biglam/cooper-hewitt-alt-text huggingface dataset:
Elevation of a Candlestick
Luigi Righetti, Italian, 1780 - 1819, early 19th century
Graphite, pen and ink, brush and watercolor on paper
Drawing

Vase form on a square block with a rosette. At top, a flaring socket.
Wall Sconce Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching and engraving on paper
Print

Design for a two-light wall sconce incorporating sphynx with feathers on their heads, scrolling leaves (rinceaux), fruit, flowers, festoons of flowers, rosettes, fluting, foliate branches, and ribbons. The plate is signed and numbered.
View of Damascus from the Wadi Barada, Syria, Part One
Frederic Edwin Church, American, 1826–1900, April–May 1868
Graphite, brush and white gouache on blue-green wove paper
Drawing

Landscape sketch showing the first part of a panoramic view of Damascus, Syria, from the bluffs above the Wadi Barada, a narrow river and corresponding valley northwest of the city. This description addresses the entire view, with the second half continuing on 1917-4-158-b. In the foreground, a sharp rocky outcropping is visible at lower right while, at left, the barren slopes of Mount Qasioun descend toward flat terrain that extends to the horizon. Damascus itself is situated on this plain in the middle distance at center--numerous individual spires/minarets are visible in the city that is otherwise articulated as a mass of white buildings, rendered in white gouache. Buildings extend far off to the right. Closer, a grove of trees and multiple buildings are included at lower center right. In the background, a distant, flat horizon extend across the composition, save for a distant mountain at far left.
Sketch of Cross-Section of a New York Theater
, ca. 1820
Pen and ink
Drawing

Vertical rectangle. The stage is shown at the left. Specifications of aisles and boxes given. Relates to -1447.
Sidewall
, 1890–1900
Machine-printed on paper

A scenic paper composed of two different vignettes that are encircled with trees and shrubs of luxuriant foliage. One scene shows a woman and two children resting beside a pond with ducks and dog. A group of buildings is in the background, while a goat, cow and sheep graze near by. The second scene shows a girl followed by a goat, with houses in the distance. Printed in shades of pink, olive, green, gold, gray, white and blue.
Rocaille Vignette
Alexis Peyrotte, French, 1699–1769, mid- 18th–late 18th century
Etching on paper
Print

Choinserie Rocaille Vignette.
Ornamental Panel Surmounted with a Head Flanked by Foliage, plate 11 from the Ornamental Panel Surmounted with a Head Flanked by Foliage, from the Livre de Diverses Grotesques peintes dans le Cabinet et Bains de la Reyne Regente, au Palais Royale
Michel Dorigny, 1617 – 1665, 1647
etching with engraving on laid paper
Print

Grotesque panel with oval medallion held by four figures as centerpieces surmounted by female head flanked by floral scrolls. Grotesque design composed of wreath and floral scroll motifs.
The Virgin Crowned by an Angel
Albrecht Dürer, German, 1471–1528, 1520
Engraving on paper
Print

The full-length figure of the Virgin is represented seated on a bench, facing the spectator. She holds the Child with Her two hands, supporting Him on Her knees. A bird is on the Child's right hand. At upper left, an angel holds a crown of pearls over the Virgin's head. Monogram of Dürer and year "1520" on tablet, lower left.
Decorative door boss and nail
, 17th century
Wrought iron

Square type, pierced and embossed with wrought lines. Quadrant leaf design based on old examples. Each leaf with a medial line and high, raised boss. Round nail head on a square shank.
A Torso of the Dead Christ
Carlo Maratti, Italian, 1625 - 1713, 1650–1700
Red crayon, white heightening on blue paper
Drawing

The slightly sketched hand of Christ hangs toward the left shoulder.
Le Château de Maisons du côté du Jardin
Gabriel Perelle, French, 1604–1677, 1660–1703
Etching on laid paper
Print

View of the garden façade of the chateau of Maison with a fountain, basin, parterre planting in the foreground, and stairs leading up to the chateau. Parterre planting, and a fountain to the far left. Trees in the background. Figures throughout the grounds.
Ornamental Vignette
, 18th century
Etching and engraving on laid paper
Bound print

Small vignette of a woman seated on a rock unlacing her sandals at a stream. A putto holds a parasol above her, while another putto emerges from the background. A goat climbs onto a rock from the rocaille scrolls at the bottom of the scene. The plate is not signed or numbered.
Border
, late 19th century
linen Technique: Brussels style bobbin lace

Border of open C-scrolls with border showing alternating leaf and flower.
Sampler
Davida C., 19th century
silk embroidery on wool Technique: back, double running and satin stitches on plain weave

Verse; human figures; baskets of flowers, birds and trees; within a border of flowers.
Design for Doors for a Porte Cochère
Etching and engraving on laid paper
Print

Elevation of a set of double doors decorated with panels of ornament motifs including crowned cartouche, wave pattern, lamb tongue, branches, trophies, mascaron, and ribbon.
Vase Design
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Design for a vase in a krater form with grotesque motifs and a frieze with putti and a faun/satyr around the body, featuring mascarons (masks), cartouches, gadrooning, scrolling leaves, palm leaves, c-scrolls, festoons of leaves, shells, and fleurons ornament. The plate is signed.
Fragments of a dress
, 18th century
silk Technique: brocaded with silk and chenille thread

Parts of a dress. Pannier skirt with fronts of bodice; also a piece of the train. Compound fancy cloth ground of white taffeta with extra warp of apple green which appears in broad vertical stripes of horizontal ribbing. Brocaded designs of serpentine ribbons, in the white ground, and twining feathers, brown lines at their back are bouquets of realistically drawn flowers in red, green, rose and white silk, and rose chenille.
Maison de Campagne Commancée en 1792 pour Me du G…près Malmaison par Mandar Architecte et Ingenieur en Chef des Ponts et Chaussée
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a country house with two exterior elevations, flanked by trees. The house features neoclassical motifs, friezes, and columns. The plate is titled, numbered, and signed.
Sidewall
, 1870–85
Machine-printed, gilt, glazed

Vertical rectangle. Simulated trellis framework of bound bamboo strips in brown and gilt, with flowering fuchsias and petunias in pink, blue-gray and green. Printed in colors and gilt on glazed green ground.
Pendant Design
Hans Collaert the Elder, Flemish, ca. 1530 - 1581, 1582
Engraving on paper
Print

A pendant in the form of a sea monster with three drop pearls is suspended from a bow knot. Riding on its back are standing male nude with a flag and a reclining female nude with an oar. The plate is numbered.
Cartouche Design
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Design for an asymmetrical cartouche with putti holding a draped textile with passementerie and tassels and a helmet topped with a sphynx. The cartouche is framed by scrolling leaves, fleurons, shells, mascaron (mask), palm leaves, and sitting on a pedestal or base with an oval profile portrait of a women with a fish scale pattern, and a festoon of leaves, with two incense burners on either side. The plate is signed.
Fragment
, 18th century
silk Technique: plain weave with continuous and discontinuous supplementary weft patterning

Length of woven silk with lace-like serpentine bands framing symmetrical floral elements in pastel colors on an off-white ground.
Le Double Engagement
Claude-Louis Desrais, French, 1746–1816, ca. 1775-1780
Engraving on paper
Print

A notary is seen seated at a table in an inn in the act of inscribing a marriage contract, while two couples are grouped near him, and indications of debauchery are to be seen.
Textile
, 6th–7th century
linen, wool Technique: plain weave with discontinuous supplementary weft

Section of a plain weave, undyed linen fabric with discontinuous supplementary weft in a plain weave foundation showing bands of small red dots.
Design for a Mass-Operational House Designed by Hector Guimard, Scale Table
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, showing the scale of construction directions.
Fragment
, 300–100 BC
camelid fibers Technique: embroidered in stem stitch on plain weave foundation

Small fragment consists of highly conventionalized human and fish figures. The ground consists of brown, figures worked in tan, rose, green and dark brown.
Border
, 18th century
silk embroidery, cotton foundation Technique: chain stitch embroidery on 2\2 twill foundation

Wide border, probably from a coverlet, with an offset repeat of bouquets of flowers tied with a bow, and with tiny delicate flower sprays between the larger bouquets. Top and bottom guard borders are set off by fine curving lines, with fanciful symmetrical flower sprays alternating wtih delicate arabesque and floral arrangements with diaper filling. Very fine silk chain stitch in intense shades of black, blue, green, gold, red, pink, and white, on a fine off-white plain twill cotton ground.
View of Amsterdam
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1640
Etching on white laid paper
Print

View of Amsterdam at horizon; in foreground, a meadow.
Textile
, late 18th–early 19th century
cotton Technique: relief printed, colored ground

Rectangular panel with a red ground, pattern reserved in white, with red overprinting. Hexagonal medallion framing a small landscape with peasant figures. Large flower clusters between medallions.
Band
, ca. 1300
wool, cotton Technique: slit tapestry

Vertical band divided into six pattern areas.  Alternating repeat of an altar with two animals, and a man with an elaborate headdress.  In brown, tan, yellow, red, black, white, and blue.
Fringe
, 17th century
silk, metallic thread (gold strips wound on a silk core) Technique: soumak weave

Green and metallic gold fringe with a soumak heading. Trellis design in metallic thread above a skirt of green threads.
Textile
, 1000–1470
cotton, wool Technique: complementary warps, resist-dye (tie dye); FABRIC NO. 1: openly woven plain weave, cotton; FABRIC NO. 2: tape (5 cm wide): warp faced plain weave patterned by extra warp floats, cotton; FABRIC NO. 3: tape (3 cm wide): warp faced plain weave patterned by warp stripes, cotton; FABRIC NO. 4: tape-fringe (3.5 cm wide): weft faced plain weave with cut loops of non-woven weft for fringe 2.5 cm long, wool; FABRIC NO. 5: tape (1 cm wide): warp faced plain weave patterned by extra weft floats, cotton

Section of mantle; Made from 5 separately woven fabrics: No. 1) field or body of mantle with tie and dye pattern of diagonal "wave scrolls" in two shades of brown on ivory cotton. Nos. 2,3,4) and border - No. 2) toother 'herringbone' pattern in shades of brown and tan. No. 3) strips in tan, light brown, pink and olive-green. No. 4: yellow fringe. No. 5: narrow tape on edge with small hooked pattern in shades of tan and brown.
table
, late 19th century
wood
Miniature

Late 19th century in 17th century style
Fragment
, 17th century
silk, metallic Technique: plain weave and

Selvage to selvage width with design of flowers facing in alternate directions in blue and silver.
Rustic Mill in a Broad Landscape
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

A rustic mill stands in the right foreground, before which are three people. A water wheel is at right. In the left distance an inn, with a coach before it.
Panel
, 18th century
silk, linen Technique: satin stitch embroidery on plain weave

Design of detached floral motifs and rings arranged in rows on ground quilted in a lozenge design. Motifs have three different designs, but each one shows a curving stem with flowers and leaves. Embroidery is in brown, red, pink, yellow and green. The panel is made up of two pieces sewed together horizontally.
Trimming
, 16th century
silk, gilt foil on a silk core

Heading of dull red silk with an overlay of gold threads. Gold and silk threads form a very narrow looped fringe on one border.
Textile
, late 19th century
silk, gold foil on silk core Technique: plain compound twill

Square of tan silk with figured design of foliage and flowers in ivory, brown, tan, gray, green silks and gold metal thread.
Border
, 17th century
linen Technique: punto in aria needle lace with bobbin lace heading

Lace border with quatrefoil motif combined with balanced scrolls and narrow pointed edge. Bobbin heading. Tag attached says ''Venezia''.
The Pilgrim
John Sartain, American, 1808–1897, 1847
Mezzotint and engraving in black ink on paper
Print

Vertical rectangle. A youth left, kneels before an outdoor shrine.
Facade of Church, Plan of
Unknown, 1757–58
Pen & black ink, gray & pink wash Support: white laid paper
Drawing

Vertical rectangle. The coat of arms of Pope benedict XIV (1740-1758) above the central door. The sides of the upper storey like monuments with medallions of the same pope, at left; at right: of Pope Benedict XII (1334-1342).
Fragment
, early 18th century
silk, metallic yarns Technique: plain compound satin weave with supplementary weft patterning (brocaded)

Textile fragment in the ‘bizarre' style. Satin weave with a small portion of whole design showing floral motifs in silver, green, and white on a dark red field. Elements of lace patterning.
Figure with Drapery
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black chalk on paper
Drawing

Figure wrapped in black cloak, looking away to the right.
Design for Berlin Wool Work, Stag
Thomas Wilhelm Meister, ca. 1850
Brush and gouache on pre-printed squared paper
Drawing

A stag's head, facing half-left.
Ship
Lazzaro Tavarone, Italian, 1556 - 1641, ca. 1600
Pen and brown ink, brown wash Support: white laid paper, laid down
Drawing

Attached to a backing description: ??? rectangular format, side of a boat with a mermaid at the bow and a two headed bust at the head of the keel. Side of boat decorated with four pairs of herms, one on either side of a niche. Alternate niches have a figure. Parallel ribbing extends from the nailing above figures to form an open vaulted cover over the boat.
Fragment
, 17th century
linen Technique: needle lace

Fragment in a pattern with a blossom with deeply scalloped petals. Central superimposed rosette. Diamond diaper pattern on one petal.
Rocaille Arch and Fountain with Diana
Pierre Edme Babel, French, 1720–1775, 1743-1763
Engraving on off-white laid paper
Print

Colonnaded fountain framed by a rocaille arch comprised of scrolls and on which sit birds and baby satyrs. A statue of Diana is at the center of the fountain; a river god spilling water from a vase is at right. The plate is signed and numbered.
Sidewall
, 1870–90
Machine-printed

Anglo-Japanesque design.  Very geometric format having a 3-D effect. Floral and foliate motifs within fan shapes and circular ornaments. Also containing vases, scrolls of paper and 3-D cube designs. Printed in metallic gold, red, white and deep green on yellow ocher embossed background.
Tile
, late 18th–early 19th century
Earthenware, glazed, high fire decorated

Soilder brandishing sword.
Border
, 1830–40
Block-printed

Three-color stylized heart shapes on pale blue background. Vertical border, printed four across.
Design for Cabinet with Neo-Classical Motifs, Front and Side Views
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Front view: rectangular cabinet front divided horizontally into 2 parts - upper door panel decorated with suggested inlaid, neo-classical ornament and plain lower panel with keyhole center; body raised on short cabriole legs.  Side view: plain rectangular side panel of cabinet with molded frieze-like top, raised on short cabriole legs.
Design for Sideboard with Ten Drawers and Ball and Claw Feet
A.N. Davenport Co., April 21, 1905
Graphite on thin cream paper
Drawing

Oblong sideboard with four cabriole legs with ball and claw feet decorated with carved acanthus leaves at top of each; tri-partite front is serpentine with four conforming drawers at center atop recessed central section which has two drawers with a door on either side; flanking central section on either side, two doors decorated with patera medallions; low backsplash.
Design for Sideboard with Glass Display case at Top
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular sideboard on short fluted tapering legs; tri-partite front  has open space at center surmounted by 2 drawers; glass display case atop flanked by side supports carved in scroll motifs.
Nouvelle suite de cahiers arabesques chinois a l'usage des dessinateurs et des peintres, no.1
Jean-Baptiste Pillement, French, 1728–1808, 1790–1799
Etching with colored inks à la poupée on off-white laid paper
Album

1921-41-17/34: Title page with title of book surrounded by floral...;     1921-41-17: Title page with title of book surrounded by floral...
Alabastron
, 1st half 6th century B.C
Terracotta with painted decoration

Ovoid vessel with everted, slightly concave mouth on slender neck with ring as a connection point for string, allowing object to hang from hook. Surface decorated with band and lines at base, quatrefoil palmettes on front with dots and blob rosettes. Bird on back with different sized blob rosettes and dots.
Plusieurs Models des plus nouvelles manieres qui sont en usage en l’Art d’Arquebuzerie avec les Ornements les plus Convenables se tout tiré des Ouvrages de Thuraine et le Hollandois Arquebuziers Ordinaires de sa Maiesté et gravé par Jacquinet
Thobie Tourneur, Le Thuraine, French, active ca. 1630 – ca. 1690, 1660
Album

An album containing a series of designs for gun parts and ornament with a title page and three scenes relating to gun making surrounded by names of Parisian gunmakers/ gunsmiths (arquebusiers). The ornament features grotesques, mascarons (masks), figures, scenes, military trophies, flowers, and scrolling foliate. The plates are numbered.
The Circular Dining Room at Carlton House, London
Charles Wild, British, 1781 – 1835, 1819
Brush and watercolor, gouache on white wove paper
Drawing

In this view, the circular dining room is dominated by two massive marble columns terminating in bronze capitals, and two large crystal and silver chandeliers. The ceiling is painted to resemble a cloudy sky; a frieze below is decorated with a series of putti holding garlands of leaves. Glass stars adorn the blue curtains, chimney surround overmantle mirror, creating an opulent setting for three ladies dressed in diaphanous gowns.
Title Page
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Title page and designs for upholstered back and seat covers featuring festoons of flowers, basket, and crowns of flowers, and scrolling acanthus leaves (rinceaux). The sections are labelled - back of armchair, and seat of armchair. The plate is titled, numbered, and signed.
Double Candleholder
W.A.S. Benson Ltd., England, 1880 - 1920, ca. 1900
brass, copper
candlestick

Low, double candleholder composed of heavy, spherical brass counterweight attached to scrolling foot and horizontal two-branched arm terminating in two upright nozzles; copper foliate-form bobeches under nozzles, and decoration in the form of a curling leaf applied to the counterweight.
Sidewall
Hitchner and Yerkes, 1905–1915
Machine-printed paper, liquid mica

Acanthus scroll medallion containing a floral bouquet, surrounded by more scrolls and floral swags. Printed in green and white on green ground.
Sampler
Anna Margareta Wartenberg, 1787
silk embroidery on cotton foundation Technique: embroidered in running and cross stitches on plain weave foundation

Central pattern darning cross within inner border and signature surrounded by seventeen darning crosses and squares and floral outer border.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

A repeating design of alternating large and small mica vases filled with bouquets of lavender flowers, connected by complementary floral vines, upon an ivory fading celedon back to ivory background contained within celedon and mica borders.
Textile
, 1700–1750
cotton Technique: block printed on plain weave

Printed cotton with a half-drop repeat design of bold carnations and peonies on a vine which branches to form an ogival lattice. In red and black on a black picotage ground.
Textile
, 19th century
cotton Technique: printed by engraved roller

Printed fabric in in shades of red and black. Pattern has intersecting diagonal bands creating diamond shapes with red flower clusters at each intersection. Diagonal bands are filled with a black stipple pattern and have borders of tiny red floral sprigs. At the center of each diamond shape is a smaller floral cluster. Background is comprised of a tiny zigzag pattern of gray dots.
Cup with "Strohblumen" Pattern
Tettau Porcelain Manufactory, German, established 1794, ca. 1790
hard paste porcelain, vitreous enamel
cup

Curved, with small loop handle. Blueish glaze with blue underglaze decoration showing "strohblumen" pattern.
Sidewall
, 1785–99
Block-printed on handmade paper

Printed over gray ground with black dots and white meandering vine, flowersof 1968-66-2, a bright blue ground, with small-scale pattern of white vine marking off diamond grid: in center of each diamond, an oval orange floral medallion.
Plate 10, from Livre de bijouterie (Book of Designs for Goldsmiths and Jewelers)
Léonard Thiry, Flemish, 1550, ca. 1570
Engraving on paper
Print

Design for six chains with strapwork and grotesques. Third chain from the right shows shellfish.
Sampler
Ramona Benyto, 1797
silk and linen embroidery on linen foundation Technique: embroidered in satin, cross, wrapped cross, chain, stem, chevron, threaded back, back, four-sided, eyelet, coral, and threaded chevron stitches on plain weave foundation

Central square combining crowned double-headed eagle within receding frame of borders in blue and white.
Plate
, 1675–1725
Tin-glazed earthenware

Circular plate with wide rim, resting on short foot ridge; painted in underglaze blue on white with a scrolled floral border on rim and in center withscene of 3 men with staffs in landscape (Christ and disciples on road to Emmaus).
Sidewall
, 1860–90
Machine-printed

a) Beige ground with green leafy clusters. Green vertical ladder band; b) Beige paper with trace of brown and orange design at one side; c) Gold on beige. Diagonal diaper. Stylized foliate forms at intersections and at centers; d) Large cream-colored magnolia-like blossom and leaves. Beige ground.
Ceiling paper
, 1905–1915
Machine-printed paper, ungrounded

Clusters of foliage, almost forming bouquets, connected by vining tendrils, printed in dashed lines. Printed in mauve and yellow ocher on off-white ground.
Rough Ocean with Towering Cliffs at Right
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Rough ocean in foreground with rocks at right in middleground. At right in distance, very tall cliffs, with rock outcropping in foreground.
Ceiling paper
William H. Mairs and Company, Brooklyn, New York, 1905–1915
Machine-printed paper, textured, liquid mica

In the foreground are red diamonds made up of stylized foliage and scrolls. Linking the four points of the diamond are gold semi-circles of stylized leaves. Between these floral medallion motifs are small, stylized flowers with four petals. In the background are concentric circles delineated by gold dots. The concentric circles connect the bigger floral motifs to the smaller floral motifs. Printed in shades of red and metallic gold on a light tan textured ground.
Textile
, 19th century
cotton Technique: stenciled resist (katazome) on plain weave

Length of stencil resist (katazome) with ivory design on dotted blue background with red detail. Full-face blossoms with curling tendrils and leaves.