Bit of places all dancing in air. Watercolors of designs by England’s John Dibblee Crace. Living from 1838 to 1919, he worked for Queen Victoria. Member of a family firm that helped decorate the Royal Pavilion in Brighton.

“Design for a room with two fireplaces”. ca. 1860. English. Ink, watercolor and gouache on paper. Stamped “John G. Crace & Son / 38 Wigmore Street, W” on the lower right. Collections of the Metropolitan Museum of Art. In the public domain due to age. via https://www.metmuseum.org/art/collection/search/363018?searchField=All&sortBy=Relevance&ft=John+Dibblee+Crace&offset=0&rpp=20&pos=3
“New University Club/Design of stained glass for skylight over staircase”. 19th c. English. Pen and brown ink with watercolor over graphite.  Signed “JD Crace/[indecipherable]” at lower right on the verso. Stamped”John D. Crace / 38 Wigmore Street W” in purple ink at the lower right of recto. Image © 2000–2021 The Metropolitan Museum of Art. Fair use license. via https://www.metmuseum.org/art/collection/search/363512?searchField=All&sortBy=Relevance&ft=John+Dibblee+Crace&offset=0&rpp=20&pos=4




“Elevation of Wall for a Coffee Room”. ca. 1887, English. Watercolor and graphite with touches of gouache. Stamped “John G. Grace and Son / 38 Wigmore Street, W” in purple ink at the lower left. Image © 2000–2021 The Metropolitan Museum of Art. Fair use license. via https://www.metmuseum.org/art/collection/search/363524?searchField=All&sortBy=Relevance&ft=John+Dibblee+Crace&offset=0&rpp=20&pos=5
“Design for Organ Pipes Decorated with Flowers and Fleur-de-lys.” 19th c. English. Watercolor over graphite with touches of gilt. Signed “J.D. Crace” in pen and black ink at the lower right. Image © 2000–2021 The Metropolitan Museum of Art. Fair use license. via https://www.metmuseum.org/art/collection/search/363507?searchField=All&sortBy=Relevance&ft=John+Dibblee+Crace&offset=0&rpp=20&pos=7

Color lithographs of eighteenth century embroideries. From what I think must be a folio created by Justin Lievre who was born in 1828. Collections of the National Galleries of Australia.

Chasuble broderie. 19th c. French. Lithograph. Archival ID#72.509.729. Image © 2021 National Gallery of Australia, Canberra. Artwork itself in the public domain due to age. via https://searchthecollection.nga.gov.au/object?uniqueId=57650
‘”Broderie – 17th c.” 19th c. French. Lithograph. Archival ID#72.509.729. Image © 2021 National Gallery of Australia, Canberra. Artwork itself in the public domain due to age. via https://searchthecollection.nga.gov.au/object?uniqueId=57643
“Broderies du lit de parade.” 19th c. French. Lithograph. Archival ID#72.509.729. Image © 2021 National Gallery of Australia, Canberra. Artwork itself in the public domain due to age. via https://searchthecollection.nga.gov.au/object?uniqueId=57648

Decorate up the powder room walls with design possibilities taken from Robert Brook’s “Elements of Style in Furniture and Woodwork” which was published in London and came out in 1889. All of these with an Italian Renaissance theme in case the Medici stop by.

“Italian Renaissance.” Page 38. Collections of the Robarts Library at the University of Toronto. University of Toronto, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/elementsofstylei00broo/page/n39/mode/1up
“Italian Renaissance.” Page 43. Collections of the Robarts Library at the University of Toronto. University of Toronto, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/elementsofstylei00broo/page/n43/mode/1up
“Italian Renaissance.” Page 45. Collections of the Robarts Library at the University of Toronto. University of Toronto, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/elementsofstylei00broo/page/n45/mode/1up

Geometrical figures and perspective drawings, 16th century watercolors preserved at the Herzog August Bibliothek in Wolfenbüttel in Lower Saxony. No artist or author’s name but beautiful.

Image 63. Collections of the Herzog August Bibliothek, Wolfenbüttel. In the pubic domain due to age. via https://diglib.hab.de/wdb.php?dir=mss/74-1-aug-2f&distype=thumbs
Image 65. Collections of the Herzog August Bibliothek, Wolfenbüttel. In the pubic domain due to age. via https://diglib.hab.de/wdb.php?dir=mss/74-1-aug-2f&distype=thumbs
Image 69. Image 65. Collections of the Herzog August Bibliothek, Wolfenbüttel. In the pubic domain due to age. via https://diglib.hab.de/wdb.php?dir=mss/74-1-aug-2f&distype=thumbs

Mirror frames that were old in 1836, one coming with its own furniture. Not your average Ikea kind of thing. Plates from Samuel Rush Meyrick’s “Specimens of Ancient Furniture.” Published in London by William Pickering. The illustrations drawn by Henry Shaw from existing authorities.

“Looking glass, of the time of Queen Elizabeth, in the possession of Sir Samuel Meyrick, Goodrich Court, Hertfordshire.” Page 26. Drawn and engraved by Henry Shaw. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/specimensofancie00meyr/page/26/mode/1up
“French looking glass, from Willimen’s ‘Monuments français inédits.” Page 39. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/specimensofancie00meyr/page/n39/mode/1up
“Silver furniture, at Knole Park, a seat of the Countess of Plymouth, date the time of James II.” page 41. Drawn and engraved by Henry Shaw. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/specimensofancie00meyr/page/n41/mode/1up
Couch from Penshurst Place, Kent. The seat of Sir Philip Sydney. Date the time of William III. Page 44. Plate from Samuel Rush Meyrick’s Specimens of Ancient Furniture. Drawn and engraved by Henry Shaw. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/specimensofancie00meyr/page/n44/mode/1up
From Cromwell Hall, Finchley. One of Cromwell’s palaces, of the time of William III. Now in the possession of William Amory Esquire, Devonshire Place. Page 70. Plate from Samuel Rush Meyrick’s Specimens of Ancient Furniture. Drawn and engraved by Henry Shaw. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/specimensofancie00meyr/page/n70/mode/1up
Brass Reading Desk, in the possession of Mr. Hull, Wardour Street. Date the later part of the 15th century. Page 124. Plate from Samuel Rush Meyrick’s Specimens of Ancient Furniture. Drawn and engraved by Henry Shaw. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/specimensofancie00meyr/page/n124/mode/1up
A Saltcellar, apparently of the time of Henry VIII, of Ivory. A steel nutcracker, of the time of Charles I. Two of wood, made in imitation of the human mouth, time of Charles II. Page 166. Plate from Samuel Rush Meyrick’s Specimens of Ancient Furniture. Drawn and engraved by Henry Shaw. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/specimensofancie00meyr/page/n166/mode/1up
Ancient Cup and Stand at Oriel College, Oxford. Given by Bishop Carpenter A.D. 1470. The cup is formed of a cocoa nut and the stand of part of a gourd mounted in silver gilt. Page 170. Plate from Samuel Rush Meyrick’s Specimens of Ancient Furniture. Drawn and engraved by Henry Shaw. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/specimensofancie00meyr/page/n170/mode/1up

Ornamental designs by Jean-Bernard Honoré Turreau (Bernard Turreau). French, he lived from 1672 to 1731. A sculptor and ornamentalist.

Water Fantasy with Neptune and sea horses. ca. 1729. French. Graphite under pen and black ink with wash on cream laid paper affixed to triple ply cream laid paper mount. Bernard Turreau, artist. Image ©2021 Fine Arts Museums of San Francisco. Fair use license. via https://art.famsf.org/jean-bernard-honore-turreau/ornamental-design-water-fantasy-neptune-and-sea-horses-196324285
Tomb. ca. 1716. French. Bernard Turreau, artist. Digitalized collection of the Library of the National Institute of the History of Art (INHA), Paris. Inage source: INHA>.Cc0 License 4.0. via https://commons.m.wikimedia.org/wiki/File:Bernard_Turreau_tombeau_p106.jpg
Arabesques. ca 1716. French. Bernard Turreau, artist. Charles Nicolas Cochin the Elder, engraver. Digitalized collection of the Library of the National Institute of the History of Art (INHA) Image source: INHA. Cc0 License 4.0. via https://commons.wikimedia.org/wiki/File:Bernard_Turreau_Cocin_p14.jpg
Coupe ou brasero. ca. 1716. Digitalized collection of the Library of the National Institute of the History of Art (INHA) Image source: INHA. Cc0 License 4.0. via https://commons.wikimedia.org/wiki/File:Bernard_Turreau_-Brasero-_p118.jpg

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

Artwork from various Finnish artists, that illustrate “The Kalevala,” the national epic poem of Finland. Collections of the State of Finland and very pretty.

“The defense of the Sampo.” Sketch for the cupola frescoes of the Finnish Pavilion at the  1900 Paris Exposition Universelle. 1899. Finnish. Gouache on paper. Akseli Gallen-Kallela, artist (1865-1931). Collections of the National Board of Antiquities of the State of Finland. Photo credit: Finnish National Gallery. Cc0 license, copyright free. via https://www.kansallisgalleria.fi/en/object/389962
Aino myth triptych. 1891. Finnish. Oil on canvas. Akseli Gallen-Kallela, artist (1865-1931). Collections of the State of Finland. Photo credit: National Gallery of Finland. Cc0 License, copyright free. via https://www.kansallisgalleria.fi/en/object/392351
“Väinämöisen’s call.” 19th c, before 1873. Finnish. Oil on canvas. Robert Wilhelm Ekman, artist (1808-1873). Collections of the Ateneum Art Museum. Photo credit: National Gallery of Finland. Cc0 License, copyright free. via https://www.kansallisgalleria.fi/en/object/400334
“Ilmater.” 1860. Finnish. Oil. Robert Wilhelm Ekman, artist (1808-1873). Collections of the Ateneum Art Museum. Photo credit: National Gallery of Finland. Cc0 License, copyright free. via https://www.kansallisgalleria.fi/en/object/402262

Designs featuring animals, sketches done for Minton Pottery. A selection from the archives of Minton Pottery, Stoke-on-Trent, England.

Bird with golden plumage. Undated. Image ©  Minton Archives. Fair use license. via https://www.themintonarchive.org.uk/some-further-folio-frivolity/
Butterfly. Undated. Image ©  Minton Archives. Fair use license. via https://www.themintonarchive.org.uk/some-further-folio-frivolity/
Bird with a blue background. Undated. Image ©  Minton Archives. Fair use license. via https://www.themintonarchive.org.uk/some-further-folio-frivolity/
Insect with a red and black body. Undated. Image ©  Minton Archives. Fair use license. via https://www.themintonarchive.org.uk/some-further-folio-frivolity/

Pochoir prints from Eugène Grasset’s 1896 portfolio “La Plante et ses Applications Ornementales sous la Direction.” Make your hallway look like heaven.

“Snowdrop.” Plate 31, page 59. Collections of the Smithsonian Libraries.  Biodiversity Heritage Library, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/planteetsesappl00Gras/page/n59/mode/1up

“Solomon’s Seal.” Plate 34, page 65. Collections of the Smithsonian Libraries.  Biodiversity Heritage Library, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/planteetsesappl00Gras/page/n65/mode/1up

“Nasturtium.” Plate 40, page 77. Collections of the Smithsonian Libraries.  Biodiversity Heritage Library, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/planteetsesappl00Gras/page/n77/mode/1up