Hotel décor from the old days in Paris. Doesn’t look that way anymore but you can always dream of Sarah Bernhardt stopping by for tea. Collections of the Indianapolis Museum of Art (Newfields).

Escalier, Hôtel du Figaro, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Jean Arnould Léveil, artist. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/63484/

Vestibule, Hôtel du Figaro, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Jean Arnould Léveil, artist. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/61332/

Salle de Bains, Hôtel Boulevard Exelmans, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Jean Arnould Léveil, artist. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/63483/

Vestibules, Hôtel du Figaro, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Jean Arnould Léveil, artist. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/63509/

Vestibule, Hôtel de Menier, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/63522

Grand Salon, hôtel, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/63521/

Vestibule, Hôtel Boulevard Exelmans, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/63494/

Motifs Japonais. A portfolio of Art Deco versions of Japanese themes. The first edition, published in Paris ca. 1925. Woodblock designs, printed in pochoir, many executed with metallic silver, bronze, and copper inks. Hand-stenciled by l’atelier Ferrariello.

Pochoir print taken from Motifs Japonais, a portfolio of Art Deco versions of Japanese themes. One of forty woodblocks printed on pochoir. ca. 1925. Issued by H. Guillaume. Published in Paris. Hand-stenciled by l’atelier Ferrariello. Image © 2023 Michael Laird Rare Books. Fair use license. via https://www.michaellaird.com/pages/books/3975/atelier-ferrariello/art-deco-japanese-pochoir-designs-motifs-japonais-40-planches-eluminure-executee-par-l-atelier

Pochoir print taken from Motifs Japonais, a portfolio of Art Deco versions of Japanese themes. One of forty woodblocks printed on pochoir. ca. 1925. Issued by H. Guillaume. Published in Paris. Hand-stenciled by l’atelier Ferrariello. Image © 2023 Michael Laird Rare Books. Fair use license. via https://www.michaellaird.com/pages/books/3975/atelier-ferrariello/art-deco-japanese-pochoir-designs-motifs-japonais-40-planches-eluminure-executee-par-l-atelier

Pochoir print taken from Motifs Japonais, a portfolio of Art Deco versions of Japanese themes. One of forty woodblocks printed on pochoir. ca. 1925. Issued by H. Guillaume. Published in Paris. Hand-stenciled by l’atelier Ferrariello. Image © 2023 Michael Laird Rare Books. Fair use license. via https://www.michaellaird.com/pages/books/3975/atelier-ferrariello/art-deco-japanese-pochoir-designs-motifs-japonais-40-planches-eluminure-executee-par-l-atelier

Pochoir print taken from Motifs Japonais, a portfolio of Art Deco versions of Japanese themes. One of forty woodblocks printed on pochoir. ca. 1925. Issued by H. Guillaume. Published in Paris. Hand-stenciled by l’atelier Ferrariello. Image © 2023 Michael Laird Rare Books. Fair use license. via https://www.michaellaird.com/pages/books/3975/atelier-ferrariello/art-deco-japanese-pochoir-designs-motifs-japonais-40-planches-eluminure-executee-par-l-atelier

Pochoir print taken from Motifs Japonais, a portfolio of Art Deco versions of Japanese themes. One of forty woodblocks printed on pochoir. ca. 1925. Issued by H. Guillaume. Published in Paris. Hand-stenciled by l’atelier Ferrariello. Image © 2023 Michael Laird Rare Books. Fair use license. via https://www.michaellaird.com/pages/books/3975/atelier-ferrariello/art-deco-japanese-pochoir-designs-motifs-japonais-40-planches-eluminure-executee-par-l-atelier

Dreams of a Greece that isn’t coming back. Watercolors from an album with views of Greece done by artist Miltiadis Thon (1875-1945) whose album it was. It was part of a 2003 Bonhams auction.

Watercolor from an album that belonged to artist Miltiadis Thon with 135 watercolors done by the artist with various depictions of landscapes and seascapes of Greece. 1845. Signed and dated on the lower left. Image © Bonhams 2001-2023. Fair use license. via https://www.bonhams.com/auctions/10584/lot/19/?category=list

Watercolor from an album that belonged to artist Miltiadis Thon with 135 watercolors done by the artist with various depictions of landscapes and seascapes of Greece. 1895-1937. Signed on the lower right. Image © Bonhams 2001-2023. Fair use license. via https://www.bonhams.com/auctions/10584/lot/19/?category=list

The Parthenon. Watercolor from an album that belonged to artist Miltiadis Thon with 135 watercolors done by the artist with various depictions of landscapes and seascapes of Greece. 1895-1937. Signed on the lower right. Image © Bonhams 2001-2023. Fair use license. via https://www.bonhams.com/auctions/10584/lot/19/?category=list

Watercolor from an album that belonged to artist Miltiadis Thon with 135 watercolors done by the artist with various depictions of landscapes and seascapes of Greece. 1895-1937, closer to 1937 judging by the automobile which belonged to the watercolorist himself. Signed on the lower right. Image © Bonhams 2001-2023. Fair use license. via https://www.bonhams.com/auctions/10584/lot/19/?category=list

Miltiadsis Thon was a Greek artist of German descent. He was a descendant of Karl Christian Friedrich Thon, a Bavarian, who settled in Athens in 1833 when he arrived as a member of the court of King Otto.

Views of the West Indies in 1835. Antigua in the Lesser Antilles. Aquatints after L. Stobwasser that were commissioned by the Moravian Church as a way of promoting their work on the island.

Ansichten von Missions und erlassungen der evangelischen Brüdergemeinde. 1835. The wrapper being in German because the Moravian Church was founded in Germany with the captions of the aquatints being in French. However in 1835 Antigua was a British colony. Image © 2023 William Reese Company. Fair use license. Artwork itself in the public domain due to age. via https://www.williamreesecompany.com/pages/books/WRCAM32930/l-stobwasser/ansichten-von-missions-niederlassungen-der-evangelischen-bruder-gemeinde-vues-des

Vue de Cedarhall dans l’isle of Antigua aux Indes occidentales. A view of plantation life on the island. In the foreground a male worker sits beneath a tree smoking a pipe and speaks to a woman who balances a basket on her head. In the middle ground workers hoe a field and cattle graze. Two large homes are seen in the background, situated on rolling hills before larger mountains. 1835. Aquatint plate, an engraving after original work by L. Stobwasser. Image © 2023 William Reese Company. Fair use license. Artwork itself in the public domain due to age. via https://www.williamreesecompany.com/pages/books/WRCAM32930/l-stobwasser/ansichten-von-missions-niederlassungen-der-evangelischen-bruder-gemeinde-vues-des

Vue de Gracebay dans l’Isle de Antigua. dans l’Isle d’Antigoa aux Indes occidentales. Two plantation workers – a man carrying a hoe and a woman holding an infant – walk uphill as goats forage and romp nearby. Grace Bay and mountains are seen in the background. 1835. Aquatint plate, an engraving after original work by L. Stobwasser. Image © 2023 William Reese Company. Fair use license. Artwork itself in the public domain due to age. via https://www.williamreesecompany.com/pages/books/WRCAM32930/l-stobwasser/ansichten-von-missions-niederlassungen-der-evangelischen-bruder-gemeinde-vues-des

Vue de Gracehill dans l’Isle de Antigua aux Indes occidentales. Landscape with a plantation house situated in the background. In the foreground a female field worker and her three children carry sticks and provisions past the well dressed plantation owners, who carry umbrellas and wear top hats. 1835. Aquatint plate, an engraving after original work by L. Stobwasser. Image © 2023 William Reese Company. Fair use license. Artwork itself in the public domain due to age. via https://www.williamreesecompany.com/pages/books/WRCAM32930/l-stobwasser/ansichten-von-missions-niederlassungen-der-evangelischen-bruder-gemeinde-vues-des

Vue de l’Establissement des Missions a Saint Johns dans l’Isle d’Antigon aux Indes occidentales. A group of seven Antiguans, young and old, male and female, sits around a large tree in the courtyard of the Moravian mission complex. Other islanders are seen walking into or past various buildings. 1835. Aquatint plate, an engraving after original work by L. Stobwasser. Image © 2023 William Reese Company. Fair use license. Artwork itself in the public domain due to age. via https://www.williamreesecompany.com/pages/books/WRCAM32930/l-stobwasser/ansichten-von-missions-niederlassungen-der-evangelischen-bruder-gemeinde-vues-des

A selection of plates taken from “Oriental ceramic art : illustrated by examples from the collection of W.T. Walters” which came out in 1897 as a limited edition of 500 copies. L. Prang and Company, lithographers. Published by D. Appleton and Company.

PLATE XII. TWO PRIMITIVE PIECES. 1. TEACUP (Ch’a Wan), of the Hang-chou imperial ware (Kuan Yao) of the Southern Sung dynasty (1127-1279), of semi-globular form, curving in at the lip, with a circularly rimmed, slightly spreading foot, which has a pointed projection in the middle underneath. Invested with a minutely but deeply crackled glaze of grayish-blue color, becoming of more pronounced lavender tint inside the cup. The rim of the foot, where it is not covered by the glaze, shows the characteristic brownish iron-gray color of the paste, and the lip is reddish gray at the edge, where the glaze is thin. It is mounted on a carved stand of dark wood, and is of thick, solid material, in order to retain heat, as prescribed in the ceremonial of the tea clubs of the period. 2. VASE FOR FLOWERS (Hua Tsun), of typical Yuan dynasty porcelain (Yuan Tx’u, 1280-1367), of rounded quadrangular form, with two tubular handles, modeled after an archaic bronze sacrificial design. The glaze, which is spread on thickly, runs down in an unctuous mass, which does not completely cover the foot, and shows a grayish buff-colored paste of intense hardness; inside the mouth of the vase, it runs down for about an inch and also ends in an irregularly convoluted line. It is of grayish-blue color, with a shade of lavender, crackled with an irregular reticulation of deep lines, becoming pale brick-red round the upper rims of the vase and handles where the glaze is thin. The surface is stained in two places with mottled clouds of warm red passing into purple at the edges. Clouds of this kind, the result of some fortuitous oxidation during a firing, are highly valued by Chinese collectors; sometimes they are fancied to take the form of a bird or butterfly, or some other natural object. Page 12, Oriental ceramic art : illustrated by examples from the collection of W.T. Walters. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015239219/page/n12/mode/1up

PLATE XIII. FUCHIEN WHITE PORCELAIN. WINE-POT (Chiu Hu), of ivory white Fuchien porcelain (Chien Tz’u) modeled in the shape of an inverted pomegranate, and of about the natural size of the fruit, the dentated apex of which forms the foot. The handle is modeled as a branch that sends off two twigs to supply a relief decoration for the bowl as it winds up to make a loop on the cover, which it envelops in a crown of leaves. A line of verse is engraved on the back of the bowl. 2. CYLINDRICAL TEA-POT Ch’a Hu), of the same ivory-white porcelain, in the form of a joint of bamboo bounded around with a knotted cord, with a pair of bearded dragons of archaic lizardlike design with spreading bifid tails attached to it; the one crawling downward with its back bowed to make the handle, the other lifting its gaping mouth as the spout. The round cover is surmounted by the tiny figure of a grotesque lion. The design, freely and artistically treated, is clothed with a soft-looking lustrous glaze of the characteristic ivory-white tone of the finest old porcelain of the province of Fuchien, and the base, unglazed, shows the smooth, even texture of the paste. Page 20, Oriental ceramic art : illustrated by examples from the collection of W.T. Walters. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015239219/page/n20/mode/1up

PLATE XIV. TWO PIECES OF K’ANG-HIS BLUE AND WHITE. TALL TWO-HANDLED CUP AND COVER (Kai Wan), with each loop handle fashioned in the form of two dragons’ heads grasping a round jewel between their gaping jaws, and a bulging cover surmounted by a metal knob shaped like an acorn of European design. The cover, as well as the cup, is decorated in pale blue of pure color, with conventional borders of foliated panels brocaded with white flowers on a blue ground. The intervals on the cup are filled with groups of the paraphernalia of the scholar and artist, books on tables, brushes in vases, water receptacles, and scroll pictures, all enveloped with waving fillets, and mixed with tasseled wands and double diamonds, symbols of literary success. 2. SMALL JAR (Hsiao Kuan) painted in bright blue in the early K’ang-his style (1662-1722), with lotus flowers and reeds growing in water, flying insects, and lightly sketched floral sprays. The front of the vase displays, in an interval left in the floral decoration, a quarterfoil medallion containing the sacred Christian monogram I.H.S, with a cross above, and three nails meeting in a point below. Page 26, Oriental ceramic art : illustrated by examples from the collection of W.T. Walters. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015239219/page/n28/mode/1up

PLATE XV. CELADON BRUSH CYLINDER. (Pi T’ang), nine inches high, of tall, slender form, modeled in the shape of a section of bamboo, with a double ring worked in relief in the paste near the foot, between two lightly etched bands of scrolled design. A Ch’ih-lung, the dragon of archaic bronzes, is represented in salient relief as coiled around the tube, with a scowling head and bristling mane, having flames proceeding from the shoulders and flanks. The cylinder is enameled with a celadon glaze of grayish-green tint, contrasting with the dragon, which is invested with a white enamel. The bottom is also celadon, leaving a wide encircling rim where the grayish biscuit is visible. Period K’ang-hsi (1662-1722). Page 36, Oriental ceramic art : illustrated by examples from the collection of W.T. Walters. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015239219/page/n36/mode/1up

PLATE XVII. K’ANG-HSU VASE DECORATED IN COLORS. CLUB-SHAPED VASE (Pang-chih l’ing), 17 ½ inches high, decorated in brilliant enamel colors, with touches of gold, of the best period of the reign of K’ang-hsi (1662-1722). The decoration is arranged in two large oblong panels and four larger circular panels, displayed upon a ground of floral brocade. The scrolled coral-red ground is studded with chrysanthemum blossoms, alternately tinted apple-green and celadon. The large panel in front has a picture of a gaily plumaged bird perched upon a branch of blossoming prunus, penciled in brown, with red flowers touched with gold, mingled with sprays of bamboo having the leaves filled in with bright green and over-glaze blue. The disk of the rising sun is seen above, partly hidden by the clouds of down ting, indicated in pale coral-red. The corresponding panel at the back has a bird on a branch of hydrangea shrub, interwoven with sprays of Hibiscus rosa-sinensis. The circular panels contain landscapes below, insects above, the Mantis religiosa, with millet and wild pinks in front, the grasshopper perched on grass, with trifid panicles and single chrysanthemums behind. The shoulder slope of the vase is decorated above with a band of scrolled chrysanthemum, with large red flowers and green leaves studding a purple ground, which is interrupted with four foliated medallions containing butterflies. The colors of the gadroon border around the foot, and of the diverse rings of conventional feet and diaper which encircle the upper part of the vase, are perfectly shown in the illustration. Page 50, Oriental ceramic art : illustrated by examples from the collection of W.T. Walters. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015239219/page/n50/mode/1up

PLATE XIX. IRIDESCENT IRON-RUST VASE. (L-ing), egg-shaped, with a small round mouth and a circularly rimmed foot, enameled with a dark-brown monochrome glaze, thickly speckled with minute points of deep metallic lustrous aspect, and irregularly flocked all over with clouds of vermillion color, the lip being covered with a ring of the same red. It is a striking example of the t’ieh-hsiu, or “iron-rust glaze,” of naturalistic color and inimitable metallic luster. The foot is enameled underneath with a dark olive-brown monochrome glaze of “bubbly” appearance. There is no mark inscribed, although it is evidently an early Ch’ien-lung piece (1736-95). Page 62, Oriental ceramic art : illustrated by examples from the collection of W.T. Walters. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125015239219/page/n62/mode/1up

Design folio/album of Gibitz Mariska of which little is known except that the experts at White Fox Rare Books whose website this is taken from can pinpoint the origin of this album to Hungary and Budapest because the paper was made by a Budapest firm. ca. 1890-1910.

Stylized leaves and berries design with a black background. ca. 1890-1910. Made in Budapest, Hungary. Watercolor. Design folio/album of Gibitz Mariska. Image © 2023 White Fox Rare Books And Antiques. Fair use license. via https://www.whitefoxrarebooks.com/product/1841/Design-Book-of-Gibitz-Mariska

Stylized leaves and berries design with a forest green background. ca. 1890-1910. Made in Budapest, Hungary. Watercolor. Design folio/album of Gibitz Mariska. Image © 2023 White Fox Rare Books And Antiques. Fair use license. via https://www.whitefoxrarebooks.com/product/1841/Design-Book-of-Gibitz-Mariska

Stylized leaves and berries design in ombre tones with a black background. ca. 1890-1910. Made in Budapest, Hungary. Watercolor. Design folio/album of Gibitz Mariska. Image © 2023 White Fox Rare Books And Antiques. Fair use license. via https://www.whitefoxrarebooks.com/product/1841/Design-Book-of-Gibitz-Mariska

Design with acorns and oak leaves. ca. 1890-1910. Made in Budapest, Hungary. Watercolor. Design folio/album of Gibitz Mariska. Image © 2023 White Fox Rare Books And Antiques. Fair use license. via https://www.whitefoxrarebooks.com/product/1841/Design-Book-of-Gibitz-Mariska

Design in pink and blue. ca. 1890-1910. Made in Budapest, Hungary. Watercolor. Design folio/album of Gibitz Mariska. Image © 2023 White Fox Rare Books And Antiques. Fair use license. via https://www.whitefoxrarebooks.com/product/1841/Design-Book-of-Gibitz-Mariska

Design in black, pink and red. ca. 1890-1910. Made in Budapest, Hungary. Watercolor. Design folio/album of Gibitz Mariska. Image © 2023 White Fox Rare Books And Antiques. Fair use license. via https://www.whitefoxrarebooks.com/product/1841/Design-Book-of-Gibitz-Mariska

Design with ivy leaves. ca. 1890-1910. Made in Budapest, Hungary. Watercolor. Design folio/album of Gibitz Mariska. Image © 2023 White Fox Rare Books And Antiques. Fair use license. via https://www.whitefoxrarebooks.com/product/1841/Design-Book-of-Gibitz-Mariska

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

Decorate like it’s 1912 with hints from C. H. Baer’s “120 interiors in colours, designed by modern artists.” Published in Cleveland by J. H. Hansen in 1912.

Vestibule. Hans and Henry Lassen -Bremen. Watercolour by L. Gunkel – Bremen. Page 1 of 120 interiors in colours, designed by modern artists. Collections of and digitalized by the University of Illinois Champagne-Urbana. In the public domain due to age. via https://archive.org/details/120interiorsinco00baer/page/1/mode/1up

Vestibule. Schneiderelt and Wuensche – Friedenau – Berlin. Watercolour and decorative paintings by M. Pechstein – Berlin. Page 2 of 120 interiors in colours, designed by modern artists. Collections of and digitalized by the University of Illinois Champagne-Urbana. In the public domain due to age. via https://archive.org/details/120interiorsinco00baer/page/2/mode/1up

Vestible. Kurt Boschen – Moers on-the-Rhine. Page 3 of 120 interiors in colours, designed by modern artists. Collections of and digitalized by the University of Illinois Champagne-Urbana. In the public domain due to age. via https://archive.org/details/120interiorsinco00baer/page/3/mode/1up

Hall. Professor Richard Berndl- Munich. Watercolor by G. G. Klemm – Munich. Page 4 of 120 interiors in colours, designed by modern artists. Collections of and digitalized by the University of Illinois Champagne-Urbana. In the public domain due to age. via https://archive.org/details/120interiorsinco00baer/page/4/mode/1up

Vestibule. Schneiderelt and Wuensche – Friedenau – Berlin. Watercolour and decorative paintings by M. Pechstein – Berlin. Page 5 of 120 interiors in colours, designed by modern artists. Collections of and digitalized by the University of Illinois Champagne-Urbana. In the public domain due to age. via https://archive.org/details/120interiorsinco00baer/page/5/mode/1up

Hotel Vestibule. Professor Oswin Hempel – Dresden. Page 6 of 120 interiors in colours, designed by modern artists. Collections of and digitalized by the University of Illinois Champagne-Urbana. In the public domain due to age. via https://archive.org/details/120interiorsinco00baer/page/6/mode/1up

Images taken from an album of watercolor drawings of plants, insects and fruit, nineteenth century. Chinese school. Some are captioned in Chinese.

Melon. Part of a 19th century Chinese school album of watercolor drawings of plants, insects and fruit. Artist not known. Image © 2022 Sotheby’s. Artwork itself in the public domain to age. https://www.sothebys.com/en/buy/auction/2022/the-library-of-henry-rogers-broughton-2nd-baron-fairhaven-part-ii-2/chinese-school-album-of-watercolour-drawings-of-2

Part of a 19th century Chinese school album of watercolor drawings of plants, insects and fruit. Artist not known. Image © 2022 Sotheby’s. Artwork itself in the public domain to age. https://www.sothebys.com/en/buy/auction/2022/the-library-of-henry-rogers-broughton-2nd-baron-fairhaven-part-ii-2/chinese-school-album-of-watercolour-drawings-of-2

Part of a 19th century Chinese school album of watercolor drawings of plants, insects and fruit. Artist not known. Image © 2022 Sotheby’s. Artwork itself in the public domain to age. https://www.sothebys.com/en/buy/auction/2022/the-library-of-henry-rogers-broughton-2nd-baron-fairhaven-part-ii-2/chinese-school-album-of-watercolour-drawings-of-2

Part of a 19th century Chinese school album of watercolor drawings of plants, insects and fruit. Artist not known. Image © 2022 Sotheby’s. Artwork itself in the public domain to age. https://www.sothebys.com/en/buy/auction/2022/the-library-of-henry-rogers-broughton-2nd-baron-fairhaven-part-ii-2/chinese-school-album-of-watercolour-drawings-of-2

The album was in the collections of Winifred Bois. Winifred Bois was the daughter of Frederic William Bois, (1848-1921). Frederic was an amateur photographer who exhibited at the Paris Exhibition of 1900, and whose family had held a prominent place in the mercantile life of Ceylon since the 1860s. Winifred traveled extensively in the Far East. She collected Chinese school watercolors.

Plates from Anton Seder’s 1896 work “Das Thier Der Decorativen Kunst.” Decorative arted up animals doing odd things.

Title page. Page 2, Das Thier in der decorativen Kunst. Anton Seder,artist. Published in 1896 in Vienna by Gerlach and Schenk. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125013920190/page/n2/mode/1up

Page 6, Das Thier in der decorativen Kunst. Anton Seder, artist. Published in 1896 in Vienna by Gerlach and Schenk. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125013920190/page/n6/mode/1up

Page 8, Das Thier in der decorativen Kunst. Anton Seder, artist. Published in 1896 in Vienna by Gerlach and Schenk. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125013920190/page/n8/mode/1up

Page 10, Das Thier in der decorativen Kunst. Anton Seder, artist. Published in 1896 in Vienna by Gerlach and Schenk. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125013920190/page/n10/mode/1up

Page 12, Das Thier in der decorativen Kunst. Anton Seder, artist. Published in 1896 in Vienna by Gerlach and Schenk. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125013920190/page/n12/mode/1up

Page 22, Das Thier in der decorativen Kunst. Anton Seder, artist. Published in 1896 in Vienna by Gerlach and Schenk. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125013920190/page/n22/mode/1up

Page 24, Das Thier in der decorativen Kunst. Anton Seder, artist. Published in 1896 in Vienna by Gerlach and Schenk. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125013920190/page/n24/mode/1up

Page 28, Das Thier in der decorativen Kunst. Anton Seder, artist. Published in 1896 in Vienna by Gerlach and Schenk. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125013920190/page/n28/mode/1up

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