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.

red rose and green leafed
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.

“Viviparous Quadrupeds of North America” which was issued in 30 parts between 1845 and 1848. Animals drawn from nature by John James and John Woodhouse Audubon and printed and colored by J.T. Bowen of Philadelphia. In two volumes. Collections of the Cincinnati and Hamilton County Public Library.

“American Beaver.” 1844. American. Plate number XLVI (46). Volume 1. After John James and John Woodhouse Audubon. Printed and colored by J. T. Bowen. Collections of the
Cincinnati & Hamilton County Public Library. Genealogy & Local History Department. Artwork in the public domain due to age. via https://digital.cincinnatilibrary.org/digital/collection/p16998coll34/id/47/rec/2
“Bos americanus, Gmel. American Bison or Buffalo. 1/7 Natural Size. Male.” 1845. Plate LVI (56). Volume 1. After John James and John Woodhouse Audubon. Printed and colored by J. T. Bowen. Collections of the
Cincinnati & Hamilton County Public Library. Genealogy & Local History Department. Artwork in the public domain due to age. via https://digital.cincinnatilibrary.org/digital/collection/p16998coll34/id/57/rec/4
“Ursus americanus, Pallas. American Black Bear. Male and Female.” 1848. Plate
CXLI (141). Volume 2. After John James and John Woodhouse Audubon. Printed and colored by J. T. Bowen. Collections of the
Cincinnati & Hamilton County Public Library. Genealogy & Local History Department. Artwork in the public domain due to age. via https://digital.cincinnatilibrary.org/digital/collection/p16998coll34/id/146/rec/5

Dramatic looking landscapes by American artist Louisa Davis Minot. Living from 1788 to 1858, she was part of the Hudson River School.

“White Mountains.” 19th c. American. Oil on canvas. Unsigned, titled and attributed on a handwritten gummed label affixed to the stretcher, with a temporary loan label from the Museum of Fine Arts, Boston, also on the stretcher. Attributed to Louisa Davis Minot. Image © 1999 – 2020 SKINNER, INC, Fair use license. via https://live.skinnerinc.com/lots/view/4-3KUQ3Y/attributed-to-louisa-davis-minot-american-1788-1858
Niagara Falls. 19th c. American. Oil on canvas. Louisa Davis Minot, painter. In the public domain due to age. via https://fineartamerica.com/featured/niagara-falls-louisa-davis-minot.html.
“Niagara Falls.” 1818. American. Oil on linen. Louisa Davis Minot, artist. Collections of the New York Historical Society. Image © The New-York Historical Society. Fair use license. via https://www.researchgate.net/figure/Niagara-Falls-1818-by-Louisa-Davis-Minot-Oil-on-linen-762-1032-cm-Gift-of-Mrs_fig4_307840044

Diamond Head, Waikiki Beach, Honolulu, Hawaii. Mostly paintings but a travel poster or two included.


“Canoes at Diamond Head”. 1890. American. Oil on canvas. Edward Bailey, artist (1814-1903). Collections of the Bailey House Museum, Maui. In the public domain because the artist died over 100 years ago. via https://en.wikipedia.org/wiki/File:%27Canoes_at_Diamond_Head%27,_oil_on_canvas_painting_by_Edward_Bailey,_1890,_Maui_Historical_Society.jpg


“Waikiki Beach.” ca. 1898. American. Oil on redwood panel. Charles Furneaux, artist (1835-1913). Image source: https://archive.is/X51XG Frazier Fine Art. In the public domain in the United States because the artist has been dead over 100 years. via https://commons.wikimedia.org/wiki/File:%27Waikiki_Beach%27_by_Charles_Furneaux,_c._1898.JPG
“Waikiki Beach, Honolulu, Hawaii.” 1950s travel poster, printed in Maui, Hawaii. Image © Art.com. Fair use license. via https://www.art.com/products/p13457081247-sa-i6457290/fred-ludekens-waikiki-beach-honolulu-hawaii-c-1950s.htm
“Diamond Head and Waikiki Beach”. 1918. American. Oil on canvas. Lionel Walden, artist (1861 or 1862 – 1933). Collections of the Hawaii State Art Museum. In the public domain in the United States because the artist died over 80 years ago. via https://commons.wikimedia.org/wiki/File:%27Diamond_Head_and_Waikiki_Beach%27_by_Lionel_Walden,_1918,_Hawaii_State_Art_Museum.JPG

Early American portraits of children. Joseph Goodhue Chandler, artist. Living from 1813 to 1884, he studied art in Albany, New York. First working as an itinerant painter, he later had a studio in Boston.

Portrait of Hugh and Wright Carpenter. ca. 1861. American. Oil on canvas. Attributed to Joseph Goodhue Chandler. Collections of the Bennington Museum, Bennington, Vermont. Image source: Daderot.In the public domain because the artist died over 70 years ago. via https://commons.wikimedia.org/wiki/File:Hugh_and_Wright_Carpenter,attributed_to_Joseph_Goodhue_Chandler,_c._1861,_oil_on_canvasBennington_MuseumBennington,_VT-_DSC08549.JPG
Full Length Portrait of Two Children, The Boy Holding a Cane, The Girl in a Red Dress Holding a Basket of Flowers. ca. 1840. American. Oil on canvas. Unsigned. Attributed to Joseph Goodhue Chandler. Image © 2017 Jeffrey Tillou Antiques. Fair use license. via https://www.tillouantiques.com/inventory/joseph-goodhue-chandler-1813-1884-activelived-in-massachusetts-new-york/
“The Slater Children.” ca. 1835. American. Oil on canvas. Joseph Goodhue Chandler, artist. Artwork in the public domain due to age. via https://poulwebb.blogspot.com/2016/12/american-folk-art-part-18.html
1837-1845c “Young Girl Holding a Cluster of Grapes with Her Dog at Her Feet.” ca. 1837-1845. American.
Oil on canvas. Joseph Goodhue Chandler, artist. Artwork in the public domain due to age. via https://poulwebb.blogspot.com/2016/12/american-folk-art-part-18.html
“Miss Mary S. Gardner aged Three Years.” 1850. American. Oil on canvas. Joseph Goodhue Chandler, artist. Artwork in the public domain due to age. via https://poulwebb.blogspot.com/2016/12/american-folk-art-part-18.html