Floor plan

Style galleriesDrawings

Drawings

OTTER CLIFFS
This is a drawing depicting instructional annotations on a pattern for tailoring or assembling clothing. The pattern includes various pieces labeled with letters and numbers corresponding to specific parts of a garment, like "FRONT," "SIDE BACK," and "COLLAR." The layout is precise and technical, resembling a guide for constructing a garment with detailed cutting and assembly instructions.
STUDY FOR "SCIENTIFIC GROUP"
Sabrina, by Samuel Palmer, 1856
The image shows a spinning wheel with intricate details, surrounded by smaller insets highlighting specific components. The color palette consists of muted browns, greens, and beiges. The spinning wheel is positioned in the center, with its circular wheel on the right and the spinning mechanism on the left. Detailed insets are placed around the spinning wheel, each showing different mechanical elements.

The works in this room are listed below.

Works in this room

Every one of the collection's drawings, in today's hang.

Section 1, north wall

  1. OTTER CLIFFS
    Otter CliffsArnold William Brunner, 1879–80Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. This is a drawing depicting instructional annotations on a pattern for tailoring or assembling clothing. The pattern includes various pieces labeled with letters and numbers corresponding to specific parts of a garment, like "FRONT," "SIDE BACK," and "COLLAR." The layout is precise and technical, resembling a guide for constructing a garment with detailed cutting and assembly instructions.
    Waistcoat PatternRosalia Lane, c. 1936Courtesy National Gallery of Art, Washington
  3. STUDY FOR "SCIENTIFIC GROUP"
    Study for "Scientific Group"Daniel Huntington, 1858Courtesy of Cooper Hewitt, Smithsonian Design Museum

Section 1, south wall

  1. Sabrina, by Samuel Palmer, 1856
    SabrinaSamuel Palmer, 1856Courtesy of The Metropolitan Museum of Art
  2. The image shows a spinning wheel with intricate details, surrounded by smaller insets highlighting specific components. The color palette consists of muted browns, greens, and beiges. The spinning wheel is positioned in the center, with its circular wheel on the right and the spinning mechanism on the left. Detailed insets are placed around the spinning wheel, each showing different mechanical elements.
    Spinning WheelClyde L. Cheney, 1935/1942Courtesy National Gallery of Art, Washington

Section 2, south wall

  1. The image features a round, ornately decorated object resembling a shield with metallic-looking decorative hinges on its surface. The color palette is primarily earthy tones such as brown, red, and hints of gold. The object is centered in the image, viewed from the front, with engravings decorating its surface. The background is plain and light in color.
    Baptismal FontWilliam Kieckhofel, c. 1941Courtesy National Gallery of Art, Washington
  2. This is a drawing of a decorative vase design. The central focus of the image is a detailed drawing of a vase with a bulbous body and a flared top, placed on an intricately designed tall stand. The stand features elaborate ornate patterns, giving it an almost floral appearance with its swirling details and golden hue. The vase itself has subtle decorative elements engraved or painted around its surface. Surrounding the primary image are additional sketches showcasing different parts and views of the vase, such as its profile, the pattern, and cross-sectional diagrams. These supplementary sketches provide further insight into the structural and decorative design aspects of the vase. The careful attention to scale and detail suggests this is a design blueprint for a piece of decorative art.
    Metal Base LampHenry Meyers, c. 1936Courtesy National Gallery of Art, Washington
  3. Perseus and the Origin of Coral, by Claude Lorrain (Claude Gellée), ca. 1671
    Perseus and the Origin of CoralClaude Lorrain (Claude Gellée), ca. 1671Courtesy of The Metropolitan Museum of Art

Section 2, north wall

  1. The image shows two large quilt blocks with a matching design, side by side. Each block consists of red and beige fabric with quilted stitching creating a textured appearance. The color palette includes primarily red, beige, and dark stitching outlining the patterns. The quilt blocks are placed centrally on a light-colored surface.
    Patchwork QuiltPaul Ward, c. 1936Courtesy National Gallery of Art, Washington
  2. A VILLAGE SQUARE
    A Village SquareWalter Shirlaw, 1875–80Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. Arm of Eve, by Albrecht Dürer, 1507
    Arm of EveAlbrecht Dürer, 1507Courtesy of the Cleveland Museum of Art

Section 3, north wall

  1. This is a painting of a carousel horse. The image shows a gray carousel horse with glossy highlights and shading. The horse has a blue and red saddle with gold bands, and a blue harness with red accents. The horse is mid-gallop, with animated legs. The background is plain to focus on the horse's design. The style is detailed and realistic, reminiscent of carousel art from the late 19th to early 20th century.
    Carousel HorseDorothy Handy, c. 1939Courtesy National Gallery of Art, Washington
  2. The image shows a drawing of three figures. The central figure is seated, leaning slightly forward with one arm outstretched towards the standing figures. They have short, slightly messy hair, traditional clothing, and muscular limbs. The standing figures on the right are partially obscured but appear to interact with the seated figure. One of them is extending their arm towards the seated figure. The individuals wear layered clothing, with one wearing a head covering. The background is simple, emphasizing the interaction between the figures. The drawing style is classical or historical, using ink and wash for texture and depth.
    Youth Sitting on a Wall in Conversation with Two MenSalvator Rosa, c. 1656/1657Courtesy National Gallery of Art, Washington
  3. The image shows a wooden chair with a tall back featuring three wide horizontal slats. The chair has an upholstered seat, likely grey or muted in color. The color palette consists of natural wood tones and a neutral seat color. The chair is facing slightly to the left with the seat slightly tilted.
    Shaker Side ChairRay Holden, c. 1937Courtesy National Gallery of Art, Washington

Section 3, south wall

  1. At the Circus: The Spanish Walk (Au Cirque: Le Pas espagnol), by Henri de Toulouse-Lautrec, 1899
    At the Circus: The Spanish Walk (Au Cirque: Le Pas espagnol)Henri de Toulouse-Lautrec, 1899Courtesy of The Metropolitan Museum of Art
  2. Rhine at the Lurlei, by George Elbert Burr, 1900
    Rhine at the LurleiGeorge Elbert Burr, 1900Courtesy of the Smithsonian American Art Museum