Women out and about just a little while ago. Genre scenes, painted by George Dunlop Leslie RA who lived from 1835 to 1921. His father and his uncle were artists, too.

The Goldfish Seller. Undated. British. Oil on canvas mounted to panel. Signed G. D. Leslie on the lower right. Image © 2021 Sothebys. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/the-european-art-sale/the-goldfish-seller
The Convent Garden/In A Convent Garden . ca. 1857-1859. British. Oil on canvas. Image source; The Athenaeum. Located at Sudley House, Collections of the National Museums Liverpool. artuk.org. Artwork in the public domain because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:George_Dunlop_Leslie_-_The_Convent_Garden.jpg
 Girl in a Punt. 1859. British. Watercolor and pastel on medium, moderately textured, cream wove paper. Collections of and image source the Yale Center for British Art. CC0 License 1.0. via https://commons.wikimedia.org/wiki/File:George_Dunlop_Leslie_-Girl_in_a_PuntB1993.30.104-_Yale_Center_for_British_Art.jpg




Fortunes. Undated. British. Oil on canvas. Image source: Christies. Artwork in the public domain in the United States because the artist died over 70 years ago. via https://commons.wikimedia.org/wiki/File:George_Dunlop_Leslie_-_Fortunes.jpg

Lying around pretending to be one of the ancients when you are a Pre-Raphaelite person. Art by Sir William Ernest Reynolds-Stephens. Living from 1862 to 1943, he was born in America but painted in Great Britain. Studied at the Royal Academy School.

Roman Courtship. ca. 1900. American/British. Collections of the John and Mable Ringling Museum of Art, Sarasota, Florida. Artwork in the public domain due to age. via https://jazzerstenhdr.wordpress.com/2017/04/11/roman-courtship-at-the-john-and-mable-ringling-museum-of-art/
In the arms of Morpheus. Undated. American/British. Signed on the lower right. In the public domain due to age. via https://www.greeklegendsandmyths.com/morpheus.html
Summer.1891. External Link: 
http://www.italialiberty.it
. Artwork itself in the public domain due to age. via https://artsandculture.google.com/asset/summer-william-reynolds-stephens/3AHzTLJ0BahnYw

Paintings of children by English artist Richard Morton Paye. Living from 1750 to 1820, he was an important painter of the early English School and a fellow of the Society of Antiquaries of London. 

Children playing Peg Top. January 1, 1780. English. Image source: Artdealer2021. Cc0 License 4.0. via https://commons.wikimedia.org/wiki/File:%27Children_Playing_Peg_Top%27_by_Richard_Morton_Paye.png
The Badminton Player. Undated. English. Oil on canvas. Image © COPYRIGHT 2021 DREWEATTS 1759 LTD. Fair use license. via https://auctions.dreweatts.com/auctions/8021/drewea1-10269/lot-details/043a37fe-39bd-46e6-a5c3-addd012e53fd
Children Throwing Snow Balls., 1785. Print, part of the ‘British School II’ album, which originally contained 170 prints published between around 1713 and 1810. Engraving after a painting by Richard Morton Paye. Image ©Royal Academy of Arts. Fair use license. via https://www.royalacademy.org.uk/art-artists/work-of-art/children-throwing-snow-balls

Visions of an Arctic that looks a little different now taken from Bernard O’Reilly’s work “Greenland, the adjacent seas, and the North-west Passage to the Pacific Ocean, illustrated in a voyage to Davis’s strait, during the summer of 1817” with the illustrations made from drawings by the author. Published in 1818 in London. In the collections of the State Library of Alaska and the Library of the Marine Biological Laboratory and Woods Hole Oceanographic Institution.

Views of Greenland after passing Cape Farewell: Views of Land near Joris Bay (upper image); Land near Baal’s River (center image); Reep Kolle? (not legible, lower image). Page 42. Plate I. Engraving after a drawing by Bernard O’Reilly. Collections of the State Library of Alaska. In the public domain due to age. via https://library.alaska.gov/hist/hist_docs/docs/asl_G650_1817_06.pdf
Disko at Fortune Bay with Cirrus Radiation. Plate 3, Page 63. Collections of and digitalized by the Library of the Marine Biological Library and the Woods Hole Oceanographic Institution. In the public domain due to age. via https://archive.org/details/greenlandadjacen00orei/page/n63/mode/1up
Disko near Lievely with Parhelion. Plate IV, Page 67. Collections of and digitalized by the Library of the Marine Biological Library and the Woods Hole Oceanographic Institution. In the public domain due to age https://archive.org/details/greenlandadjacen00orei/page/n67/mode/1up

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.

Plates from Percy MacQuoid’s 1907 work “History of English Furniture: Age of Satinwood.” Published in Edinburgh by T. and A. Constable, printers to His Majesty (Edward VII).

Red lacquer cabinet: Property of H. Percy Dean, Esquire.Plate I, page 20. 1907. Shirley Slocombe, artist. The Society of the Four Arts and other collections. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n20/mode/1up
Gilt mirror on Chinese wall-paper: Property of the Duke of Beaufort. Figure 10, Page 27. 1907. The Society of the Four Arts and other collections. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n27/mode/1up
Inlaid commode: Property of Lady Russell. Plate II, page 50. 1907. Shirley Slocombe, artist. The Society of the Four Arts and other collections. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n50/mode/1up
Mahogany escritoire: Property of Messrs. Morant. Plate III, page 65. 1907. Shirley Slocombe, artist. The Society of the Four Arts and other collections. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n65/mode/1up
Satin and mahogany sideboard; Property of Percy MacQuoid, Esquire. Plate IV. Page 98. 1907. Shirley Slocombe, artist. The Society of the Four Arts and other collections. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n98/mode/1up
Gilt side table with inlaid top: Property of the Earl of Harewood. Figure 28,. Page 110. . 1907. The Society of the Four Arts and other collections. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n110/mode/1up
Gilt table with marble top: Property of W. Ingham Whitaker, Esquire. Plate V. Page 116. 1907. Shirley Slocombe, artist. The Society of the Four Arts and other collections. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n116/mode/1up
Inlaid folding card table: Property of Lord Zouche of Haryngworth. Plate VI. Page 126. 1907. Shirley Slocombe, artist. The Society of the Four Arts and other collections. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n126/mode/1up
Painted chair: Property of the Honorable Mrs. Whitaker (right); Satinwood chair with caned seat: Property of Miss Scholfield. Plate VII. Page 152. 1907. Shirley Slocombe, artist. The Society of the Four Arts and other collections. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n151/mode/1up

Various castles modeled up in Staffordshire ceramic. No tiny knights or damsels in distress included.

Large Staffordshire pearlware model of a castle with a central square tower enclosed within crenellated walls and accessed through heavily studded doors set within rusticated openings. Two round towers to either side and the walls with incised stonework washed in brown. Possibly meant to hold flowers. ca. 1800. British. Staffordshire. Ceramic. Image © Bonhams 2001-2021. Fair use license. via https://www.bonhams.com/auctions/26834/lot/314/?category=list&length=482&page=1
PStaffordshire pearlware spill vase composed of seven cylindrical castellated towers, the central one with lancet window and clock, on a red tiled base. ca. 1810. British. Ceramic. Staffordshire Image © 2018 Reeman Dansie. Fair use license. via https://www.reemandansie.com/auction/lot/51-staffordshire-castle-spill-vase/?lot=78811&sd=1
Staffordshire pastille burner modeled as Balmoral Castle in Scotland with multiple turrets and towers on a scroll molded white base with title plaque, walkway through the front garden to the red entry door, and green garlands with red flowers adorning the rooftops and turrets, Antique. British. Staffordshire. Ceramic. Provenance: Bonhams and Butterfields, December, 2005. Image © 2021 Chairish, Inc. Fair use license. via https://www.chairish.com/product/2585174/antique-english-staffordshire-figurine

Designs for Minton porcelain, taken from SD 1705/MS1842 | Designs for tiles and slabs by Moyr Smith and others. Collections of the Minton Archives, Stoke-on-Trent, England.

Numbers 1977, 1979, 1981, and 1991. Page 4 from SD 1705/MS1842 | Designs for tiles and slabs by Moyr Smith and others. Image © Minton Archive, Stoke-on-Trent, England. Artwork itself in the public domain due to age. via https://www.themintonarchive.org.uk/anniversary-update-531-tile-designs/
Number 1975. Page 5 from SD 1705/MS1842 | Designs for tiles and slabs by Moyr Smith and others. Image © Minton Archive, Stoke-on-Trent, England. Artwork itself in the public domain due to age. via https://www.themintonarchive.org.uk/anniversary-update-531-tile-designs/
Numbers 1993, 1997, 1998 with a notation for number 1994 that reads “Queen Anne Hearth” as 1939 only on Drab Body’, Page 6 from SD 1705/MS1842 | Designs for tiles and slabs by Moyr Smith and others. Image © Minton Archive, Stoke-on-Trent, England. Artwork itself in the public domain due to age. via https://www.themintonarchive.org.uk/anniversary-update-531-tile-designs/

People living life, mostly indoors. Gilbert Stuart Newton, painter. Nephew of the painter who painted George Washington, Gilbert Stuart Newton lived from 1795 to 1835. Born in what is now the province of Nova Scotia he mostly lived in Britain. He studied art with his famous uncle.

“The Beautiful Grisette.” a depiction of a scene from “A Sentimental Journey.” Undated but before 1835. American/British. Oil on canvas. Image courtesy of the Laurence Sterne Trust. Collections of the Laurence Sterne Trust. In the public domain in the United States because the artist died over 70 years ago. via https://commons.wikimedia.org/wiki/File:The_Beautiful_Grisette_by_Gilbert_Stuart_Newton_CCWSH1168.jpg
“Olivia’s Return.” ca. 1828. British. Collections of and photo credit the Victoria and Albert Museum, London. Artwork itself in the public domain due to age. svia http://www.artuk.org/artworks/olivias-return-31323
“Hiding Sir John Falstaff: A scene from Shakespeare’s The Merry Wives of Windsor. Early 19th c. British. Oil on canvas. Signed and dated indistinctly “G. S. Newton/18….8“. Transcribed signature “G. S. Newton” in red on the reverse. Image  © Copyright Lot-Art 2021.and Skinner Auctions. Fair use license. via  https://www.lot-art.com/auction-lots/Gilbert-Stuart-Newton-British-1794-1835/1072-gilbert_stuart-18.11.21-skinner