SAVE 40% ON SINGLE IMAGE PURCHASES - OFFER ENDS SOON, USE CODE: IMAGESAVE40%
Page 1 of 9
American birds Stock Photos and Images
Háh-je-day-ah'-shee, Meeting Birds, a Brave. oil on canvas. Date: 1835-1836. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/hh-je-day-ah-shee-meeting-birds-a-brave-oil-on-canvas-date-1835-1836-museum-smithsonian-american-art-museum-image554800172.htmlRM2R6H97T–Háh-je-day-ah'-shee, Meeting Birds, a Brave. oil on canvas. Date: 1835-1836. Museum: Smithsonian American Art Museum.
Birds - U.S.P.R.R. Exp. & Surveys, 35th Parallel. Medium: color lithograph. Museum: National Gallery of Art, Washington DC. Author: American 19th Century. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/birds-usprr-exp-surveys-35th-parallel-medium-color-lithograph-museum-national-gallery-of-art-washington-dc-author-american-19th-century-image225823318.htmlRMR3B3XE–Birds - U.S.P.R.R. Exp. & Surveys, 35th Parallel. Medium: color lithograph. Museum: National Gallery of Art, Washington DC. Author: American 19th Century.
Section of bedskirt printed with game birds. Culture: British or American. Dimensions: L. 24 1/2 x W. 26 inches 62.2 x 66.0 cm. Date: 1830s. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/section-of-bedskirt-printed-with-game-birds-culture-british-or-american-dimensions-l-24-12-x-w-26-inches-622-x-660-cm-date-1830s-museum-metropolitan-museum-of-art-new-york-usa-image213330679.htmlRMPB21CR–Section of bedskirt printed with game birds. Culture: British or American. Dimensions: L. 24 1/2 x W. 26 inches 62.2 x 66.0 cm. Date: 1830s. Museum: Metropolitan Museum of Art, New York, USA.
Powder Horn. Culture: Colonial American, Ticonderoga, New York. Dimensions: L. 13 5/8 in. (34.6 cm); Diam. 3 1/2 in. (8.9 cm); Wt. 10.1 oz. (286.3 g). Date: 1759. This powder horn is decorated with a dragon, among other animals and birds. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/powder-horn-culture-colonial-american-ticonderoga-new-york-dimensions-l-13-58-in-346-cm-diam-3-12-in-89-cm-wt-101-oz-2863-g-date-1759-this-powder-horn-is-decorated-with-a-dragon-among-other-animals-and-birds-museum-metropolitan-museum-of-art-new-york-usa-image212916049.htmlRMPAB4GH–Powder Horn. Culture: Colonial American, Ticonderoga, New York. Dimensions: L. 13 5/8 in. (34.6 cm); Diam. 3 1/2 in. (8.9 cm); Wt. 10.1 oz. (286.3 g). Date: 1759. This powder horn is decorated with a dragon, among other animals and birds. Museum: Metropolitan Museum of Art, New York, USA.
Water cooler. Culture: American. Dimensions: H. 13 in. (33 cm); Diam. 10 in. (25.4 cm). Maker: Julius and Edward Norton (active 1850-59). Date: 1850-59. During the 1850s, Julius and Edward Norton, like their upstate New York competitors, produced stoneware with designs in cobalt blue slip. Typical of the motifs found on their wares are birds, flowers, stags, dogs, and eagles, executed with little regard to relative scale. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/water-cooler-culture-american-dimensions-h-13-in-33-cm-diam-10-in-254-cm-maker-julius-and-edward-norton-active-1850-59-date-1850-59-during-the-1850s-julius-and-edward-norton-like-their-upstate-new-york-competitors-produced-stoneware-with-designs-in-cobalt-blue-slip-typical-of-the-motifs-found-on-their-wares-are-birds-flowers-stags-dogs-and-eagles-executed-with-little-regard-to-relative-scale-museum-metropolitan-museum-of-art-new-york-usa-image212934860.htmlRMPAC0GC–Water cooler. Culture: American. Dimensions: H. 13 in. (33 cm); Diam. 10 in. (25.4 cm). Maker: Julius and Edward Norton (active 1850-59). Date: 1850-59. During the 1850s, Julius and Edward Norton, like their upstate New York competitors, produced stoneware with designs in cobalt blue slip. Typical of the motifs found on their wares are birds, flowers, stags, dogs, and eagles, executed with little regard to relative scale. Museum: Metropolitan Museum of Art, New York, USA.
Vase. Culture: American. Dimensions: H. 9 1/2 in. (24.1 cm). Maker: Anthony W. Baecher (1824-1889). Date: 1880-89. A German immigrant considered one of the most accomplished of the Shenandoah Valley potters, Baecher produced this vase in a primitive Rococo-style scheme. Although he repeatedly employed lowrelief pinwheel flowers and sculptural feeding birds as decoration on his hollow ware, archaeological findings reveal that simple storage jars were the mainstay of his production. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/vase-culture-american-dimensions-h-9-12-in-241-cm-maker-anthony-w-baecher-1824-1889-date-1880-89-a-german-immigrant-considered-one-of-the-most-accomplished-of-the-shenandoah-valley-potters-baecher-produced-this-vase-in-a-primitive-rococo-style-scheme-although-he-repeatedly-employed-lowrelief-pinwheel-flowers-and-sculptural-feeding-birds-as-decoration-on-his-hollow-ware-archaeological-findings-reveal-that-simple-storage-jars-were-the-mainstay-of-his-production-museum-metropolitan-museum-of-art-new-york-usa-image212916299.htmlRMPAB4WF–Vase. Culture: American. Dimensions: H. 9 1/2 in. (24.1 cm). Maker: Anthony W. Baecher (1824-1889). Date: 1880-89. A German immigrant considered one of the most accomplished of the Shenandoah Valley potters, Baecher produced this vase in a primitive Rococo-style scheme. Although he repeatedly employed lowrelief pinwheel flowers and sculptural feeding birds as decoration on his hollow ware, archaeological findings reveal that simple storage jars were the mainstay of his production. Museum: Metropolitan Museum of Art, New York, USA.
Hibiscus and Parrots. Culture: American. Designer: Designed by Louis Comfort Tiffany (American, New York 1848-1933 New York). Dimensions: 26 x 17 3/4 in. (66 x 45.1 cm). Maker: Tiffany Studios (1902-32). Date: ca. 1910-20. This vibrant window of hibiscus and parrots reveals Tiffany's brilliant use of color and texture. Shading within the glass creates form for the birds' heads, and the mixed blues and greens produce their dramatic plumage, with the tail feathers given greater realism through the texture of the glass. Tiffany's distinctive mottled glass gives the impression of sunlight filtere Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/hibiscus-and-parrots-culture-american-designer-designed-by-louis-comfort-tiffany-american-new-york-1848-1933-new-york-dimensions-26-x-17-34-in-66-x-451-cm-maker-tiffany-studios-1902-32-date-ca-1910-20-this-vibrant-window-of-hibiscus-and-parrots-reveals-tiffanys-brilliant-use-of-color-and-texture-shading-within-the-glass-creates-form-for-the-birds-heads-and-the-mixed-blues-and-greens-produce-their-dramatic-plumage-with-the-tail-feathers-given-greater-realism-through-the-texture-of-the-glass-tiffanys-distinctive-mottled-glass-gives-the-impression-of-sunlight-filtere-image212883952.htmlRMPA9KJ8–Hibiscus and Parrots. Culture: American. Designer: Designed by Louis Comfort Tiffany (American, New York 1848-1933 New York). Dimensions: 26 x 17 3/4 in. (66 x 45.1 cm). Maker: Tiffany Studios (1902-32). Date: ca. 1910-20. This vibrant window of hibiscus and parrots reveals Tiffany's brilliant use of color and texture. Shading within the glass creates form for the birds' heads, and the mixed blues and greens produce their dramatic plumage, with the tail feathers given greater realism through the texture of the glass. Tiffany's distinctive mottled glass gives the impression of sunlight filtere
Southern Bird's Foot Violet (Viola digitata). Date: 1922. Watercolor on paper. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/southern-birds-foot-violet-viola-digitata-date-1922-watercolor-on-paper-museum-smithsonian-american-art-museum-image554749576.htmlRM2R6F0MT–Southern Bird's Foot Violet (Viola digitata). Date: 1922. Watercolor on paper. Museum: Smithsonian American Art Museum.
Birds. Culture: American. Dimensions: 7 1/2 x 5 1/2 in. (19.05 x 13.97 cm). Maker: Attributed to Wilhelm Schimmel (probably 1817-1890). Date: 1865-90. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/birds-culture-american-dimensions-7-12-x-5-12-in-1905-x-1397-cm-maker-attributed-to-wilhelm-schimmel-probably-1817-1890-date-1865-90-museum-metropolitan-museum-of-art-new-york-usa-image213263674.htmlRMPAXYYP–Birds. Culture: American. Dimensions: 7 1/2 x 5 1/2 in. (19.05 x 13.97 cm). Maker: Attributed to Wilhelm Schimmel (probably 1817-1890). Date: 1865-90. Museum: Metropolitan Museum of Art, New York, USA.
Quilt, Birds in Air pattern. Culture: American. Dimensions: 78 1/2 x 74 3/4 in. (199.4 x 189.9 cm). Maker: Annie E. Freshour Schaeffer (1851-1928). Date: before 1891. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/quilt-birds-in-air-pattern-culture-american-dimensions-78-12-x-74-34-in-1994-x-1899-cm-maker-annie-e-freshour-schaeffer-1851-1928-date-before-1891-museum-metropolitan-museum-of-art-new-york-usa-image213318865.htmlRMPB1EAW–Quilt, Birds in Air pattern. Culture: American. Dimensions: 78 1/2 x 74 3/4 in. (199.4 x 189.9 cm). Maker: Annie E. Freshour Schaeffer (1851-1928). Date: before 1891. Museum: Metropolitan Museum of Art, New York, USA.
Birds. Dated: c. 1840. Dimensions: overall: 43.1 x 35.5 cm (16 15/16 x 14 in.) framed: 53 x 45.4 x 2.8 cm (20 7/8 x 17 7/8 x 1 1/8 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: American 19th Century. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/birds-dated-c-1840-dimensions-overall-431-x-355-cm-16-1516-x-14-in-framed-53-x-454-x-28-cm-20-78-x-17-78-x-1-18-in-medium-oil-on-canvas-museum-national-gallery-of-art-washington-dc-author-american-19th-century-image218858154.htmlRMPM1RPJ–Birds. Dated: c. 1840. Dimensions: overall: 43.1 x 35.5 cm (16 15/16 x 14 in.) framed: 53 x 45.4 x 2.8 cm (20 7/8 x 17 7/8 x 1 1/8 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: American 19th Century.
Wholecloth stenciled coverlet. Culture: American. Dimensions: 89 x 81 in. (226.1 x 205.7 cm). Date: ca. 1820-40. This one-layer coverlet is made of three lengths of white cotton fabric that are seamed together. Red, yellow, and green paints are stenciled on the surface M a pattern of nine medallions with a surrounding border of flowers, fruit, and birds. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/wholecloth-stenciled-coverlet-culture-american-dimensions-89-x-81-in-2261-x-2057-cm-date-ca-1820-40-this-one-layer-coverlet-is-made-of-three-lengths-of-white-cotton-fabric-that-are-seamed-together-red-yellow-and-green-paints-are-stenciled-on-the-surface-m-a-pattern-of-nine-medallions-with-a-surrounding-border-of-flowers-fruit-and-birds-museum-metropolitan-museum-of-art-new-york-usa-image213267932.htmlRMPAY5BT–Wholecloth stenciled coverlet. Culture: American. Dimensions: 89 x 81 in. (226.1 x 205.7 cm). Date: ca. 1820-40. This one-layer coverlet is made of three lengths of white cotton fabric that are seamed together. Red, yellow, and green paints are stenciled on the surface M a pattern of nine medallions with a surrounding border of flowers, fruit, and birds. Museum: Metropolitan Museum of Art, New York, USA.
Coverlet. Culture: American. Dimensions: 85 x 73 in. (215.9 x 185.4 cm). Date: ca. 1840-50. This coverlet is woven with red and blue wool warps and red and blue wool wefts in two panels and seamed at the center. The field shows a menagerie of animals, including giraffes, leopards, monkeys, and birds. The borders have images of an alligator eating a snake alternating with a pouncing leopard. In contrast to the predominant jungle motifs, domesticated fowl are depicted on the corner blocks. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/coverlet-culture-american-dimensions-85-x-73-in-2159-x-1854-cm-date-ca-1840-50-this-coverlet-is-woven-with-red-and-blue-wool-warps-and-red-and-blue-wool-wefts-in-two-panels-and-seamed-at-the-center-the-field-shows-a-menagerie-of-animals-including-giraffes-leopards-monkeys-and-birds-the-borders-have-images-of-an-alligator-eating-a-snake-alternating-with-a-pouncing-leopard-in-contrast-to-the-predominant-jungle-motifs-domesticated-fowl-are-depicted-on-the-corner-blocks-museum-metropolitan-museum-of-art-new-york-usa-image213262366.htmlRMPAXX92–Coverlet. Culture: American. Dimensions: 85 x 73 in. (215.9 x 185.4 cm). Date: ca. 1840-50. This coverlet is woven with red and blue wool warps and red and blue wool wefts in two panels and seamed at the center. The field shows a menagerie of animals, including giraffes, leopards, monkeys, and birds. The borders have images of an alligator eating a snake alternating with a pouncing leopard. In contrast to the predominant jungle motifs, domesticated fowl are depicted on the corner blocks. Museum: Metropolitan Museum of Art, New York, USA.
Firemen's Washing Day. Artist: William P. Chappel (American, 1801-1878). Dimensions: 6 x 9 1/8 in. (15.2 x 23.2 cm). Date: 1870s. The two brigades depicted here on Bowery (likely from nearby Fire Houses 1 and 2) are killing two birds with one stone. On the one hand, they are following regulations mandating the regular washing of the brightly painted manual pump engines. On the other, the fiercely competitive companies are showcasing their respective pumping prowess for an admiring public. By the early 1800s, firefighting was becoming more professionalized, and companies developed into tightly Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/firemens-washing-day-artist-william-p-chappel-american-1801-1878-dimensions-6-x-9-18-in-152-x-232-cm-date-1870s-the-two-brigades-depicted-here-on-bowery-likely-from-nearby-fire-houses-1-and-2-are-killing-two-birds-with-one-stone-on-the-one-hand-they-are-following-regulations-mandating-the-regular-washing-of-the-brightly-painted-manual-pump-engines-on-the-other-the-fiercely-competitive-companies-are-showcasing-their-respective-pumping-prowess-for-an-admiring-public-by-the-early-1800s-firefighting-was-becoming-more-professionalized-and-companies-developed-into-tightly-image213179001.htmlRMPAR3YN–Firemen's Washing Day. Artist: William P. Chappel (American, 1801-1878). Dimensions: 6 x 9 1/8 in. (15.2 x 23.2 cm). Date: 1870s. The two brigades depicted here on Bowery (likely from nearby Fire Houses 1 and 2) are killing two birds with one stone. On the one hand, they are following regulations mandating the regular washing of the brightly painted manual pump engines. On the other, the fiercely competitive companies are showcasing their respective pumping prowess for an admiring public. By the early 1800s, firefighting was becoming more professionalized, and companies developed into tightly
Embroidered whitework coverlet. Culture: American. Dimensions: 83 5/8 x 90 in. (212.4 x 228.6 cm). Maker: Ann (Nancy) Elliott Grigg (1795-1839). Date: 1810-15. This whitework coverlet is made of three panels of woven cotton fabric that have been seamed together. It is embroidered with heavy white cotton thread in a variety of stitches and includes areas of drawnwork. The piece is decorated with a central basket with a flowering tree and birds, which is surrounded by a ribbon border and a wide outer border of vines and flowers. The fringe is a recent reproduction of the original. Museum: Metro Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/embroidered-whitework-coverlet-culture-american-dimensions-83-58-x-90-in-2124-x-2286-cm-maker-ann-nancy-elliott-grigg-1795-1839-date-1810-15-this-whitework-coverlet-is-made-of-three-panels-of-woven-cotton-fabric-that-have-been-seamed-together-it-is-embroidered-with-heavy-white-cotton-thread-in-a-variety-of-stitches-and-includes-areas-of-drawnwork-the-piece-is-decorated-with-a-central-basket-with-a-flowering-tree-and-birds-which-is-surrounded-by-a-ribbon-border-and-a-wide-outer-border-of-vines-and-flowers-the-fringe-is-a-recent-reproduction-of-the-original-museum-metro-image213171650.htmlRMPAPPH6–Embroidered whitework coverlet. Culture: American. Dimensions: 83 5/8 x 90 in. (212.4 x 228.6 cm). Maker: Ann (Nancy) Elliott Grigg (1795-1839). Date: 1810-15. This whitework coverlet is made of three panels of woven cotton fabric that have been seamed together. It is embroidered with heavy white cotton thread in a variety of stitches and includes areas of drawnwork. The piece is decorated with a central basket with a flowering tree and birds, which is surrounded by a ribbon border and a wide outer border of vines and flowers. The fringe is a recent reproduction of the original. Museum: Metro
Quilt, Presentation pattern. Culture: American. Designer: Designs attributed to Mary Hergenroder Simon (1808-1877). Dimensions: 106 1/4 x 103 3/4 in. (269.9 x 263.5 cm). Date: ca. 1849. This Baltimore Presentation quilt is appliquéd with vibrant floral wreaths, a delicate basket of fruits and flowers, and assorted birds in multicolored cottons. It is most likely the work of Mary Simon (born 1810), who is thought to have worked as a professional quiltmaker in Baltimore during the 1840s and 1850s. The designs on the quilt are separate bits of brightly colored fabric. Since this quilt was made c Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/quilt-presentation-pattern-culture-american-designer-designs-attributed-to-mary-hergenroder-simon-1808-1877-dimensions-106-14-x-103-34-in-2699-x-2635-cm-date-ca-1849-this-baltimore-presentation-quilt-is-appliqud-with-vibrant-floral-wreaths-a-delicate-basket-of-fruits-and-flowers-and-assorted-birds-in-multicolored-cottons-it-is-most-likely-the-work-of-mary-simon-born-1810-who-is-thought-to-have-worked-as-a-professional-quiltmaker-in-baltimore-during-the-1840s-and-1850s-the-designs-on-the-quilt-are-separate-bits-of-brightly-colored-fabric-since-this-quilt-was-made-c-image213170617.htmlRMPAPN89–Quilt, Presentation pattern. Culture: American. Designer: Designs attributed to Mary Hergenroder Simon (1808-1877). Dimensions: 106 1/4 x 103 3/4 in. (269.9 x 263.5 cm). Date: ca. 1849. This Baltimore Presentation quilt is appliquéd with vibrant floral wreaths, a delicate basket of fruits and flowers, and assorted birds in multicolored cottons. It is most likely the work of Mary Simon (born 1810), who is thought to have worked as a professional quiltmaker in Baltimore during the 1840s and 1850s. The designs on the quilt are separate bits of brightly colored fabric. Since this quilt was made c
Embroidered coverlet. Culture: American or British. Dimensions: 83 1/2 x 69 1/2 in. (212.1 x 176.5 cm). Date: ca. 1720. This linen coverlet is embroidered with multicolored wools in satin stitch, long and short stitch, buttonhole stitch, stem stitch, and a variety of filling stitches. It is composed of four panels, each about 371/430 inches, with a band of twelve small pieces stitched together along the top. Each large panel is embroidered with flowering trees of life, upon which birds are perched. The piece is backed and bordered by new, machine-stitched linen. Museum: Metropolitan Museum of Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/embroidered-coverlet-culture-american-or-british-dimensions-83-12-x-69-12-in-2121-x-1765-cm-date-ca-1720-this-linen-coverlet-is-embroidered-with-multicolored-wools-in-satin-stitch-long-and-short-stitch-buttonhole-stitch-stem-stitch-and-a-variety-of-filling-stitches-it-is-composed-of-four-panels-each-about-371430-inches-with-a-band-of-twelve-small-pieces-stitched-together-along-the-top-each-large-panel-is-embroidered-with-flowering-trees-of-life-upon-which-birds-are-perched-the-piece-is-backed-and-bordered-by-new-machine-stitched-linen-museum-metropolitan-museum-of-image212912419.htmlRMPAAYXY–Embroidered coverlet. Culture: American or British. Dimensions: 83 1/2 x 69 1/2 in. (212.1 x 176.5 cm). Date: ca. 1720. This linen coverlet is embroidered with multicolored wools in satin stitch, long and short stitch, buttonhole stitch, stem stitch, and a variety of filling stitches. It is composed of four panels, each about 371/430 inches, with a band of twelve small pieces stitched together along the top. Each large panel is embroidered with flowering trees of life, upon which birds are perched. The piece is backed and bordered by new, machine-stitched linen. Museum: Metropolitan Museum of
Coverlet. Culture: American. Dimensions: 98 x 71 1/2 in. (248.9 x 181.6 cm). Date: 1836. This light and dark blue wool double cloth coverlet is woven in two panels and seamed at the center. The ground is decorated with various floral motifs associated with the Dutch weavers of the Bergen County, New Jersey/Rockland County, New York, area. The border is composed of birds and tree motifs alternating with vases of flowers. Each of the four corner blocks is decorated with a single large sunflower. The piece has a natural fringe along the bottom. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/coverlet-culture-american-dimensions-98-x-71-12-in-2489-x-1816-cm-date-1836-this-light-and-dark-blue-wool-double-cloth-coverlet-is-woven-in-two-panels-and-seamed-at-the-center-the-ground-is-decorated-with-various-floral-motifs-associated-with-the-dutch-weavers-of-the-bergen-county-new-jerseyrockland-county-new-york-area-the-border-is-composed-of-birds-and-tree-motifs-alternating-with-vases-of-flowers-each-of-the-four-corner-blocks-is-decorated-with-a-single-large-sunflower-the-piece-has-a-natural-fringe-along-the-bottom-museum-metropolitan-museum-of-art-new-york-usa-image213501420.htmlRMPB9R6M–Coverlet. Culture: American. Dimensions: 98 x 71 1/2 in. (248.9 x 181.6 cm). Date: 1836. This light and dark blue wool double cloth coverlet is woven in two panels and seamed at the center. The ground is decorated with various floral motifs associated with the Dutch weavers of the Bergen County, New Jersey/Rockland County, New York, area. The border is composed of birds and tree motifs alternating with vases of flowers. Each of the four corner blocks is decorated with a single large sunflower. The piece has a natural fringe along the bottom. Museum: Metropolitan Museum of Art, New York, USA.
Coverlet. Culture: American. Dimensions: 98 3/8 x 75 in. (249.9 x 190.5 cm). Maker: David Daniel Haring (1800-1889). Date: 1834. This dark blue wool and undyed cotton double cloth coverlet is woven in two panels and seamed at the center. Floral and star motifs typically found in Haring's work decorate the central field. The left and right borders have images of eagles with outspread wings alternating with vases of flowers and pairs of birds in trees. From left to right along each panel of the top and bottom borders, there is a rooster standing on an egg, the inscription cartouche, and an eagl Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/coverlet-culture-american-dimensions-98-38-x-75-in-2499-x-1905-cm-maker-david-daniel-haring-1800-1889-date-1834-this-dark-blue-wool-and-undyed-cotton-double-cloth-coverlet-is-woven-in-two-panels-and-seamed-at-the-center-floral-and-star-motifs-typically-found-in-harings-work-decorate-the-central-field-the-left-and-right-borders-have-images-of-eagles-with-outspread-wings-alternating-with-vases-of-flowers-and-pairs-of-birds-in-trees-from-left-to-right-along-each-panel-of-the-top-and-bottom-borders-there-is-a-rooster-standing-on-an-egg-the-inscription-cartouche-and-an-eagl-image212869497.htmlRMPA9161–Coverlet. Culture: American. Dimensions: 98 3/8 x 75 in. (249.9 x 190.5 cm). Maker: David Daniel Haring (1800-1889). Date: 1834. This dark blue wool and undyed cotton double cloth coverlet is woven in two panels and seamed at the center. Floral and star motifs typically found in Haring's work decorate the central field. The left and right borders have images of eagles with outspread wings alternating with vases of flowers and pairs of birds in trees. From left to right along each panel of the top and bottom borders, there is a rooster standing on an egg, the inscription cartouche, and an eagl
![Grille [Prototype for Ceiling Grille for Pierpont Morgan Library Annex]. Culture: American. Dimensions: 33 1/8 x 34 1/2 x 2 13/16 in. (84.1 x 87.6 x 7.1 cm). Maker: Samuel Yellin (American, born Russia, 1884-1940). Date: ca. 1928. This full-scale prototype of one unit of the large, decorative grille for the Annex of the Pierpont Morgan Library exhibits Yellin's total mastery of his medium--iron--which is crafted here into graceful, Renaissance-inspired filigrees. The design of the openwork square with curling, heart-shaped cartouches containing birds is at once sophisticated and playful, exem Stock Photo](https://c8.alamy.com/comp/PB3PJE/grille-prototype-for-ceiling-grille-for-pierpont-morgan-library-annex-culture-american-dimensions-33-18-x-34-12-x-2-1316-in-841-x-876-x-71-cm-maker-samuel-yellin-american-born-russia-1884-1940-date-ca-1928-this-full-scale-prototype-of-one-unit-of-the-large-decorative-grille-for-the-annex-of-the-pierpont-morgan-library-exhibits-yellins-total-mastery-of-his-medium-iron-which-is-crafted-here-into-graceful-renaissance-inspired-filigrees-the-design-of-the-openwork-square-with-curling-heart-shaped-cartouches-containing-birds-is-at-once-sophisticated-and-playful-exem-PB3PJE.jpg "Grille [Prototype for Ceiling Grille for Pierpont Morgan Library Annex]. Culture: American. Dimensions: 33 1/8 x 34 1/2 x 2 13/16 in. (84.1 x 87.6 x 7.1 cm). Maker: Samuel Yellin (American, born Russia, 1884-1940). Date: ca. 1928. This full-scale prototype of one unit of the large, decorative grille for the Annex of the Pierpont Morgan Library exhibits Yellin's total mastery of his medium--iron--which is crafted here into graceful, Renaissance-inspired filigrees. The design of the openwork square with curling, heart-shaped cartouches containing birds is at once sophisticated and playful, exem Stock Photo")
Grille [Prototype for Ceiling Grille for Pierpont Morgan Library Annex]. Culture: American. Dimensions: 33 1/8 x 34 1/2 x 2 13/16 in. (84.1 x 87.6 x 7.1 cm). Maker: Samuel Yellin (American, born Russia, 1884-1940). Date: ca. 1928. This full-scale prototype of one unit of the large, decorative grille for the Annex of the Pierpont Morgan Library exhibits Yellin's total mastery of his medium--iron--which is crafted here into graceful, Renaissance-inspired filigrees. The design of the openwork square with curling, heart-shaped cartouches containing birds is at once sophisticated and playful, exem Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/grille-prototype-for-ceiling-grille-for-pierpont-morgan-library-annex-culture-american-dimensions-33-18-x-34-12-x-2-1316-in-841-x-876-x-71-cm-maker-samuel-yellin-american-born-russia-1884-1940-date-ca-1928-this-full-scale-prototype-of-one-unit-of-the-large-decorative-grille-for-the-annex-of-the-pierpont-morgan-library-exhibits-yellins-total-mastery-of-his-medium-iron-which-is-crafted-here-into-graceful-renaissance-inspired-filigrees-the-design-of-the-openwork-square-with-curling-heart-shaped-cartouches-containing-birds-is-at-once-sophisticated-and-playful-exem-image213369254.htmlRMPB3PJE–Grille [Prototype for Ceiling Grille for Pierpont Morgan Library Annex]. Culture: American. Dimensions: 33 1/8 x 34 1/2 x 2 13/16 in. (84.1 x 87.6 x 7.1 cm). Maker: Samuel Yellin (American, born Russia, 1884-1940). Date: ca. 1928. This full-scale prototype of one unit of the large, decorative grille for the Annex of the Pierpont Morgan Library exhibits Yellin's total mastery of his medium--iron--which is crafted here into graceful, Renaissance-inspired filigrees. The design of the openwork square with curling, heart-shaped cartouches containing birds is at once sophisticated and playful, exem
Card Table. Culture: American. Dimensions: 27 3/4 x 33 1/4 x 16 1/2 in. (70.5 x 84.5 x 41.9 cm). Maker: Attributed to John Goddard (1724-1785). Date: 1760-90. On this exquisite exemplar of a Newport cabriole-leg card table, the various elements of the skirt board are in perfect proportion and equilibrium, the curves of the legs are altogether satisfying, and the carved bird's talons grasping the ball feet appear alive. This is poetry in wood, something only John Goddard, of all the Newport makers, could on occasion achieve. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/card-table-culture-american-dimensions-27-34-x-33-14-x-16-12-in-705-x-845-x-419-cm-maker-attributed-to-john-goddard-1724-1785-date-1760-90-on-this-exquisite-exemplar-of-a-newport-cabriole-leg-card-table-the-various-elements-of-the-skirt-board-are-in-perfect-proportion-and-equilibrium-the-curves-of-the-legs-are-altogether-satisfying-and-the-carved-birds-talons-grasping-the-ball-feet-appear-alive-this-is-poetry-in-wood-something-only-john-goddard-of-all-the-newport-makers-could-on-occasion-achieve-museum-metropolitan-museum-of-art-new-york-usa-image212902290.htmlRMPAAF16–Card Table. Culture: American. Dimensions: 27 3/4 x 33 1/4 x 16 1/2 in. (70.5 x 84.5 x 41.9 cm). Maker: Attributed to John Goddard (1724-1785). Date: 1760-90. On this exquisite exemplar of a Newport cabriole-leg card table, the various elements of the skirt board are in perfect proportion and equilibrium, the curves of the legs are altogether satisfying, and the carved bird's talons grasping the ball feet appear alive. This is poetry in wood, something only John Goddard, of all the Newport makers, could on occasion achieve. Museum: Metropolitan Museum of Art, New York, USA.
Eagle. Artist: William Rush (1756-1833). Culture: American. Dimensions: 36 x 68 x 61 in. (91.4 x 172.7 x 154.9 cm). Date: 1809-11. This monumental eagle, of fluid and energetic form, was commissioned in 1809 by Saint John's Evangelical Lutheran Church in Philadelphia for its new building. The bird's open beak contains a red-painted iron tongue, from which a long chain was suspended to support the sounding board above the pulpit. In 1847 the sculpture was removed from Saint John's and installed in the Assembly Room of Independence Hall, where it remained until 1914. In that location, near the Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/eagle-artist-william-rush-1756-1833-culture-american-dimensions-36-x-68-x-61-in-914-x-1727-x-1549-cm-date-1809-11-this-monumental-eagle-of-fluid-and-energetic-form-was-commissioned-in-1809-by-saint-johns-evangelical-lutheran-church-in-philadelphia-for-its-new-building-the-birds-open-beak-contains-a-red-painted-iron-tongue-from-which-a-long-chain-was-suspended-to-support-the-sounding-board-above-the-pulpit-in-1847-the-sculpture-was-removed-from-saint-johns-and-installed-in-the-assembly-room-of-independence-hall-where-it-remained-until-1914-in-that-location-near-the-image213149098.htmlRMPANNRP–Eagle. Artist: William Rush (1756-1833). Culture: American. Dimensions: 36 x 68 x 61 in. (91.4 x 172.7 x 154.9 cm). Date: 1809-11. This monumental eagle, of fluid and energetic form, was commissioned in 1809 by Saint John's Evangelical Lutheran Church in Philadelphia for its new building. The bird's open beak contains a red-painted iron tongue, from which a long chain was suspended to support the sounding board above the pulpit. In 1847 the sculpture was removed from Saint John's and installed in the Assembly Room of Independence Hall, where it remained until 1914. In that location, near the
Teakettle. Culture: American. Dimensions: Overall: 10 1/8 x 10 5/8 in. (25.7 x 27 cm); 47 oz. 13 dwt. (1481.7 g) Base: Diam. 7 3/8 in. (18.7 cm) Body: H. 7 7/16 in. (18.9 cm). Maker: Cornelius Kierstede (1674-ca. 1757). Date: 1710-20. As in England and the Netherlands, tea drinking became increasingly popular in colonial America, creating a demand for specialized tea equipment such as teapots, sugar bowls, and creampots. This bold, pear-shaped teakettle with bail handle is an extremely rare form in American silver. Its decorative bird's-head spout, distinctively Dutch in inspiration, enlive Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/teakettle-culture-american-dimensions-overall-10-18-x-10-58-in-257-x-27-cm-47-oz-13-dwt-14817-g-base-diam-7-38-in-187-cm-body-h-7-716-in-189-cm-maker-cornelius-kierstede-1674-ca-1757-date-1710-20-as-in-england-and-the-netherlands-tea-drinking-became-increasingly-popular-in-colonial-america-creating-a-demand-for-specialized-tea-equipment-such-as-teapots-sugar-bowls-and-creampots-this-bold-pear-shaped-teakettle-with-bail-handle-is-an-extremely-rare-form-in-american-silver-its-decorative-birds-head-spout-distinctively-dutch-in-inspiration-enlive-image213368762.htmlRMPB3P0X–Teakettle. Culture: American. Dimensions: Overall: 10 1/8 x 10 5/8 in. (25.7 x 27 cm); 47 oz. 13 dwt. (1481.7 g) Base: Diam. 7 3/8 in. (18.7 cm) Body: H. 7 7/16 in. (18.9 cm). Maker: Cornelius Kierstede (1674-ca. 1757). Date: 1710-20. As in England and the Netherlands, tea drinking became increasingly popular in colonial America, creating a demand for specialized tea equipment such as teapots, sugar bowls, and creampots. This bold, pear-shaped teakettle with bail handle is an extremely rare form in American silver. Its decorative bird's-head spout, distinctively Dutch in inspiration, enlive
Parasol. Culture: American. Manufacturer: Fortis. Date: 1860-65. Carriage parasols were popularized by Queen Victoria in the 1840s and continued to be popular through the nineteenth century. They were distinguished for their size and carried as decorative accessories which served some function of shading the face from the sun, as close-fitting fashionable hats at that time did not. The claw and ball motif found on the handle was also a popular motif in furniture legs of the Queen Anne and Chippendale styles. It is a representation of a bird's claw grasping a ball and is thought to be deriv Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/parasol-culture-american-manufacturer-fortis-date-1860-65-carriage-parasols-were-popularized-by-queen-victoria-in-the-1840s-and-continued-to-be-popular-through-the-nineteenth-century-they-were-distinguished-for-their-size-and-carried-as-decorative-accessories-which-served-some-function-of-shading-the-face-from-the-sun-as-close-fitting-fashionable-hats-at-that-time-did-not-the-claw-and-ball-motif-found-on-the-handle-was-also-a-popular-motif-in-furniture-legs-of-the-queen-anne-and-chippendale-styles-it-is-a-representation-of-a-birds-claw-grasping-a-ball-and-is-thought-to-be-deriv-image212884274.htmlRMPA9M1P–Parasol. Culture: American. Manufacturer: Fortis. Date: 1860-65. Carriage parasols were popularized by Queen Victoria in the 1840s and continued to be popular through the nineteenth century. They were distinguished for their size and carried as decorative accessories which served some function of shading the face from the sun, as close-fitting fashionable hats at that time did not. The claw and ball motif found on the handle was also a popular motif in furniture legs of the Queen Anne and Chippendale styles. It is a representation of a bird's claw grasping a ball and is thought to be deriv
Raven rattle. Culture: Native American (Tsimshian). Dimensions: 12 3/16 × 4 1/16 × 4 1/8 in. (31 × 10.3 × 10.5 cm). Date: 19th century. Most often associated with shamanic practices on the Northwest Coast, raven rattles are held oriented with the bird's beak pointing down when used in dance. Additionally, rattles like this are used to channel a shaman's spirit guide and can be used in healing ceremonies. Much of the symbolism associated with this rattle comments on the transmission of power from one figure to the next--the raven to humankind in general (as oral tradition states) and the kingf Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/raven-rattle-culture-native-american-tsimshian-dimensions-12-316-4-116-4-18-in-31-103-105-cm-date-19th-century-most-often-associated-with-shamanic-practices-on-the-northwest-coast-raven-rattles-are-held-oriented-with-the-birds-beak-pointing-down-when-used-in-dance-additionally-rattles-like-this-are-used-to-channel-a-shamans-spirit-guide-and-can-be-used-in-healing-ceremonies-much-of-the-symbolism-associated-with-this-rattle-comments-on-the-transmission-of-power-from-one-figure-to-the-next-the-raven-to-humankind-in-general-as-oral-tradition-states-and-the-kingf-image213115214.htmlRMPAM6HJ–Raven rattle. Culture: Native American (Tsimshian). Dimensions: 12 3/16 × 4 1/16 × 4 1/8 in. (31 × 10.3 × 10.5 cm). Date: 19th century. Most often associated with shamanic practices on the Northwest Coast, raven rattles are held oriented with the bird's beak pointing down when used in dance. Additionally, rattles like this are used to channel a shaman's spirit guide and can be used in healing ceremonies. Much of the symbolism associated with this rattle comments on the transmission of power from one figure to the next--the raven to humankind in general (as oral tradition states) and the kingf
Bird's-eye View of the Mandan Village, 1800 Miles above St. Louis. oil on canvas. Date: 1837-1839. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/birds-eye-view-of-the-mandan-village-1800-miles-above-st-louis-oil-on-canvas-date-1837-1839-museum-smithsonian-american-art-museum-image554750401.htmlRM2R6F1P9–Bird's-eye View of the Mandan Village, 1800 Miles above St. Louis. oil on canvas. Date: 1837-1839. Museum: Smithsonian American Art Museum.
Hat. Culture: American. Designer: Mlle. Louise. Date: ca. 1890. Use of woven bast fiber in this hat evokes a bird's nest. The design illustrates the popularity of using real birds as millinery trim. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/hat-culture-american-designer-mlle-louise-date-ca-1890-use-of-woven-bast-fiber-in-this-hat-evokes-a-birds-nest-the-design-illustrates-the-popularity-of-using-real-birds-as-millinery-trim-museum-metropolitan-museum-of-art-new-york-usa-image213316290.htmlRMPB1B2X–Hat. Culture: American. Designer: Mlle. Louise. Date: ca. 1890. Use of woven bast fiber in this hat evokes a bird's nest. The design illustrates the popularity of using real birds as millinery trim. Museum: Metropolitan Museum of Art, New York, USA.
A Bird's-Eye View. Artist: Theodore Robinson (1852-1896). Dimensions: 25 3/4 x 32 in. (65.4 x 81.3 cm). Date: 1889. Theodore Robinson, although academically trained at France's École des Beaux-Arts, became the leading American disciple of the progressive impressionist Claude Monet. Living as a close friend and neighbor of the famous painter in the artists' colony of Giverny between 1887 and 1892, Robinson experimented with plein-air (outdoor) painting in numerous depictions of that bucolic village, such as this work. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/a-birds-eye-view-artist-theodore-robinson-1852-1896-dimensions-25-34-x-32-in-654-x-813-cm-date-1889-theodore-robinson-although-academically-trained-at-frances-cole-des-beaux-arts-became-the-leading-american-disciple-of-the-progressive-impressionist-claude-monet-living-as-a-close-friend-and-neighbor-of-the-famous-painter-in-the-artists-colony-of-giverny-between-1887-and-1892-robinson-experimented-with-plein-air-outdoor-painting-in-numerous-depictions-of-that-bucolic-village-such-as-this-work-museum-metropolitan-museum-of-art-new-york-usa-image213148691.htmlRMPANN97–A Bird's-Eye View. Artist: Theodore Robinson (1852-1896). Dimensions: 25 3/4 x 32 in. (65.4 x 81.3 cm). Date: 1889. Theodore Robinson, although academically trained at France's École des Beaux-Arts, became the leading American disciple of the progressive impressionist Claude Monet. Living as a close friend and neighbor of the famous painter in the artists' colony of Giverny between 1887 and 1892, Robinson experimented with plein-air (outdoor) painting in numerous depictions of that bucolic village, such as this work. Museum: Metropolitan Museum of Art, New York, USA.
The Witch's Daughter. Date: 1881. watercolor. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-witchs-daughter-date-1881-watercolor-museum-smithsonian-american-art-museum-image554740420.htmlRM2R6EH1T–The Witch's Daughter. Date: 1881. watercolor. Museum: Smithsonian American Art Museum.
Haines Point. watercolor. Date: 1908. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/haines-point-watercolor-date-1908-museum-smithsonian-american-art-museum-image554743996.htmlRM2R6ENHG–Haines Point. watercolor. Date: 1908. Museum: Smithsonian American Art Museum.
Watching the Turkeys. Date: n.d. watercolor. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/watching-the-turkeys-date-nd-watercolor-museum-smithsonian-american-art-museum-image554751821.htmlRM2R6F3H1–Watching the Turkeys. Date: n.d. watercolor. Museum: Smithsonian American Art Museum.
The Viking's Daughter. oil on canvas. Date: 1887. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-vikings-daughter-oil-on-canvas-date-1887-museum-smithsonian-american-art-museum-image554745937.htmlRM2R6ET2W–The Viking's Daughter. oil on canvas. Date: 1887. Museum: Smithsonian American Art Museum.
Brittany Farm. oil on canvas. Date: 1885. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/brittany-farm-oil-on-canvas-date-1885-museum-smithsonian-american-art-museum-image554799342.htmlRM2R6H866–Brittany Farm. oil on canvas. Date: 1885. Museum: Smithsonian American Art Museum.
Piazza San Marco. watercolor. Date: 1839-1912. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/piazza-san-marco-watercolor-date-1839-1912-museum-smithsonian-american-art-museum-image554750413.htmlRM2R6F1PN–Piazza San Marco. watercolor. Date: 1839-1912. Museum: Smithsonian American Art Museum.
Flock of Geese. Date: ca. 1883. oil on wood. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/flock-of-geese-date-ca-1883-oil-on-wood-museum-smithsonian-american-art-museum-image554742927.htmlRM2R6EM7B–Flock of Geese. Date: ca. 1883. oil on wood. Museum: Smithsonian American Art Museum.
In the Plateau Country, with an Inhabited Pueblo. Date: 1929. watercolor. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/in-the-plateau-country-with-an-inhabited-pueblo-date-1929-watercolor-museum-smithsonian-american-art-museum-image554745230.htmlRM2R6ER5J–In the Plateau Country, with an Inhabited Pueblo. Date: 1929. watercolor. Museum: Smithsonian American Art Museum.
The Home of the Heron. George Inness; American, 1825-1894. Date: 1893. Dimensions: 76.2 × 115.2 cm (30 × 45 in.). Oil on canvas. Origin: Florida. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-home-of-the-heron-george-inness-american-1825-1894-date-1893-dimensions-762-1152-cm-30-45-in-oil-on-canvas-origin-florida-museum-the-chicago-art-institute-image240047508.htmlRMRXF318–The Home of the Heron. George Inness; American, 1825-1894. Date: 1893. Dimensions: 76.2 × 115.2 cm (30 × 45 in.). Oil on canvas. Origin: Florida. Museum: The Chicago Art Institute.
On the California Coast. Date: n.d. watercolor. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/on-the-california-coast-date-nd-watercolor-museum-smithsonian-american-art-museum-image554751117.htmlRM2R6F2KW–On the California Coast. Date: n.d. watercolor. Museum: Smithsonian American Art Museum.
Vulture and Its Prey. Date: 1844. oil on canvas. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/vulture-and-its-prey-date-1844-oil-on-canvas-museum-smithsonian-american-art-museum-image554797716.htmlRM2R6H644–Vulture and Its Prey. Date: 1844. oil on canvas. Museum: Smithsonian American Art Museum.
Disputed Game. Date: 1850. oil on canvas. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/disputed-game-date-1850-oil-on-canvas-museum-smithsonian-american-art-museum-image554797698.htmlRM2R6H63E–Disputed Game. Date: 1850. oil on canvas. Museum: Smithsonian American Art Museum.
Goats. Date: n.d. oil on canvas. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/goats-date-nd-oil-on-canvas-museum-smithsonian-american-art-museum-image554745226.htmlRM2R6ER5E–Goats. Date: n.d. oil on canvas. Museum: Smithsonian American Art Museum.
Along the Hudson. Date: 1852. oil on canvas. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/along-the-hudson-date-1852-oil-on-canvas-museum-smithsonian-american-art-museum-image554796935.htmlRM2R6H547–Along the Hudson. Date: 1852. oil on canvas. Museum: Smithsonian American Art Museum.
Rose-Breasted Grosbeak. Date: n.d. oil on canvas. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/rose-breasted-grosbeak-date-nd-oil-on-canvas-museum-smithsonian-american-art-museum-image554745186.htmlRM2R6ER42–Rose-Breasted Grosbeak. Date: n.d. oil on canvas. Museum: Smithsonian American Art Museum.
White Flamingoes, study for book Concealing Coloration in the Animal Kingdom. oil on wood. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/white-flamingoes-study-for-book-concealing-coloration-in-the-animal-kingdom-oil-on-wood-date-ca-1905-1909-museum-smithsonian-american-art-museum-image554742454.htmlRM2R6EKJE–White Flamingoes, study for book Concealing Coloration in the Animal Kingdom. oil on wood. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum.
Woman and Peacock. Date: ca. 1900. oil on canvas. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/woman-and-peacock-date-ca-1900-oil-on-canvas-museum-smithsonian-american-art-museum-image554743990.htmlRM2R6ENHA–Woman and Peacock. Date: ca. 1900. oil on canvas. Museum: Smithsonian American Art Museum.
Red Flamingoes, study for book Concealing Coloration in the Animal Kingdom. oil on wood. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/red-flamingoes-study-for-book-concealing-coloration-in-the-animal-kingdom-oil-on-wood-date-ca-1905-1909-museum-smithsonian-american-art-museum-image554740698.htmlRM2R6EHBP–Red Flamingoes, study for book Concealing Coloration in the Animal Kingdom. oil on wood. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum.
Roseate Spoonbills, study for book Concealing Coloration in the Animal Kingdom. Oil on paperboard. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/roseate-spoonbills-study-for-book-concealing-coloration-in-the-animal-kingdom-oil-on-paperboard-date-ca-1905-1909-museum-smithsonian-american-art-museum-image554749454.htmlRM2R6F0GE–Roseate Spoonbills, study for book Concealing Coloration in the Animal Kingdom. Oil on paperboard. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum.
The Hermit Thrush. Date: 1890. oil on canvas. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-hermit-thrush-date-1890-oil-on-canvas-museum-smithsonian-american-art-museum-image554742689.htmlRM2R6EKXW–The Hermit Thrush. Date: 1890. oil on canvas. Museum: Smithsonian American Art Museum.
(Small Landscape). Date: 1862. oil on canvas. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/small-landscape-date-1862-oil-on-canvas-museum-smithsonian-american-art-museum-image554745206.htmlRM2R6ER4P–(Small Landscape). Date: 1862. oil on canvas. Museum: Smithsonian American Art Museum.
Sunset. oil on canvas. Date: ca. 1875-1880. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/sunset-oil-on-canvas-date-ca-1875-1880-museum-smithsonian-american-art-museum-image554799921.htmlRM2R6H8XW–Sunset. oil on canvas. Date: ca. 1875-1880. Museum: Smithsonian American Art Museum.
Hackensack, New Jersey, Fisher's Pond. oil on canvas. Date: 1894. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/hackensack-new-jersey-fishers-pond-oil-on-canvas-date-1894-museum-smithsonian-american-art-museum-image554741578.htmlRM2R6EJF6–Hackensack, New Jersey, Fisher's Pond. oil on canvas. Date: 1894. Museum: Smithsonian American Art Museum.
Untitled (Wood Scene with Birch Trees and Ducks). Date: n.d. Watercolor on paper. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/untitled-wood-scene-with-birch-trees-and-ducks-date-nd-watercolor-on-paper-museum-smithsonian-american-art-museum-image554799640.htmlRM2R6H8GT–Untitled (Wood Scene with Birch Trees and Ducks). Date: n.d. Watercolor on paper. Museum: Smithsonian American Art Museum.
Roseate Spoonbill, study for book Concealing Coloration in the Animal Kingdom. oil on wood. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/roseate-spoonbill-study-for-book-concealing-coloration-in-the-animal-kingdom-oil-on-wood-date-ca-1905-1909-museum-smithsonian-american-art-museum-image554748816.htmlRM2R6EYNM–Roseate Spoonbill, study for book Concealing Coloration in the Animal Kingdom. oil on wood. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum.
Purple Grackle. Date: n.d. watercolor, pencil, chalk and ink on paper. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/purple-grackle-date-nd-watercolor-pencil-chalk-and-ink-on-paper-museum-smithsonian-american-art-museum-image554745460.htmlRM2R6ERDT–Purple Grackle. Date: n.d. watercolor, pencil, chalk and ink on paper. Museum: Smithsonian American Art Museum.
The Sky Simulated by Red Flamingoes, study for book Concealing Coloration in the Animal Kingdom. oil on wood. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-sky-simulated-by-red-flamingoes-study-for-book-concealing-coloration-in-the-animal-kingdom-oil-on-wood-date-ca-1905-1909-museum-smithsonian-american-art-museum-image554750146.htmlRM2R6F1D6–The Sky Simulated by Red Flamingoes, study for book Concealing Coloration in the Animal Kingdom. oil on wood. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum.
Miss Satterlee. oil on wood. Date: ca. 1830-1839. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/miss-satterlee-oil-on-wood-date-ca-1830-1839-museum-smithsonian-american-art-museum-image554797176.htmlRM2R6H5CT–Miss Satterlee. oil on wood. Date: ca. 1830-1839. Museum: Smithsonian American Art Museum.
Blue Jays in Winter, study for book Concealing Coloration in the Animal Kingdom. oil on canvas. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/blue-jays-in-winter-study-for-book-concealing-coloration-in-the-animal-kingdom-oil-on-canvas-date-ca-1905-1909-museum-smithsonian-american-art-museum-image554741305.htmlRM2R6EJ5D–Blue Jays in Winter, study for book Concealing Coloration in the Animal Kingdom. oil on canvas. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum.
The Sky Simulated by White Flamingoes study for book, Concealing Coloration in the Animal Kingdom. oil on wood. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-sky-simulated-by-white-flamingoes-study-for-book-concealing-coloration-in-the-animal-kingdom-oil-on-wood-date-ca-1905-1909-museum-smithsonian-american-art-museum-image554744225.htmlRM2R6ENWN–The Sky Simulated by White Flamingoes study for book, Concealing Coloration in the Animal Kingdom. oil on wood. Date: ca. 1905-1909. Museum: Smithsonian American Art Museum.
Crucifixion. oil on canvas. Date: 1915-1925. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/crucifixion-oil-on-canvas-date-1915-1925-museum-smithsonian-american-art-museum-image554797614.htmlRM2R6H60E–Crucifixion. oil on canvas. Date: 1915-1925. Museum: Smithsonian American Art Museum.
Riding out a Gale. oil on canvas. Date: ca. 1889. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/riding-out-a-gale-oil-on-canvas-date-ca-1889-museum-smithsonian-american-art-museum-image554739147.htmlRM2R6EFCB–Riding out a Gale. oil on canvas. Date: ca. 1889. Museum: Smithsonian American Art Museum.
Two Gulls and Cliffs. oil on fiberboard. Date: ca. 1913-1921. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/two-gulls-and-cliffs-oil-on-fiberboard-date-ca-1913-1921-museum-smithsonian-american-art-museum-image554797395.htmlRM2R6H5MK–Two Gulls and Cliffs. oil on fiberboard. Date: ca. 1913-1921. Museum: Smithsonian American Art Museum.
Friendly Neighbors. oil on canvas. Date: ca. 1909. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/friendly-neighbors-oil-on-canvas-date-ca-1909-museum-smithsonian-american-art-museum-image554751454.htmlRM2R6F33X–Friendly Neighbors. oil on canvas. Date: ca. 1909. Museum: Smithsonian American Art Museum.
Supper at Emmaus. oil on canvas. Date: 1915-1925. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/supper-at-emmaus-oil-on-canvas-date-1915-1925-museum-smithsonian-american-art-museum-image554797896.htmlRM2R6H6AG–Supper at Emmaus. oil on canvas. Date: 1915-1925. Museum: Smithsonian American Art Museum.
Barnyard in Winter. oil on canvas. Date: ca. 1885-1890. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/barnyard-in-winter-oil-on-canvas-date-ca-1885-1890-museum-smithsonian-american-art-museum-image554798301.htmlRM2R6H6W1–Barnyard in Winter. oil on canvas. Date: ca. 1885-1890. Museum: Smithsonian American Art Museum.
Mr. and Mrs. Phillip Wase. oil on canvas. Date: 1924. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/mr-and-mrs-phillip-wase-oil-on-canvas-date-1924-museum-smithsonian-american-art-museum-image554751093.htmlRM2R6F2K1–Mr. and Mrs. Phillip Wase. oil on canvas. Date: 1924. Museum: Smithsonian American Art Museum.
Anishira Indian. oil on canvas. Date: ca. 1890-1892. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/anishira-indian-oil-on-canvas-date-ca-1890-1892-museum-smithsonian-american-art-museum-image554799303.htmlRM2R6H84R–Anishira Indian. oil on canvas. Date: ca. 1890-1892. Museum: Smithsonian American Art Museum.
Washington Sea Eagle. oil on canvas. Date: ca. 1836-1839. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/washington-sea-eagle-oil-on-canvas-date-ca-1836-1839-museum-smithsonian-american-art-museum-image554797742.htmlRM2R6H652–Washington Sea Eagle. oil on canvas. Date: ca. 1836-1839. Museum: Smithsonian American Art Museum.
Rocky Seashore. Date: n.d. Oil on paper mounted on paperboard. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/rocky-seashore-date-nd-oil-on-paper-mounted-on-paperboard-museum-smithsonian-american-art-museum-image554796679.htmlRM2R6H4R3–Rocky Seashore. Date: n.d. Oil on paper mounted on paperboard. Museum: Smithsonian American Art Museum.
Jar with Two Plumed or Horned Serpents with Birds and P-shaped Motifs. Casas Grandes, Ramos Polychrome; New Mexico, United States, or Chihuahua, Mexico. Date: 1280-1450. Dimensions: 21.6 × 24.1 cm (8 1/2 × 9 1/2 in.). Ceramic and pigment. Origin: New Mexico. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/jar-with-two-plumed-or-horned-serpents-with-birds-and-p-shaped-motifs-casas-grandes-ramos-polychrome-new-mexico-united-states-or-chihuahua-mexico-date-1280-1450-dimensions-216-241-cm-8-12-9-12-in-ceramic-and-pigment-origin-new-mexico-museum-the-chicago-art-institute-image239825909.htmlRMRX50B1–Jar with Two Plumed or Horned Serpents with Birds and P-shaped Motifs. Casas Grandes, Ramos Polychrome; New Mexico, United States, or Chihuahua, Mexico. Date: 1280-1450. Dimensions: 21.6 × 24.1 cm (8 1/2 × 9 1/2 in.). Ceramic and pigment. Origin: New Mexico. Museum: The Chicago Art Institute.
Grouse Shooting on the Missouri Prairies. oil on canvas. Date: 1837-1839. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/grouse-shooting-on-the-missouri-prairies-oil-on-canvas-date-1837-1839-museum-smithsonian-american-art-museum-image554797966.htmlRM2R6H6D2–Grouse Shooting on the Missouri Prairies. oil on canvas. Date: 1837-1839. Museum: Smithsonian American Art Museum.
Children Burying a Bird. Date: 1878. oil on canvas mounted on fiberglass. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/children-burying-a-bird-date-1878-oil-on-canvas-mounted-on-fiberglass-museum-smithsonian-american-art-museum-image554801057.htmlRM2R6HABD–Children Burying a Bird. Date: 1878. oil on canvas mounted on fiberglass. Museum: Smithsonian American Art Museum.
Yucca, Hair, Cotton, Feathers (mural study). Date: ca. 1933-1943. tempera on paperboard mounted on fiberboard. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/yucca-hair-cotton-feathers-mural-study-date-ca-1933-1943-tempera-on-paperboard-mounted-on-fiberboard-museum-smithsonian-american-art-museum-image554798245.htmlRM2R6H6R1–Yucca, Hair, Cotton, Feathers (mural study). Date: ca. 1933-1943. tempera on paperboard mounted on fiberboard. Museum: Smithsonian American Art Museum.
Study for the Apotheosis of Washington in the Rotunda of the United States Capitol Building. oil on canvas. Date: ca. 1859-1862. Museum: Smithsonian American Art Museum. GEORGE WASHINGTON. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/study-for-the-apotheosis-of-washington-in-the-rotunda-of-the-united-states-capitol-building-oil-on-canvas-date-ca-1859-1862-museum-smithsonian-american-art-museum-george-washington-image554799329.htmlRM2R6H85N–Study for the Apotheosis of Washington in the Rotunda of the United States Capitol Building. oil on canvas. Date: ca. 1859-1862. Museum: Smithsonian American Art Museum. GEORGE WASHINGTON.
Múk-a-tah-mish-o-káh-kaik, Black Hawk, Prominent Sac Chief. oil on canvas. Date: 1832. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/mk-a-tah-mish-o-kh-kaik-black-hawk-prominent-sac-chief-oil-on-canvas-date-1832-museum-smithsonian-american-art-museum-image554799959.htmlRM2R6H907–Múk-a-tah-mish-o-káh-kaik, Black Hawk, Prominent Sac Chief. oil on canvas. Date: 1832. Museum: Smithsonian American Art Museum.
Black Backed Gull. Robert Havell (English, 1793-1878); after John James Audubon (American, 1785-1851). Date: 1825-1839. Dimensions: 966 x 648 mm (plate); 979 x 657 mm (sheet). Hand-colored engraving with aquatint and etching on cream wove paper. Origin: United Kingdom. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/black-backed-gull-robert-havell-english-1793-1878-after-john-james-audubon-american-1785-1851-date-1825-1839-dimensions-966-x-648-mm-plate-979-x-657-mm-sheet-hand-colored-engraving-with-aquatint-and-etching-on-cream-wove-paper-origin-united-kingdom-museum-the-chicago-art-institute-image240142903.htmlRMRXKCM7–Black Backed Gull. Robert Havell (English, 1793-1878); after John James Audubon (American, 1785-1851). Date: 1825-1839. Dimensions: 966 x 648 mm (plate); 979 x 657 mm (sheet). Hand-colored engraving with aquatint and etching on cream wove paper. Origin: United Kingdom. Museum: The Chicago Art Institute.
Bird's Eye View (South). Lovejoy & Foster; American, active 1870s. Date: 1873. Dimensions: 9.2 x 7.8 cm (each image); 10 x 17.7 cm (card). Toned gelatin silver print, stereo, from the series 'Chicago and Vicinity'. Origin: United States. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/birds-eye-view-south-lovejoy-amp-foster-american-active-1870s-date-1873-dimensions-92-x-78-cm-each-image-10-x-177-cm-card-toned-gelatin-silver-print-stereo-from-the-series-chicago-and-vicinity-origin-united-states-museum-the-chicago-art-institute-image240027967.htmlRMRXE63B–Bird's Eye View (South). Lovejoy & Foster; American, active 1870s. Date: 1873. Dimensions: 9.2 x 7.8 cm (each image); 10 x 17.7 cm (card). Toned gelatin silver print, stereo, from the series 'Chicago and Vicinity'. Origin: United States. Museum: The Chicago Art Institute.
Varieties of wading birds. Sumpfvoegel. 1 Pied avocet, Recurvirostra avosetta, Wassersabler, 2 extinct Canary Islands oystercatcher, Haematopus meadewaldoi, Lyv, 3 Malagasy sacred ibis, Threskiornis bernieri, 4 grey-winged trumpeter, Psophia crepitans, Trompetervogel, 5 boat-billed heron, Cochlearius cochlearius, Hohlschnabel, 6 American flamingo, Phoenicopterus ruber. Handcoloured lithograph by Thomas Soltukon from Lorenz Oken's Universal Natural History, Allgemeine Naturgeschichte fur alle Stande, Stuttgart, 1841. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/varieties-of-wading-birds-sumpfvoegel-1-pied-avocet-recurvirostra-avosetta-wassersabler-2-extinct-canary-islands-oystercatcher-haematopus-meadewaldoi-lyv-3-malagasy-sacred-ibis-threskiornis-bernieri-4-grey-winged-trumpeter-psophia-crepitans-trompetervogel-5-boat-billed-heron-cochlearius-cochlearius-hohlschnabel-6-american-flamingo-phoenicopterus-ruber-handcoloured-lithograph-by-thomas-soltukon-from-lorenz-okens-universal-natural-history-allgemeine-naturgeschichte-fur-alle-stande-stuttgart-1841-image571817278.htmlRM2T68ENJ–Varieties of wading birds. Sumpfvoegel. 1 Pied avocet, Recurvirostra avosetta, Wassersabler, 2 extinct Canary Islands oystercatcher, Haematopus meadewaldoi, Lyv, 3 Malagasy sacred ibis, Threskiornis bernieri, 4 grey-winged trumpeter, Psophia crepitans, Trompetervogel, 5 boat-billed heron, Cochlearius cochlearius, Hohlschnabel, 6 American flamingo, Phoenicopterus ruber. Handcoloured lithograph by Thomas Soltukon from Lorenz Oken's Universal Natural History, Allgemeine Naturgeschichte fur alle Stande, Stuttgart, 1841.
Feathered Tabard. Culture: Ica (?). Dimensions: H. 30 × W. 25 in. (76.2 × 63.5 cm). Date: 15th-early 17th century. Feathers were considered luxury materials in ancient Peru. They were used to embellish elite costume for thousands of years. Textiles densely covered with the brilliantly colored feathers of tropical rainforest birds are among the most spectacular works produced by ancient Andean artists. Feathered garments lent the wearer status and prestige and indicated wealth. Far-reaching contacts were necessary to bring the Amazonian bird feathers over the long distances between the eastern Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/feathered-tabard-culture-ica-dimensions-h-30-w-25-in-762-635-cm-date-15th-early-17th-century-feathers-were-considered-luxury-materials-in-ancient-peru-they-were-used-to-embellish-elite-costume-for-thousands-of-years-textiles-densely-covered-with-the-brilliantly-colored-feathers-of-tropical-rainforest-birds-are-among-the-most-spectacular-works-produced-by-ancient-andean-artists-feathered-garments-lent-the-wearer-status-and-prestige-and-indicated-wealth-far-reaching-contacts-were-necessary-to-bring-the-amazonian-bird-feathers-over-the-long-distances-between-the-eastern-image213073306.htmlRMPAJ94X–Feathered Tabard. Culture: Ica (?). Dimensions: H. 30 × W. 25 in. (76.2 × 63.5 cm). Date: 15th-early 17th century. Feathers were considered luxury materials in ancient Peru. They were used to embellish elite costume for thousands of years. Textiles densely covered with the brilliantly colored feathers of tropical rainforest birds are among the most spectacular works produced by ancient Andean artists. Feathered garments lent the wearer status and prestige and indicated wealth. Far-reaching contacts were necessary to bring the Amazonian bird feathers over the long distances between the eastern
Bird's Nest and Ferns. Fidelia Bridges; American, 1834-1923. Date: 1863. Dimensions: 20 × 16.8 cm (7 7/8 × 6 5/8 in.). Oil on panel. Origin: United States. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/birds-nest-and-ferns-fidelia-bridges-american-1834-1923-date-1863-dimensions-20-168-cm-7-78-6-58-in-oil-on-panel-origin-united-states-museum-the-chicago-art-institute-image240143198.htmlRMRXKD2P–Bird's Nest and Ferns. Fidelia Bridges; American, 1834-1923. Date: 1863. Dimensions: 20 × 16.8 cm (7 7/8 × 6 5/8 in.). Oil on panel. Origin: United States. Museum: The Chicago Art Institute.
Chest of Drawers. American; New York. Date: 1878-1884. Dimensions: 152.4 × 111.8 × 55.9 cm (60 × 44 × 22 in.). Bird's-eye maple, tulip poplar, and cherry. Origin: New York. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/chest-of-drawers-american-new-york-date-1878-1884-dimensions-1524-1118-559-cm-60-44-22-in-birds-eye-maple-tulip-poplar-and-cherry-origin-new-york-museum-the-chicago-art-institute-image239999331.htmlRMRXCWGK–Chest of Drawers. American; New York. Date: 1878-1884. Dimensions: 152.4 × 111.8 × 55.9 cm (60 × 44 × 22 in.). Bird's-eye maple, tulip poplar, and cherry. Origin: New York. Museum: The Chicago Art Institute.
Card Table. American; Chester, Vermont. Date: 1816-1830. Dimensions: 74.9 × 94 × 45.4 cm (closed lid) (29 1/2 × 37 × 17 7/8 in.). Cherry with Bird's-eye maple. Origin: Chester. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/card-table-american-chester-vermont-date-1816-1830-dimensions-749-94-454-cm-closed-lid-29-12-37-17-78-in-cherry-with-birds-eye-maple-origin-chester-museum-the-chicago-art-institute-image240132989.htmlRMRXK025–Card Table. American; Chester, Vermont. Date: 1816-1830. Dimensions: 74.9 × 94 × 45.4 cm (closed lid) (29 1/2 × 37 × 17 7/8 in.). Cherry with Bird's-eye maple. Origin: Chester. Museum: The Chicago Art Institute.
Card Table. American; Boston, Massachusetts. Date: 1810-1820. Dimensions: 74.9 × 89.5 × 46.7 cm (29 1/2 × 35 1/4 × 18 3/8 in.). Mahogany, bird's eye maple, and leather. Origin: Boston. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/card-table-american-boston-massachusetts-date-1810-1820-dimensions-749-895-467-cm-29-12-35-14-18-38-in-mahogany-birds-eye-maple-and-leather-origin-boston-museum-the-chicago-art-institute-image240132626.htmlRMRXJYH6–Card Table. American; Boston, Massachusetts. Date: 1810-1820. Dimensions: 74.9 × 89.5 × 46.7 cm (29 1/2 × 35 1/4 × 18 3/8 in.). Mahogany, bird's eye maple, and leather. Origin: Boston. Museum: The Chicago Art Institute.
Fire Screen. American; Boston, Massachusetts. Date: 1821-1840. Dimensions: 128.2 × 40 × 35.6 cm (50 1/2 × 15 3/4 × 14 in.). Bird's eye maple and New England white pine. Origin: Boston. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fire-screen-american-boston-massachusetts-date-1821-1840-dimensions-1282-40-356-cm-50-12-15-34-14-in-birds-eye-maple-and-new-england-white-pine-origin-boston-museum-the-chicago-art-institute-image240139290.htmlRMRXK836–Fire Screen. American; Boston, Massachusetts. Date: 1821-1840. Dimensions: 128.2 × 40 × 35.6 cm (50 1/2 × 15 3/4 × 14 in.). Bird's eye maple and New England white pine. Origin: Boston. Museum: The Chicago Art Institute.
Desk. Attributed to R. J. Horner and Company; American, active 1886-c. 1915; New York, New York. Date: 1885-1895. Dimensions: 174.6 × 46.4 × 67.3 cm (68 3/4 × 17 1/2 × 26 1/2 in.). Maple and bird's-eye maple. Origin: New York. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/desk-attributed-to-r-j-horner-and-company-american-active-1886-c-1915-new-york-new-york-date-1885-1895-dimensions-1746-464-673-cm-68-34-17-12-26-12-in-maple-and-birds-eye-maple-origin-new-york-museum-the-chicago-art-institute-image240068161.htmlRMRXG1AW–Desk. Attributed to R. J. Horner and Company; American, active 1886-c. 1915; New York, New York. Date: 1885-1895. Dimensions: 174.6 × 46.4 × 67.3 cm (68 3/4 × 17 1/2 × 26 1/2 in.). Maple and bird's-eye maple. Origin: New York. Museum: The Chicago Art Institute.
Side Chair. Attributed to R. J. Horner and Company; American, active 1886-c. 1915; New York, New York. Date: 1885-1895. Dimensions: 87.6 × 46.4 × 42.6 cm (34 1/2 × 17 1/2 × 16 in.). Maple and birds-eye maple. Origin: New York. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/side-chair-attributed-to-r-j-horner-and-company-american-active-1886-c-1915-new-york-new-york-date-1885-1895-dimensions-876-464-426-cm-34-12-17-12-16-in-maple-and-birds-eye-maple-origin-new-york-museum-the-chicago-art-institute-image240048128.htmlRMRXF3RC–Side Chair. Attributed to R. J. Horner and Company; American, active 1886-c. 1915; New York, New York. Date: 1885-1895. Dimensions: 87.6 × 46.4 × 42.6 cm (34 1/2 × 17 1/2 × 16 in.). Maple and birds-eye maple. Origin: New York. Museum: The Chicago Art Institute.
Tilt-top Tea Table. Culture: American. Dimensions: 27 1/2 x 19 x 14 1/2 in. (69.9 x 48.3 x 36.8 cm). Date: ca. 1800. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/tilt-top-tea-table-culture-american-dimensions-27-12-x-19-x-14-12-in-699-x-483-x-368-cm-date-ca-1800-museum-metropolitan-museum-of-art-new-york-usa-image213146324.htmlRMPANJ8M–Tilt-top Tea Table. Culture: American. Dimensions: 27 1/2 x 19 x 14 1/2 in. (69.9 x 48.3 x 36.8 cm). Date: ca. 1800. Museum: Metropolitan Museum of Art, New York, USA.
Upright Piano. Culture: American. Dimensions: 76 1/8 × 49 15/16 × 27 15/16 in. (193.3 × 126.9 × 71 cm). Maker: Loud & Brothers (American). Date: 1831. This large upright piano takes the form of a secretary desk and has a case of carved rosewood with gild decoration. Its fabric panel (a modern replacement) the piano action. The keyboard compass is 73 keys (FF-f4) with ivory naturals and ebony accidentals. Two brass pivoting candleholders flank the keyboard. There are three wooden pedals, the right raises the dampers, the center shifts the action for an una corda, and the left opens swell shut Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/upright-piano-culture-american-dimensions-76-18-49-1516-27-1516-in-1933-1269-71-cm-maker-loud-brothers-american-date-1831-this-large-upright-piano-takes-the-form-of-a-secretary-desk-and-has-a-case-of-carved-rosewood-with-gild-decoration-its-fabric-panel-a-modern-replacement-the-piano-action-the-keyboard-compass-is-73-keys-ff-f4-with-ivory-naturals-and-ebony-accidentals-two-brass-pivoting-candleholders-flank-the-keyboard-there-are-three-wooden-pedals-the-right-raises-the-dampers-the-center-shifts-the-action-for-an-una-corda-and-the-left-opens-swell-shut-image213181987.htmlRMPAR7PB–Upright Piano. Culture: American. Dimensions: 76 1/8 × 49 15/16 × 27 15/16 in. (193.3 × 126.9 × 71 cm). Maker: Loud & Brothers (American). Date: 1831. This large upright piano takes the form of a secretary desk and has a case of carved rosewood with gild decoration. Its fabric panel (a modern replacement) the piano action. The keyboard compass is 73 keys (FF-f4) with ivory naturals and ebony accidentals. Two brass pivoting candleholders flank the keyboard. There are three wooden pedals, the right raises the dampers, the center shifts the action for an una corda, and the left opens swell shut
Five Birds with Their Eggs and an Insect. Dated: published 1808/1814. Medium: color etching. Museum: National Gallery of Art, Washington DC. Author: Alexander Lawson after Alexander Wilson. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/five-birds-with-their-eggs-and-an-insect-dated-published-18081814-medium-color-etching-museum-national-gallery-of-art-washington-dc-author-alexander-lawson-after-alexander-wilson-image225407349.htmlRMR2M5AD–Five Birds with Their Eggs and an Insect. Dated: published 1808/1814. Medium: color etching. Museum: National Gallery of Art, Washington DC. Author: Alexander Lawson after Alexander Wilson.
Baptism of Christ. Date: 18th century. oil on wood. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/baptism-of-christ-date-18th-century-oil-on-wood-museum-smithsonian-american-art-museum-image554748966.htmlRM2R6EYY2–Baptism of Christ. Date: 18th century. oil on wood. Museum: Smithsonian American Art Museum.
Girl on a Hassock. oil on canvas. Date: 18th century. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/girl-on-a-hassock-oil-on-canvas-date-18th-century-museum-smithsonian-american-art-museum-image554799442.htmlRM2R6H89P–Girl on a Hassock. oil on canvas. Date: 18th century. Museum: Smithsonian American Art Museum.
Nino con Cotorra de Juguete. oil on canvas. Date: ca. 1830-1850. Museum: Smithsonian American Art Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/nino-con-cotorra-de-juguete-oil-on-canvas-date-ca-1830-1850-museum-smithsonian-american-art-museum-image554797401.htmlRM2R6H5MW–Nino con Cotorra de Juguete. oil on canvas. Date: ca. 1830-1850. Museum: Smithsonian American Art Museum.
Chalkware Birds. Dated: 1935/1942. Dimensions: overall: 25.3 x 23.2 cm (9 15/16 x 9 1/8 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Roy S. Brown. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/chalkware-birds-dated-19351942-dimensions-overall-253-x-232-cm-9-1516-x-9-18-in-medium-watercolor-and-graphite-on-paper-museum-national-gallery-of-art-washington-dc-author-roy-s-brown-image225554123.htmlRMR2XTGB–Chalkware Birds. Dated: 1935/1942. Dimensions: overall: 25.3 x 23.2 cm (9 15/16 x 9 1/8 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Roy S. Brown.
Wooden Birds. Dated: 1935/1942. Dimensions: overall: 22.9 x 35 cm (9 x 13 3/4 in.) Original IAD Object: 6 1/4' high. Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Alice Domey. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/wooden-birds-dated-19351942-dimensions-overall-229-x-35-cm-9-x-13-34-in-original-iad-object-6-14-high-medium-watercolor-and-graphite-on-paper-museum-national-gallery-of-art-washington-dc-author-alice-domey-image225555471.htmlRMR2XX8F–Wooden Birds. Dated: 1935/1942. Dimensions: overall: 22.9 x 35 cm (9 x 13 3/4 in.) Original IAD Object: 6 1/4' high. Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Alice Domey.
Toy Birds. Dated: 1939. Dimensions: overall: 27.9 x 43.2 cm (11 x 17 in.) Original IAD Object: 5 3/4' long; 4' high. Medium: watercolor, graphite, and pen and ink on paperboard. Museum: National Gallery of Art, Washington DC. Author: Frank Budash. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/toy-birds-dated-1939-dimensions-overall-279-x-432-cm-11-x-17-in-original-iad-object-5-34-long-4-high-medium-watercolor-graphite-and-pen-and-ink-on-paperboard-museum-national-gallery-of-art-washington-dc-author-frank-budash-image225462501.htmlRMR2PKM5–Toy Birds. Dated: 1939. Dimensions: overall: 27.9 x 43.2 cm (11 x 17 in.) Original IAD Object: 5 3/4' long; 4' high. Medium: watercolor, graphite, and pen and ink on paperboard. Museum: National Gallery of Art, Washington DC. Author: Frank Budash.
Pa. German Toy Birds. Dated: c. 1939. Dimensions: overall: 23.2 x 30.1 cm (9 1/8 x 11 7/8 in.) Original IAD Object: 3 5/8' high. Medium: watercolor, graphite, and gouache on paperboard. Museum: National Gallery of Art, Washington DC. Author: Arsen Maralian. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/pa-german-toy-birds-dated-c-1939-dimensions-overall-232-x-301-cm-9-18-x-11-78-in-original-iad-object-3-58-high-medium-watercolor-graphite-and-gouache-on-paperboard-museum-national-gallery-of-art-washington-dc-author-arsen-maralian-image225512345.htmlRMR2TY89–Pa. German Toy Birds. Dated: c. 1939. Dimensions: overall: 23.2 x 30.1 cm (9 1/8 x 11 7/8 in.) Original IAD Object: 3 5/8' high. Medium: watercolor, graphite, and gouache on paperboard. Museum: National Gallery of Art, Washington DC. Author: Arsen Maralian.
Pa. German Three Carved and Painted Birds. Dated: c. 1937. Dimensions: overall: 23.6 x 35.6 cm (9 5/16 x 14 in.) Original IAD Object: 7' high. Medium: watercolor, graphite, and colored pencil on paper. Museum: National Gallery of Art, Washington DC. Author: Victor F. Muollo. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/pa-german-three-carved-and-painted-birds-dated-c-1937-dimensions-overall-236-x-356-cm-9-516-x-14-in-original-iad-object-7-high-medium-watercolor-graphite-and-colored-pencil-on-paper-museum-national-gallery-of-art-washington-dc-author-victor-f-muollo-image225419247.htmlRMR2MMFB–Pa. German Three Carved and Painted Birds. Dated: c. 1937. Dimensions: overall: 23.6 x 35.6 cm (9 5/16 x 14 in.) Original IAD Object: 7' high. Medium: watercolor, graphite, and colored pencil on paper. Museum: National Gallery of Art, Washington DC. Author: Victor F. Muollo.
Chalkware Urn with Fruit and Birds. Dated: 1935/1942. Dimensions: overall: 30.3 x 22.5 cm (11 15/16 x 8 7/8 in.) Original IAD Object: 11 3/4' high; 8' wide. Medium: watercolor, graphite, and gouache on paperboard. Museum: National Gallery of Art, Washington DC. Author: Mina Lowry. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/chalkware-urn-with-fruit-and-birds-dated-19351942-dimensions-overall-303-x-225-cm-11-1516-x-8-78-in-original-iad-object-11-34-high-8-wide-medium-watercolor-graphite-and-gouache-on-paperboard-museum-national-gallery-of-art-washington-dc-author-mina-lowry-image225614156.htmlRMR31H4C–Chalkware Urn with Fruit and Birds. Dated: 1935/1942. Dimensions: overall: 30.3 x 22.5 cm (11 15/16 x 8 7/8 in.) Original IAD Object: 11 3/4' high; 8' wide. Medium: watercolor, graphite, and gouache on paperboard. Museum: National Gallery of Art, Washington DC. Author: Mina Lowry.
Wallpaper Panel. Dimensions: 123 x 36 1/2 in. (312.4 x 92.7 cm). Date: 1700-1730. This wallpaper panel is part of a set originally consisting of seventeen pieces (see 14.106.1-.16 for set.). The panels depict mountain landscapes, scenes with houses, birds, and flowering shrubs. They were hand-painted in China during the early eighteenth century for export to England. There, as in America, such exotic wallpaper enjoyed a vogue among the fashionable gentry. Considered a great luxury, it added richness and colors to walls. This wallpaper hung in an English home for two hundred years. The panels Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/wallpaper-panel-dimensions-123-x-36-12-in-3124-x-927-cm-date-1700-1730-this-wallpaper-panel-is-part-of-a-set-originally-consisting-of-seventeen-pieces-see-141061-16-for-set-the-panels-depict-mountain-landscapes-scenes-with-houses-birds-and-flowering-shrubs-they-were-hand-painted-in-china-during-the-early-eighteenth-century-for-export-to-england-there-as-in-america-such-exotic-wallpaper-enjoyed-a-vogue-among-the-fashionable-gentry-considered-a-great-luxury-it-added-richness-and-colors-to-walls-this-wallpaper-hung-in-an-english-home-for-two-hundred-years-the-panels-image213107107.htmlRMPAKT83–Wallpaper Panel. Dimensions: 123 x 36 1/2 in. (312.4 x 92.7 cm). Date: 1700-1730. This wallpaper panel is part of a set originally consisting of seventeen pieces (see 14.106.1-.16 for set.). The panels depict mountain landscapes, scenes with houses, birds, and flowering shrubs. They were hand-painted in China during the early eighteenth century for export to England. There, as in America, such exotic wallpaper enjoyed a vogue among the fashionable gentry. Considered a great luxury, it added richness and colors to walls. This wallpaper hung in an English home for two hundred years. The panels
Wallpaper Panel. Dimensions: 26 x 72 in. (66 x 182.9 cm). Date: 1700-1730. This wallpaper panel is part of a set originally consisting of seventeen pieces (see 14.106.1-.16 for set.). The panels depict mountain landscapes, scenes with houses, birds, and flowering shrubs. They were hand-painted in China during the early eighteenth century for export to England. There, as in America, such exotic wallpaper enjoyed a vogue among the fashionable gentry. Considered a great luxury, it added richness and colors to walls. This wallpaper hung in an English home for two hundred years. The panels are ins Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/wallpaper-panel-dimensions-26-x-72-in-66-x-1829-cm-date-1700-1730-this-wallpaper-panel-is-part-of-a-set-originally-consisting-of-seventeen-pieces-see-141061-16-for-set-the-panels-depict-mountain-landscapes-scenes-with-houses-birds-and-flowering-shrubs-they-were-hand-painted-in-china-during-the-early-eighteenth-century-for-export-to-england-there-as-in-america-such-exotic-wallpaper-enjoyed-a-vogue-among-the-fashionable-gentry-considered-a-great-luxury-it-added-richness-and-colors-to-walls-this-wallpaper-hung-in-an-english-home-for-two-hundred-years-the-panels-are-ins-image212936391.htmlRMPAC2F3–Wallpaper Panel. Dimensions: 26 x 72 in. (66 x 182.9 cm). Date: 1700-1730. This wallpaper panel is part of a set originally consisting of seventeen pieces (see 14.106.1-.16 for set.). The panels depict mountain landscapes, scenes with houses, birds, and flowering shrubs. They were hand-painted in China during the early eighteenth century for export to England. There, as in America, such exotic wallpaper enjoyed a vogue among the fashionable gentry. Considered a great luxury, it added richness and colors to walls. This wallpaper hung in an English home for two hundred years. The panels are ins
Wallpaper Panel. Dimensions: 121 x 118 in. (307.3 x 299.7 cm). Date: 1700-1730. This wallpaper panel is part of a set originally consisting of seventeen pieces (see 14.106.1-.16 for set.). The panels depict mountain landscapes, scenes with houses, birds, and flowering shrubs. They were hand-painted in China during the early eighteenth century for export to England. There, as in America, such exotic wallpaper enjoyed a vogue among the fashionable gentry. Considered a great luxury, it added richness and colors to walls. This wallpaper hung in an English home for two hundred years. The panels ar Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/wallpaper-panel-dimensions-121-x-118-in-3073-x-2997-cm-date-1700-1730-this-wallpaper-panel-is-part-of-a-set-originally-consisting-of-seventeen-pieces-see-141061-16-for-set-the-panels-depict-mountain-landscapes-scenes-with-houses-birds-and-flowering-shrubs-they-were-hand-painted-in-china-during-the-early-eighteenth-century-for-export-to-england-there-as-in-america-such-exotic-wallpaper-enjoyed-a-vogue-among-the-fashionable-gentry-considered-a-great-luxury-it-added-richness-and-colors-to-walls-this-wallpaper-hung-in-an-english-home-for-two-hundred-years-the-panels-ar-image212899657.htmlRMPAABK5–Wallpaper Panel. Dimensions: 121 x 118 in. (307.3 x 299.7 cm). Date: 1700-1730. This wallpaper panel is part of a set originally consisting of seventeen pieces (see 14.106.1-.16 for set.). The panels depict mountain landscapes, scenes with houses, birds, and flowering shrubs. They were hand-painted in China during the early eighteenth century for export to England. There, as in America, such exotic wallpaper enjoyed a vogue among the fashionable gentry. Considered a great luxury, it added richness and colors to walls. This wallpaper hung in an English home for two hundred years. The panels ar
Search Results for American birds Stock Photos and Images (813)
Page 1 of 9