Athens, Greece as it used to be. In the eighteenth century, that is. Imagery from James Stuart and Nicholas Revett’s “Antiquities of Athens”. Coming out in three volumes in 1762, 1787 and 1794 it was printed in London by John Haberkorn.

“Parthenon, Athens: transverse section of the portico.” 1787, British. Etching with engraving after a drawing by Nicholas Revett. From Volume II of “The Antiquities of Athens.” Archival ID#05/570.  © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates Limited. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/parthenon-athens-transverse-section-of-the-portico
“View of the Eastern front of the Parthenon.” 1787. British. Plate I. Etching with engraving after a drawing by James Stuart. From Volume II of “The Antiquities of Athens.” Archival ID#05/568.  © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates Limited. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/view-of-the-eastern-front-of-the-parthenon
“View of the Erechtheion, Athens, October 1787.” 1787. British. Plate I. Etching with engraving after a drawing by James Stuart. From Volume II of “The Antiquities of Athens.” Archival ID#05/571.  © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates Limited. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/view-of-the-erechtheion-athens-1

Images of the conservatory Carlton House, city home of the Prince Regent who liked everything jazzed up in a most expensive way.

“”The Conservatory, Carlton House” showing how it may look filled with plants. The conservatory was never built. ca. 1808. British. Pen and ink with watercolor over pencil. Humphrey Repton, maker (1752-1818). Image © Royal Collection Trust. Artwork itself in the public domain due to age. via https://www.rct.uk/collection/917090/the-conservatory-carlton-house
“A view of the interior of the conservatory at Carlton House.” Illustration which ran in the September 1, 1811 issue of Ackermann’s Repository of Arts, Volume 6, Number 33, facing page 167. British. Rudolph Ackermann, publisher. In the public domain due to age. via https://commons.wikimedia.org/wiki/File:Carlton_House,_Conservatory,_from_Ackermann%27s_Repository_of_Arts,_1811.jpg
“The interior of the Prince of Wales’ conservatory at Carlton House.” 1811. British. Print. Inscription: Lettered below image with title and “Thomas Hopper, architect/ Engraved Exclusively for La Belle Assemblee, Published by John Bell, Southampton St. Strand, London, September 1, 1811.” Collections of Tyntesfield, North Somerset. Image Tyntesfield © National Trust. Artwork itself in the public domain due to age. via http://www.nationaltrustcollections.org.uk/object/22291.16
“The Exterior of the Prince of Wales’ conservatory at Carlton House,” view of a grand conservatory in the gardens of Carlton House surrounded by trees and shrubs. 1817. British. Inscription: Lettered below image with title and “Thomas Hopper, Architect / Engraved Exclusively for La Belle Assemblee, Published by John Bell, Southampton St. Strand, London, November 1. 1817”. Collections of the British Museum. Cc0 License 4.0. via https://www.britishmuseum.org/collection/image/607638001

Portraits of African animals, hand colored aquatints (watercolors), taken from Samuel and William Daniell’s 1804 work “African Scenery and Animals”. From a family of landscape artists, Samuel Daniells traveled extensively in Africa with his brother William where they drew as they went, publishing their work after. All of these being offered in one lot by Doyle Auctions in New York.

“The African Rhinoceros.” 1804-1805. British. Hand-colored aquatint. Published by the artist in London. Image © 2002-2021 LiveAuctioneers. and Doyle New York. Fair use license. via https://www.liveauctioneers.com/item/108742033_samuel-daniell-the-hippopotamus-the-african-hog-the
“The Hippopotamus.” 1804-1805. British. Hand-colored aquatint. Published by the artist in London. Image © 2002-2021 LiveAuctioneers. and Doyle New York. Fair use license. via https://www.liveauctioneers.com/item/108742033_samuel-daniell-the-hippopotamus-the-african-hog-the
“The Klip-springer.” 1804-1805. British. Hand-colored aquatint. Published by the artist in London. Image © 2002-2021 LiveAuctioneers. and Doyle New York. Fair use license. via https://www.liveauctioneers.com/item/108742033_samuel-daniell-the-hippopotamus-the-african-hog-the
“The African Hog.” 1804-1805. British. Hand-colored aquatint. Published by the artist in London. Image © 2002-2021 LiveAuctioneers. and Doyle New York. Fair use license. via https://www.liveauctioneers.com/item/108742033_samuel-daniell-the-hippopotamus-the-african-hog-the

Visions of an earlier Greece back in 1801 to 1806, back when it was part of the Ottoman Empire. Illustrative plates from Volume I of Edward Dodwell’s 1819 work “A Classical and topographical tour through Greece.” Published in London.

“Sacred well at Patra.” Page 150. British. From a drawing by S. Pomardi. Smith, engraver. Collections of and digitalized by the Getty Research Institute. In the public domain. via https://archive.org/details/classicaltopogra01dodw/page/n150/mode/1up
“Drawbridge at Corfu.” Page 63. British. From a drawing by S. Pomardi. Charles Heath, engraver. Collections of and digitalized by the Getty Research Institute. In the public domain. via https://archive.org/details/classicaltopogra01dodw/page/n63/mode/1up
“Zakunthos.” Page 113. British. From a drawing by S. Pomardi. William Lizars, engraver. Collections of and digitalized by the Getty Research Institute. In the public domain. via https://archive.org/details/classicaltopogra01dodw/page/n113/mode/1up

“Salona.” Page 179. British. After a drawing by Edward Dodwell. Radcliffe, engraver. Collections of and digitalized by the Getty Research Institute. In the public domain. via https://archive.org/details/classicaltopogra01dodw/page/n179/mode/1up

Mirror frames that were old in 1836, one coming with its own furniture. Not your average Ikea kind of thing. Plates from Samuel Rush Meyrick’s “Specimens of Ancient Furniture.” Published in London by William Pickering. The illustrations drawn by Henry Shaw from existing authorities.

“Looking glass, of the time of Queen Elizabeth, in the possession of Sir Samuel Meyrick, Goodrich Court, Hertfordshire.” Page 26. Drawn and engraved by Henry Shaw. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/specimensofancie00meyr/page/26/mode/1up
“French looking glass, from Willimen’s ‘Monuments français inédits.” Page 39. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/specimensofancie00meyr/page/n39/mode/1up
“Silver furniture, at Knole Park, a seat of the Countess of Plymouth, date the time of James II.” page 41. Drawn and engraved by Henry Shaw. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/specimensofancie00meyr/page/n41/mode/1up

Ornamental designs by Jean-Bernard Honoré Turreau (Bernard Turreau). French, he lived from 1672 to 1731. A sculptor and ornamentalist.

Water Fantasy with Neptune and sea horses. ca. 1729. French. Graphite under pen and black ink with wash on cream laid paper affixed to triple ply cream laid paper mount. Bernard Turreau, artist. Image ©2021 Fine Arts Museums of San Francisco. Fair use license. via https://art.famsf.org/jean-bernard-honore-turreau/ornamental-design-water-fantasy-neptune-and-sea-horses-196324285
Tomb. ca. 1716. French. Bernard Turreau, artist. Digitalized collection of the Library of the National Institute of the History of Art (INHA), Paris. Inage source: INHA>.Cc0 License 4.0. via https://commons.m.wikimedia.org/wiki/File:Bernard_Turreau_tombeau_p106.jpg
Arabesques. ca 1716. French. Bernard Turreau, artist. Charles Nicolas Cochin the Elder, engraver. Digitalized collection of the Library of the National Institute of the History of Art (INHA) Image source: INHA. Cc0 License 4.0. via https://commons.wikimedia.org/wiki/File:Bernard_Turreau_Cocin_p14.jpg
Coupe ou brasero. ca. 1716. Digitalized collection of the Library of the National Institute of the History of Art (INHA) Image source: INHA. Cc0 License 4.0. via https://commons.wikimedia.org/wiki/File:Bernard_Turreau_-Brasero-_p118.jpg

Embroidery patterns from the “Lady’s Magazine.” Run up a veil on your sewing machine with these and look like Charlotte, Princess Royal.

“New and Elegant Patterns for Children’s Caps,” engraved for the Lady’s Magazine. 1810. British, published in London. Special Collections and Archives, Cardiff University. Cc0 License 4.0. via https://archive.org/details/LMG00009
“New and Elegant Pattern for a Veil or Bottom of a Dress,” engraved for the Lady’s Magazine. 1810. British, published in London. Special Collections and Archives, Cardiff University. Cc0 License 4.0. via https://archive.org/details/LMG00006

“An Elegant New Pattern for the Head-piece and Border of a Cap,” engraved for the Lady’s Magazine. 1812. British, published in London. Special Collections and Archives, Cardiff University. Cc0 License 4.0. via https://archive.org/details/LMG00016
New Pattern for a Frill and Ruff,” engraved for the Lady’s Magazine. 1812. Published in London, England.  Special Collections and Archives, Cardiff University. Cc0 License 4.0. via https://archive.org/details/LMG00023

Portraits of Native American chiefs. “The aboriginal portfolio : a collection of portraits of the most celebrated chiefs of the North American Indians.” Published in Philadelphia in 1835, it is the work of James Otto Lewis (1799-1858).

“Kee-O-Kuck or the Watching Fox: The present chief of the Sauk tribe and Successor to Black Hawk.” Page 1. Painted by J. O. Lewis at the great treaty of Prairie du Chien in 1825. Lehman and Duval, Philadelphia, engravers. Gregory Javitch Native Peoples of the New World Collection, University of Alberta Libraries. In the public domain due to age. via https://archive.org/details/bp_1389667/mode/1up
“Nabu-Naa-Kee-Schick or The One Side of the Sky. A Chippewa chief.” Page 2. Painted at the Treaty of Fond du Lac (on Lake Superior) by J. O. Lewis in 1826. Lehman and Duval, Philadelphia, engravers. Gregory Javitch Native Peoples of the New World Collection, University of Alberta Libraries. In the public domain due to age. via https://archive.org/details/bp_1389667/page/n1/mode/1up
“Waa-Na-Taa or the Foremost in Battle: Chief of the Sioux Tribe.” Page 3. Painted by J. O. Lewis at the Treaty of Prairie du Chien in 1825. Lehman and Duval, Philadelphia, engravers. Gregory Javitch Native Peoples of the New World Collection, University of Alberta Libraries. In the public domain due to age. via https://archive.org/details/bp_1389667/page/n2/mode/1up
“The Little Crow: A celebrated Sioux Chief.” Page 12. Page 3. Painted by J. O. Lewis at the Treaty of Prairie du Chien in 1825. Lehman and Duval, Philadelphia, engravers. Gregory Javitch Native Peoples of the New World Collection, University of Alberta Libraries. In the public domain due to age. via https://archive.org/details/bp_1389667/page/n12/mode/1up

James Otto Lewis started out as an engraver in Philadelphia around 1815. Fascinated by what he learned of the western territories, as a young man he went west in 1819. Traveling with the governor of the Michigan Territory Lewis worked for the United States government painting official portraits of Native Americans in the course of his employment which included attending numerous treaties and ceremonies so these are painted from life. Learn more about him here https://en.wikipedia.org/wiki/James_Otto_Lewis. Quite a few so more for later posts, too.

Hand-colored aquatint and engraved folio sheets of places on the Hudson River in New York State taken from the “Hudson River Portfolio”. William Guy Wall, artist. Engraved by John Hill. Published in New York by Henry I Megarey between 1821 and 1825. All of these taken from a current Swann Auctions catalog.

“View from Fort Montgomery,” from the “Hudson River Portfolio.” William Guy Wall, artist. John Hill, engraver. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/-HUDSON-RIVER-PORTFOLIO–John-Hill–after-William-Guy-Wall-G?saleno=2571&lotNo=221&refNo=777821
“Troy from Mount Ida,” from the “Hudson River Portfolio.” William Guy Wall, artist. John Hill, engraver. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/-HUDSON-RIVER-PORTFOLIO–John-Hill–after-William-Guy-Wall-G?saleno=2571&lotNo=221&refNo=777821
“View near Fort Miller,” from the “Hudson River Portfolio.” William Guy Wall, artist. John Hill, engraver. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/-HUDSON-RIVER-PORTFOLIO–John-Hill–after-William-Guy-Wall-G?saleno=2571&lotNo=221&refNo=777821
“View near Sandy Hill,” from the “Hudson River Portfolio.” William Guy Wall, artist. John Hill, engraver. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/-HUDSON-RIVER-PORTFOLIO–John-Hill–after-William-Guy-Wall-G?saleno=2571&lotNo=221&refNo=777821
“Rapids above Hadleys Falls.” from the “Hudson River Portfolio.” William Guy Wall, artist. John Hill, engraver. Image © Swann Auction Galleries. Fair use license. via https://catalogue.swanngalleries.com/Lots/auction-lot/-HUDSON-RIVER-PORTFOLIO–John-Hill–after-William-Guy-Wall-G?saleno=2571&lotNo=221&refNo=777821

Landscapes with mountains painted by German artist Carl Ludwig Hackert who also lived in Switzerland and made at least one trip to Italy. (1740-1796).

“An Italian palace, possibly The Reggia of Portici, Naples.” 18th c. German. Gouache within black ink framing lines. Image © 2021 Sothebys. Fair use license. via https://www.sothebys.com/en/buy/auction/2021/old-master-drawings/an-italian-palace-possibly-the-reggia-of-portici
“A view of Mont Blanc and Geneva.” 1796. German. Gouache on paper. Signed, inscribed and dated “Vue du Mont Blanc et Genève peint par Carl Hackert 1796” on the lower left. Image © CHRISTIE’S 2021. Fair use license. via https://www.christies.com/en/lot/lot-5605563
“Vue de la Source de L’Arveron.” View of the Arve rising from a glacier, with men sitting on stones in the river. ca 1780. German. Hand colored etching. Inscription: Lettered with the title and signed “Carl Hackert f.” in the margin. Image © The Trustees of the British Museum. Artwork itself in the public domain due to age. Fair use license. via https://www.britishmuseum.org/collection/object/P_1958-0712-1351