A set of four prints from around 1855 depicting the ascent of Mont-Blanc up in the Alps with at least one mountaineer about to slip into the abyss. Made by George Baxter and based on the sketches of John MacGregor a brave mountaineer who reached the summit. Collections of Harvard University. via the publicdomainreview.org.

“The Glacier du Tacconay.” ca. 1855. Print by George Baxter after a sketch by John MacGregor. Collections of Harvard University. Artwork itself in the public domain due to age. via https://publicdomainreview.org/collection/mont-blanc-ascent

“Leaving the Grands Mulets.” ca. 1855. Print by George Baxter after a sketch by John MacGregor. Collections of Harvard University. Artwork itself in the public domain due to age. via https://publicdomainreview.org/collection/mont-blanc-ascent

“The Mur de la Cote.” ca. 1855. Print by George Baxter after a sketch by John MacGregor. Collections of Harvard University. Artwork itself in the public domain due to age. via https://publicdomainreview.org/collection/mont-blanc-ascent

“The Summit.” ca. 1855. Print by George Baxter after a sketch by John MacGregor. Collections of Harvard University. Artwork itself in the public domain due to age. via https://publicdomainreview.org/collection/mont-blanc-ascent

Do up the sofa cushions so they match the wallpaper. Ideas taken from Christopher Dresser’s 1876 work “Studies in Design” which was published in London. A. Goater, lithographer.

“Ornament somewhat Indian in style; to stand on top of a dado-rail, falling upon a dark maroon wall.” Plate X. Image VIX 1876. British. Collections of the Smithsonian Library. Metropolitan New York Library Council, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/Studiesdesign00Dres/page/VIX/mode/2up

“Two plates for dadoes, or the walls of small lobbies.” Plate XII, Image XII. 1876. British. Collections of the Smithsonian Library. Metropolitan New York Library Council, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/Studiesdesign00Dres/page/XII/mode/2up

:”Ornament in the Arabian style, intended to be painted in the centre of a ceiling.” Plate XIII. Image XIII. ” 1876. British. Collections of the Smithsonian Library. Metropolitan New York Library Council, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/Studiesdesign00Dres/page/XIII/mode/2up

People out and about and doing interesting things, all of them looking to be great fun. Eduard Gurk, Austrian artist. Living from 1801 to 1841, he worked for the Hapsburg court.

“Der große Dom in der Adelsberger Grotte.” ca. 1834. Austrian. Watercolor. Collections of the Albertina Museum, Vienna. Reproduced from an art book. In the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:Eduard_Gurk_-*Der_gro%C3%9Fe_Dom_in_der_Adelsberger_Grotte*-_ca1834.jpeg

“An Outdoor Theatrical Presentation for the Vienna Rothschild Family.” 19th c. before 1841. Austrian. Watercolor and gouache on cream wove paper. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/EDOUARD-GURK–Vienna-1801-1841-Jerusalem–An-Outdoor-Theatri?saleno=2586&lotNo=684&refNo=779051

“Her Imperial Majesties’ crossing from Varenna to Villa Melzi. Part of Emperor Ferdinand I’s coronation trips to Prague and via Tyrol to Milan.”1836. Austrian. In the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:Eduard_Gurk_004.jpg

“Mailand, Porta Orientale – Darbringung der Stadtschlüssel an I.I.M.M. durch den Podestà von Mailand an der Porta Orientale“. 1838. Austrian. Watercolor. In a private collection in Italy. In the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:Eduard_Gurk_-_Mailand,_Porta_Orientale.jpeg

“Die Schatzkammer in Mariazell im Jahre 1835.” 1835. Austrian. Watercolor on paper. Image source: dorotheum.com. In the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:Eduard_Gurk_Schatzkammer_in_Mariazell_1835.jpg

Ceramic majolica game-pie tureens with animals on the top. George Jones. Starting out as a Minton apprentice, George Jones started his own manufacturing around 1861. He died in 1873 with the firm continuing until the 1950s.

Two handled game-pie tureen with cover and pie-liner, the grass modelled cover with a partridge finial, the tureen frieze modelled in relief with rabbits, ferns, oak leaves, and acorns. ca. 1875. English. Ceramic majolicaware. George Jones, maker. Maker’s marks: impressed crescent mark; indistinct registration lozenge for December, 1873. Image © COPYRIGHT 2021 DREWEATTS 1759 LTD. Fair use license. via https://auctions.dreweatts.com/auctions/7972/drewea1-10253/lot-details/18b37a46-6d3f-42bc-b2a4-adb000f889d1

Two-handle game pie dish with liner. The game-pie dish modeled as a basket weave and featuring a goose, hares, birds, and fish amongst leaves with brown, green, and white being the predominant colors. Late 19th c. English. Ceramic majolicaware. George Jones, maker. Maker’s marks: bears the pattern number “3569”; English diamond registration mark for the date ?? (unreadable). Image © 2021 Chairish, Inc. Fair use license. via https://www.chairish.com/product/2873455/late-19th-century-george-jones-majolica-goose-fish-game-dish

Game-pie dish that features a fox and hunting paraphernalia. Turquoise ground variation with turquoise, green and brown being the predominant colors. Late 19th c. English. Ceramic majolicaware. George Jones, maker. Maker’s marks: bears the pattern number “2262.” Image © 2021 Chairish, Inc. Fair use license. via https://www.chairish.com/product/2904469/late-19th-century-george-jones-fox-game-pie-dish

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.