Motifs decoratifs to use wherever you like. Make your own adult coloring book. Imagery by Jules Habert-Dys who was born in 1850 with these images published in 1900.

Page 10, Motifs decoratifs. Jules Habert-Dys, artist (1850-?) French. Published in 1900 by Librairie de l’Art. Collections of the Getty Research Institute. Artwork in the public domain due to age. https://archive.org/details/motifsdecoratifs00habe/page/n10/mode/1up

Page 15, Motifs decoratifs. Jules Habert-Dys, artist (1850-?) French. Published in 1900 by Librairie de l’Art. Collections of the Getty Research Institute. Artwork in the public domain due to age. https://archive.org/details/motifsdecoratifs00habe/page/n15/mode/1up

Page 17, Motifs decoratifs. Jules Habert-Dys, artist (1850-?) French. Published in 1900 by Librairie de l’Art. Collections of the Getty Research Institute. Artwork in the public domain due to age. https://archive.org/details/motifsdecoratifs00habe/page/n17/mode/1up

Page 21, Motifs decoratifs. Jules Habert-Dys, artist (1850-?) French. Published in 1900 by Librairie de l’Art. Collections of the Getty Research Institute. Artwork in the public domain due to age. https://archive.org/details/motifsdecoratifs00habe/page/n21/mode/1up

Page 26, Motifs decoratifs. Jules Habert-Dys, artist (1850-?) French. Published in 1900 by Librairie de l’Art. Collections of the Getty Research Institute. Artwork in the public domain due to age. https://archive.org/details/motifsdecoratifs00habe/page/n26/mode/1up

Dress up your home like the Empress Josephine is coming to stay. Décor ideas by French decorator Jean-Démosthène Dugourc who lived from 1749 to 1825. Collections of the Musée des Arts Décoratifs, Paris.

Projet de décor mural. 1790. French. Design sketch, watercolor over pen strokes in black ink on paper glued in full on blue paper, framed in pen and black ink. Jean-Démosthène Dugourc, designer/artist. Inventory #CD 2723. Collections of and image © the Musée des Arts Décoratifs, Paris. Artwork itself in the public domain due to age. via http://collections.madparis.fr/projet-de-decor-mural-0

Projet de lit à la polonaise. ca. 1790, before 1825. French. Watercolor on paper with pen and black ink. Jean-Démosthène Dugourc, designer/artist. Inventory #CD 2719. Collections of and image © the Musée des Arts Décoratifs, Paris. Artwork itself in the public domain due to age. via http://collections.madparis.fr/projet-de-lit-a-la-polonaise

Projet de console. ca. 1790, before 1825. French. Watercolor on paper with pen and black ink. Jean-Démosthène Dugourc, designer/artist. Inventory #CD 2725. Collections of and image © the Musée des Arts Décoratifs, Paris. Artwork itself in the public domain due to age. via http://collections.madparis.fr/projet-de-console-16

Décor mural intérieur et mobilier à l’étrusque. ca. 1790, before 1825. French. Watercolor on paper with pen and black ink. Jean-Démosthène Dugourc, designer/artist. Inventory #CD 2718. Collections of and image © the Musée des Arts Décoratifs, Paris. Artwork itself in the public domain due to age. via http://collections.madparis.fr/decor-mural-interieur-et-mobilier-a-l-etrusque

Projet pour deux ployants.ca. 1790, before 1825. French. Watercolor over pen strokes in black ink on paper glued in full on blue paper, double framed in pen and black ink. Jean-Démosthène Dugourc, designer/artist. Inventory #CD 2729. Collections of and image © the Musée des Arts Décoratifs, Paris. Artwork itself in the public domain due to age. via http://collections.madparis.fr/projet-pour-deux-ployants

Projet de lit à toile rayée. 1790, before 1825. French. Pen and black ink with watercolor on paper stuck on blue paper, framed in Indian ink. Jean-Démosthène Dugourc, designer/artist. Inventory #CD 2727. Collections of and image © the Musée des Arts Décoratifs, Paris. Artwork itself in the public domain due to age. via http://collections.madparis.fr/projet-de-lit-a-toile-rayee-7

Projet de chaise “étrusque”. ca. 1790, before 1825. French. Watercolor on paper with pen and black ink. Jean-Démosthène Dugourc, designer/artist. Inventory #CD 2739. Collections of and image © the Musée des Arts Décoratifs, Paris. Artwork itself in the public domain due to age. via http://collections.madparis.fr/projet-de-chaise-etrusque

Artwork by French set designer Jean-Louis Chéret in the collections of the National Library of France or at least on their website. Living from 1820 to 1882, it looks like he did set design for various Paris theatres.

Set design for a production of L’arbre de Noël : féerie en trois actes staged at the Théâtre de la Porte Saint-Martin, Paris on May 10, 1880. Henri Robecchi and Jean-Louis Chéret, set designers. 1880. French. Sketch of a set design. Jean-Louis Chéret, artist (1820-1888). Collections of the Bibliothèque nationale de France gallica.bnf.fr. Artwork in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/btv1b7000039r.r=Jean-Louis%20Cheret?rk=21459;2

Set design for the Interior of the l’Excentric-Club à Londres scene in Act I, Scene I of a production of Le Tour du Monde en 80 Jours, a French production in translation of Around the World in 80 Days that was staged at the Théâtre de la Porte Saint-Martin in Paris on July 11, 1874. French. Sketch of a set design. Jean-Louis Chéret, artist and set designer (1820-1888). Collections of the Bibliothèque nationale de France gallica.bnf.fr. Artwork in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/btv1b70012976.r=Jean-Louis%20Cheret?rk=85837;2

Set design for an unknown production that looks like it was set in Ancient Greek or Roman times. 1879. French. Set design sketch in pen and ink with watercolor. Jean-Louis Chéret, artist and set designer (1820-1888). Collections of the Bibliothèque nationale de France gallica.bnf.fr. Artwork in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/btv1b7000382s.r=Jean-Louis%20Cheret?rk=128756;0

Set design for the Interior of the Palace scene in Act IV, Scene 10 of Théodoros for an unknown theatre. 1868. French. Charcoal heightened with white on paper. Jean-Louis Chéret, designer and artist (1820-1888). Collections of the Bibliothèque nationale de France gallica.bnf.fr. Artwork in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/btv1b7001296s.r=Jean-Louis%20Cheret?rk=193134;0

Set design for the deux entrées au Louvre in Act II, Scene 4 of a production of La dame de Monsoreau. 1879. French. Pencil with white highlights on paper. Jean-Louis Chéret, designer and artist (1820-1888). Collections of the Bibliothèque nationale de France gallica.bnf.fr. Artwork in the public domain due to age. via https://gallica.bnf.fr/ark:/12148/btv1b7000124n.r=Jean-Louis%20Cheret?rk=214593;2

Beautiful designs by Émile Gallé for a vase and a goblet, it looks like. These are turning up on a Russian art history site.

Decor project with octopuses for a vase. 1884-1903. French. Émile Gallé, designer/maker. Collections of the Museum d’Orsay, Paris. The image itself has a watermark for art.biblioclub.ru but the design itself is in the public domain due to age. via https://art.biblioclub.ru/picture_75318_proekt_dekora_s_osminogami_dlya_vazyi/

Design for a vase. By 1904. French. Émile Gallé, designer/maker. Collections of the Musée des Beaux-Arts de Nancy. The image itself has a watermark for art.biblioclub.ru but the design itself is in the public domain due to age. via https://art.biblioclub.ru/picture_75318_proekt_dekora_s_osminogami_dlya_vazyi/

Watercolor designs for porcelain, by the Samson et Cie. manufactory which was established in Paris, France ca. 1845 by “Edmé Samson (1810-1891). It was later run by his son, Emile who moved the factory to Montreuil in 1864.

Original design by designers at the Samson et Cie porcelain factory for a porcelain pitcher, intended as a reference source from which the porcelain painters could work, using the design as a guide for the colors and image to be transformed from paper into fine porcelain. 1845 or later. Made in Paris, France. Pen, ink, and watercolor. © 2023 Donald A. Heald Rare Books. Fair use license. via https://www.donaldheald.com/pages/books/14128/samson-co-designers/an-original-design-for-a-porcelain-pitcher

Original design by designers at the Samson et Cie porcelain factory for a porcelain plate, intended as a reference source from which the porcelain painters could work, using the design as a guide for the colors and image to be transformed from paper into fine porcelain. 1845 or later. Made in Paris, France. Pen, ink, and watercolor. © 2023 Donald A. Heald Rare Books. Fair use license. via https://www.donaldheald.com/pages/books/8602/samson-co-designers/an-original-design-for-a-porcelain-plate

Original design by designers at the Samson et Cie porcelain factory for a porcelain plate, intended as a reference source from which the porcelain painters could work, using the design as a guide for the colors and image to be transformed from paper into fine porcelain. 1845 or later. Made in Paris, France. Pen, ink, and watercolor. © 2023 Donald A. Heald Rare Books. Fair use license. via https://www.donaldheald.com/pages/books/8603/samson-co-designers/an-original-design-for-a-porcelain-plate

Original design by designers at the Samson et Cie porcelain factory for a porcelain plate, intended as a reference source from which the porcelain painters could work, using the design as a guide for the colors and image to be transformed from paper into fine porcelain. 1845 or later. Made in Paris, France. Pen, ink, and watercolor. © 2023 Donald A. Heald Rare Books. Fair use license. via https://www.donaldheald.com/pages/books/8610/samson-co-designers/an-original-design-for-a-porcelain-plate

Original design by designers at the Samson et Cie porcelain factory for a porcelain plate, intended as a reference source from which the porcelain painters could work, using the design as a guide for the colors and image to be transformed from paper into fine porcelain. 1845 or later. Made in Paris, France. Pen, ink, and watercolor. © 2023 Donald A. Heald Rare Books. Fair use license. via https://www.donaldheald.com/pages/books/13942/samson-co-designers/an-original-design-for-a-porcelain-plate

Original design by designers at the Samson et Cie porcelain factory for a porcelain plate, intended as a reference source from which the porcelain painters could work, using the design as a guide for the colors and image to be transformed from paper into fine porcelain. 1845 or later. Made in Paris, France. Pen, ink, and watercolor. © 2023 Donald A. Heald Rare Books. Fair use license. via https://www.donaldheald.com/pages/books/13948/samson-co-designers/an-original-design-for-a-porcelain-plate

Original design by designers at the Samson et Cie porcelain factory for a porcelain plate, intended as a reference source from which the porcelain painters could work, using the design as a guide for the colors and image to be transformed from paper into fine porcelain. 1845 or later. Made in Paris, France. Pen, ink, and watercolor. © 2023 Donald A. Heald Rare Books. Fair use license. via https://www.donaldheald.com/pages/books/13983/samson-co-designers/an-original-design-for-a-porcelain-plate

Original design by designers at the Samson et Cie porcelain factory for a porcelain plate, intended as a reference source from which the porcelain painters could work, using the design as a guide for the colors and image to be transformed from paper into fine porcelain. 1845 or later. Made in Paris, France. Pen, ink, and watercolor. © 2023 Donald A. Heald Rare Books. Fair use license. via https://www.donaldheald.com/pages/books/15910/samson-co-designers/an-original-design-for-a-porcelain-plate

The intention of Samson et Cie. was to reproduce ceramics from museums and private collections, and they claimed that all such reproductions would be distinctly marked to avoid confusion with the originals. The range of wares included copies of 18th-century porcelain from such factories as Sèvres, Chelsea, Meissen and Derby, Chinese export-wares, especially armorial wares decorated with famille rose colours and mugs decorated with the Fitzhugh pattern, Delftware, Iznikware, maiolica and faience.” (Grove Dictionary of Art). (taken from the dealer’s description).

Designs decorated with clouds and ducks and all sorts of wonderful things. French and by Jules-Edmond-Charles Lachaise who would be called an interior decorator nowadays. Born ca. 1830, he died in 1897.

Design for a carved and painted ceiling with clouds and ducks in the central circular panel. 1830-1897. French. Jules-Edmond-Charles Lachaise, maker. In the public domain due to age. via https://artvee.com/dl/design-for-a-carved-and-painted-ceiling-with-clouds-and-ducks-in-the-central-circular-panel#00

A garden pavilion in a forested landscape. 1830-1897. French. Drawing. Jules-Edmond-Charles Lachaise and Eugène-Pierre Gourdet, makers. Collections of the Metropolitan Museum of Art. CC0 License 1.0. via https://commons.wikimedia.org/wiki/File:A_garden_pavilion_in_a_forested_landscape_MET_DP811562.jpg

Design fo the Allegory of the Arts. 1850-1897. French. Drawing in Graphite, gouache, and watercolor. Jules-Edmond-Charles Lachaise and Eugène-Pierre Gourdet, makers. Collections of the Metropolitan Museum of Art. CC0 License 1.0. via https://commons.wikimedia.org/wiki/File:Design_fo_the_Allegory_of_the_Arts_MET_DP811628.jpg

Ceiling Design for the Pless Chateau, Silesia. 1850-1897. French. Drawing in gouache. Jules-Edmond-Charles Lachaise and Eugène-Pierre Gourdet, makers. Collections of the Metropolitan Museum of Art. CC0 License 1.0. via https://commons.wikimedia.org/wiki/File:Ceiling_Design_for_the_Pless_Chateau,_Silesia_MET_67.827.149.jpg

Design for a room with double doors decorated with garlands of fruit and flowers, scrolls, and lattice work. 1850-1897. French. Pen and ink and watercolor on tracing paper; mounted on heavy wove paper. Jules-Edmond-Charles Lachaise and Eugène-Pierre Gourdet, makers. Collections of the Metropolitan Museum of Art. CC0 License 1.0. via https://commons.wikimedia.org/wiki/File:Design_for_a_room_with_double_doors_decorated_with_garlands_of_fruit_and_flowers,_scrolls,_and_lattice_work_MET_DP811574.jpg

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

Imagery up in New York State’s Adirondack Mountains. Pencil drawings mostly done between 1921 and 1923. The artist is not known. Up for sale as one lot on the website of James Cummins Bookseller who I learned about at the antiquarian book fair in my city last fall.

DeGrasse River, Adirondacks. October 1923. American. Pencil drawing. Artist not known. Image © 2023 James Cummins Bookseller. Fair use license. via https://www.jamescumminsbookseller.com/pages/books/242968/adirondacks/thirteen-amateur-pencil-drawings-on-paper-of-scenes-of-mills-in-adirondacks-rochester-genessee

Adirondacks October 1922. Ten degrees below zero. American. Pencil drawing. Artist not known. Image © 2023 James Cummins Bookseller. Fair use license. via https://www.jamescumminsbookseller.com/pages/books/242968/adirondacks/thirteen-amateur-pencil-drawings-on-paper-of-scenes-of-mills-in-adirondacks-rochester-genessee

Adirondacks September 1922. American. Pencil drawing. Artist not known. Image © 2023 James Cummins Bookseller. Fair use license. via https://www.jamescumminsbookseller.com/pages/books/242968/adirondacks/thirteen-amateur-pencil-drawings-on-paper-of-scenes-of-mills-in-adirondacks-rochester-genessee

Genesee Lower Falls, Rochester, New York 1892. American. Pencil drawing. Artist not known. Image © 2023 James Cummins Bookseller. Fair use license. via https://www.jamescumminsbookseller.com/pages/books/242968/adirondacks/thirteen-amateur-pencil-drawings-on-paper-of-scenes-of-mills-in-adirondacks-rochester-genessee

Part of Rand Power Mills, Monroe County, New York. Erected Civil War 1860. American. Pencil drawing. Artist not known. Image © 2023 James Cummins Bookseller. Fair use license. via https://www.jamescumminsbookseller.com/pages/books/242968/adirondacks/thirteen-amateur-pencil-drawings-on-paper-of-scenes-of-mills-in-adirondacks-rochester-genessee

Rand Power Mill July 16 1921. American. Pencil drawing. Artist not known. Image © 2023 James Cummins Bookseller. Fair use license. via https://www.jamescumminsbookseller.com/pages/books/242968/adirondacks/thirteen-amateur-pencil-drawings-on-paper-of-scenes-of-mills-in-adirondacks-rochester-genessee

Architectural designs for work at Burlington House Piccadilly, Westminster, London from 1817. Samuel Ware, architect. Living from 1781 to 1860, he designed the Regency Burlington Arcade. Collections of the Royal Academy.

Designs for two bronze and steel fireplaces for Burlington House, Piccadilly, Westminster, London: plans, elevations and part-sections; The part tinted green to be bronze – the remainder polished steel – the base ground iron. An egg and tongue moulding with full relief to be cast on the edge of the hobs, and on the back of the grate. The bronze egg and tongue also to have full relief according to pattern. All the stoves to have registers to be wound up in the cheeks. Bottoms moveable supported on iron knobs. ca. 1817. British. Pencil, pen and black ink and grey and green washes on wove paper. Samuel Ware, architect and maker (1781-1860). Collections of the Royal Academy of Art, London. Creative Commons License. via https://www.royalacademy.org.uk/art-artists/work-of-art/designs-for-two-bronze-and-steel-fireplaces-for-burlington-house-piccadilly

Design, as executed, for iron panel decoration of great staircase, Burlington House, Piccadilly, Westminster, London: full-size detail, ca. 1817. British. Pencil, pen and black ink with grey wash. Samuel Ware, architect and maker (1781-1860). Collections of the Royal Academy of Art, London. © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates Limited. Fair use license. via https://www.royalacademy.org.uk/art-artists/work-of-art/design-as-executed-for-iron-panel-decoration-of-great-staircase-burlington

Design for iron support of great staircase, Burlington House, Piccadilly, Westminster, London: elevation looking west. ca. 1816. British. Pencil, pen and black ink with grey, yellow and orange washes. Samuel Ware, architect and maker (1781-1860). Collections of the Royal Academy of Art, London. © Photo: Royal Academy of Arts, London. Photographer: Prudence Cuming Associates Limited. Creative Commons license. via https://www.royalacademy.org.uk/art-artists/work-of-art/design-for-iron-support-of-great-staircase-burlington-house-piccadilly

Please note that there are quite a few more at the link, too.

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