biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Door Frame
Charles Percier, French, 1764–1838, 1800–1825
Pen and ink, brush and watercolor on paper
drawing

The right half of the door frame is shown. A broad band is decorated with candelabra having in the center, lozenges and bordered by moldings. Squares showing masks and rosettes are suggested for the corner.
Button
, 19th century
Gold-plated brass

Circular button; shield with bird at left and vertical stripes at right; resting on a belt with 'Peur etre", under crown; on reverse, " G & Cie Paris 31" and arms; brass shank.

On card H
Children Blowing Bubbles
Jean-Baptiste Pillement, French, 1728–1808, 1759
Etching on laid paper
Print

Print from a series of fourteen chinoiserie vignettes, depicting children playing a variety of games in different landscapes. Three children playing together, one child stands on a platform, blowing bubbles, while another child, standing below him tries to catch the bubble. The children are depicted within a landscape of reeds, branches and foliage.
Mausoleum (or Library)
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

A variation of the design -1128, the plan of the surrounding colonnade being square with steeples in the corners. Originally a part of the same sheet as -1132. Colored background. The design was first made on a smaller scale, and lower.
Designs After Architecture Fragments
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including pediments, cornice profiles, niches, and aedicules. The plates are numbered but not signed.
Study of Sweet Peas
Sophia L. Crownfield, American, 1862–1929, early 20th century
Brush and watercolor on gray-green paper
Drawing

Horizontal sheet depciting three clusters of sweet peas and one single blossom in bright pink and white, and bright green stems.
Tlingit (indigenous Alaskan) Mask
Raimundo de Madrazo, Spanish, 1841–1920, 
Brush and watercolors, graphite on paper
Drawing

Drawing of an indigenous Alaskan (Tlingit) mask, located in the Museo de América, Madrid (inventory no. 13902)
Textile
Alexandre Buquet, French, 1802–1865, ca. 1810
cotton Technique: plate printed on plain weave

Textile length printed in purple showing several vignettes from the life of Henry IV. Captions incorporated into the design: "A Buquet Dessr. grav. a Rouen" and "A Henry Fabricant a Rouen"
''Various Hands''
, 1819
silk embroidery on wool foundation Technique: embroidered in cross, satin, eyelet and running stitches on plain weave foundation
Sampler

A sampler of isolated motifs and texts within a curving floral border. The wool foundation cloth is very fine, and the embroidery from word to word shows through from the other side.  The text reads, "Behold the Labour of My tender Age and View this work Which did My hours Engage with Anxious care I did Those colors Place to gain A smile From my dear parents Face whose Care for Me I ever did Regard and Hope that Heaven will Send A kind Reward those little faults I hope You will Excuse then Your commands On me I'll not Refuse."  It concludes at the bottom, 'This Sampler Was Worked By Various Hands And Finished In The Year Of Our Lord 1819."
Preliminary study for cartoon for printed cotton: The History of Henry the IV [L'Histoire de Henri IV]
Hartmann et Fils, Munster, France, ca. 1820
Graphite on cream colored paper (mounted)
Drawing

Six islands show scenes from Voltaire's epic "Henriade": upper left: Henry IV before his tent on the field of battle, outside the walls of Paris , counseling the Chevalier d'Aumale  before his duel with Henry, Viscount of Tourenne (Canto X, lines 48-49); upper right, Henry IV, seated in a landscape near the port of Dieppe, with his friend Duplessis-Mornay, converses with a holy hermit (Canto I, lines 229-232); center, the entrance of Henry IV into Paris, approaching on horseback the Cathedral of Notre Dame, as his subjects kneel before him (Canto X, lines 512-514); lower right, Henry IV taking leave of his mistress, Gabrielle d'Estrees, before the Temple of Love, and returning with Mornay to the army (Canto IX, lines 344-348); lower center, Pavillon Henry IV of the Louvre; lower right, Henry IV in the Battle of Ivry, in which the Duke of Mayenne is defeated and the Earl of Egmont slain (Canto VIII, lines 180-181).
Sampler
Elizabeth Sickfrits, American, 1824
silk embroidery on linen foundation Technique: embroidered in cross and chain stitches on plain weave foundation

Picture format, with a large brick house and white picket fence, flanked by a weeping willow and another large tree, with trees also behind the house. Surrounded by a wide floral border. Inscription at the bottom.
Sketchbook Page, Folio 98: Two Paintings after Caravaggio and Raphael; Verso: Eagle and Ox
Felice Giani, Italian, 1758–1823, 1812–14
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Classical scene showing assembly; inscription: Polidoro da Caravaggio Roma. Four brothers of Joseph consider throwing him into pit. Surrounded by mountainous landscape; inscribed: Rafaello Perugia. Verso: Eagle show at top. Ox shown at bottom of page; it crouches behind elevation of earth.
Design for a Trophy
Antoine Watteau, French, 1684–1721, ca. 1735
Etching on laid paper
Print

Design for an ornamental trophy with musical instruments hanging from a tied ribbon. The trophy incorporates a violin, bound sheets of music, a mandolin, and horns. The plate is signed and numbered.
Design for a Mass-Operational House Designed by Hector Guimard, detailing the construction of wooden support columns.
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the construction of wooden support columns.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Rust color warp and green and white wefts forming a floral pattern of flowers on stems.
Sample of textile
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Pink warp with green, red, yellow, blue and pink weft making floral pattern.
Textile
Petitpierre et Cie, Nantes, France, 1770–1848, ca. 1790
cotton Technique: printed by engraved copper plate on plain weave

Printed in read and white are seven allegorical scenes from "Psyche et l'amour." Imagery centers on figures in classical dress and devils and angels among clouds.
Panel
Pierre Maille, 1732–40
bast, wool, cotton, silk (foundation warp and weft are unrefined bast fiber) Technique: brocaded to imitate the effect of a type of counted embroidery called "flame stitch"

Bergamo Panel woven to imitate the effect of counted embroidery of the type often called "flame stitch"  because of the zig-zag nature of the pattern and the use of color tone and value contrast. The borders are woven seperately. One border has the name of the producer repeatedly woven in, but woven in mirror image.
May and June
Hans Sebald Beham, German, 1500–1550, 1546
Engraving on off-white laid paper
Print

3 in a series of 10 plates
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1620-1630
Pen, ink, brush, grey water color. Paper

Horizontal rectangle. Half-figure of a woman, with legs formed by acanthus scrolls. The left hand is raised, the right lowered. At the end of the scrolls are blossoms and a putto.
Edging
, 19th century
linen Technique: bobbin lace, continuous braid-like

Narrow lace with scallop on one edged formed of five loops radiating from central point.
Design for pendant
, 16th century
Pen, ink. Paper
Drawing

Vertical rectangle. An oblong diamond is framed by a wide frame, curved in the center of the four sides with diamonds between two volutes. Above a link.
Edge
, 19th century
silk Technique: bobbin lace, white silk

Delicate vine pattern on fine mesh.
Le Bouffon
Gabriel Huquier, French, 1695–1772, ca. 1730
Etching on paper
Print

Goncourt 245. Dacier - Vuaflart.
Study for Christ, Chancel of St. Bartholomew, New York
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Graphite on paper
Drawing

Sketch for Christ in the painting in the chancel of St. Bartholomew, New York City. Three quarter figure; the legs and lower parts of the arms are bare.
Andrew Carnegie
Andrew Carnegie, American, born Scotland, 1835–1919, 1908
Photograph on sensitized paper
Photograph

Bust length photographic portrait of Andrew Carnegie (1835-1919), turned slightly to the right. He wears a bow tie and coat with double lapels.
Cravat ends
, late 17th century
linen Technique: needle lace

Cravat ends worked with a design of a central motif with branching scrolls.
Sometimes referred to as "Rosaline."
Embroidery sample
, late 19th century
silk, glass beads Technique: embroidered on taffeta

Red and grey changeable taffeta with rose, red and silver glass beads stitched in an allover polka dot design.
Fragment
, 17th century
silk Ttechnique: weft patterned 7&1 satin

Design of rampant lions and diagonal bars.
Fragments
, 17th century
silk, linen

Twqo pieces of red, yellow and white brocatelle
Sewing instruction book samples
, 1829
Colored wools

A) Blue and orange scarf in tubular knitting; pompons at either end.b) Pink and green scarf, crocheted; pompons at one end.c) Triangular scarf, knitted in pink and green; pink and green fringe on two sides.
Fragment
, late 18th century
linen Technique: bobbin lace (Brussels-style)

Fragment has delicate small-scale diagonal flowering branches with small sprays scattered over vrai droschel ground.
Tailpiece
Homer Wayland Colby, American, 1874–1950, ca. 1910
Pen and ink on illustration board
Drawing

A symmetrical design composed of small compartments within a larger one. Motifs include lighted candles, holly, star and wings, interlaced bands.
Fragment
, 17th century
silk Technique: woven

Lozenge pattern framing central diamond.
Venus, Triton, and Sea Nymphs
Pieter Claesz Soutman, Dutch, 1580 - 1657, ca. 1640
Engraving on paper
Print

Venus, seated on a shall (?) is offered pearls and shells by surrounding sea nymphs. At the left appears Triton and another nymph.
Study for "Zodiac"
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Charcoal, brush and wash, graphite on paper mounted to board
Drawing

Sketch of figures in loose garments within a wheel.
Floral field and border
, 1780–1815
White on glazed paper
Drawing

Heptagon. Two boughs with blossoms, a bough with leaves, a calyx, a leaf, a flower bunch are shown.
Costume Design: A Nobleman, King, or Prince for a Ballet
, ca. 1720
Lead pencil, pen and ink, brush and bistre on paper
Drawing

Vertical rectangle. A young man with hat and sword is shown from the front, moving toward left. He carries a staff of command in his right hand.
Portrait of an Old Man
, ca. 1775
Etching on paper
Print

An old man, wearing a dark cap, in  three-quarter view to right. He is leaning his elbows on the back of a chair. At right, a corner of a table on which is a white marble bust.
Border fragment
, ca. 1870
silk Technique: bobbin lace

Fragment showing a design of flowers made with outlining thread and honeycomb fillings sprinkled on a ground of hexagons and arranged as a border.
Trimming
, 19th century
silk Technique: woven

Woven upholstery trimming in design of interlacing circles bordered with semi-circles in gray, pink and ivory.
Sampler
Carola Caponi, Italian, 1815
linen, silk Technique: cross stitch embroidery

Sampler worked in very fine cross stitch in black, brown, blue, green, yellow and red silk on a white linen ground.  Composed in two sections: on the left, bands of alphabets and spot motifs, various doors and windows.  On the right a house with very large birds perched on top, a garden vista, a gate with a key, a carriage with horses, and various figures of people and dogs. All separated by fine running vine borders.
Punch Ladle
Edward Watson, American, active ca 1820, 1800-1820
Molded and raised silver

Elongated "fiddle" form handle with flat stem connecting to a wide ovoid bowl
Mug
, ca. 1810
Glazed earthenware, copper luster decoration

Cylindrical form with loop handle; yellow ground with pink copper luster decoration of bird sitting on branch above foliage; luster band at mouth. Yellow interior.
Album of Prints: Album of Vases Designed in the Antique Taste by Joseph Marie Vien and Engraved by Marie Thérèse Reboul
Joseph Marie Vien, French, 1716–1809, 1760
Album

Album containing the 13 prints in the Album of Vases Designed in the Antique Taste by Joseph Marie Vien and Marie Thérèse Reboul. The plates are numbered and signed.
Textile
, 18th century
bast fiber Technique: resist patterning on plain weave

Woven fabric with ribbing created in weft by using two fine threads alternating with one heavy thread. Design of blue resist on ivory showing a diamond grid with bow and tassel pattern on one side. Reverse pattern is formed by a grid of overlapping circles with dotted centers. Selvage on one side.
Textile
, ca. 1815
cotton Technique: block printed on plain weave

Half-drop repeat of a fruit tree growing in a flowering mound with two pheasants. Multicolored on a green background.
Sugar Bowl, from a Breakfast Service (Sucrier; Déjeuner Mosaïque Florentine)
Sèvres Porcelain Manufactory, French, established 1756, 1813
hard paste porcelain, vitreous enamel, gold
sugar bowl

Circular flat-based vase-shaped bowl (a); cover (b) with incurved shoulder and flat top, acorn finial. Lion mask handle at each side. Cover and handles entirely gilded. Decorated en suite with set: four large roundels with birds, six with butterflies.
Carpet fragment
, mid-19th century
wool Technique: double cloth

Geometric design with squares in roundels and stars in red and shades of brown on a cream ground.
Jockeys on Horseback
William Hunt Diederich, American, b. Hungary, 1884–1953, ca. 1920
Graphite on tracing paper
Drawing

On irregular sheet, three pairs of jockey figures on horseback, the figure at right riding a bucking horse.
Allegory of justice with sword and scales
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

An allegory of justice. Robed female figure holds a sword upright in her left hand and a set of scales in her right.
Jar and lid
, ca. 1800
Glass

1986-61-126-a,b: Tall urn-shaped body; tapered, fluted stem; square...;     1986-61-127-a,b: Tall urn-shaped body; short fluted stem; square ba...
The Handle of a China Cup, the Gem of the Collection
Ernest Thompson Seton, American, 1860–1946, 1898
Wood engraving in black ink on white paper
Print

Trial proof for illustration. A crow is seen holding the handle of a broken tea cup in its beak. Other fragments are seen among the clump of weeds.
Magdalen Chapel, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Speaker in pulpit at left. Balcony and floor, filled. Title, artists', and publisher's names below.
Shawl
, 1800–1850
wool Technique: interlocked twill tapestry weave Label: wool interlocked twill tapestry

Square "moon shawl" with guard borders on four sides and fringed borders at warp ends only. Broad vertical stripes of red, yellow and white with floral cones, separated by narrow stripes of dark blue. Circular central medallion, with a quarter-circle medallions in each corner with stylized floral filling in blues and red on pink and white ground. Coarse woven border with stylized floral motifs on four sides. Separate borders top and bottom imitate fringed warp ends.
Braid Motif
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

This braid motif is created by alternating positive and negative rhombus shapes. Silk threads have been added to support the structure of the stencil.
The Man of Sorrows (with Hands Raised)
Albrecht Dürer, German, 1471–1528, ca. 1507
Engraving on paper
Print

Christ is represented standing at the foot of a tree (the cross). His arms are extended and raised, wearing a crown of thorns.
Seascape with Sun Shining through Clouds
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

View of ocean from beach with waves coming onto shore, clearly-defined sun above horizon in right center.
Border
, 17th century
linen Technique: raised needle lace

Border of Gros Point de Venise with curvilinear forms in a floral and foliated design. Pattern outlined by cordonnet and connected by brides picotées and interspersed by portes and gaze quadrillée.
Chintz fragment
, 18th century
cotton Technique: mordants for 2 reds; lavender and black applied by pen or brush; madder dyed; blue applied over resist; yellow applied over blue for green; chintz on plain weave

Parts of floral bouquets within guard stripes of red.
Sidewall
, 1840–60
Block-printed on continuous paper

Rococo Revival landscape medallions, scenes alternate between a ship or boat and a windmill. Printed in a monochrome palette on a satin or polished ground.
Sidewall
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

Large bunches of purple grapes, hanging on very dense vine and foliage background. For dining rooms.
Design for Grotesque Decoration
Unknown, mid–late 16th century
Pen and brown ink, black chalk on laid paper
Drawing

The edges of the sheet are framed by candelabra (rendered in half form) and composed of a variety of swags and animals Fantastic animals at center left and right threaten a small saytr at center who balances on a swag. At bottom a sphinx with human face crouches, facing left.
Chrysanthemum Pattern Butter Knives
Charles T. Grosjean, American, d. 1888, 1880–91
silver
knives

Pair of butter knives, butter knife(a) and butter knife(b) of same design. Slightly curves spatula-like blade, widest point at tip, with one point and one wavy edge. Tapered neck, widening to handle of curving, ungulating shape, covered in a relief pattern of overlapping foliate scrolls and chrysanthemum buds, with engraved "B" in the central reserve in terminal. Rounded terminal, topped with chrysanthemum flower. Reverse side densley decorated with overlapping foliate scrolls and chrysanthemum buds.
Textile
, 1750–1800
cotton Technique: mordants for 2 reds and 2 purples applied by pen and brush; madder dyed; blue applied over resist; yellow applied by brush (chintz) on plain weave

Alternation of four S-curving vines (two bamboo-like; two seaweed-like). Each vine sends out shoots alternately left and right. Textile would have been used as a dress fabric and was probably inspired by a European woven silk.
Vase
Grueby Faience Company, Revere, Massachusetts, 1895–1908, 1899–1909
earthenware
vase

Buff-colored clay body, thrown. Elongated ovoid with slightly flaring free-formed base, incurving rim off shoulder. Modeled in low relief with attenuated pointed leaves, and around shoulder six group of four daisies each. Daisies in yellow and ochre; body is dark green with silvery veining overall. Foot rim with green matte glaze; rest of bottom white opaque high glaze. Interior in ochre high glaze.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Trellis or grid pattern formed with larger four-petaled floral motifs, and smaller sqaure floral motifs. Repeating series of three dots helps form the trellis framework. Printed in pink, tan, and green on dotted tan ground.
Sketchbook Page: Landscape
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a landscape with a boat or factory, lower right.
Cap streamers
, mid-18th century
linen Technique: bobbin lace, Mechlin style

Cap streamers of Mechlin lace in a design showing repeated floral spray set within oval medallions, connected by a symmetric swirling and crossing leaf pattern, forming additional medallions containing centrally placed quatrefoil shapes.
Ferris Wheel, World's Fair, Chicago
, 1893
Plated brass
Matchsafe

Oblong, rounded top and bottom, featuring incised image of ferris wheel, inscribed above, on lid, "World's Fair, Chicago, 1893" and below image, "The Great Ferris Wheel". Reverse features raised imaged of domed building, inscribed above it, "Administration Building" and inscribed above that, "World's Fair", and below, at bottom, "1492-1893". On reverse lid is raised image of long, columned building, inscribed above "Art Palace". Lid hinged on side. Striker on bottom.
Sidewall
, 1905–1915
Machine-printed paper

On light yellow ground, scroll-like treillage containing anthemions or medallions. Printed in red, gold, brown on tan ground with petite ashlar block or basket-weave pattern..
Cancan Dancer
, late 19th century
Cast silver, enamel
Matchsafe

Rectangular, snuff box type container, featuring vertically situated, polychrome enamel image of blond cancan dancer with right leg kicked high. She wears patterned pink dress with low bodice, white petticoats and bloomers, thigh-high black stockings and black shoes. Lid's lip or left edge curved. Lid hinged on right side. Striker on back of same long right side panel.
Two Sketches of Sailboats Sailing
Arnold William Brunner, American, 1857–1925, ca. 1881
Graphite on paper
Drawing

Above, a narrows, with sailboat. Below, sailboat with a low shore beyond.
Two Studies of Capitals
Arnold William Brunner, American, 1857–1925, ca. 1879
Graphite on beige paper
Drawing

Two semi-detached capitals, left, from Southern Minster, and right, a Rayonnaut capital. Carved leaves on both capitals.
Bowl
, ca. 1810–20
Glass

Shallow circular bowl; encircled star cut on bottom, narrow flutes rise to swags filled in with fine flutes. Trefoil cut rim. Well defined cuts.
Sidewall
, 1875–86
Machine-printed

Overlapping geometrical forms in the Japanese style enframing, among other motifs, a vase of flowers, an owl, birds, a fish, sprigs, flowerlets and circles. Lower right corner has adhering layers of wallpaper of a later date.
Jar and cover
, ca. 1780–1810
glass

Straight sided jar with projecting rim and domed lid Jar has 4 arch and pillar sections of fine diamonds which enclose 4 cut stars. Rim has fine diagonal blazes, 3 arches of fine diamonds, mushroom finial square-sided stem, square pedestal base.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Still life with fan and straw-wrapped container, set on a tablecloth.
Virtue Paying Homage at the Tomb of Washington
, ca. 1800
silk embroidery on silk foundation, paint Technique: embroidered on plain weave foundation; some painted details
Embroidered picture

Embroidered picture showing Virtue in the figure of a young woman in classical dress scattering flowers on the tomb of George Washington shaded by a large tree. Embroidered in silks, with the exception of the face, arms and feet, which are painted. Previously framed and glazed with black mat and title painted on the glass.
Standing figure with basket
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Standing figure in medieval clothing with head and neck covered holds a basket filled with objects with his left hand and holds out his right with fingers spread.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Floral swag hangs in front of lace swag. Smaller floral swag is suspended above.
Miser's purse
, early 19th century
silk, steel Technique: crocheted

Tightly crocheted dark green silk ornamented with cut steel beads in small geometric pattern.   Two steel rings at closing; at one end, a fringe of steel beads; small faceted drop and tassel at the other.
Miser's purse
, early 19th century
silk, steel Technique: crocheted

Silk, crocheted in lengthwise narrow bars of red and green, ornamented evenly with cut steel beads. Two steel rings control side closing; steel drops at either end.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1890–1920
Machine-printed on paper

Fleur-de-lys motif set within large foliate medallion. Also acanthus scrolls. Printed in pink, green, deep red and light yellow on background that shades from yellow to brown.