French princesses at Versailles. Francois de Troy, painter. Living from 1679 to 1752, he was a French Rococo easel and fresco painter.

Portrait of Élisabeth Charlotte of Bourbon-Orléans (1676-1744). Undated, by 1744. French. Oil on canvas. François de Troy, painter (1679-1752). Image source: auctionartparis.com. In the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:Troy,Fran%C3%A7ois_de-_%C3%89lisabeth_Charlotte_d%27Orl%C3%A9ans.jpg

Spring. One of a set of four portraits of young princesses from the Louis XIV period represented as an allegory of the Four Seasons. ca. 1690. French. Oil on canvas. François de Troy, painter (1679-1752). Image source: proantic.com. In the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:Workshop_of_Fran%C3%A7ois_de_Troy_-Allegory_of_the_Four_Seasons(2).png
Presumed portrait of the Duchesse de Maine. By 1700. French. Oil on canvas. Studio of François de Troy. Image source; artnet.com. In the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:Studio_of_Fran%C3%A7ois_de_Troy_-_Presumed_portrait_of_the_Duchess_of_Maine.png

Portrait of Princess Louisa Maria Stuart. ca. 1705. French. Oil on canvas. François de Troy, painter (1679-1752). Image source: bridgemanartondemand.com. In the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:Fran%C3%A7ois_de_Troy,Portrait_of_Princess_Louisa_Maria_Stuart(c._1705).jpg

Visions of a New York City that are not too far away. Only yesterday, really. Max Arthur Cohn, painter. Living from 1903 to 1998, he was born in England but painted in America. One of the artists employed by the Works Progress Administration in the 1930s.

New York Street Scene. 1935. American. Oil on canvas. Max Arthur Cohn, painter (1903-1998). Signed MAX ARTHUR COHN on the lower right. Signed again and numbered 324 , dated and inscribed with the title on the stretcher. © Estate of the artist. Image © Bonhams 2001-2022. Fair use license. via https://www.bonhams.com/auction/27587/lot/35/max-arthur-cohn-1903-1998-new-york-street-scene-22-x-28-18-in-559-x-714-cm-painted-in-1935/

Washington Square. 1928. American. Oil on canvas. Max Arthur Cohn, painter (1903-1998). Signed MAX ARTHUR COHN on the lower left. © Estate of the artist. Image © Bonhams 2001-2022. Fair use license. via https://www.bonhams.com/auction/27587/lot/36/max-arthur-cohn-1903-1998-washington-square-20-18-x-24-18-in-511-x-613-cm-painted-in-1928/

New York City Scene. Undated, by 1998. American. Oil on canvasboard. Max Arthur Cohn, painter (1903-1998). Signed MAX ARTHUR COHN on the lower left. © Estate of the artist. Image © Bonhams 2001-2022. Fair use license. via https://www.bonhams.com/auction/27587/lot/37/max-arthur-cohn-1903-1998-new-york-city-scene-16-x-20-in-406-x-508-cm/

Imagery of what was then French Indochina and is now Cambodia. Chapter headings from “Un pèlerin d’Angkor” which was written by Pierre Loti in 1912 with this edition having been published in Paris in 1930.

Page 3 of a 1930 edition of Pierre Loti’s work Un pèlerin d’Angkor. Paul Jouve, illustrator. François-Louis Schmied, printer and editor. Published in Paris. Collections of the Bibliothèque de Genève, Geneva, Switzerland. Artwork in the public domain due to age. via https://www.e-rara.ch/gep_r/content/zoom/19922249

Dimanche, 24 novembre 1901. Page 17 of a 1930 edition of Pierre Loti’s work Un pèlerin d’Angkor. Paul Jouve, illustrator. François-Louis Schmied, printer and editor. Published in Paris. Collections of the Bibliothèque de Genève, Geneva, Switzerland. Artwork in the public domain due to age. via https://www.e-rara.ch/gep_r/content/zoom/19922249
Lundi, 25 novembre, 1901. Page 23 of a 1930 edition of Pierre Loti’s work Un pèlerin d’Angkor. Paul Jouve, illustrator. François-Louis Schmied, printer and editor. Published in Paris. Collections of the Bibliothèque de Genève, Geneva, Switzerland. Artwork in the public domain due to age. via https://www.e-rara.ch/gep_r/content/zoom/1992

Mardi, 26 novembre 1901. Page 27 of a 1930 edition of Pierre Loti’s work Un pèlerin d’Angkor. Paul Jouve, illustrator. François-Louis Schmied, printer and editor. Published in Paris. Collections of the Bibliothèque de Genève, Geneva, Switzerland. Artwork in the public domain due to age. via https://www.e-rara.ch/gep_r/content/zoom/1992

Mercredi, 27 novembre 1901. Page 35 of a 1930 edition of Pierre Loti’s work Un pèlerin d’Angkor. Paul Jouve, illustrator. François-Louis Schmied, printer and editor. Published in Paris. Collections of the Bibliothèque de Genève, Geneva, Switzerland. Artwork in the public domain due to age. via https://www.e-rara.ch/gep_r/content/zoom/1992 https://www.e-rara.ch/gep_r/content/zoom/19922287

Jeudi, 28 novembre 1901. Page 43 of a 1930 edition of Pierre Loti’s work Un pèlerin d’Angkor. Paul Jouve, illustrator. François-Louis Schmied, printer and editor. Published in Paris. Collections of the Bibliothèque de Genève, Geneva, Switzerland. Artwork in the public domain due to age. via via https://www.e-rara.ch/gep_r/content/zoom/1992

Make your home look fancier than the builder intended. Design ideas from the Boston Architectural Club year book for 1922. Reprint of an earlier work from 1750.

Piers for gates. Batty Langley Inventory 1739. Thomas Langley delineator and sculptor. Plate XVI, Page 25 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n24/mode/1up

The Semi Plans of the Piers. Batty Langley Inventory 1739. Thomas Langley delineator and sculptor. Plate XVII, Page 25 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n25/mode/1up

Piers for Gates at the Entrances into Palaces: Semi Plan; by Lord Burlington at Chiswick; By Inigo Jones at Windsor Castle/The Measures to the Principal and Particular Parts of each Pier Invented by Batty Langley. Thomas Langley, Sculptor. Plate XVIII. Page 26 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n26/mode/1up

Tuscan and Dorick Piers for Gates. Batty Langley Inventory 1739. Thomas Langley delineator and sculptor. Plate XIX, Page 27 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n27/mode/1up

Tuscan Gate: The Curvature of the Raking Cornice. Batty Langley Inventory 1739. Thomas Langley delineator and sculptor. Plate XXI, Page 29 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n29/mode/1up

A selection of seashells.  Woodblock illustrations of shell and coral specimens from Yochiro Hirase’s work “Kai Senshu” (The Illustrations of a Thousand Shells). Published in Kyoto, Japan by Yamada Naozōburō in 1914-1915. In Japanese.

Page 26. Collections of and digitalized by the Smithsonian Institution. Artwork in the public domain due to age. via https://www.biodiversitylibrary.org/item/81292#page/26/mode/1up

Page 30. Collections of and digitalized by the Smithsonian Institution. Artwork in the public domain due to age. via https://www.biodiversitylibrary.org/item/81292#page/30/mode/1up

Page 32. Collections of and digitalized by the Smithsonian Institution. Artwork in the public domain due to age. via https://www.biodiversitylibrary.org/item/81292#page/32/mode/1up

Fancy eye baths (baignore d’yeux) all in porcelain. Whether they help your eyes more than the plastic CVS kind I don’t know but for sure these are more fun to look at.

Three Sèvres eye baths (bagnoire d’yeux). A bleu céleste example with gilt dentil rim by Buteux; a blue-ground example with gilt white scrollwork and harebells; and a cobalt-blue example painted with a floral garland. Also a Chantilly example in blue and white. Second half of the 18th century. French. Makers marks: two of the Sèvres examples with blue interlaced L’s marks; one with a gilder’s mark for P. T. Buteux; the Chantilly example with a blue hunting horn mark. Image © CHRISTIE’S 2022. Fair use license. via https://onlineonly.christies.com/s/collector-english-european-furniture-ceramics-silver-works-art/three-sevres-porcelain-eye-baths-baignoire-dyeux-chantilly-eye-bath-32/146142?ldp_breadcrumb=back

Porcelain eyebath decorated with delicate and finely painted red roses amongst green and gilt flora with a spread eagle bird in flight at either end. The stem is decorated with gilt leaves and the rim and edges are in gilt. ca. 1880-1899. French. Unsigned. Image © 2022 Phisick. Fair use license. via https://phisick.com/item/19th-c-paris-porcelain-eye-bath/



Eye bath of hard-paste porcelain. Oval cup on funnel foot. Hard-paste eye bath with an oval cup on a funnel foot. Purple ground with two lobed reserves with Höroldt chinoiseries and a gilt lace ornament inside the rim. The interior with a chinoiserie framed by gilt scrolls enclosing lustre panels and laub-und bandelwerk in iron-red and purple. 1730-1735. German. Meissen Porcelain Factory, maker. Maker’s marks: Crossed swords factory mark, in underglaze blue. Image © Victoria and Albert Museum, London, 2021. Fair use license. via https://collections.vam.ac.uk/item/O307059/eye-bath-meissen-porcelain-factory/

Pretty pigeons from 1906, taken from Emil Schachtzabel’s “Illustriertes Prachtwerk sämtlicher Tauben-rassen.” Schachtzabel was a government worker who also loved pigeons.

Page 20 of Illustriertes Prachtwerk sämtlicher Tauben-rassen. 1906.  Lithograph based on a watercolor template by Anton Schöner. In the public domain due to age. Collections of the American Museum of Natural History Library. In the public domain due to age. via https://www.biodiversitylibrary.org/item/106229#page/20/mode/2up

Page 22 of Illustriertes Prachtwerk sämtlicher Tauben-rassen. 1906.  Lithograph based on a watercolor template by Anton Schöner. In the public domain due to age. Collections of the American Museum of Natural History Library. In the public domain due to age. via https://www.biodiversitylibrary.org/item/106229#page/20/mode/2up

Page 24 of Illustriertes Prachtwerk sämtlicher Tauben-rassen. 1906.  Lithograph based on a watercolor template by Anton Schöner. In the public domain due to age. Collections of the American Museum of Natural History Library. In the public domain due to age. via https://www.biodiversitylibrary.org/item/106229#page/20/mode/2up

The West Indies as they used to be. Watercolors done between 1828 and 1938 by Canadian John Herbert Caddy who was a lieutenant in the Royal Artillery who was stationed in the West Indies during those years.

The Rabacca or Dry River: Soufriere Mountain in the Distance; Saint Vincent. 1828-1830. Oblong folio. Aquatint, one of a set of twelve. W. Westall A.R.A. engraver after a drawing by Lieutenant John Herbert Caddy of the Royal Navy. Published on February 1, 1837 by Ackermann and Company, 96 Strand, London. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2020/fine-books-and-manuscripts-including-americana/caddy-lieut-john-herbert-among-the-most-desirable

Roseau, Domenica. 1828-1830. Oblong folio. Aquatint, one of a set of twelve. J. Harris, engraver after a drawing by Lieutenant John Herbert Caddy of the Royal Navy. Published on February 1, 1837 by Ackermann and Company, 96 Strand, London. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2020/fine-books-and-manuscripts-including-americana/caddy-lieut-john-herbert-among-the-most-desirable

View from Morne Fortuné Saint Lucia: Tomb of General Stewart of Garth, Colonel Mallet, General Mackie, and General Farquharson. 1828-1830. Oblong folio. Aquatint, one of a set of twelve. J. Harris, engraver after a drawing by Lieutenant John Herbert Caddy of the Royal Navy. Published on February 1, 1837 by Ackermann and Company, 96 Strand, London. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2020/fine-books-and-manuscripts-including-americana/caddy-lieut-john-herbert-among-the-most-desirable

Sandy pit, Saint Kitts. 1828-1830. Oblong folio. Aquatint, one of a set of twelve. C. Hunt, engraver after a drawing by Lieutenant John Herbert Caddy of the Royal Navy. Published on February 1, 1837 by Ackermann and Company, 96 Strand, London. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2020/fine-books-and-manuscripts-including-americana/caddy-lieut-john-herbert-among-the-most-desirable

The old crater of the Soufriere, Saint Vincent. 1828-1830. Oblong folio. Aquatint, one of a set of twelve. W. Westall A.R.A, engraver after a drawing by Lieutenant John Herbert Caddy of the Royal Navy. Published on February 1, 1837 by Ackermann and Company, 96 Strand, London. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2020/fine-books-and-manuscripts-including-americana/caddy-lieut-john-herbert-among-the-most-desirable

My new romance novel “Cloudlands: the House on Emeralda Key”.

Good morning! I do other kinds of creative work too and so am posting with a copy of the front cover and an Amazon link as I am beyond thrilled as it took two years from start to finish and I am thrilled it is done. Thinking some of you might be interested in reading it too. The characters are fictional but everything else is researched to my research standards that you see here with the various posts. Thank you for following me! Sarah.



https://www.amazon.com/Cloudlands-Emeralda-Sarah-Guest-Perry/dp/B0B6XSNPVX/ref=sr_1_1?keywords=sarah+b+guest+perry&qid=1659191041&sr=8-1

Hand fans. So much prettier than the Ikea ones. All of these from Fan d’eventail of Paris.

Pair of beach themed advertising fans. Wood cockade fan with paper printed for Grands Vins du Cap Corse. Th other in wood with printed paper leaf, an advertisement for Casino de Biarritz. Early 20th c. Image ©  Fans d’eventail, Paris. Fair use license. via https://www.fandeventails.fr/en/advertising-fans/3282-on-the-beach-two-advertising-fans-20th-century.html

Salerno, Pompeii, and Paestum Grand Tour Fan with a painted paper leaf. One side is the bay of Salerno and the other side is Paestum, Palazzo Genovese of Salerno and Pompeii. Mother of pearl sticks and guards. Image ©  Fans d’eventail, Paris. Fair use license. via https://www.fandeventails.fr/en/19th-century-fans/3289-salerno-pompeii-and-paestum-grand-tour-fan-early-20th.html

Pair of hand-fans with an early airplane motif. Painted paper with wood sticks and guards. One fan painted on paper with the other fan printed on paper and inscribed Institut profesionnel féminin. Early 20th c. Image ©  Fans d’eventail, Paris. Fair use license. via https://www.fandeventails.fr/en/advertising-fans/3296-the-planes-early-20th-century-fans.html