Tag: British

Make your home look like you have never been to IKEA with pictures of these at least in your mind. More from Percy MacQuoid’s work “History of English Furniture: Age of Satinwood.” Published in Edinburgh by T. and A. Constable, printers to His Majesty (Edward VII). Collections of the Society of the Four Arts.

Figure 162: Inlaid and painted satin wood commode. Figure 163: Top of same. Page 226. Collections of the Society of the Four Arts. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n226/mode/1up
Painted sideboard-commode. Property of Frank Partridge, Esquire. Signed Shirley Slocombe artist, 1907. Plate XI, page 232. Collections of the Society of the Four Arts. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n232/mode/1up
Figure 167: Mahogany chair (left). Figure 168: Mahogany chair, property of Alfred Davis, Esquire (right). Page 236. Collections of the Society of the Four Arts. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n236/mode/1up
Painted satin-wood writing cabinet. Property of Messrs. D. L. Isaacs. Plate XII, page 245. Signed Shirley Slocombe artist, 1908. Collections of the Society of the Four Arts. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n245/mode/1up
Figure 179: Mahogany chair-back settee. Property of Messrs. J. Mallett and Son. Page 250. Collections of the Society of the Four Arts. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n250/mode/1up
(a) Inlaid satinwood tea caddy; (b) Circular knife case; (c) Painted satinwood chair; (d) Painted chair. Page 270 from Percy MacQuoid’s 1907 work History of English Furniture: Age of Satinwood. Public domain mark 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n270/mode/1up

More from Percy MacQuoid’s work “History of English Furniture: Age of Satinwood.” Published in Edinburgh by T. and A. Constable, printers to His Majesty (Edward VII). Collections of the Society of the Four Arts.

Amboyna-wood writing cabinet (left); inlaid mahogany pole-screen (right). Both pieces being the property of Alfred Littleton, Esquire. Plate VIII, page 170. Signed Shirley Slocombe artist, 1908. Collections of the Society of the Four Arts. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n170/mode/1up

Figure 124 – Painted wood pedestal; Figure 125 – Carved wood lantern. Both pieces being the property of the Earl of Harewood. Page 173. Collections of the Society of the Four Arts. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n173/mode/1up
Figure 131 – Robert Adam’s design for bed. Page 180. Collections of the Society of the Four Arts. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n180/mode/1up
Satin-wood commode. Property of Alfred Littleton, Esquire. Plate X, page 224. Signed Shirley Slocombe artist, 1908. Collections of the Society of the Four Arts. Scanned by the Internet Archive. Cc0 License 1.0. via https://archive.org/details/HistoryOfEnglishFurnitureAgeOfSatinwood/page/n224/mode/1up

Visions of a long ago Scotland. Victorian, painted by Waller Hugh Paton who lived from 1828 to 1895. A painter of landscapes, he was the son of a damask designer. An associate of the Royal Scottish Academy and member of the Royal Society of Watercolorists. Queen Victoria liked his pictures.

Entrance to the Cuiraing, Skye. 1873. Scottish. Oil on canvas. Image source and photography: Scottish National Gallery. Collections of the Scottish National Gallery. In the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:Waller_Hugh_Paton_-_%27Entrance_to_the_Cuiraing,_Skye%27.jpg

Dunnottar Castle. 1867. Scottish. Image source Stephencdickson, Cc0 License 4.0. Artwork itself in the public domain due to age. via https://commons.wikimedia.org/wiki/File:Dunnottar_Castle_by_Walter_Hugh_Paton_1867.JPG
Edinburgh with a distant view of the Palace of Holyroodhouse. A watercolor view of Edinburgh from the side of St Margaret’s Loch at sunset, looking west 1862. Scottish. Commissioned by Queen Victoria. Watercolor and bodycolor with gum arabic and burnishing.  Signed in monogram and dated WHP 1862. Image © Royal Collection Trust. Artwork itself in the public domain due to age. via https://www.rct.uk/collection/919573/edinburgh-with-a-distant-view-of-the-palace-of-holyroodhouse

Trophies in silver for winning various things. A centerpiece too but it fits right in. Various dates and makers. Mostly English, but not all.


Silver urn-form trophy with a double-domed lid with a vasiform finial, a curved and tapering bowl, stylized leaf mounted scroll-bracket side handles and a stepped and raised foot. 1917. George V. Made in London, England by Lionel Alfred Crichton. Fully marked. Image © 2021 Sothebys. Fair use license. via https://www.sothebys.com/en/buy/shop-all/_english-silver-lidded-trophy-f2a1?locale=en
Solid silver trophy with a figural hunting statue that depicts a huntsman holding a fox and his hounds at his feet. Ebonized plinth that is applied with an engraved plaque inscribed “Presented to W. J. Buckley Esquire, April 18th, 1895.” 1894. Made in Birmingham, England by Elkington and Company Ltd. Maker’s marks: Hallmarks for Elkington and Company. Image © 1stDibs.com, Inc. 2021. Fair use license. via https://www.1stdibs.com/furniture/decorative-objects/sculptures/figurative-sculptures/19th-century-victorian-solid-silver-hunting-trophy-elkington-circa-1894/id-f_13713411/

Silver trophy cup. 1886. Made in London England by Frederick Elkington (Elkington and Company). Maker’s marks: fully hallmarked. Image © 1stDibs.com, Inc. 2021. Fair use license. via https://www.1stdibs.com/furniture/dining-entertaining/sterling-silver/antique-victorian-silver-large-trophy-cup/id-f_22258242/

Sterling silver trophy presented by DeForest Grant to John W. Grange, winner of the championship putting contest held in 1938 at the Kebo Valley Golf Club, the oldest golf club in Maine and the eighth oldest golf club in the United States. Made in England in 1936 by Barker Brothers. Maker’s marks; English hallmarks for Barker Brothers. Image © 2019 estatesilver.com. Fair use license. via https://estatesilver.com/product/sterling-silver-golf-trophy-1938-kebo-valley-club-maine/
The Emperor’s plate (Ascot Gold Cup) parcel-gilt. racing trophy that was presented by Emperor/Tsar Nicholas I of Russia. Rococo Revival on a shaped square plinth applied on four angles with the Russian Imperial coat-of-arms, two sides inset with relief plaques of Peter the Great’s palaces Peterhof and Gatchina, the others with prize inscriptions, the vase inset with two relief scenes that depict heroic events in the life of Peter the Great: the victory at Poltava in 1709 and a rescue at sea off of Finland in 1724. 1846. Edward Hodge Baily, R.A. designer. Made in London, England by John Samuel Hunt for Hunt and Roskell, successors to Storr and Mortimer. Maker’s marks: marked on vase, plinth, underside of the plaques, coats of arms, nuts and detachable flowers on the base; also stamped ‘HUNT AND ROSKELL LATE STORR AND MORTIMER Number 2795.” Image © Christie’s 2021. Fair use license. via https://www.christies.com/en/lot/lot-5433100


Quadruple silver plate cake or fruit basket, also known as a brides basket. Engraved in the center to read “Special premium at the Maury Company Fair 1894 for the best cake made of S. F. Ashton’s flour. Awarded to Miss Florence Sheppard.” Made in 1892 by Pairpoint in New Bedford, Massachusetts. American. Maker’s marks: Marks for Pairpoint on the base. Image © curiosityhudson.com. Fair use license. via https://www.curiosityhudson.com/trophies/1892-victorian-silver-basket-engraved-as-best-cake-trophy
The Queen’s Cup won at the Ascot Races in 1867. Silver racing trophy described by The Illustrated London News in 1867 as being ‘in the form of a tankard in Queen Anne’s style’. The ample body heavily decorated with applied cast vertical straps rising to a similar band of formal motifs, beaded scroll cartouche with an inscribed convex center. The generously designed handle terminating in a bearded lion mask and scrolled thumbpiece and the double-domed hinged cover surmounted by two rampant stallions. 1867. English. Made in London, England by Robert Garrard for R. and S Garrard and Company. Maker’s marks: the based stamped : “R & S GARRARD PANTON St LONDON”. Image © 2021 Sothebys. Fair use license. via https://www.sothebys.com/en/buy/auction/2021/gold-boxes-silver-and-ceramics/the-queens-cup-ascot-races-1867-a-magnificent
Silver centerpiece, the triangular base with shell and scroll feet, leading to the stem wrapped in foliage with on either side a soldier in Crimean War uniform holding flags. Would have had a glass bowl which has gotten lost. Victorian, made in 1855 in London, England by John Samuel Hunt. The flags and bowl support are seemingly unmarked. Image © 2024 Sothebys. Fair use license. via https://www.sothebys.com/en/buy/auction/2024/classic-design-furniture-clocks-silver-ceramics/crimean-war-interest-a-victorian-silver
Silver covered trophy bowl of baluster form, the cover with three cast horses naturalistically modeled circling on a naturalistic grass effect base, bordered with embossed and chased shaped panels with motifs. The body with an outswept flaired rim, the sides with applied cast naturalistic fruiting garlands of apples and gourds in high relief, further shaped panels with motifs among a stippled ground, with protruding ornate cartouches to either side, the front cartouche engraved: LEWES RACES/1865/The County Cup/
WON BY REDAN, and the obverse cartouche engraved with: STEWARDS/THE MARQUIS OF HASTINGS/EARL OF PORTSMOUTH/
VISCOUNT ST VINCENT, The lower belly with foliate panels; the stem with acanthus and foliate knops and cast-shaped shields, on a stepped spreading foot with chased and embossed foliate design. Silver. Victorian, made in London, England in 1864 by Robert Hennell III. Maker’s marks: hallmarked. Image: © Bonhams 2001-2025. Fair use license. https://www.bonhams.com/auction/31229/lot/76/an-impressive-victorian-silver-covered-trophy-bowl-robert-hennell-iii-london-1864/

The ancient world. Plates from “Collection Of Etruscan, Greek, And Roman Antiquities From The Cabinet Of The Honorable William. Hamilton His Britannic Majesty’s Envoy Extraordinary At The Court Of Naples. – Naples.” Commissioned by Hamilton with text by Pierre Francois Hughes, baron d’Hancarville. Printed in Naples. Not sure who did the artwork. Probably Prince Hoare who is mentioned in connection with them by the Royal Academy but he is not on the title page.

“Vulcan presents arms to Thetis.” 1766-1767. British. Plate from “Collection Of Etruscan, Greek, And Roman Antiquities From The Cabinet Of The Honorable William Hamilton His Britannick Maiesty’s Envoy Extraordinary At The Court Of Naples.” Archival ID#17/4746. Etching with hand coloring. Commissioned by Hamilton with text written by Pierre-François Hugues, baron d’Hancarville. Collections of the Royal Academy, London. © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/vulcan-presents-arms-to-thetis
“Bearded Dionysus, seated, and Pan, taken from an attic lekythos.” 1766-1767. British. Plate from “Collection Of Etruscan, Greek, And Roman Antiquities From The Cabinet Of The Honorable William Hamilton His Britannick Maiesty’s Envoy Extraordinary At The Court Of Naples.” Archival ID#052044. Etching with hand coloring. Commissioned by Hamilton with text written by Pierre-François Hugues, baron d’Hancarville. Collections of the Royal Academy, London. © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/O52044 Credit line: (c) (c) Royal Academy of Arts /
“The Meidias Hydria: The rape of the daughter of Leucippus by the Dioscuri, Castor and Pollux, attic hydria.” 1766-1767. British. Plate from “Collection Of Etruscan, Greek, And Roman Antiquities From The Cabinet Of The Honorable William Hamilton His Britannick Maiesty’s Envoy Extraordinary At The Court Of Naples.” Archival ID#052046. Etching with hand coloring. Commissioned by Hamilton with text written by Pierre-François Hugues, baron d’Hancarville. Collections of the Royal Academy, London. © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/the-meidias-hydria-the-rape-of-the-daughter-of-leucippus-by-the-dioscuri
“Woman’s head with cap, from a Campanian hydria.” 1766-1767. British. Plate from “Collection Of Etruscan, Greek, And Roman Antiquities From The Cabinet Of The Honorable William Hamilton His Britannick Maiesty’s Envoy Extraordinary At The Court Of Naples.” Archival ID#052042. Etching with hand coloring. Commissioned by Hamilton with text written by Pierre-François Hugues, baron d’Hancarville. Collections of the Royal Academy, London. © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/colour-plate-of-womans-head-with-cap-from-a-campanian-hydria
Colour plate of two syrens, from black figured alabastron. 1766-1767. British. Plate from “Collection Of Etruscan, Greek, And Roman Antiquities From The Cabinet Of The Honorable William Hamilton His Britannick Maiesty’s Envoy Extraordinary At The Court Of Naples.” Etching with hand coloring. Commissioned by Hamilton with text written by Pierre-François Hugues, baron d’Hancarville. Collections of the Royal Academy, London. © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/colour-plate-of-two-syrens-from-black-figured-alabastron
Colour plate of an owl, from a cotyle. 1766-1767. British. Plate from “Collection Of Etruscan, Greek, And Roman Antiquities From The Cabinet Of The Honorable William Hamilton His Britannick Maiesty’s Envoy Extraordinary At The Court Of Naples.” Etching with hand coloring and highlights in white lead. Commissioned by Hamilton with text written by Pierre-François Hugues, baron d’Hancarville. Collections of the Royal Academy, London. © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates. Artwork itself in the public domain due to age. via https://www.royalacademy.org.uk/art-artists/work-of-art/colour-plate-of-an-owl-from-a-cotyle

Sir William Hamilton was the British ambassador to the court in Naples and collected vases which he thought were Etruscan but turned out to be Greek. At the time there was great interest in antiquity and many experts or sort of experts like the man who Hamilton got to write the text. Not like now with PhD programs and other credentials. Several volumes, dedicated to King George III. These are all in the collections of the Royal Academy in London.

More cards from “Astronomia,” a deck of educational astronomy cards pertaining to the solar system. 1829-31. Published by F. G. Moon, Threadneedle Street, London. Collections of the Yale University Library, New Haven.

“Ceres: diameter 1024 miles.” Image 2. Cary Collection of Playing Cards, Yale University Library. Artwork itself in the public domain due to age. via https://collections.library.yale.edu/catalog/10995117
“Juno: diameter 1,425 miles.” Image 3. Cary Collection of Playing Cards, Yale University Library. Artwork itself in the public domain due to age. via https://collections.library.yale.edu/catalog/10995117
“Pallas: diameter 2,099 miles,” Image 4. Cary Collection of Playing Cards, Yale University Library. Artwork itself in the public domain due to age. via https://collections.library.yale.edu/catalog/10995117
Saturn. Card from Astronomia, a deck of educational astronomy cards pertaining to the solar system. 1829-31. Published by F. G. Moon, Threadneedle Street, London. Image 19. Beinecke Rare Book and Manuscript Library Collections, Yale University. https://collections.library.yale.edu/catalog/33253871

Up into the Arctic and down to the Antarctic with English watercolorist Charles Hamilton Smith who was also a Lieutenant-Colonel in the Royal Artillery. Living from 1776 to 1859, he painted what he saw as he traveled around the world during his military career.

“Spitzbergen, Bearing South,” from the collection of 75 watercolors entitled “Views of Polar Regions”. 19th c. English. Watercolor and graphite. Collections of the Yale Center for British Arts, New Haven. Image © Yale Center for British Arts. Artwork itself in the public domain due to age. via https://wanderingvertexes.blogspot.com/2021/08/newtontoppen-spitzbergen-by-charles.html
“Remarkable Iceberg seen in July, 1818.” ca. 1818. English. Watercolor and graphite on moderately thick, moderately textured wove paper. Collections of the Collections of the Yale Center for British Arts, New Haven. Image © Yale Center for British Arts, Paul Mellon Collection. Artwork itself in the public domain due to age. via https://artsandculture.google.com/asset/remarkable-iceberg-charles-hamilton-smith-1776%E2%80%931859-belgian/kwFvKsdBrhN6Xw
“Victoria lands, South Polar Regions: Mont Erebus, Ross Island, Antarctica,” from the collection of 75 watercolors entitled “Views of Polar Regions”. 19th c. English. Watercolor and graphite. Collections of the Yale Center for British Arts, New Haven. Image © Yale Center for British Arts. Artwork itself in the public domain due to age. via https://wanderingvertexes.blogspot.com/2019/10/erebus-seen-by-charles-hamilton-smith.html
“Mount Sabine, Victoria Land,  Antarctica, discovered in 1841,” from the collection of 75 watercolors entitled “Views of Polar Regions”. ca. 1841. English. Watercolor. Collections of the Yale Center for British Arts, New Haven. Image © Yale Center for British Arts. Artwork itself in the public domain due to age. via https://wanderingvertexes.blogspot.com/2019/11/mount-sabine-by-charles-hamilton-smith.html
Petoowack Arctic Highlands Formation Antarctica. Undated, by 1858. British. Watercolor and graphite on cream wove paper. Charles Hamilton Smith, watercolorist (1776-1859). Collections of the Yale Center for British Art. Artwork in the public domain due to age. via Francis Rousseau @mountainpaintingsandmore on Instagram. via Instagram. https://www.instagram.com/p/CpdQ2xGM_zy/
Icebergs and Aurora Borealis in the Arctic Regions. Undated, by 1858. British. Watercolor and graphite on cream wove paper. Charles Hamilton Smith, watercolorist (1776-1859). Collections of the Yale Center for British Art. Artwork in the public domain due to age. via https://collections.britishart.yale.edu/catalog/tms:18924
Halo with Three Parhelia, Winter Harbour Melville Island. Undated, by 1858. British. Watercolor and graphite on cream wove paper. Charles Hamilton Smith, watercolorist (1776-1859). Collections of the Yale Center for British Art. Artwork in the public domain due to age. via https://collections.britishart.yale.edu/catalog/tms:18924 and a slightly cropped version on Stephen Ellcock @stephenellcock ‘s Instagram https://www.instagram.com/stephenellcock/p/DD-sh1pN8t3/?hl=en

Snug Corner Cove Prince William’s Sound. Undated, by 1858. British. Watercolor and graphite on cream wove paper. Charles Hamilton Smith, watercolorist (1776-1859). Collections of the Yale Center for British Art. Artwork in the public domain due to age. via https://collections.britishart.yale.edu/catalog/tms:18924
Remarkable Iceberg. Undated, by 1858. British. Watercolor and graphite on cream wove paper. Charles Hamilton Smith, watercolorist (1776-1859). Collections of the Yale Center for British Art. Artwork in the public domain due to age. via https://collections.britishart.yale.edu/catalog/tms:18924

Landscapes with a few people from another place in time to dream your way back to. Probably doesn’t look like that anymore. Painted by English artist John Rogers Herbert who lived from 1810 to 1986. Studied at the Royal Academy Schools.

“Landscape in the North of Israel.” 1873. English. Oil on board. Signed “J. R. Herbert RA” and dated 1873 on the lower left. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2021/eclectic-new-york/landscape-in-the-north-of-israel
“LABORARE EST ORARE (to labour is to pray) And some fell upon rock: and as soon as it was sprung up it withered away because it had no moisture And some fell among thorns, and the thorns growing up with it choked [sic] And some fell upon good ground : and sprung up and yielded fruit a hundred fold Gospel of St. Luke. The monks of St. Bernard’s Abbey Leicester gathering the harvest of 1861. The boys in the adjoining field are from the Reformatory under the care of these Religious.’” Collections of the Tate Galleries. Cc0 License 3.0. via https://www.tate.org.uk/art/artworks/herbert-laborare-est-orare-t01455
“Asyut on the Nile.” 1873. English. Image source: r
http://www.johnrogersherbert.co.uk/painting. In the public domain in the United States because the artist has been dead over 70 years. via https://en.wikipedia.org/wiki/File:Asyut_on_the_Nile.jpg
“Approaching the Oasis.” 1880. English. Oil on canvas. Signed and dated “J. R. Herbert RA 1880” on the lower left. Image © Bonhams 2001-2021. Fair use license. via https://www.bonhams.com/auctions/14883/lot/243/?category=list

Designs to fancy up everything. Why live boring if you can use these? Taken from Samuel Leith’s work “The Tradesman’s Book of ornamental Designs” which was published in London in 1847.

Title page. Page 3. Collections of the Clark Art Institute Library. Digitalizing federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/tradesmansbookof00leit/page/n3/mode/1up?view=theater
“Iron Work.” Page 7. Collections of the Clark Art Institute Library. Digitalizing federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/tradesmansbookof00leit/page/n7/mode/1up?view=theater
“Flemish.” Page 11. Collections of the Clark Art Institute Library. Digitalizing federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/tradesmansbookof00leit/page/n11/mode/1up?view=theater
‘Italian: from a rare etching by Guido Reni after Lucas Cambiaso.” Page 13. Collections of the Clark Art Institute Library. Digitalizing federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/tradesmansbookof00leit/page/n13/mode/1up?view=theater

Gothic scroll. Page 22. Collections of the Clark Art Institute Library. Digitalizing federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/tradesmansbookof00leit/page/n22/mode/1up?view=theater
Elizabethan panels. Page 6. Collections of the Clark Art Institute Library. Digitalizing federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/tradesmansbookof00leit/page/6/mode/1up?view=theater
Window heads – Elizabethan. Page 36. Collections of the Clark Art Institute Library. Digitalizing federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/tradesmansbookof00leit/page/36/mode/1up?view=theater
Fire screen – Grotesque. Page 16. Collections of the Clark Art Institute Library. Digitalizing federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/tradesmansbookof00leit/page/16/mode/1up?view=theater
Ceilings – Italian. Page 18 from Samuel Leith’s 1847 work The Tradesman’s Book of ornamental Designs. British, published in London. Collections of the Clark Art Institute Library. Digitalizing federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/tradesmansbookof00leit/page/18/mode/1up?view=theater
Moorish and Flemish. Page 21 from Samuel Leith’s 1847 work The Tradesman’s Book of ornamental Designs. British, published in London. Collections of the Clark Art Institute Library. Digitalizing federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/tradesmansbookof00leit/page/21/mode/1up?view=theater

Trellis work – Gothic. Page 23 from Samuel Leith’s 1847 work The Tradesman’s Book of ornamental Designs. British, published in London. Collections of the Clark Art Institute Library. Digitalizing federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/tradesmansbookof00leit/page/23/mode/1up?view=theater
Window heads – Elizabethan. Page 23 from Samuel Leith’s 1847 work The Tradesman’s Book of ornamental Designs. British, published in London. Collections of the Clark Art Institute Library. Digitalizing federally funded with LSTA funds through the Massachusetts Board of Library Commissioners. In the public domain due to age. via https://archive.org/details/tradesmansbookof00leit/page/33/mode/1up?view=theater

Plates from F. B. Spilsbury’s 1823 work “Picturesque scenery in the Holy Land and Syria : delineated during the campaigns of 1799 and 1800” .

“A market in Acre.” Page 50. Drawn and engraved by W. Stack after a drawing by F. B. Spilsbury. Collectjons of the Beirut Heritage Society. In the public domain due to age. via https://archive.org/details/picturesque-scenery-in-the-holy-land-and-syria/page/n50/mode/1up
“A burial place at Beirut.” Page 53. Page 50. Drawn and engraved by W. Stack after a drawing by F. B. Spilsbury. Collectjons of the Beirut Heritage Society. In the public domain due to age. via https://archive.org/details/picturesque-scenery-in-the-holy-land-and-syria/page/n53/mode/1up
“Zeta near Jaffa in Syria.” Page 63. Drawn and engraved by W. Stack after a drawing by F. B. Spilsbury. Collectjons of the Beirut Heritage Society. In the public domain due to age. via https://archive.org/details/picturesque-scenery-in-the-holy-land-and-syria/page/n63/mode/1up
“Arab Huts at Zeta.” 1823. Page 66. Drawn and engraved by W. Stack after a drawing by F. B. Spilsbury. Collectjons of the Beirut Heritage Society. In the public domain due to age. via https://archive.org/details/picturesque-scenery-in-the-holy-land-and-syria/page/n66/mode/1up
Joseph’s Pit and Well. Page 81. 1823. Drawn and engraved by W. Stack after a drawing by F. B. Spilsbury. Collectjons of the Beirut Heritage Society. In the public domain due to age. via https://archive.org/details/picturesque-scenery-in-the-holy-land-and-syria/page/n81/mode/1up
Tripoli. Page 93. 1823. Drawn and engraved by W. Stack after a drawing by F. B. Spilsbury. Collectjons of the Beirut Heritage Society. In the public domain due to age. via https://archive.org/details/picturesque-scenery-in-the-holy-land-and-syria/page/n93/mode/1up
The Pilgrim’s Castle. Page 104. 1823. Drawn and engraved by W. Stack after a drawing by F. B. Spilsbury. Collectjons of the Beirut Heritage Society. In the public domain due to age. via https://archive.org/details/picturesque-scenery-in-the-holy-land-and-syria/page/n104/mode/1up

F. B. Spilsbury was a surgeon with the British army so these are engravings made from drawings he did while in Syria and the Holy Land when it was part of the Ottoman Empire and ruled from Constantinople (Istanbul). At that time the Holy Land (now Israel, the west bank and Gaza) which was the Palestinian eyelet of province along with Jordan, Lebanon and Syria made up the Ottoman province of Syria which was governed from Beirut.