Visions of eruptions of Mount Vesuvius. Illustrations by Peter Fabris for William Hamilton’s “Campi Phlegraei” which came out between 1776 and 1779.

Lava emerging from Mount Vesuvius at night and running towards Resina. 11 May 1771. 1776. Colored etching by Pietro Fabris after a drawing made by him in 1771. Collections of the Wellcome Library, London. Images@wellcome.ac.uk http://wellcomeimages.org. Cc0 License 4.0. via https://publicdomainreview.org/collection/campi-phlegraei

Mount Vesuvius emitting a column of smoke after its eruption on 8 August 1779. ca. 1779. Colored etching by Pietro Fabris after a drawing made by him. Collections of the Wellcome Library, Images@wellcome.ac.uk . London. Cc0 License 4.0. via https://publicdomainreview.org/collection/campi-phlegraei

The eruption of Mount Vesuvius in the night of 8 August 1779. ca. 1779. Colored etching by Pietro Fabris after a drawing made by him. Collections of the Wellcome Library, Images@wellcome.ac.uk . London. Cc0 License 4.0. via https://publicdomainreview.org/collection/campi-phlegraei

Envoy Extraordinary to the Kingdom of the Two Sicilies, William Hamilton (1730–1803) William Hamilton (1730-1803) was a British diplomat who served as Envoy Extraordinary to the Kingdom of the Two Sicilies whose capital was Naples. Present for the eruptions of Mount Vesuvius during the mid-to-late eighteenth century, Hamilton wrote Campi Phlegraei in two parts, with a tertiary supplement, based on his 1772 Observations on Mount Vesuvius for the Royal Society. Published in French and English, he hired local artist Pietro Fabris to illustrate it. These images are colored etchings after gouaches by Fabris. They are taken from a recent post from publicdomainreview.org with the etchings being part of the Wellcome Collection.

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

Hand colored etchings from Marco Carloni’s 1776 work “Vestigia delle terme di Tito e loro interne pitture.” All of these drawn by Francesco Smugliewicz and Vincenzo Brenna, and engraved by Marco Carloni. There are a couple of volumes with the etchings in black and white. These were hand colored later, for a large folio edition. Various sources.

Hand colored etching showing a man and two dancers. from the large folio volume “Vestigia delle Terme di Tito e loro internal pitture”. 1780. Inventory ID #21755. Collections of and Image © the Albertina Museum, Vienna. Artwork itself in the public domain due to age. via https://sammlungenonline.albertina.at/?query=search=/record/objectnumbersearch=%5B21755%5D&showtype=record#/query/a953e64e-84a5-4752-aac5-4ca523ddea4b

Bezel illustration panel with three women from the large folio volume “Vestigia delle Terme di Tito e loro internal pitture”. 1780. Inventory ID #21760. Collections of and Image © the Albertina Museum, Vienna. Artwork itself in the public domain due to age. via https://sammlungenonline.albertina.at/?query=search=/record/objectnumbersearch=%5B21760%5D&showtype=record#/query/7460b920-2605-4b28-a4f2-856f3db5660b
Baths of Titus (Domus Aurea) from the large folio volume “Vestigia delle Terme di Tito e loro internal pitture”. 1776. Italian. Copper engraving with watercolor and tempera. Image © Galleria Trincia – Stampe Antiche – Roma, Fair use license. via http://www.pierotrincia.it/it/3067/pitture-murali-delle-terme-di-tito—marco-carloni.html
Plate nine from “Vestigia delle Terme di Tito e Loro Interne Pitture.” 1776-1778. Italian. Hand colored etching. Collections of the British Museum. Artwork itself in the public domain due to age. via https://enfilade18thc.com/2021/03/12/print-quarterly-march-2021/

Plates from W. H. Pyne’s work “The history of the royal residences of Windsor Castle, Saint James’s Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore” which was published between 1816 and 1819. These being from Volume I of three.

“Ancient Kitchen, Windsor Castle.” Image 29. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t7qp2n24k&view=1up&seq=31
“Ancient Bell Tower, Windsor Castle.” Image 52. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t7qp2n24k&view=1up&seq=52
“Staircase, Windsor Castle.” Image 108. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t7qp2n24k&view=1up&seq=108

Characters in “Mascarade à la Greque,” a parade of fantastical architectural outfits envisioned up by French artist Ennemond Alexandre Petitot who lived from 1727 to 1801 and was also Court Architect at Parma when he wasn’t dreaming things up. Etched and published by Benigno Bossi (1727–1792). Collections of the Los Angeles County Museum of Art. via publicdomainreview.com.

“Bergere a la Grecque.” ca. 1771. Collections of the Los Angeles County Museum of Art. In the public domain due to age. via https://publicdomainreview.org/collection/greek-masquerade
“Berger a la Grecque.” ca 1771. Collections of the Los Angeles County Museum of Art. In the public domain due to age. via https://publicdomainreview.org/collection/greek-masquerade
La Mariée à la Grecque.” ca. 1771. Collections of the Los Angeles County Museum of Art. In the public domain due to age. via https://publicdomainreview.org/collection/greek-masquerade
“L’Epoux a la Grecque.” ca. 1771. Collections of the Los Angeles County Museum of Art. In the public domain due to age. via https://publicdomainreview.org/collection/greek-masquerade
“Sacerdotesse a la Grecque.” ca. 1771. Collections of the Los Angeles County Museum of Art. In the public domain due to age. via https://publicdomainreview.org/collection/greek-masquerade
“Jeune Moine à la Grecque.” ca. 1771. Collections of the Los Angeles County Museum of Art. In the public domain due to age. via https://publicdomainreview.org/collection/greek-masquerade

Etchings all with cactus. American. George Elbert Burr, artist. Living from 1859 to 1939, Burr studied briefly at the Art Institute of Chicago. Also did oil paintings, watercolors, and pen and ink drawings.

“Superstition Mountains.” 1920s. Etching. Signed with the initials “GB” on the lower left. Image © 2002-2020 LiveAuctioneers and Mark Sublette Medicine Man Gallery & Auction, Tucson. Fair use license. via https://www.liveauctioneers.com/item/90431574_george-elbert-burr-superstition-mountains
“Giant Cactus, Tucson, Arizona.” 1930s. American. Etching. Signed on the lower left. Image © Mark Sublette Medicine Man Gallery & Auction, Tucson. Fair use license. via https://www.medicinemangallery.com/western-fine-art/early-western-artists/burr-george-elbert-1859-1939/sold-george-elbert-burr-1859-1939-giant-cactus-tucson-arizona.html
“Camelback Mountain, Phoenix, Arizona.” (S. 255). Undated. American. Etching. Signed and titled in pencil. Image © 2020 William Doyle Galleries, Inc. Fair use license. via https://doyle.com/auctions/0204301-books-prints/catalogue/184-george-elbert-burr

Fantasy architecture straight out of the 16th century. French. Jacques I Androuet du Cerceau, (duCerceau), creator (1510-1584). Maybe it looked like that, maybe it didn’t. Doesn’t matter, really.

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Grotesque Ornament Panel. 1566. French. Etching. Collections of the Metropolitan Museum of Art, New York. In the public domain due to age. via https://www.metmuseum.org/art/collection/search/338721

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Design for furniture. 1565-1570. French. Etching. Collections of the Metropolitan Museum of Art, New York. In the public domain due to age. via https://www.metmuseum.org/art/collection/search/787857

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Moorish ornament design, one of 19 etchings that were printed in Antwerp in 1563. Image © CHRISTIE’S 2020. Fair use license. via https://www.christies.com/lotfinder/Lot/androuet-du-cerceau-jacques-ca-1520-1586-5698258-details.aspx

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Soffitto con puttini. 1560. French. Etching. Image © 1996 – 2020 AbeBooks Inc. Fair use license. via https://www.abebooks.com/Soffitto-puttini-Jacques-Androuet-CERCEAU/22415633842/bd

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Architecture fantastique. 16th c. French. Collections of the Musée Condé (Chantilly) (RMN). Fair use license. via http://meonline.hu/en/magyar-epitomuveszet-hirek/androuet-du-cerceau-1520-1586/