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.

Landscapes of a Levant that isn’t coming back. Colored lithographic plates from C. W. M. Van de Velde’s 1857 work “Le Pays d’Israel.” All of the landscapes are of what was then part of the Ottoman province of Syria.

*Le Pays d’Isreal: Wady Fasail le Torrent de Kerith*. Page 16 of C. W. M. Van de Velde’s *Le Pays d’Israel.* Published in Paris, France in 1857 by Jules Renouard. Printed in Paris by Lemercier. Cc0 License 1.0. via https://archive.org/details/cwm-van-de-velde-le-pays-d-israel-1857/page/16/mode/1up

*Beirout: Vue prise de la route de Schemlän.* Page 17 of C. W. M. Van de Velde’s *Le Pays d’Israel.* L. Sabatier, lithographer. Printed in Paris by Lemercier. Cc0 License 1.0. via https://archive.org/details/cwm-van-de-velde-le-pays-d-israel-1857/page/17/mode/1up

*Le Village de A’Beyh: Mont Liban S. E. de Beirout*. Page 18 of C. W. M. Van de Velde’s *Le Pays d’Israel.* Eugene Ciceri, lithographer. Printed in Paris by Lemercier. Cc0 License 1.0. via https://archive.org/details/cwm-van-de-velde-le-pays-d-israel-1857/page/18/mode/1up

Images of the polar sea from back when the arctic was the last frontier. Taken from Edward L. Moss’s work “Shores of the Polar Sea: A Narrative of the Arctic Expedition of 1875–6.” Published in London in 1878.

*Lunar Haloes:* This is a sketch from the floes alongside the ship, of an unusually distinct Paraselena that appeared on 11^th December, 1875. The haloes and cross round the moon are caused by the passage of her light through a tissue of impalpably minute needle-like crystals of ice slowly falling through the atmosphere. The snow-covered hills of Floeberg Beach are in the background, and in the foreground two officers are measuring the site with a sextant, while the long-lost Sally looks on. In summer the sun was often surrounded by a similar meteor, but intensely dazzling and tinted with colors like an outside rainbow. Plate VIII, page 84 of *Shores of the Polar Sea: A Narrative of the Arctic Expedition of 1875–6*. Collections of and digitalized by the Boston Public Library. In the public domain due to age. via https://archive.org/details/shoresofpolarsea00moss/page/n84/mode/1up

Plate IX- The Dawn of 1876. H.M.S. ‘Albert” in Winter Quarters – page 49: Dawn in the latitude of Floeberg Beach is a season rather than an hour, and the growing brightness skirts round the whole horizon almost impartially. This is a sketch very early in March, looking north at midnight. At the time it was made, the spirit thermometers on the small stand, and on the tripod seen to the left of the ship, registered -70 degrees Fahrenheit. The outlines were made without much difficulty, with a pencil pushed through two pairs of worsted mitts. The colours were laide on the warmth and candlelight between decks, and verified by repeated trips into the cold. In regions where wind could crush the ice together, or where open water existed to leeward, Arctic ships have more than once been blown to sea with the ice at their winter quarters; and, as a precautionary measure, our ship was secured to shore by chain cables, raised at intervals on casks to prevent them soaking into the sea. Page 86 of *Shores of the Polar Sea: A Narrative of the Arctic Expedition of 1875–6*. Collections of and digitalized by the Boston Public Library. In the public domain due to age. via https://archive.org/details/shoresofpolarsea00moss/page/n86/mode/1up

Plate X – The ‘Albert’ in Winter Quarters, From Amongst the Barrier Bergs, March, 1876. P 50. Nowhere is it more true that ‘the low sun makes the color’ than in the Arctic regions. The ice and snow, that are wearily white in midsummer, glow with all sorts of opaline tints in the sunrise lights of March. The sketch is from amongst the floebergs to seaward of the ship. The sides of the berg in the center have been worn into columns and alcoves by the surface floods of some former summer; but it has since been forced higher on the beach, and into shallower water. Snowdrifts fill up all the gorges and ravines amongst the bergs, and are in some places so hardened by wind and infiltration of seawater, that tidal motion cracks and fissures them, especially round the grounded bergs. Page 94 of *Shores of the Polar Sea: A Narrative of the Arctic Expedition of 1875–6*. Collections of and digitalized by the Boston Public Library. In the public domain due to age. via https://archive.org/details/shoresofpolarsea00moss/page/n94/mode/1up

Sir Edward L. Moss was an artist and esteemed Royal Navy Surgeon, was part of the expedition and recorded this journey from his first-hand seat in the belly of HMS Alert . So a double role. All these expeditions included an artist.