A world that isn’t coming back. At least not looking like this. Illustrations from “A voyage around the world: but more particularly to the north-west coast of America, performed in 1785, 1786, 1787 and 1788 with the ships “King George” and the “Queen Charlotte” which were captained by Captains Portlock and Dixon.

*People of Sandwich Sound in their canoes.* What is now known as Prince William Sound was first named “Sandwich Sound” by James Cook after his patron the Earl of Sandwich in 1778. It was later renamed for one of George III and Queen Charlotte’s sons. Bound facing page 68, 1778. British. Drawing drawn by John Webber (1752-1793). Archival ID#1409341 and PIC Volume 42 #NK7402. Digital collections of the National Library of Australia. Artwork itself in the public domain due to age. via https://catalogue.nla.gov.au/Record/1409341

*A marae in Tahiti (Sandwich Island).* Tahiti having named “Sandwich island” by James Cook after his patron with the name changed to Tahiti after this was published. Bound facing page 128. 1777. British. Pencil and wash drawing drawn by John Webber (1752-1793). Archival ID#1411153. Digital collections of the National Library of Australia. Artwork itself in the public domain due to age. via https://catalogue.nla.gov.au/Record/1411153

*A view of Hippa Island, Queen Charlotte Isles.* Off the coast of British Columbia, Canada. Bound at page 204. 1777. British. Watercolor. Archival ID#2933876. Digital collections of the National Library of Australia. Artwork itself in the public domain due to age. via https://catalogue.nla.gov.au/Record/2933876

*A view in the bay at Woahoo, Sandwich Islands.* Plate facing page 55. Published on January 17, 1789. Archival ID#313403. Engraving.Inigo Barlow, printer. Archival ID#313403. Digital collections of the National Library of Australia. Artwork itself in the public domain due to age. via https://catalogue.nla.gov.au/Record/313403

*A view of the volcano, Cook’s River, taken from the Coal Harbour*. Now known as Port Graham which is on the Kenai Peninsula, in present-day Alaska. Plate facing page 62. British. Published on January 7, 1789. Engraving. Inigo Barlow, printer. Archival ID#1240353. Digital collections of the National Library of Australia. Artwork itself in the public domain due to age. via https://catalogue.nla.gov.au/Record/1240353

*A view of Mount Edgecomb taken from the ship at anchor in Norfolk Sound.* Near the present day Sitka, Alaska. Plate facing page 192. Published on January 7, 1789. British. Engraving. Inigo Barlow, printer. Archival ID#2764054. Digital collections of the National Library of Australia. Artwork itself in the public domain due to age. via https://catalogue.nla.gov.au/Record/2764054

An account of the fur-trading expedition fitted out by the King George’s Sound Company, with important results for the exploration and mapping of the American Northwest. These are the plates showing locations. There are also plates showing some of the individuals they encountered, tools and birds. The two ships were commanded by Dixon and the American-born Nathaniel Portlock, both veterans of James Cook’s last voyage. It includes accounts of the Hawaiian islands where they wintered in 1787-1788. The text was edited by Dixon from a series of letters by the Quaker, William Beresford.

Depictions of American women, illustrative work by Neysa Moran McMein. Living from 1888 to 1949, she studied at The School of the Art Institute of Chicago and the Art Students League of New York.

“*Looking into the Mirror*.” Cover for Woman’s Home Companion,” published June, 1938 with their stamp on the verso. 1938. American. Pastel on board. Inscribed and signed in the lower right image “To/ Olive Godwin / Neysa McMein.” Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/NEYSA-McMEIN–1888-1949—MARJORIE-FRANCES-McMEIN–Looking-I?saleno=2592&lotNo=72&refNo=788905

Advertisement for Adams California Fruit Gum, advertisement in *Motion Picture Classic*. 1920. American. Image source: archive.org. In the public domain in the United States because it was published before January 1, 1926. via https://commons.wikimedia.org/wiki/File:Adams_California_Fruit_Gum_by_Neysa_McMein.jpg

“I do” It’s toasted.” Lucky Strike cigarette advertisement that was published in *McClure’s Magazine*. Undated. American. Pastel. Signed on the upper right. Image ©Copyright 2020 Norman Rockwell Museum. Fair use license. via https://www.illustrationhistory.org/illustrations/lucky-strike-i-do

Trophies in silver for winning various things. Various dates and makers. Mostly English, but not all.

Silver urn-form trophy with a double-domed lid with a vasiform finial, a curved and tapering bowl, stylized leaf mounted scroll-bracket side handles and a stepped and raised foot. 1917. George V. Made in London, England by Lionel Alfred Crichton. Fully marked. Image © 2021 Sothebys. Fair use license. via https://www.sothebys.com/en/buy/shop-all/_english-silver-lidded-trophy-f2a1?locale=en

Solid silver trophy with a figural hunting statue that depicts a huntsman holding a fox and his hounds at his feet. Ebonized plinth that is applied with an engraved plaque inscribed “Presented to W. J. Buckley Esquire, April 18th, 1895.” 1894. Made in Birmingham, England by Elkington and Company Ltd. Maker’s marks: Hallmarks for Elkington and Company. Image © 1stDibs.com, Inc. 2021. Fair use license. via https://www.1stdibs.com/furniture/decorative-objects/sculptures/figurative-sculptures/19th-century-victorian-solid-silver-hunting-trophy-elkington-circa-1894/id-f_13713411/

Silver trophy cup. 1886. Made in London England by Frederick Elkington (Elkington and Company). Maker’s marks: fully hallmarked. Image © 1stDibs.com, Inc. 2021. Fair use license. via https://www.1stdibs.com/furniture/dining-entertaining/sterling-silver/antique-victorian-silver-large-trophy-cup/id-f_22258242/

Sterling silver trophy presented by DeForest Grant to John W. Grange, winner of the championship putting contest held in 1938 at the Kebo Valley Golf Club, the oldest golf club in Maine and the eighth oldest golf club in the United States. Made in England in 1936 by Barker Brothers. Maker’s marks; English hallmarks for Barker Brothers. Image © 2019 estatesilver.com. Fair use license. via https://estatesilver.com/product/sterling-silver-golf-trophy-1938-kebo-valley-club-maine/

The Emperor’s plate (Ascot Gold Cup) parcel-gilt. racing trophy that was presented by Emperor/Tsar Nicholas I of Russia. Rococo Revival on a shaped square plinth applied on four angles with the Russian Imperial coat-of-arms, two sides inset with relief plaques of Peter the Great’s palaces Peterhof and Gatchina, the others with prize inscriptions, the vase inset with two relief scenes that depict heroic events in the life of Peter the Great: the victory at Poltava in 1709 and a rescue at sea off of Finland in 1724. 1846. Edward Hodge Baily, R.A. designer. Made in London, England by John Samuel Hunt for Hunt and Roskell, successors to Storr and Mortimer. Maker’s marks: marked on vase, plinth, underside of the plaques, coats of arms, nuts and detachable flowers on the base; also stamped ‘HUNT AND ROSKELL LATE STORR AND MORTIMER Number 2795.” Image © Christie’s 2021. Fair use license. via https://www.christies.com/en/lot/lot-5433100

Quadruple silver plate cake or fruit basket, also known as a brides basket. Engraved in the center to read “Special premium at the Maury Company Fair 1894 for the best cake made of S. F. Ashton’s flour. Awarded to Miss Florence Sheppard.” Made in 1892 by Pairpoint in New Bedford, Massachusetts. American. Maker’s marks: Marks for Pairpoint on the base. Image © curiosityhudson.com. Fair use license. via https://www.curiosityhudson.com/trophies/1892-victorian-silver-basket-engraved-as-best-cake-trophy

The Queen’s Cup won at the Ascot Races in 1867. Silver racing trophy described by *The Illustrated London News* in 1867 as being ‘in the form of a tankard in Queen Anne’s style’. The ample body heavily decorated with applied cast vertical straps rising to a similar band of formal motifs, beaded scroll cartouche with an inscribed convex center. The generously designed handle terminating in a bearded lion mask and scrolled thumbpiece and the double-domed hinged cover surmounted by two rampant stallions. 1867. English. Made in London, England by Robert Garrard for R. and S Garrard and Company. Maker’s marks: the based stamped : “R & S GARRARD PANTON St LONDON”. Image © 2021 Sothebys. Fair use license. via https://www.sothebys.com/en/buy/auction/2021/gold-boxes-silver-and-ceramics/the-queens-cup-ascot-races-1867-a-magnificent

Steuben compotes. American art glass.

Pair of Steuben gold “Aurene” glass compotes, shallow bowls with inverted rims set on stems with a round base. Polished pontils, one with a Steuben foil label, both with later incised marks. Early 20th c. American, made in Corning, New York. Image © 1999 – 2021 SKINNER, INC, Fair use license. via https://www.skinnerinc.com/auctions/3726T/lots/1157

“Aurene,” “Jade,” and “Alabaster” Steuben art glass compotes. ca. 1920. American, made in Corning, New York. Frederick Carder, designer for Steuben. Maker’s marks: engraved “Aurene, F Carder.” Image © 2021 Heritage Auctions. Fair use license. via https://fineart.ha.com/itm/art-glass/three-frederick-carder-steuben-aurene-jade-and-alabaster-compotescirca-1920-engraved-aurene-f-carderht-8-in-/a/5356-79253.s

Pair of cut glass compotes with an undulating rim with cut underside and a twisted and faceted stem raised on a circular foot. ca. 1900. American, made in Corning, New York by Thomas G. Hawkes & Company which became Steuben. Maker’s marks: mark for Hawkes on the base rim. Image © 1999 – 2021 SKINNER, INC. Fair use license. via https://www.skinnerinc.com/auctions/2464/lots/98

Steuben panel-optic art glass open compotes in amber and Pomona green glass. ca. 1925. American, made in Corning, New York. Image © Jeffrey S. Evans & Associates. Fair use license. via https://www.jeffreysevans.com/auction/steuben-panel-optic-art-glass-open-compotes/

Cows by American artist William Henry Howe. Living from 1846 to 1929, he won a medal at the World’s Columbian Exposition in Chicago in 1893 (The White City).

“Lyme Pastures.” 1920. American. Signed and dated on the lower left. Currently located at the Dallas Museum of Art. In the public domain in the United States because the artist died over 70 years ago. via https://commons.wikimedia.org/wiki/File:William_Henry_Howe_-*Lyme_Pastures*(1920).jpg

“Monarch of the Farm.” 1891. American. Oil on canvas. Signed on the lower left. Collections of the Smithsonian American Art Museum. In the public domain because the artist died over 70 years ago. via https://commons.wikimedia.org/wiki/File:Monarch_of_the_Farm_SAAM-1921.1.3_1.jpg

“Made in the Shade.” 1887. American. Oil on canvas. Signed on the lower right. Image © 1stDibs.com, Inc. 2021. Fair use license. via https://www.1stdibs.com/art/paintings/animal-paintings/william-henry-howe-made-shade/id-a_5104802/

“Abandonment of the Whalers in the Arctic Ocean, September, 1871.” Three hand-colored lithographs from 1872 done in New Bedford, Massachusetts by Benjamin Russell. Looks awfully cold. Part of a current Swann Galleries auction catalogue.

“Abandonment of the Whalers in the Arctic Ocean, September, 1871: Blossom Shoals.” 1872. American. Hand-colored lithograph. John Henry Bufford, lithographer after Benjamin Russell. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/-WHALING–JH-Buffords-lithographers-Group-of-3-prints-depict?saleno=2580&lotNo=281&refNo=783413

“Abandonment of the Whalers in the Arctic Ocean, September, 1871″. The names of the various whaling vessels are listed including the ‘Victoria” over at the far right. 1872. American. Hand-colored lithograph. John Henry Bufford, lithographer after Benjamin Russell. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/-WHALING–JH-Buffords-lithographers-Group-of-3-prints-depict?saleno=2580&lotNo=281&refNo=783413

“Abandonment of the Whalers in the Arctic Ocean, September, 1871: The ‘Europa,’ the ‘Daniel Webster,’ the ‘Midas,’ the ‘Chance,’ the ‘Arctic’ , the ‘Progress’, and the ‘Lagoda’: Ships receiving the Captains, Officers, and Crews of Abandoned Ships” 1872. American. Hand-colored lithograph. John Henry Bufford, lithographer after Benjamin Russell. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/-WHALING–JH-Buffords-lithographers-Group-of-3-prints-depict?saleno=2580&lotNo=281&refNo=783413

These hand-colored lithographs appear to have been part of a larger set. Lithographs in sets or otherwise were very popular in 19th century America and the drawings for these images was probably done with the intention of selling them as prints. They refer to incident known as the Whaling disaster of 1871 off the northern Alaskan coast in which a fleet of 33 American whaling ships stayed were trapped in the Arctic ice in late 1871 and subsequently abandoned. Amazingly, no one died.

Please note that in my area where people went whaling from in the 19th century we regard these as history. I know depictions of whaling are not seen like that everywhere. However these images depict no actual whales, that and the ocean won.