biglam/cooper-hewitt-alt-text huggingface dataset:
Hot Water Urn
Auguste Le Sage, British, active London 1769 – 1780s, 1770–1771
silver, bone
hot water urn

(a) Ovoid body with fluting at top and bottom. Beaded vertical scroll handles fastened to body with twin leaves and berries. Fluted and foliated spigot with bone handle. Engraved coat of arms: Parter per fess, gules, two mullets and sun in its splendor; azure, a citadel with two towers; impaled with argent, a chevron azure, three holly leaves slipped, vertical. (b) High, concave cover, with bulging fluted top and flame finial. (c) Rectangular stand with openwork scrolled apron and four ball-and-claw feet.
Cut-Paper Devotional Picutre: The Blessed Virgin of Passau
, ca. 1750
Brush and watercolor on cut paper
Cut-Out

Oval picture of the Virgin and Child within a cartouche of cut-paperwork decorated with roses. Below, an inscriptional ribbon which is inscribed, in gold paint: "S. Maria Passau". Gold framing line.
Knife
, 1770–1800
steel, horn, silver, mother-of-pearl, ivory

Sabre-shaped blade, decorated on back of spine, rounded bolster. Silver ferrule with floral pattern. Tapered handle octagonal-shaped in centre, end of handle decorated with horizontal silver bands and mother-of-pearl points. Silver mounts on top of handle has inscription, ivory knob in centre. The end of handle screwed to the handle; salt container.
Fragments
, ca. 1790
cotton Technique: printed by engraved plate on plain weave foundation, foundation fabric has paired warps and paired wefts

Two pieces. Small section of a large design. One fragment contains a windmill, a dancing couple, commedia del'arte figures and comic scenes. In red on white.
spoon
, n.d.
silver

Large fig-shaped spoon bowl, flat flaring neck. Scrolled decoration on front with a lion's head in the centre. Long plain handle, round in sectionon top of handle a soldier standing on a pedestal holding a rifle.
Frieze
W.H. Mairs & Co., 1855, 1905–1915
Machine-printed paper

Alternating motifs, showing possibly American Indian influence. The motifs are medallion-shaped, with every second motif rising above the next. A minor band of ornament run along the top and bottom edges. The entire design is overprinted with pin dots and dashes. Printed in red, green, brown, tan and black on a background that shades from a cream-color at the top to a pale yellow-ocher at the bottom. Pattern number 1816.
Blossoms
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Silhouettes of blossoms and leaves connect with overlapping stems. Silk threads have been added to support the stencil structure.
Kain panjang (long sarong)
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

Long sarong (kain panjang) in blue and white batik, showing a stylized all-over floral pattern.
Sketchbook Page: 17th-century Portraits
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Four row of portraits of men and women in 17th-century costume, each dated below with the year of their death.  Portrait at lower right identified as Catherine of Braganza, Queen of Charles II, who died in 1705.
Buffalo Hunt, plate 27 in the Venationes Ferarum, Avium, Piscium series
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596
Engraving on paper
Print

Horizontal rectangle. Hunters on horseback and on foot, armed with spears, have surrounded a group of oxen. The hunters' dogs attack one animal, foreground. At lower left: "Ioan Stradanus invent. Ioan. Collaert Sculp." At right: "Phls. Galle excud." Below: "BUBALUS AGRESTIS, RABIDUS, TRUX ET FERUS EST BOS..."
Traveling Dressing Case
Asprey & Son Co., London, England, 1872 - 1879, 1875
wood, silk, leather, silver, glass, mother-of-pearl, brass, gold, steel
dressing case

1984-133-1-a/c, e/i: -1a: case
-1b: jewelry drawer
-1c: jewelry drawe...;     1984-133-1-d: Rectangular mirror (-1d) within black leather fram...
Loches
Arnold William Brunner, American, 1857–1925, 1883
Brush and watercolor on paper
Drawing

Small houses in the foreground, with the tall tower of a chateau rising behind them.
Bed cover (suzani)
, 19th century
silk embroidery on cotton foundation Technique: embroidered in chain and Bokhara couching stitches on plain weave foundation Label: cotton, embroidered with silk in chain and Bokhara couching stitches

Bed cover or suzani in cream-colored cotton embroidered with colored silks and lined with warp-printed silk. Small red carnations fill the field, surrounded by a wide border of large, circular red flower heads and scrolling vines. Lined with two different warp print silks, a satin stripe and a ribbed silk with a figural design.
Tureen and cover
, ca. 1755
Glazed earthenware

Tureen in the form of a grape cluster with leaves. The fruit is glazed a dark indigo. Green leaves are reticulated with brown veins.
Waste Not Want Not
A.W.N. Pugin, English, 1812–1852, ca. 1850
Glazed earthenware, inlaid in the encaustic technique
Plate

Circular, with blue border inscribed "Waste Not Want Not," in the center a rosette with ears of wheat and a stylized leaf border.
Handscreen
Louis XV, King of France, 1715–1774, late 18th century
Engraved, hand-colored and painted paper leaf, turned wood handle

Obverse: hand-colored engraving showing Justice with scales and sword, with cherubs holding banners telling events from the life of Louis XV,  in a scrolling framework. Mentioned is the 1741 storming of Prague and the election of Charles VII. Reverse: tribute to Louis XV.
The Horse Fair
, 1855–75
Machine printed on continuous paper
Sidewall

Vertical rectangle, ashlar block-style design divided by framework of architectural bead and reel molding in yellow and brown into two long rectangles, top and bottom, with two squares between. Upper and lower rectangles contain free copy of Rosa Bonheur's "The Horse Fair". The center squares show figures and horses. Printed in reds, blues, greens and yellow.
Design for a Brooch
, 1850–75
Pen and ink on paper
Drawing

An escutcheon formed of floral volutes frames a round diamond. A garland of flowers draped above emerges from a vase form at center.  Three hanging pearls below.
Panel with the Letter "W" from the "Newes ABC Büechlein"
Lukas Kilian, German, 1579 – 1637, 1627
Engraving on off-white laid paper
Print

A boy spanks another who holds a letter tablet and cries ("weinen").
Project for a Ceiling
Giuseppe Mannocchi, Italian, Active 1775 - 1782, late 18th century
Graphite, pen and ink, brush and watercolor on paper
Drawing

Corner of ceiling shown. Panels divided by garlands. Within a field of grotesques is a tablet with showing a frieze with figures. To the right of this, a roundel with a figure of a woman.
Fragment
, 17th century
silk Technique: 4&1 satin damask

Small regular repetition in salmon and cream.
Selvage at both sides.
Orfèvre Grossier, Ouvrages
J.R. Lucotte, French, 1733 – 1784, 1762
Etching and engraving on laid paper
Print

Plate depicting designs for four silver objects including a candlestick, candelabra, ewer and lidded vase or bowl. The objects are decorated with rococo motifs and are numbered and lettered. The plate is titled, numbered, and signed.
Kondai Tonegawa fukei from the Series One Hundred Views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This tranquil view of the bluff at Kondai shows figures observing the ships sailing on the Tone River (today is known as the Edogawa.) The scenic view from this location is why it once played many vital roles in military defense. This location was the site for many battle scenes and became famous to the people of Edo. It became memorialized in historical literature written by Takizawa Bakin (1767-1848.) The outline of the red leaves on the trees and the overall calmness is a deceptive scene Hiroshige depicts.
Plate 5, from Diverses pièces de serruriers (Various Designs for Locksmiths)
Hugues Brisville, French, active ca. 1663, after 1662
Engraving on laid paper
Print

Horizontal rectangle showing a variety of ornaments. At top, an escutcheon within an architectural framework and screws surrounded by fantastic beasts. At left, the handle of a key. Below, a floral form with eagle heads.
Fragment
, mid–late 18th century
silk Technique: cut and uncut supplementary warp pile (velvet) on satin ground

Fragment of red cut and uncut velvet on white ground. Design of diagonally running irregular areas in uncut pile connected by lines of cut pile with branches of tiny three-petal blossoms that curve over solid areas.
Design for Embroidery of Overskirt, for Fabrique de St. Ruf
, ca. 1785
Brush and gouache, graphite on paper
Drawing

Vertical rectangle.  A bunch composed of poppies and other blossoms and ears of grain is shown in the wedge.  Plants of poppies and cornflowers alternate among the hem, small plants grow in the intervals.  A row of beads and a ribbon form the hem.  Reverse:  rough sketch of the bunch of flowers.
Grotesque Panel
, 1570–1600
Black chalk, pen and ink, brown, gray wash on paper.
Drawing

Vertical rectangle, symmetrical scheme. A candelabrum is in the middle, consisting of an ox-head carrying a skull mask in the center. Below is a staff, to which two dolphins are fastened. Festoons hang laterally above. Spirals spring from the mask, ending with half-figures of hares. Below are porcupines and plants, above which armless winged satyresses stand. Framing line.
Sampler
, mid-17th century
linen Technique: withdrawn element work with needle lace fillings on plain weave

Twenty-seven cross borders, all in white. Text is worked into the bottom band,
Norman Peasants
Victor Vincent Adam, French, 1801 – 1866, 1835-1840
Pen and ink, sepia and gray wash on paper
Drawing

VIgnette of a woman, standing at right, facing left in profile. Accompanied by a goat, she stands before a well, filling a pitcher with water. A man stands, left, gesturing toward left.
L’HYVER
François Boucher, French, 1703–1770, 1749–61
Etching on laid paper
Print

Allegorical print representing winter with three putti sitting around a fire. The putto to the right has a piece of fabric wrapped around his head and body to keep warm. There are two birds in the far right and a quiver of arrows to the left. The plate is signed, titled, and numbered.
Tile panel
, late 18th century
Tin-glazed earthenware, polychrome decoration, painted wood frame

This eighteenth century scenic panel composed of fifteen tiles is a virtuoso effort in scenic trompe-l'oeil. The design places the viewer on a curtained balcony overlooking a landscape. Colorful faux marble columns flank a delicate iron railing. At center, a canary sits within a suspended cage.
POELE dans le genre modern, à pans coupés, avec bas-relief, au choix des personnes
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form of a pedestal decorated with a sculpted panel in low relief depicting figures (two woman, a satyr, and a herm) in a landscape, framed by running pattern moldings, scrolling leaves, egg and dart motifs, and foliate branches. A plan view and scale below. The plate is signed.
Girandole (Candelabra) Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Design for a two-light candelabra (griandoles) decorated with leaves, festoon of flowers, fluting, rosettes, scrolling leaves (rinceaux), trophy with a flaming torch and quiver of arrows, and hoofs. The plate is numbered and signed.
One of a set of trophies of weapons of war as a decoration for a horizontal panel
Francesco Bedeschini, Italian, 1675-1699
Pen, brush, sepia
Drawing

The drawing has two borderlines, the background bearing horizontal lines. Intended to be engraved
Designs for Firearms Ornament
Gilles Demarteau, Flemish, 1722 – 1776, 1743
Etching and engraving on laid paper
Print

Designs for firearms ornament and components, featuring figures, a knight on horseback, animals, military trophies and musical trophies; fruit, flowers, dragons, dolphins, shells, fronds and acanthus leaves. The plate is signed and dated.
Desseins D'Agraffes
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

First state of designs for cane handles. See 1921-6-285-101.
Mixed Sketches with a Champan, Río Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on gray laid paper
Drawing

Mixed sketches showing figures and views along the Magadalena River in Colombia. At center, a river craft known as a champan is rendered in some detail, docked along the heavily wooded riverbank of the Magdalena. Long and narrow in form, the champan includes an arched, covered area through its middle, almost like a plane's fuselage. A fire burns in an on-board hearth known as a fogon and illuminates the two figures seated on the boat's bow and atop its arched covering. Three separate sketches are included below the champan scene: a woman wearing a dress and a hat at left, a lush, vine-covered tree at center, and a thatched hut behind a sparse fence and beside a palm tree at right.
Sunset at Sea, Ecuador, Part Three
Frederic Edwin Church, American, 1826–1900, May 1857
Graphite on white wove paper
Drawing

Meteorological sketch showing part three of a panoramic view of billowing rain clouds over the ocean near Ecuador. Below, in the foreground, the ocean surface extends to the horizon. Above, at center, a large group of clouds casts a shadow on the water. Clear sky visible through patches in the clouds throughout.

Verso: Meteorological sketch showing part four of a panoramic view of billowing rain clouds over the ocean near Ecuador. Ocean horizon and clouds only visible at right, most of composition comprising of inscriptions.
Design for a door of an organ loft
F. Cornille, active 1740 - 1756, after 1751
Pen and ink, brush and black ink wash
Drawing

Variation of the designs of F.Cornille for Saint Roch in Paris of 1751, as engraved by A.Monchelet, plate 4.
Maison de Mr. Moitte à Mante par Mr. Happe Architect
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a house with an exterior elevation, a sectional view of the interior, and three floor plans. The house features neoclassical motifs, columns, friezes, domed ceilings, coffering, and decorative paneling. The plate is titled, numbered, and signed.
Wooded Island, Lake Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, September 1879
Graphite on light brown wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a small wooded island on Lake Millinocket in Maine. At center and center right, several tall trees have variously lush and threadbare canopies--the two tallest trees at left and right are almost entirely devoid of leaves. Stones, grass, and other vegetation are visible around their bases. The lake's placid surface comprises the foreground.

Verso: Small sketch of a figure paddling a canoe, showin in profile in the lower half and oriented vertically. Lists and textual notations otherwise fill the composition.
Two Ornament Designs
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Two horizontal ornament designs featuring a sheep's head, festoon of laurel leaves, foliate branches, ribbons, horns, palm leaves, and crowns of leaves. The plate is numbered.
The Hair-Do, Illustration for "Königl: Grosbrit [anische] Genealogischer Kalender auf das 1780 Jahr Lauenberg bey J.G. Berenberg"
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, 1779
Stipple and line engraving on paper
Print

A girl gets her hair dresse whiel she reads a book. The poem reads that one can see how Truth and Virtue find their opportunities of being heard, even with youth. Someone has to introduce them, though it may even be the hairdresser.
Button
, 19th century
Brass

Convex buttons showing crossed laurel sprays tied with ribbon.

On card J
Thorns and Thistles
Frederic Edwin Church, American, 1826–1900, July 1844 and December 1845
Graphite on white paper
Drawing

Botanical study of thorns and thistles, a lower left, and three other plants, upper left, center, and center right. 

Verso: Outline of mountain ridge and a spaniel dog, lying down.
Stage Design: Palace Interior
Francesco Galli Bibiena, Italian, 1659–1739, 1700–1750
Pen and brown ink; brush and gray, blue, pale rose wash on white laid paper, laid down
Drawing

Horizontal rectangle showing a palace hall with a high coffered ceiling. Staircase visible through an archway at left.
Angles et Montans de Bordures Differemment Variés
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Different designs for the angles and lengths of painting frames. The frame borders are decorated with ornament motifs including rinceaux, egg and dart, and shell motifs. The plate is numbered.
Design for an Altar
, 1650–1700
Graphite on paper
Drawing

Paper is curved at top. Design shows two lion's feet supporting a stepped base. The central niche is lobed and empty. Laterally are columns flanked by figure.
Lit à alcove à la moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a bed set within an alcove, and with a striped curtain. The plate is signed.
Rocaille Ornament Design
François-Thomas Mondon, French, 1709 – 1755, after 1736
Etching on laid paper
Print

A print from a series of seven designs for rococo ornament, cartouches and vignettes of figures and rocaille motifs. A fantastical architectural structure featuring columns, acanthus leaves, c-scrolls, scrolling foliage, feathers, shell, and rocaille motifs with a phoenix. The plate is signed with an address.
Sketch of a Textile Printing Factory
, 1800–1810
Graphite on paper
Drawing

Frontal elevation of a large textile printing factory, showing lengths of cloth hanging from a bower. At the right is a water wheel. Figures in various occupations. Numbering, in ink, on various sections of the factory.
Stage Design of a Church
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash, black chalk on off-white laid paper
Drawing

View through arch into a monumental circular building with open skylight, monument in the middle.
Parade Entering Jaffa, Palestine (Tel Aviv, Israel)
Frederic Edwin Church, American, 1826–1900, March 6-12, 1868
Oil and graphite on paperboard
Drawing

Unfinished study showing a scene of a parade entering the old city of Jaffa, Palestine (now Tel Aviv, Israel). In the foreground, several figures dressed in colorful draped clothing and cloth headwear cross a stone bridge while playing drums and waving green-and-red flags. A large patch of grass comprises the middle distance at center. At upper left, a circular minaret towers over the other buildings, while the Spanish style belltower of St. Peter's Church is visible in the background at center. At right, the remainding skyline is rendered only in graphite, and shows multiple domes and towers.
Abraham Francen, Apothecary
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1656
Etching on laid paper
Print

A man is seated before a table, facing left, holding a print in his hands, with back against an open window.  A book and other objects are on the table, pictures on the wall include a triptych with the Crucifixion as the subject of the central panel.
Sidewall
, 1880–85
Machine-printed

Medallions of dark and medium green with geometric floral motif in center. Portions of design are picked out with powdered mica. Small circles are between the large medallions which are connected with floral sprays. The border has a continuous rose design with portions in mica. A narrow rope band is at top and a wider band of stylized leaves in a diagonal arrangement is at the bottom. The wallpaper was the second layer from top six layers found in the old Jacob Ruf farmhouse, Kaaterskill Junction, New York.
Napkin
Napoleon III, ca. 1850
linen Technique: damask

Coat of arms in center. Several eagles with spread wings. Several crowns 'N's" within laurel wreaths. Pendant crown and five-pointed cross (Legion of Honor) within wreath.
Bunch of grapes
, 19th century
Glass

A pair of glass grape bunches
La Fileuse
Jean-Francois Millet, French, 1814 – 1916, 1869
Etching on paper
Print

A peasant woman stands in a landscape spinning. Behind her are two goats. Inscribed, lower right: "G.F. Millet."
Carved side-chair with needlepoint cover upholstery
Frederick Marschall, ca. 1885
Brush and watercolor, tempera on heavy paper
Drawing

Tall upholstered chair, with carved arms, legs, stretchers. Needlepoint upholstery design with large floral bouguet motif.
Projet de Sculpture en Argent d'un Grand Surtout de Table et les Deux Terrines...Executée pour Millord Kinston (sic) en 1735 (Design for Centerpiece and Two Tureens for the Duke of Kingston in 1735) plate 115 in Œuvre de Juste-Aurèle Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1742–48
Etching on off-white laid paper
Print

The tureens are the visual elements for the crowning figures of the surtout.  The shape of the lid of the tureens is adapted from the form of a sea-shell, upon which the animals and vegetables are placed to harmonize with the oval tureen and its plateau.  The plateau is an asymmetric cartouche; vegetables are integrated into the plateau's undulating border of concave and convex forms.
Design for a wallpaper frieze
, 1810–30
Brush and orange, greenish-black gouache on paper
Drawing

Rinceau formed by boughs with leaves and thorns in the shape of horizontal S, with blossoms in the hollows, over two bands. The upper one shows rosettes, the lower one fantastical floral motif.
Border fragments
, 17th century
silk Technique: supplementary warp forming cut and uncut raised pile in satin foundation (velvet)

Symmetrical design of scrolls, birds, and mythical creatures in green cut and uncut velvet pile on yellow satin field. Selvage along right side of component a.
Panel
, 18th century
silk Technique: printed and painted on twill weave

Polychrome floral border on three sides and a basket of flowers in the center.
Design for a Decorated Panel
Gilles Paul Cauvet, French, 1731–1788, ca. 1775
Red crayon on paper
Drawing

The half figure of a winged woman carries upon the head the base of a tripod with a burning fire. In the centre above is a female head supporting a hanging shield and garlands.
Maine Coast, Mt. Desert Island
Frederic Edwin Church, American, 1826–1900, probably July–September 1850
Oil and graphite on cardboard
Drawing

Landscape and seascape sketch showing a view of crashing waves and violent surf on the coast of Mount Desert Island in Maine. In the foreground and middle distance, foaming surf and breaking waves crash against a dark rocky point that projects into the image at left. At center right, one particularly large wave begins to crest. Above, the overcast sky is rendered in a warm shade of gray, made warm by the brick colored ground beneath the oil paint.
A Lizard, Jamaica
Frederic Edwin Church, American, 1826–1900, June 1865
Brush and oil, graphite on paperboard
Drawing

Sketch of a green lizard climbing a wall in Jamaica. Facing upwards, the lizard's yellow right eye is turned toward the viewer while it secures itself with its sizeable claws on its feet. The lizard's long tail hangs vertically downward and curves to the right. The wall behind it is a splotchy mix of brown and gray hues.
Four Statues in Niches: Music, Architecture, Painting, and Sculpture; Study of Bacchus and Mercury
Felice Giani, Italian, 1758–1823, 1816
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Study of four statues in niches: music, architecture, painting and sculpture. Study of Bacchus with Hermes.
Study for "The Signal of Distress"
Winslow Homer, American, 1836–1910, 1881
Graphite, brush and blue-green, brown, and yellow watercolor, gray wash, traces of black ink on white heavy wove watercolor paper
Drawing

Vertical view from bridge of ship, showing railing with benches and stormy sea beyond, as two men work in a lifeboat with ropes and pulleys, at center right.