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

Mushrooms. Maybe a few toadstools, too. Lithographic plates from M. E. Descourtilz’s 1827 “Atlas des Champignons.” Collections of the Lloyd Library and Museum. Images courtesy of the publicdomainreview.org and the Biodiversity Heritage Library.

“Champignons Comestibles.” Page 8. Collections of the Lloyd Library and Museum. Added by the Public Library of Cincinnati and Hamilton County. biodiversitylibrary.org. via https://publicdomainreview.org/collection/atlas-des-champignons

“Champignons Comestibles.” Page 11. Collections of the Lloyd Library and Museum. Added by the Public Library of Cincinnati and Hamilton County. biodiversitylibrary.org. via https://publicdomainreview.org/collection/atlas-des-champignons

“Champignons Suspects.” Page 20. Collections of the Lloyd Library and Museum. Added by the Public Library of Cincinnati and Hamilton County. biodiversitylibrary.org. via https://publicdomainreview.org/collection/atlas-des-champignons

“Champignons Vénéneux.” Page 32. Collections of the Lloyd Library and Museum. Added by the Public Library of Cincinnati and Hamilton County. biodiversitylibrary.org. via https://publicdomainreview.org/collection/atlas-des-champignons

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Do up the sofa cushions so they match the wallpaper. Ideas taken from Christopher Dresser’s 1876 work “Studies in Design” which was published in London. A. Goater, lithographer.

“Ornament somewhat Indian in style; to stand on top of a dado-rail, falling upon a dark maroon wall.” Plate X. Image VIX 1876. British. Collections of the Smithsonian Library. Metropolitan New York Library Council, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/Studiesdesign00Dres/page/VIX/mode/2up

“Two plates for dadoes, or the walls of small lobbies.” Plate XII, Image XII. 1876. British. Collections of the Smithsonian Library. Metropolitan New York Library Council, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/Studiesdesign00Dres/page/XII/mode/2up

:”Ornament in the Arabian style, intended to be painted in the centre of a ceiling.” Plate XIII. Image XIII. ” 1876. British. Collections of the Smithsonian Library. Metropolitan New York Library Council, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/Studiesdesign00Dres/page/XIII/mode/2up

Fix up your home the Gothic Revival way before the Prince Regent comes for the weekend. Ideas from “Fragments on the theory and practice of landscape gardening: including some remarks on Grecian and Gothic architecture,” which was published in London in 1816 and was written by H. Repton with the help of his son J. Adey Repton. Collections of the University of Wisconsin.

“Luxury of Gardens.” Page 289. Published in London by J. Taylor on February 1, 1816. Collections of the University of Wisconsin. Image
© Board of Regents of the University of Wisconsin System. Artwork itself in the public domain due to age. via https://search.library.wisc.edu/digital/ARNROAEXKQQ7R38Y/pages/ARTXV3M5KE2V7R8F

“Park Keeper’s Lodge, Cobham.” Page 291, Collections of the University of Wisconsin. Image
© Board of Regents of the University of Wisconsin System. Artwork itself in the public domain due to age. via https://search.library.wisc.edu/digital/ARNROAEXKQQ7R38Y/pages/AMXKD4SDYKMZAD8M

“The School House at Longnor, Shropshire.” Page 293. Published in London by J. Taylor on February 1, 1816. Collections of the University of Wisconsin. Image
© Board of Regents of the University of Wisconsin System. Artwork itself in the public domain due to age. via https://search.library.wisc.edu/digital/ARNROAEXKQQ7R38Y/pages/AL2VWEKJZWD5RV83

More wildly rainbow-hued plates from “Les Phénomènes de la Physique” and “Le Monde Physique,” physics textbooks written by Amédée Guillemin and published in 1868 and 1882.

“Electrical light in rarefied gas”. 1868. French. Plate X, “Les Phénomènes de la Physique.” Aquatint by M. Rapine. Collections of the Wellcome Library. In the public domain due to age. via https://publicdomainreview.org/collection/optics-illustrations-from-the-physics-textbooks-of-amedee-guillemin-1868-1882

“”Polychromatic Fringes.” 1868. French. Plate VI, “Les Phénomènes de la Physique.” Mezzotint with watercolor by by René Henri Digeon, after an image by J. Silberman. Collections of the Wellcome Library. In the public domain due to age. via https://publicdomainreview.org/collection/optics-illustrations-from-the-physics-textbooks-of-amedee-guillemin-1868-1882

“Colored Rings.” 1868. French. Plate VIII,“Les Phénomènes de la Physique.” Mezzotint with watercolor byRené Henri Digeon, after an image by J. Silberman. Collections of the Wellcome Library. In the public domain due to age. via https://wellcomecollection.org/works/ms4gueju

.”Rainbow double refraction, reflection and scattering of light inside raindrops”, 1868. French. Plate XI,“Les Phénomènes de la Physique.” Lithograph with watercolor by René Henri Digeon, after an image by E. Ronjat. Collections of the Wellcome Library. In the public domain due to age. via https://wellcomecollection.org/works/d8zdj7jx

Imagery of an India that isn’t coming back, taken from Thomas Daniell’s “Oriental Scenery. Twenty Four Views In Hindoostan” which came out between 1795 and 1807. Collections of the Royal Academy, London.

“The Baolee, at Ramnagur.” 1801. British. Hand-colored aquatint. Drawn by Thomas Daniell and engraved by him and his brother William. Image © Royal Academy of Arts, London. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/the-baolee-at-ramnagur

“View from the ruins of the fort of Currah, on the river Ganges.” 1801. British. Hand-colored aquatint. Drawn by Thomas Daniell and engraved by him and his brother William. Image © Royal Academy of Arts, London. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/view-from-the-ruins-of-the-fort-of-currah-on-the-river-ganges

“View of Mutura, on the river Jumna.” 1801. British. Hand-colored aquatint. Drawn by Thomas Daniell and engraved by him and his brother William. Image © Royal Academy of Arts, London. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/view-of-mutura-on-the-river-jumna

Images taken from the 1909 “Ferronniers, serruriers d’arts, fondeurs, horlogers, mécaniciens” written by Albert Jacquot. One of what looks to have been a series of pamphlets about artists in the Lorraine area of France. Published in Paris by Plon-Nourrit et Cie.

“Heurtoirs, de portes – Serrurerie Lorraine: (Collection L. Wiener, Nancy.” View 11, “Ferronniers, serruriers d’arts, fondeurs, horlogers, mécaniciens.” Collections of the Bibliothèques de Nancy. In the public domain due to age. via https://galeries.limedia.fr/ark:/31124/d8vr7ndbcmkq3qhm/p11

“Imposte de la maison des anciens ateliers de Jean Lamour, Roue de la Primatiale, a Nancy. (Collection L. Wiener).” View 19, “Ferronniers, serruriers d’arts, fondeurs, horlogers, mécaniciens.” Collections of the Bibliothèques de Nancy. In the public domain due to age. via https://galeries.limedia.fr/ark:/31124/d8vr7ndbcmkq3qhm/p19

“Imposte de la maison de Saint Jean de Dieu, Jean Lamour. (Collections of M. Parbey).” View 23 (upper image), “Ferronniers, serruriers d’arts, fondeurs, horlogers, mécaniciens.” Collections of the Bibliothèques de Nancy. In the public domain due to age. via https://galeries.limedia.fr/ark:/31124/d8vr7ndbcmkq3qhm/p23

“Imposte de la maison de Jean Lamour, Rue Des Carmes, a Nancy” (left); “Verrou au Chiffre de Stanislas (Collection L. Wiener).” (right) Lower part of View 23. “Ferronniers, serruriers d’arts, fondeurs, horlogers, mécaniciens.” Collections of the Bibliothèques de Nancy. In the public domain due to age. via https://galeries.limedia.fr/ark:/31124/d8vr7ndbcmkq3qhm/p23

“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

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