Category: Plates (llustrations) from books

The Crystal Palace when it was almost brand new. “Views of the Crystal Palace and park, Sydenham.From drawings by eminent artists, and photographs by P.H. Delamotte. With a title-page and literary notices by M. Digby Wyatt.” 1854. Published in London by Day and Son.

Pompeian court. Image 8. from Views of the Crystal Palace and park, Sydenham with drawings by various eminent artists. 1854. Day and Son, London, publishers. Collections of the University of California. Artwork in the public domain due to age. via https://babel.hathitrust.org/cgi/pt?id=uc1.c034804187&view=1up&seq=8
Pompeian court seen from the nave. Image 25, Page 13. from Views of the Crystal Palace and park, Sydenham with drawings by various eminent artists. 1854. Day and Son, London, publishers. Collections of the University of California. Artwork in the public domain due to age. via https://babel.hathitrust.org/cgi/pt?id=uc1.c034804187&view=1up&seq=25
View in north transcept. Image 33, Page 13. from Views of the Crystal Palace and park, Sydenham with drawings by various eminent artists. 1854. Day and Son, London, publishers. Collections of the University of California. Artwork in the public domain due to age. via https://babel.hathitrust.org/cgi/pt?id=uc1.c034804187&view=1up&seq=33
The Egyptian Court – from the nave. Image 36, Page 13. from Views of the Crystal Palace and park, Sydenham with drawings by various eminent artists. 1854. Day and Son, London, publishers. Collections of the University of California. Artwork in the public domain due to age. via https://babel.hathitrust.org/cgi/pt?id=uc1.c034804187&view=1up&seq=36
Assyrian Court (I think). Image 39, Page 13. from Views of the Crystal Palace and park, Sydenham with drawings by various eminent artists. 1854. Day and Son, London, publishers. Collections of the University of California. Artwork in the public domain due to age. via https://babel.hathitrust.org/cgi/pt?id=uc1.c034804187&view=1up&seq=39
Greek Court from the Nave. Owen Jones, architect. Image 43, Page 17. from Views of the Crystal Palace and park, Sydenham with drawings by various eminent artists. 1854. Day and Son, London, publishers. Collections of the University of California. Artwork in the public domain due to age. via https://babel.hathitrust.org/cgi/pt?id=uc1.c034804187&view=1up&seq=43
Exterior of the Byzantine Court. Image 53, from Views of the Crystal Palace and park, Sydenham with drawings by various eminent artists. 1854. Day and Son, London, publishers. Collections of the University of California. Artwork in the public domain due to age. via https://babel.hathitrust.org/cgi/pt?id=uc1.c034804187&view=1up&seq=53
Renaissance Court from the Nave. Image 64, from Views of the Crystal Palace and park, Sydenham with drawings by various eminent artists. 1854. Day and Son, London, publishers. Collections of the University of California. Artwork in the public domain due to age. via https://babel.hathitrust.org/cgi/pt?id=uc1.c034804187&view=1up&seq=64

Details of the Alhambra taken from “Plans, elevations, sections, and details of the Alhambra from drawings taken on the spot in 1834 by Jules Goury, and in 1834 and 1837 by Owen Jones.” Volume II. Published in London 1845 by Owen Jones.

Ornament in panels on the walls, Hall of the Ambassadors. Plans, elevations, sections, and details of the Alhambra . .. Plate I, View 17. Published in London in 1845 by Owen Jones. 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/t0wq7h436&view=1up&seq=17
Cornice over columns, Court of the Lions (upper image). Frieze over columns, Court of the Lions (lower image). Plans, elevations, sections, and details of the Alhambra . .. Plate II, View 21. Published in London in 1845 by Owen Jones. 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/t0wq7h436&view=1up&seq=21
Soffit of an arch, Court of the Fishpond. Plans, elevations, sections, and details of the Alhambra . .. Number 22, half size. Plate XI, View 57. Published in London in 1845 by Owen Jones. 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/t0wq7h436&view=1up&seq=57
Number 26 (left): Ornaments in spandrils of arches, Hall of the Two Sisters. Vide plate 21, volume I. Number 27 (right): Ornaments in spandrils of arches, Hall of the Abencerrages. Plans, elevations, sections, and details of the Alhambra . .. Plate XV, View 73. Published in London in 1845 by Owen Jones. 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/t0wq7h436&view=1up&seq=73
Spandril of the arch of window, Hall of the Ambassadors. Plans, elevations, sections, and details of the Alhambra . .. Plate XXIII, View 105. Published in London in 1845 by Owen Jones. 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/t0wq7h436&view=1up&seq=105
Small panel in jamb of a window, Hall of the Two Sisters. Vide Plate 15, volume I. Plans, elevations, sections, and details of the Alhambra . .. Plate XXVII, View 121. Published in London in 1845 by Owen Jones. 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/t0wq7h436&view=1up&seq=121
52, 53, 54, 55. Rafters of a doorway, now destroyed, beneath the Tocador de la Reyna. Plans, elevations, sections, and details of the Alhambra . .. Plate XXXV, View 153. Published in London in 1845 by Owen Jones. 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/t0wq7h436&view=1up&seq=153
58. 59, 60, 61, 62. Borders of arches. Vide Plates 6 and 19, volume I. Plans, elevations, sections, and details of the Alhambra . .. Plate XXXVIII, View 166. Published in London in 1845 by Owen Jones. 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/t0wq7h436&view=1up&seq=166
64, 65. Capitals of columns, Court of the Lions. Plans, elevations, sections, and details of the Alhambra . .. Plate XL, View 173. Published in London in 1845 by Owen Jones. 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/t0wq7h436&view=1up&seq=173
85. Mosaic on the Divan, Court of the Fishpond.  Plans, elevations, sections, and details of the Alhambra . .. Plate XLIX, View 210. Published in London in 1845 by Owen Jones. 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/t0wq7h436&view=1up&seq=210

Live in a fin de siècle dream if only for the afternoon. Plates from “Palais du Luxembourg (Palais du Sénat); intérieures et extérieures.” Published in Paris in 1900 by Armand Guérinet, éditeur.

Grand vestibule. Image 3 of Palais du Luxembourg (Palais du Sénat); intérieures et extérieures. . . Armand Guérinet, éditeur. Published in 1900 in Paris. 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/t2x41cj5m&view=1up&seq=3

Grand Escalier – détails du Balcon du 1st Étage – Lanterne, style Louis XVI. Image 9 of Palais du Luxembourg (Palais du Sénat); intérieures et extérieures. . . Armand Guérinet, éditeur. Published in 1900 in Paris. 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/t2x41cj5m&view=1up&seq=9
Ancienne Salle de la Commission des Finances, style Louis XIV. Image 75 of Palais du Luxembourg (Palais du Sénat); intérieures et extérieures. . . Armand Guérinet, éditeur. Published in 1900 in Paris. 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/t2x41cj5m&view=1up&seq=75
Grand Escalier. Image 5 of Palais du Luxembourg (Palais du Sénat); intérieures et extérieures. . . Armand Guérinet, éditeur. Published in 1900 in Paris. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015065622/page/n5/mode/1up

Salon Doré, Style Louis XIV. Image 40 of Palais du Luxembourg (Palais du Sénat); intérieures et extérieures. . . Armand Guérinet, éditeur. Published in 1900 in Paris. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015065622/page/n40/mode/1up

Architectural ornamentation of the Opéra de Paris as she was in the 1870s. “Le Nouvel Opéra de Paris”. Drawn and engraved after its architect Charles Garnier. Published in Paris by Ducher & Cie in 1878.

Grand fronton de la scene detail d’un des Angles. Détail de la façade principale. Page 77 of Le nouvel Opéra de Paris . 1878. French. Drawn and engraved by various artists after Charles Garnier. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125010856207/page/n76/mode/1up
Détail de la façade laterale. Page 78 of Le nouvel Opéra de Paris . 1878, French. Drawn and engraved by various artists after Charles Garnier. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125010856207/page/n78/mode/1up
Clefs des arcades – entrée du public (Voitures): Détail de la façade laterales. Page 80 of Le nouvel Opéra de Paris . 1878. French. Drawn and engraved by various artists after Charles Garnier. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125010856207/page/n78/mode/1up
Pavillon du chef de l’etat ; Couverture de la salle – Lanterne du dome: Détail de la façade laterales. Page 82 of Le nouvel Opéra de Paris . 1878, French. Drawn and engraved by various artists after Charles Garnier. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125010856207/page/n82/mode/1up
Détails Divers Extérieurs. Page 82 of Le nouvel Opéra de Paris . 1878, French. Drawn and engraved by various artists after Charles Garnier.Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125010856207/page/n82/mode/1up
Détails Divers Extérieurs. Page 86 of Le nouvel Opéra de Paris . 1878. French. Drawn and engraved by various artists after Charles Garnier. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125010856207/page/n86/mode/1up
Clôture de la cour – façade postérieure. Page 92 of Le nouvel Opéra de Paris . 1878. French. Drawn and engraved by various artists after Charles Garnier. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125010856207/page/n92/mode/1up

Please note that many of the captions are very faded out and not legible in the scanned images this post is made from.

Images of algae all arted up and much prettier than what’s at the bottom of the pond. Taken from Kintaro Okamura’s 1911 work “Icones of Japanese algae”.

Ceratodictyon spongiosum Zanard. Plate LI from Icones of Japanese algae. Kintaro Okamura, author. Published in 1911. Collections of and digitalizing sponsor the Marine Biological Laboratory – Woods Hole Oceanographic Institute Library. Artwork in the public domain due to age. via https://www.biodiversitylibrary.org/page/1251055#page/12/mode/1up
Martensia elegans Hering. Plate LIII from Icones of Japanese algae. Kintaro Okamura, author. Published in 1911. Collections of and digitalizing sponsor the Marine Biological Laboratory – Woods Hole Oceanographic Institute Library. Artwork in the public domain due to age. via https://www.biodiversitylibrary.org/page/1251055#page/20/mode/1up
Herpopteros Zonaricola Okam. Plate LV from Icones of Japanese algae. Kintaro Okamura, author. Published in 1911. Collections of and digitalizing sponsor the Marine Biological Laboratory – Woods Hole Oceanographic Institute Library. Artwork in the public domain due to age. via https://www.biodiversitylibrary.org/page/1251055#page/32/mode/1up

The gardens at Trentham Hall, seat of the Duke of Sutherland. 1858. Taken from Edward Adveno Brooke’s “The Gardens of England”. Printed in London by T. M. McLean.

The trellis window, Trentham Hall gardens; The seat of His Grace the Duke of Sutherland. Page 5 of Edward Adveno Brooke’s The Gardens of England which was published in 1858. Collections of the Smithsonian Libraries. Biodiversity Heritage Library, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/gardensEngland00Broo/page/n5/mode/1up

The lake Trentham Hall gardens; The seat of His Grace the Duke of Sutherland. Page 22 of Edward Adveno Brooke’s The Gardens of England which was published in 1858. Collections of the Smithsonian Libraries. Biodiversity Heritage Library, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/gardensEngland00Broo/page/n22/mode/1up
The terrace Trentham Hall gardens; The seat of His Grace the Duke of Sutherland. Page 24 of Edward Adveno Brooke’s The Gardens of England which was published in 1858. Collections of the Smithsonian Libraries. Biodiversity Heritage Library, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/gardensEngland00Broo/page/n24/mode/1up
The parterre Trentham Hall gardens; The seat of His Grace the Duke of Sutherland. Page 24 of Edward Adveno Brooke’s The Gardens of England which was published in 1858. Collections of the Smithsonian Libraries. Biodiversity Heritage Library, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/gardensEngland00Broo/page/5/mode/1up

Trentham Hall is an estate in Stoke-On-Trent in Staffordshire, England. It was one of the estates of the Duke of Sutherland. It was abandoned in 1905 after sewage and effluent from nearby potteries polluted the Trent River which fed the lake in the early 20th century, making life at the hall unpleasant. Most of it was demolished in 1912 but the gardens remain, probably not looking exactly like this.

Edward Adveno Brooke (1821–1910) appears to primarily have been a landscape painter who strayed into the realm of painting gardens.

Imagery from “Atlas Japannensis : being remarkable addresses by way of embassy from the East-India Company of the United Provinces to the Emperor of Japan, containing a description of their several territories, cities, temples and fortresses, their religions, laws and customs, their prodigious wealth and gorgeous habits, the nature of their soil, plants, beasts, hills, rivers and fountains, with the character of the ancient and modern Japanners.” Published in London in 1670.

Aneract Portatura of the Castle and Citty Batavia, lying on the great Ilant Java Anno 1669. Image 9310 from Arnoldus Montanus and John Ogilbie’s 1670 work Atlas Japannensis . . . Gleeson Library Digital Collections, University of San Francisco. In the public domain due to age. via https://digitalcollections.usfca.edu/digital/collection/p264101coll7/id/9310

The Lodge before Nangasaki on the ? (name of island is not legible). Image 9329 from Arnoldus Montanus and John Ogilbie’s 1670 work Atlas Japannensis . . . Gleeson Library Digital Collections, University of San Francisco. In the public domain due to age. via https://digitalcollections.usfca.edu/digital/collection/p264101coll7/id/9329

The city of Osacco. Image 9339 from Arnoldus Montanus and John Ogilbie’s 1670 work Atlas Japannensis . . . Gleeson Library Digital Collections, University of San Francisco. In the public domain due to age. via https://digitalcollections.usfca.edu/digital/collection/p264101coll7/id/9339

Miako, (Honshu, Japan). Image 9346 from Arnoldus Montanus and John Ogilbie’s 1670 work Atlas Japannensis . . . Gleeson Library Digital Collections, University of San Francisco. In the public domain due to age. via https://digitalcollections.usfca.edu/digital/collection/p264101coll7/id/9346
Tempel met Duysend Beelden. Image 9372 from Arnoldus Montanus and John Ogilbie’s 1670 work Atlas Japannensis . . . Gleeson Library Digital Collections, University of San Francisco. In the public domain due to age. via https://digitalcollections.usfca.edu/digital/collection/p264101coll7/id/9372

Jedo. Image 9378 from Arnoldus Montanus and John Ogilbie’s 1670 work Atlas Japannensis . . . Gleeson Library Digital Collections, University of San Francisco. In the public domain due to age. via https://digitalcollections.usfca.edu/digital/collection/p264101coll7/id/9378

Flower imagery from a 1902 edition of Elizabeth Barrett Browning’s “Sonnets from the Portuguese.” Artwork by Helen Maitland Armstrong and Margaret Armstrong. Published in New York City.

A famished pilgrim saved by miracle. Page 5 of a 1902 edition of Elizabeth Barrett Browning’s Sonnet’s from the Portuguese. Helen Maitland Armstrong, illustrator. Collections of the Library of Congress. Sloan Foundation, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/sonnetsfromportu00brow/page/n5/mode/1up

To EDL these illustrations are dedicated. Page 8 of a 1902 edition of Elizabeth Barrett Browning’s Sonnet’s from the Portuguese. Helen Maitland Armstrong, illustrator. Collections of the Library of Congress. Sloan Foundation, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/sonnetsfromportu00brow/page/n8/mode/1up

Love is strong as death. Page 12 of a 1902 edition of Elizabeth Barrett Browning’s Sonnet’s from the Portuguese. Helen Maitland Armstrong, illustrator. Collections of the Library of Congress. Sloan Foundation, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/sonnetsfromportu00brow/page/n11/mode/1up

My spirit is thine, the better part of me. Page 21 of a 1902 edition of Elizabeth Barrett Browning’s Sonnet’s from the Portuguese. Helen Maitland Armstrong, illustrator. Collections of the Library of Congress. Sloan Foundation, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/sonnetsfromportu00brow/page/n21/mode/1up

Keep violets for the spring and love for youth. Page 26 of a 1902 edition of Elizabeth Barrett Browning’s Sonnet’s from the Portuguese. Helen Maitland Armstrong, illustrator. Collections of the Library of Congress. Sloan Foundation, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/sonnetsfromportu00brow/page/n25/mode/1up

New South Wales, Australia just a little while ago. Plates from the second edition of David Collins’s “An account of the English Colony in New South Wales, from its first settlement in January 1788 to August, 1801. Published in London in 1804.

A view of the Governor’s House at Rose Hill in the township of Parramatta. 1804. Page 139 of David Collins’s work An account of the English Colony in New South Wales, from its first settlement in January 1788 to August, 1801. J Heath, engraver. Collections of the Victoria Museums. Atlas of Living Australia, digitalizing sponsor. In the public domain due to age. via https://www.biodiversitylibrary.org/item/172462#page/139/mode/1up

Bywater to Parramatta with a distant view of the western mountains taken from the Wind mill hill at Sydney. Stamped National Museum Melbourne. 1804. Page 173 of David Collins’s work An account of the English Colony in New South Wales, from its first settlement in January 1788 to August, 1801. J Heath, engraver. Collections of the Victoria Museums. Atlas of Living Australia, digitalizing sponsor. In the public domain due to age. via https://www.biodiversitylibrary.org/item/172462#page/173/mode/1up

An Eastern view of Sydney, taken from a small prominence neigh the New barracks. Stamped National Museum Melbourne.1804. Page 211 of David Collins’s work An account of the English Colony in New South Wales, from its first settlement in January 1788 to August, 1801. J Heath, engraver. Collections of the Victoria Museums. Atlas of Living Australia, digitalizing sponsor. In the public domain due to age. via https://www.biodiversitylibrary.org/item/172462#page/211/mode/1up

View of Sydney on the South side of Norfolk Island. Stamped National Museum Melbourne. 1804. Page 387 of David Collins’s work An account of the English Colony in New South Wales, from its first settlement in January 1788 to August, 1801. J Heath, engraver. Collections of the Victoria Museums. Atlas of Living Australia, digitalizing sponsor. In the public domain due to age. via https://www.biodiversitylibrary.org/item/172462#page/387/mode/1up

More visions of the Arctic, these from 1824 and of the native Eskimaux. William Edward Parry’s “Journal of a Second Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific; Performed in the years 1821-22-23 in His Majesty’s Ships “Fury” and “Hecla.” (Captain Parry’s journal) Published in London.

Canoe of the Savage Islands: Hudson’s Strait. Page 63 from William Edward Parry’s Journal of a Second Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific; Performed in the years 1821-22-23 in His Majesty’s Ships “Fury” and “Hecla. Drawn by Captain Lyon, Royal Navy. Edward Finden, engraver. Collections of the Smithsonian Institution. Biodiversity Heritage Library, digitalizing sponsor. In the public domain due to age. via https://www.biodiversitylibrary.org/item/150739#page/63/mode/1up

Interior of an Eskimaux Snow-Hut: Water Island, 1822. Page 217 from William Edward Parry’s Journal of a Second Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific; Performed in the years 1821-22-23 in His Majesty’s Ships “Fury” and “Hecla. Drawn by Captain Lyon, Royal Navy. Edward Finden, engraver. Collections of the Smithsonian Institution. Biodiversity Heritage Library, digitalizing sponsor. In the public domain due to age. via https://www.biodiversitylibrary.org/item/150739#page/217/mode/1up

Family of Eskimaux. 1822. Page 222 from William Edward Parry’s Journal of a Second Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific; Performed in the years 1821-22-23 in His Majesty’s Ships “Fury” and “Hecla. Drawn by Captain Lyon, Royal Navy. Edward Finden, engraver. Collections of the Smithsonian Institution. Biodiversity Heritage Library, digitalizing sponsor. In the public domain due to age. via https://www.biodiversitylibrary.org/item/150739#page/222/mode/1up

Not sure how accurate these are but very early.