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

Out in the garden with artist William Constable Adam. Living from 1846 to 1931, he was born in England but spent the last 33 years of his life painting in California.

Garden Path. Undated, by 1931. Oil on canvas affixed to board. William Constable Adam, artist (1846-1931). signed Wm Adam on the lower right. Image © Bonhams 2001-2022. Fair use license. via https://www.bonhams.com/auction/27584/lot/62/william-constable-adam-1846-1931-garden-path-14-x-18-in-framed-21-x-25-in/

Path by the garden. Undated, by 1931. Oil on canvas affixed to board. William Constable Adam, artist (1846-1931). Signed Wm Adam on the lower left. Image © Bonhams 2001-2022. Fair use license. via https://www.bonhams.com/auctions/19244/lot/5030/

Garden Path. Undated, by 1931. Oil on canvas board. William Constable Adam, artist (1846-1931). Signed Wm Adam on the lower right. Image © Bonhams 2001-2022. Fair use license. via https://www.bonhams.com/auctions/21005/lot/4061/

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 11th 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.

Mountain landscapes out west somewhere. American. Eliza Barchus, artist. Living from 1857 to 1959, she won a gold medal for her paintings at the Lewis and Clark Centennial Exposition in 1905.

Snowcapped mountains above a lake. Undated, by 1959. American. Oil on canvas. Eliza Barchus, painter (1857-1959). Signed Barchus on the lower left. © Estate of the artist. Image © Bonhams 2001-2022. Fair use license. via https://www.bonhams.com/auction/27584/lot/12/eliza-barchus-1857-1959-snowcapped-mountains-above-a-lake-30-x-50-in-framed-42-x-62-in/

Mount Shasta. 1932. American. Oil on canvas. Eliza Barchus, painter (1857-1959). Signed. © Estate of the artist. Image © 2022 MutualArt Services, Inc. Fair use license. via https://www.mutualart.com/Artwork/Mount-Shasta/190E881AE69041E0D3E305AC30C80FE4

Mount Hood, Oregon. 1905. American. Oil on canvas. Eliza Barchus, painter (1857-1959). Signed. © Estate of the artist. Image © 2022 MutualArt Services, Inc. Fair use license. via https://www.mutualart.com/Artwork/Mt–Hood–Oregon/2E17C884E9271AC7

More tropical plants, these taken from Christoph Jacob Trew and Georg Dionysius Ehret’s “Plantae Selectae quarum imagines ad exemplaria naturalia Londini in hortus curiosorum”, published in Nuremberg, Germany. These being from the first edition so ca. 1750. Taken from a recent Sotheby’s catalog. All are part of the same lot.

ANANAS (Pineapple): aculeatus, fructu ovato, carne albida. Plumerii, Tournef. Inst. P. 650. Plum. Cat. Spec. p. 20. Plate II from Plantae Selectae quarum imagines ad exemplaria naturalia Londini in hortus curiosorum. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/fine-books-and-manuscripts-including-americana-part-2/trew-christoph-jacob-and-georg-dionysius-ehret

MAGNOLIA: folie ovato oblongis ad basin et apicem angustis ? virentib. Plate LXII from Plantae Selectae quarum imagines ad exemplaria naturalia Londini in hortus curiosorum. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/fine-books-and-manuscripts-including-americana-part-2/trew-christoph-jacob-and-georg-dionysius-ehret

JXIA. Plate LII from Plantae Selectae quarum imagines ad exemplaria naturalia Londini in hortus curiosorum. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/fine-books-and-manuscripts-including-americana-part-2/trew-christoph-jacob-and-georg-dionysius-ehret

Flower (and avocado) pictures from different volumes of “L’illustration horticole journal special des serres et des jardins” by Charles Lemaire, Jean Jules Linden, Ambroise Verschaffelt, et al which came out between 1854 and the 1890s. Part of a recent Sotheby’s Auction.

Anthurium scherzerianum: schott; variety Madame De Smet-Duvivier. Plate LXXXII from L’illustration Horticole. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/fine-books-and-manuscripts-including-americana-part-2/lemaire-charles-jean-jules-linden-ambroise

Chrysanthemes d’automne (varieties nouvelles): 1. Jane; 2. Admiral Sir Thomas Symons; 3. Lady Randolph Churchill. Plate LXXXIII from L’illustration Horticole. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/fine-books-and-manuscripts-including-americana-part-2/lemaire-charles-jean-jules-linden-ambroise

Anthurium scherzerianum: schott; variety Madame De La Devansaye. Plate LXXXIX from L’illustration Horticole. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/fine-books-and-manuscripts-including-americana-part-2/lemaire-charles-jean-jules-linden-ambroise

Persea Gratissma Gaern. (Avocado) Plate LXXV from L’illustration Horticole. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/fine-books-and-manuscripts-including-americana-part-2/lemaire-charles-jean-jules-linden-ambroise

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.

Design ideas from the Boston Architectural Club year book for 1922. Reprint of an earlier work from 1750.

The Dorick entablature and planceer of its cornice at large/Batty Langley Inventory 1739/Thomas Langley delineator and sculptor. Plate IV, Page 12 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization Federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n12/mode/1up

The Ionick capital with its plan/The plan of one quarter of a Capital to a Column/The Plan of one quarter of a Capital to a Pillaster/Batty Langley Inventory 1739. Thomas Langley delineator and sculptor. Plate VIII, Page 16 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n16/mode/1up

The Ionick abacus and volute at large/Batty Langley Inventory 1738. Thomas Langley sculptor. Plate VII, Page 15 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n15/mode/1up

The Corinthian capital and its plan at large/the Capital to one fourth of the column/the Capital to one fourth of a pillaster. Batty Langley Inventory 1739. Thomas Langley delineator and sculptor. Plate X, Page 18 of the Boston Architectural Club year book for 1922. Collections of the Boston Architectural College Library. Digitalization federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/bostonarchitectu1922bost/page/n18/mode/1up