Make your new house look very old even if it is new. Decor ideas from back in time, taken from H. Davis Benn’s work “Style in furniture” which was illustrated by W. C. Baldock. Published in London in 1920.

Elizabethan I. Plate 1, page 3 of H. David Benn’s Style in Furniture. W. C. Baldock, illustrator. Collections of the Robarts Library at the University of Toronto. MSN, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/styleinfurniture00bennuoft/page/n4/mode/1up

Henry-the-Eighth armoire. Now in the possession of Mr. J. Seymour Lucas, R.A.). Page 4 of H. David Benn’s Style in Furniture. W. C. Baldock, illustrator. Collections of the Robarts Library at the University of Toronto. MSN, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/styleinfurniture00bennuoft/page/4/mode/1up

Elizabethan. Page 22 of H. David Benn’s Style in Furniture. W. C. Baldock, illustrator. Collections of the Robarts Library at the University of Toronto. MSN, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/styleinfurniture00bennuoft/page/22/mode/thumb

More plates in gold and pretty colors from “Historic Styles Of Ornament containing 1,500 examples from all countries.” Translated from the original German of H. Dolmetsch and published by B. T. Batsford in London in 1898. Maybe it looked like this in Ancient Greece, maybe not. Either way they are fun.

Greek: ornamental architecture and sculpture. Page 22. British. Collections of Ohio State University. In the public domain due to age. via https://archive.org/details/HistoricStylesOfOrnament/page/n22/mode/1up
Greek: Polychrome architecture. Page 26. British. Collections of Ohio State University. In the public domain due to age. via https://archive.org/details/HistoricStylesOfOrnament/page/n26/mode/1up
Greek: Pottery. Page 28. British. Collections of Ohio State University. In the public domain due to age. via https://archive.org/details/HistoricStylesOfOrnament/page/n28/mode/1up

Lithographs of Victorian cats, taken from Daniel Giraud Elliot’s “A Monograph of the Felidæ or Family of Cats” which was printed in London by Taylor and Francis between 1878 and 1883. All of these being part of one lot in a current Sotheby’s sale.

Felis Domestica, lithographic plate from Daniel Giraud Elliot’s A Monograph of the Felidæ or Family of Cats. 1878-1883. English, printed in London. J. Smit, lithographer after Josef Wolf. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/books-and-manuscripts-from-the-collection-of-jay-i-kislak-sold-to-benefit-the-kislak-family-foundation/elliot-daniel-gi
Felis Lynx, lithographic plate from Daniel Giraud Elliot’s A Monograph of the Felidæ or Family of Cats. 1878-1883. English, printed in London. J. Smit, lithographer after Josef Wolf. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/books-and-manuscripts-from-the-collection-of-jay-i-kislak-sold-to-benefit-the-kislak-family-foundation/elliot-daniel-gi
Felis Caracal, lithographic plate from Daniel Giraud Elliot’s A Monograph of the Felidæ or Family of Cats. 1878-1883. English, printed in London. J. Smit, lithographer after Josef Wolf. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/books-and-manuscripts-from-the-collection-of-jay-i-kislak-sold-to-benefit-the-kislak-family-foundation/elliot-daniel-gi
Felis Chaus, lithographic plate from Daniel Giraud Elliot’s A Monograph of the Felidæ or Family of Cats. 1878-1883. English, printed in London. J. Smit, lithographer after Josef Wolf. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/books-and-manuscripts-from-the-collection-of-jay-i-kislak-sold-to-benefit-the-kislak-family-foundation/elliot-daniel-gi

Plates in gorgeous colors from Mary Gartside’s 1808 work “The Rainbow for their Guide:  New Theory of Colours.”

Yellow. Page 56. English. Printed in London by J. Barfield. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015119437/page/n56/mode/1up
Orange. Page 60. English. Printed in London by J. Barfield. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015119437/page/n60/mode/1up
Scarlet. Page 64. English. Printed in London by J. Barfield. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015119437/page/n64/mode/1up

Views of Ancient Greece as seen in the mid 18th century. Plates from Julien David LeRoy’s work “Monuments de la Grèce, considérées du côté de l’histoire et l’architecture”. Printed in 1770 in Paris by Louis-François Delatour. Collections of the BnF Gallica, the digital version of the Bibliothèque nationale de France.

Vue sur les ruines des Propylées, ou la porte de la citadelle d’Athènes. Page VI, Plate VI. 1770. French. French. Julien David LeRoy, artist. Jacques Philippe Le Bas, engraver. © Collections of and image BnF Gallica, the digital version of the Bibliothèque nationale de France. Artwork itself in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/bpt6k854533n/f55.item#
Vue du Théâtre’ d’Athènes. Page VII. 1770. French. French. Julien David LeRoy, artist. Jacques Philippe Le Bas, engraver. © Collections of and image BnF Gallica, the digital version of the Bibliothèque nationale de France. Artwork itself in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/bpt6k854533n/f60.item#
Vue de Temple de Thésée à Athene. Page NP. 1770. French. French. Julien David LeRoy, artist. Jacques Philippe Le Bas, engraver. © Collections of and image BnF Gallica, the digital version of the Bibliothèque nationale de France. Artwork itself in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/bpt6k854533n/f64.item#

Imagery from the Falls of Saint Anthony to the Gulf of Mexico, taken from “Das Illustrirte Mississippithal … vom Wasserfalle zu St. Anthony an bis zum Golf von Mexico (eine Entfernung von ungefähr 2300 englischen Meilen)”. Published in Dusseldorf between 1854 and 1858. By Henry Lewis

Fort Snelling, Minnesota. 1854-1858. Page 36. of Henry Lewis’s work “Das Illustrirte Mississippithal … vom Wasserfalle zu St. Anthony an bis zum Golf von Mexico (eine Entfernung von ungefähr 2300 englischen Meilen)” Lithographic print. Collections of the University of Pittsburgh Library System. Lyrasis Members and Sloan Foundation, digitalizing sponsor. In the public domain due to age. See the link to zoom in https://archive.org/details/dasillustrirtemi00lewi/page/n36/mode/1up?view=theater
Indian deputation. 1854-1858. Page 36. of Henry Lewis’s work “Das Illustrirte Mississippithal … vom Wasserfalle zu St. Anthony an bis zum Golf von Mexico (eine Entfernung von ungefähr 2300 englischen Meilen)” Lithographic print. Collections of the University of Pittsburgh Library System. Lyrasis Members and Sloan Foundation, digitalizing sponsor. In the public domain due to age. See the link to zoom in https://archive.org/details/dasillustrirtemi00lewi/page/n32/mode/1up?view=theater
Mouths of the Mississippi. 1854-1858. Page 40. of Henry Lewis’s work “Das Illustrirte Mississippithal … vom Wasserfalle zu St. Anthony an bis zum Golf von Mexico (eine Entfernung von ungefähr 2300 englischen Meilen)” Lithographic print. Collections of the University of Pittsburgh Library System. Lyrasis Members and Sloan Foundation, digitalizing sponsor. In the public domain due to age. See the link to zoom in https://archive.org/details/dasillustrirtemi00lewi/page/n40/mode/1up?view=theater

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.

Views of Ancient Greece as seen in the mid 18th century. Plates from Julien David LeRoy’s 1770 work “Monuments de la Grèce, considérées du côté de l’histoire et l’architecture”. Printed in 1770 in Paris by Louis-François Delatour. Collections of the BnF Gallica, the digital version of the Bibliothèque nationale de France but the Royal Academy in London has it too. The captioning here is an English translation of the original French and is taken from the Royal Academy website.

“View of some temple fragments, situated in a place in Attica called Thoricion.” 1758. Page II, view 36. French. Julien David LeRoy, artist. Jacques Philippe Le Bas, engraver. Collections and image BnF Gallica, the digital version of the Bibliothèque nationale de France. Art work itself in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/bpt6k854533n/f36.item#
“Vue de Temple de Minerve à Athene.” Page IV, View 48. 1758. French. Julien David LeRoy, artist. Jacques Philippe Le Bas, engraver. Collections and image BnF Gallica, the digital version of the Bibliothèque nationale de France. Art work itself in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/bpt6k854533n/f48.item#
“View of the Erechtheion, Athens.” Page V, View 52. 1758. French. Julien David LeRoy, artist. Jacques Philippe Le Bas, engraver. Collections and image BnF Gallica, the digital version of the Bibliothèque nationale de France. Art work itself in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/bpt6k854533n/f52.item

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