alexandremaps.com/pages/books/P441/david-roberts/colossi-at-wady-saboua
Encampment of the Aulad-Sa’id. 1844. Part of a series of plates of David Robert’s work in the Levant that were published by F. G. Moon in London. Tinted lithograph after David Roberts. Louis Haghe, lithographer. Image © 2023 Alexandre Maps and Books. Artwork itself in the public domain due to age. via https://www.alexandremaps.com/pages/books/P480/david-roberts/encampment-of-the-aulad-said
Fortress of Akabah, Arabia Peteraea.1844. Part of a series of plates of David Robert’s work in the Levant that were published by F. G. Moon in London. Tinted lithograph after David Roberts. Louis Haghe, lithographer. Image © 2023 Alexandre Maps and Books. Artwork itself in the public domain due to age. via https://www.alexandremaps.com/pages/books/P519/david-roberts/fortress-of-akabah-arabia-peteraea
Fortress of Ibrim, Nubia. 1847. Part of a series of plates of David Robert’s work in the Levant that were published by F. G. Moon in London. Tinted lithograph after David Roberts. Louis Haghe, lithographer. Image © 2023 Alexandre Maps and Books. Artwork itself in the public domain due to age. via https://www.alexandremaps.com/pages/books/P528/david-roberts/fortress-of-ibrim-nubia

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.