biglam/cooper-hewitt-alt-text huggingface dataset:
Fireplace fenders
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Two columns are connected by a bar, in the height of the moldings of the pedestal. The shafts are fluted and surrounded in the center by an angular band with a lion's mask supporting a ring on each side. On top are balls with a point. Usual background.
Design for a Cabriolet
Johann Michael Hoppenhaupt II, German, 1709–ca. 1778, 1753
Etching on cream laid paper
Bound print

Design for an elaborate cabriolet, covered in carved scrolling acanthus leaves, masks, and vines. The seats of the cabriolet are covered with upholstry, and the back seat has a scalloped foot rest. The plate is signed.
Garden at Quito and Mojanda North of Quito, Ecuador
Frederic Edwin Church, American, 1826–1900, June 24, 1857
Graphite on off-white paperboard
drawing

Landscape and architecture sketch showing a view of a garden in Quito, Ecuador, and a mountain known as Mojanda north of the city. In the upper half of the composition, the extinct and collapsed stratovolcano called the Mojanda is visible with its craggy contour and bulging ridges. In the lower half, a wide, A-frame house with two small towers and adjoining walls is shown beside a domestic garden with an arched stone entrance. In the lower left corner, an isolated sketch of a Solomonic, or twisted column is included.
Portrait of a Prelate
Salvator Rosa, Italian, 1615 - 1673, 1680–1700
Pen and ink on paper
Drawing

Half-length portrait of young man turned toward viewer and sitting at a table. He wears pince-nez. Right hand raised holding pen, the left rests on paper.
Fragment
, 1650–1700
silk Technique: 7&1satin with floats of supplementary weft

Bands of pattern - flowers, people, birds horses - on a pale red-orange ground. One green and white striped selvage.
Textile
, 18th century
cotton Technique: block printed on plain weave

Small scale flowers of eight different kinds printed in brown, red, blue, and light purple on white. Widely spaced all-over design.
Case
, 19th century
silk, metallic threads, glass beads Technique: appliquéd and embroidered in split and knot stitches on satin weave

Case of yellow satin, appliquéd and embroidered with a vase and plant in colored silks. Bound in braid and fitted with yellow cord, knots, and tassels.
Project for a Dado
, early 19th century
Graphite, pen and ink, brush and wash, white heightening on paper
Drawing

Three panels, the center being larger. Each shows a grotesque design with rinceaux, fantastic winged figures and birds. At center, two sea horses.
Monument
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The architectural setting is similar to -1255 left, the monument a variation of -1255 right. The relief on the pedestal represents a classic sacrifice. The sarcophagus stands upon a base with moulding on its lower part. The putti sit upon the base with festoon in front. The front of the sarcophagus has the shape of an urn. Above it is a variation of -1254. Center, a crown. The wall above forms a niche in which stands a round pedestal with a variation of -1290. The escutcheons are in front of the entablature. The left hand of the woman points to heaven. The medallion is supported by putti standing behind it.
Study of Left Arm for "Christiana and Her Family Passing through the Valley of the Shadow of Death"
Daniel Huntington, American, 1816–1906, 1850
Graphite and white chalk on grey wove paper
Drawing

Man's lowered left arm with thumb facing frontally.
Fantasy. A staircase in a park, in ruins.
, ca. 1760
Black crayon, brush and wash with black ink.
Drawing

The staircase leads to a terrace.  A fountain is beside its left top corner. Another fountain is on the substructure of the terrace at right; water flows from a mask in a shell.
Saint Bartholomew
, 1750–1780
Pen and ink on paper
Drawing

Shown standing and holding the knife in his right hand. Framing ink line.
Sampler
Susan S. Bagnell, American, 1819–1888, 1827
silk embroidery on linen foundation Technique: embroidered in cross, stem and couching stitches on plain weave foundation

Within an octagonal framework are bands of alphabets and numerals, a verse and inscription, floral cross borders and a landscape showing three buildings with trees and sheep. With roses in the spandrels.
The verse reads:  
The loss of a father is great. The loss of a mother is more. The loss of Christ is such a loss that no man can restore. 
Inscribed: Wrought by Susan S Bagnell aged 8 Plymouth AD 1827
Fragments
, 17th century
silk Technique: 8-harness satin with floats of continuous and discontinuous wefts

1974-74-1-a/i: Fragments of a pattern which included within one r...;     1974-74-1-j: Fragments of a pattern which included within one r...
Textile
, 17th–18th century
linen, wool Technique: plain weave foundation (linen) with supplementary warp patterning (wool)

Vertical stripe: wide bands of ivory patterned in yellow and green with a curving vine on which birds are perched, alternating with narrow stripes with small, regular rosettes in red and purple.
Where's the Difference
Thomas Nast, American, b. Germany, 1840–1902, July 3, 1869
Wood engraving on newsprint
print

A bar scene divided vertically in two parts.  In the right half, four women stand against a bar with a large mirror behind.  One inebriated woman, on the left, holds a glass in her right hand while three other women, to the right, holding glasses converse with each other.  In the left half of the scene, one inebriated man looks downward toward the glass in this left hand; to the left another man, viewed from behind, leans on the bar while two other men raise their glasses.  In the lower margin, beneath the men's scene:  All Wrong; beneath the female scene:  All Wrong; in the middle:  Where's the Difference.
Ribbon
, 18th century
silk, metallic thread Technique: woven

Narrow woven ribbon with a pattern of fruit and floral forms on a curving ribbon in multicolors on a gold background.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1780
cotton Technique: block printed on plain weave

Polychrome design of two different clusters of Chinese vases with a coordinating border print sewn to one edge.
Design for a Mass-Operational House Designed by Hector Guimard, Construction Directions for Wooden Columns
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by , showing the construction of wooden columns for the facade facing the garden.
Wood engraving. Vignette.
, 1800–1830
Engraving and etching

Fruit bowl on a base.
Band
, late 16th century
linen Technique: bobbin lace, continuous braid-like

Border of stylized animal forms, alternating direction every other time.
Fragment
, 19th century
linen Technique: bobbin lace (Lille style with heavy outlining thread)

Fragment of Lille-style lace with open-centered rosettes and eyelets clustered near the bottom. Border is scalloped.
St. Luke, from The Four Evangelists
Hans Sebald Beham, German, 1500–1550, 1541
Engraving on laid paper
print

Vertical rectangle. A winged figure, standing, facing to right, the head almost seen in profile. He holds a closed book under his right arm; in his left hand an open book. The bull is seen at his feet.
Peep-show, Vue du Palais de l'Ambassadeur de Venise, a Rome, No. 89
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Fragment
, 6th–7th century
Warp: s-spun Z-twist linen. Wefts: s-spun linen, S-spun wool Technique: tapestry weave, slit and interlocked

Within three borders the figures of a man and a lion.
Drapery Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Standing figure seen from the back, right side shown.
Rear Elevation of the Chateau de Sablé
Claude Desgots, 1655 - 1732, 1725
Pen and ink, brush with blue and gray wash on paper
drawing

Horizontal rectangle, Corresponding to the print, in opposite direction. No framing lines. Traced; reverse: reddened.
Table mat
, ca. 1886
linen, silk

White linen table mat embroidered in colored and white silks. Edge of deep scallops, worked in white, with French knots, buttonholes and drawn work. Inner border of realistic strawberry vine in reds and greens and white. Satin stitch and stem stitch. Embroidered by donor's mother.
The Holy Family with Butterfly
Albrecht Dürer, German, 1471–1528, ca. 1495
Engraving on off-white laid paper
Print

Vertical rectangle. Seated on a grassy bank, the Virgin holds the Child before her. At the left, Joseph sleeps leaning against the bank. Above, in the sky, God the Father and the Holy Ghost in a burst of light.
Child's blouse
, 18th–19th century
silk, metallic yarns Technique: tambour embroidery on satin weave

Yellow silk satin blouse embroidered in point de chainette stich with flowers in green, pink and white silk.
Trimming
, 18th century
silk, silver metallic thread Technique: woven

Design of vine leaves and grapes in white and metallic thread.
Handscreen
, late 18th–early 19th century
Painted paper leaf with cut-paper border, turned wood handle

Handscreen with a hand painted paper leaf with border of dagged orange paper. Obverse: woman with bonnet placing flowers on the head of a second woman. Reverse: seated woman in landscape, in shades of blue. Turned wood handle.
Ceiling Decoration for a Florentine Theater
G. Albergotti, ca. 1840
Pen and black ink, watercolor
Drawing

Vertical rectangle: design for theatre ceiling in renaissance forms with floral motifs. Princely coat of arms in which the Medici armorial bearings appear amongst others. Florentine scale of dimensions.
Fragments
, 300–600
wool, linen Technique: embroidered on plain weave

Garment fragments of undyed linen with stripes of supplementary red wool wefts. Wool is thicker than linen warp, causing it to skip warps at irregular intervals. Striped  pattern set off from piece by a double-sided embroidered row of split stitches in red and yellow wool.
Study for "Diana and Her Attendants among the Constellations"
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Graphite on paper
Drawing

Sketch of a nude figure's torso and arms from behind.
Trimming
, 17th century
silk Technique: plain weave

Galloon with attached fringe. Galloon has a yellow flower and leaf design on a blue ground. Attached fringe has a heading and looped skirt threads in two lengths. Each four loops supporting a tuft.
Printer's sample book
Old Pacific Print Works, Lawrence, MA, USA, 1866–75
paper and cotton

Small notebook with handwritten formulas for dyestuffs to be used on printed textiles. Contains 72 fabric samples in a variety of patterns.
Sketches of a Man, Rome
Francis Augustus Lathrop, American, 1849–1909, ca. 1883
Graphite on paper
Drawing

Center, man with hands crossed behind his back. Two sketches of his head at right.
Flowers
, 1775-1800
Hand colored engraving, brush and red, green, and yellow watercolor on paper
Print

Forty-nine branches with flowers, disposed in six lines. Two bordering lines, engraved.
Border
, 17th century
linen Technique: knotting (macramé)

Long strip with figures of animals and people with black bead eyes. Between two guard borders. Scalloped edge.
Tile
, ca. 1880
Glass

Amber. All-over pattern of raised rough diamonds with a four-part serrated design pressed in the center of each.
The Crazed Artist
François-Nicolas Chifflart, French, 1825 - 1901, ca. 1860
Etching in black ink on white paper
Print

Vertical rectangle. An artist with drawing paper on his lap and a demon balanced on his head, surrounded by demons, -perhaps a nightmare.
Drawing
Felice Giani, Italian, 1758–1823, 1790-1800
Pen and brown ink, traces of black chalk, on laid paper.

Vertical rectangle. Shown from the front, standing and holding sword and pair of scales.
Square
, 19th century
cotton Technique: block printed on both sides

Square of white cotton has scalloped edges that are buttonhole stitched all around. Printed in red, blue and taupe with a central floral motif, scattered small sprays with larger sprays in each corner and curving floral border.
Robe
, early 18th century
silk Technique: couched cord and satin stitch embroidery; lined

Robe with short sleeves made of ribbed red silk embroidered in white silk (satin stitch) and couched cord in design of open flowers and scrolling leaves; lined with blue silk; one tie of pink silk, (others missing). Garment intended for an ecclesiastical figurine.
Waistcoat
, 19th century
silk Technique: cut voided supplementary warp pile (velvet) in a satin foundation

Gentleman's waistcoat made from velvet with an allover design of small leaf motifs in blue. Small rectangles of green and yellow decorate the center of each blue leaf.
Fragment
, 15th–16th century
silk Technique: supplementary warp forming raised pile in 4&1 satin foundation

Pomegranates within lobed circles with floral decoration in red. Fragment was probably part of a chasuble at one time.
Brisé Carnet de Bal
, 19th century
Carved ivory and mother-of-pearl sticks, metal pencil holder

Brisé Carnet de Bal (dance card) fan. Ivory and carved mother-of-pearl sticks and guards with floral motif. Metal pencil holder.
Pair of salt cellars
, mid- 18th century
Tin-glazed earthenware

Oval, on a high spreading foot. Decorated with scattered polychrome florals sprays on a white ground.
Decoration of the Fireplace Wall in Engrance Hall Hotel Roquelaure, Towards the Chapel
Jean-Baptiste Le Roux, French, ca. 1677-1746, ca. 1727
Etching on paper
Print

Elevation of a wall with fireplace flanked by double doors. Paintings, landscapes with figures, on overdoors and mantelpiece. Paneling divided in rectangular fields. Scarce scroll carving on some panels. Inscribed, upper margin: "Decoration du côté de la cheminée de l'Antichambre ou est la Chapelle dans l'Hotel de Roquelaure à Paris due dessein de M. le Roux Architectre"; lower right: "Mariette exc."
Aigues-Mortes
Francis Augustus Lathrop, American, 1849–1909, January 20, 1892
Graphite and white heightening on light brown laid paper
Drawing

Lake at right, house at far edge. Low, marshy foreground. Castle wall extending from lef,t with gate, center, and towers.
Textile
, late 18th century
silk Technique: brocaded

White ribbed ground with grouped stripes. Brocaded in detached design of rosebuds and carnations in reds, blues and greens.
Waistcoat panel
, late 18th century
silk, metallic thread, metal sequins, colored foil, glass beads Technique: embroidered on satin weave

Front panel of a gentleman's waistcoat embroidered in a delicate foral design on white satin.
Fragment
, 15th century
silk Technique: two interconnected structures: 3\1 twill and plain weave (lampas) Label: silk lampas

Fragment of woven silk with horizontal bands of geometric pattern including various interlace patterns, eight-pointed stars, and kufic script in the form of lobed medallions. The script is translated as "Sucess and prosperity" and "Beatitude."
Textile
, mid-18th century
silk Technique: plain compound satin weave, brocaded

Yellow satin ground. The design consists of a large ogive the full width of the textile, formed of irregularly disposed leaf and floral branches.  From the bottom of the ogive two floral branches extend to the center to support two confronted doves with a bow and quiver under each.  On the upper branches of the ogive are seated two confronted chinoiserie figures, each holding a dove.
Flounce
, 18th century
linen Technique: bobbin lace, Brussels style

Flounce worked with a design of twisted foliate garlands enclosing a motif of pomegranate fruit and flowers. Edge irregularly scalloped.
Covered Friendship Goblet of the van Orsoy Family
, 1732–1743
lead glass
drinking glass and cover

A giant covered baluster goblet.
Plate
Olérys-Laugier Factory, France, founded 1738, 1760s
Tin-glazed earthenware

Circular form with shaped rim. Monochrome green decoration on a white ground shows a flying insect, Feng Huang (Ho-ho bird), griffin, and youth bearing bow and arrow. The rim decorated is with thin bands and flowers.
Beadwork picture
Constance B, 1833
silk, linen, glass beads, copper beads, iron beads Technique: embroidered

Picture with a light brown beaded ground has a central image of a flowering tree in a blue bowl that is flanked by tall stems of flowers. Two butterflies are on the top. Narrow blue border with inner borders in yellow. Primarily in shades of pink, turquoise, green, brown, and yellow. Inscription at the bottom.
Textile
, late 18th century
cotton Technique: block printed on plain weave

Center line design of flowers and strapwork. Pattern reserved (white) on printed red.
Album of Cartouches, Framing Devices and Carriage Designs
Jean-Baptiste Girard, French, active ca.1750 – ca.1771, 1754–69
Album

Album containing three plates with designs for cartouches, framing devices, and wall paneling bound with three designs for an ornately carved carriage. The plates are numbered and signed.
Mug
, 18th–mid-19th century
Black transfer

"Industry"
Elevation of Section of a Wall with Columns and Arch at Left
Adolph Bordeaux, French, active 1880–1890, 1884
Graphite, brush and watercolor, pen and brown ink on cream laid paper
Drawing

Design for Tuscan columns with arches, plans and elevations, supporting entablatures; scale in lower margin.
Fragment
, 1775–95
cotton Technique: block printed on plain weave

Twisting cord forming a lattice enclosing sprays of flowers. Black, two reds, grey, and blue.
Bulb pot
Olérys-Laugier Factory, France, founded 1738, ca. 1760
Tin-glazed earthenware

2017-20-5-a,b: One of a pair. Tureen-form bulb pot with cartouche...;     2017-20-6-a,b: One of a pair. Tureen-form bulb pot with cartouche...
Textile
, ca. 1755
silk Technique: damask

Green damask with a pattern of flowers and foliage in a vase framed by a running floral vine.
A Bridge, Design for Washington Board of Trade Dinner, May 13, 1908
James Henry Moser, Canadian, 1854–1913, 1908
Pen and black ink, graphite on thin board
Drawing

An arched bridge with street lights over a stream with a road beside it. Trees and ridges on either side.
Pitcher
, 1775–1825
glass

On solid, domed glass foot a helmet-shaped body with two notched mouldings. Rounded loop handle; daisy-like flowers and grouped lines on body.
Beaker
Geert Jacobs van Ootmarssen, Dutch, 1678–1679
silver, gold
beaker

Tall, trumpet-shaped cup with incised flowers and fruits between c-scrolls surrounding three cartouches, each containing a woman symbolizing Faith, Hope and Charity respectively; "crown of thorn" band encircles the beaker where footed section decorated with strapwork, and winged cherub joins cup.
Serene Beach and Ocean Scene
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Flat ocean coming onto shore, beach from left foreground to right middleground.
Design for Several Bays of a Public Building
Ely Jacques Kahn, American, 1884–1972, 1907
Graphite, brush and gray wash on Bristol illustration board
Drawing

Front elevation; side elevation and plan of several bays of a public building. Four stories high on a podium or base; large openings alternating with small ones; gabled roof.
Sidewall - fragment
, ca. 1900
Machine-printed

Many fragments with design of leaf clusters printed on a  beige ground.
Sketchbook Page: Femme Inconnue, Louvre (Poem)
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Poem titled Femme Inconnue, Louvre.
Band
, mid-16th century
linen Technique: grid of withdrawn element work with reticella style needle lace and embroidery

Linen band of embroidery bordered by reticella in a geometric pattern of squares and rectangles. Squares are decorated with human figures, animals and mermaids.
Band
, 17th century
linen Technique: plain weave with cutwork, withdrawn element work, and embroidery

Band or border of white linen with elaborate, symmetrically arranged design of vine and flowers, in cut work, drawn work and embroidery.
Napoleon III, Emperor of France, King of Clubs from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Napoleon III, Emperor of France, King of Clubs from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
"Colonnes d partmentales,fetes Juillet 1838"
Félix Duban, French, 1797 - 1870, 1838
watercolor, pen and blue, brown, orange ink Support: off-white paper mounted on off-white paper
Drawing

Design for a polyhedron column with thin red stripes articulating the upper portion and geometric designs in red and blue articulating the lower portion.  Affixed to the front of the column, three-fourths of the way up, is a large golden circle with a red and blue border, which is surmounted by an eagle.  The whole structure is surmounted by a green, rounded urn shaped form and rests upon a two part base, the upper portion with yellow vertical panels with geometric inserts of red and green and the lower portion in solid red.
"Chuck Luck Pocket Match Safe and Dice Box"
, patented 1893
Plated brass
Matchsafe

Oblong, with rounded corners, featuring central, raised decoration of two donkey heads, each facing the other, between them is inscription "Three Of A Kind", all framed by twisted ropework. Plain case lid flips open at left of decoration by pressing small metal button on top, upper left.  At right is plain slip-off cover that conceals pair of miniature dice. Reverse features raised decoration of delicate arabesques surrounding a central, empty, oval reserve that is framed with ropework, all reverse ornament framed again with twisted ropework. Striker is on bottom of slip-off cover.
Porcelain Figure Mounted as a Two-Light Candelabra (One of a Pair)
Mennecy Porcelain Manufactory, French, active 1735 – 1773, 18th or 19th century
porcelain, vitreous enamel, bronze, gold
candelabra

Porcelain Chinoiserie figure of a young boy dressed in a yellow robe with flowered shawl, wearing a leaf cap and pink slippers, prancing beneath an ormolu bell-hung canopy on rustic supports; the base fitted with two scrolling enleafed candle arms bearing porcelain flowers.
Frieze
, 1905–1915
Machine-printed paper

Scattered large gilt rinceaux with loose bouquets of yellow wild roses and branches at the top of the rinceaux. Row of beading across bottom. Printed in gilt, shades of green, pale yellow, brown, copper and mustard on a tan ground.
Fragment
, late 17th century
silk Technique: 5-harness satin damask

Apple-green satin damask woven with feathery serrated leaves forming parallel serpentine trails from which spring peonies and other blossoms in lateral rows. Striped pink and yellow selvages.
Sidewall - fragment
, 1855–70
Block-printed on machine-made paper

Rococo revival pattern with scrolling foliage and large flowers. Fills of trellis pattern. Printed in white on ungrounded paper. Many small pieces of the same design.
Vues d'Italie
Jean-Gabriel Charvet, 1810–15
Block printed on handmade paper
Scenic wallpaper

Twenty-two pieces of French scenic wallpaper showing views of Italy. Block-printed in distemper colors on joined sheets of handmade paper. The seventeen largest pieces of the paper form four scenes, together filling a space approximately 12 unnumbered small fragments of various sizes to be used in remounting the scenes. All mounted on modern paper and fabric. The mounting paper of a quality inferior to the rag paper of the wallpaper.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on blue-grey paper
Sketchbook folio

Recto: Page with notation of address; otherwise blank.
Verso: Portrait of a bust-length female figure in left profile.
Dessert Fork with Rodent
Charles Victor Gibert, French, ca. 1890
silver
fork

Four tined fork with thin tines. Plain narrow stem, continues to form twig and bent leaf. Open mouthed mouse or rodent applied perching on base of leaf with tail extending through split in twig and curling along reverse side.