biglam/cooper-hewitt-alt-text huggingface dataset:
Bras de Cheminée à la moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a two-arm engaged candelabra decorated with acanthus leaves, garlands, acanthus leaf scrolls, and wreath. The plate is signed.
Two Arabesque Panel Designs
Juste-François Boucher, French, 1736 – 1782, 1768–75
Etching on paper
Print

Two vertical arabesque panel designs printed on two separate plates featuring vases, scrolling leaves (rinceaux), rosettes, festoons of leaves, birds, mascaron (mask), plinths, female figures, wave pattern, gadrooning, and fluting motifs. The plates are numbered.
Design for a Frieze
, early 19th–mid- 19th century
Pencil, pen and ink on paper
Drawing

Horizontal rectangle showing entablature with consoles below the cornice. In the frieze, festoons are supported by candelabra. Above them, a terrine and a roundel with flaming heart at center. At left, a half drawn mitre, book and archbishop cross rod. At right, above a suggested pilaster, a vase with cornucopia.
Decoration de Porte a placards dans son chambranle fermé par le haut en anse de panier.
Jean Mariette, French, 1660–1742, 1686-1742
Etching and engraving on laid paper
Print

Design for a set of double doors with rocaille molding. Above the doors is a panel depicting four putti playing musical instruments in a landscape. Above the doorframe is a carved trophy of music al instruments. At the bottom of the plate is a scale bar of six French feet ("Echelle de 6 Pieds") and a cross section of the "Plan de la Baye et du Chambranle." The plate is numbered but not signed. The plate has been cut near the image line, and one can barely see in the lower left where Mariette's name has been cut.
Maine Coast, Mt. Desert Island
Frederic Edwin Church, American, 1826–1900, July–September 1850
Oil on tan wove paper
drawing

Landscape and seascape sketch showing an unfinished view of foaming surf breaking against rocks along the coast of Mt. Desert Island in Maine. In the foreground at right, whitewater froths around a dark, semi-submerged rock. In the middle distance, the dark ocean water encounters large, piled boulders at right and a rugged rock wall at left. The lateritious (brick-colored) ground is visible along the upper and lower sections of the leaf.
Elevation of a public building
Giuseppe Barberi, Italian, 1746–1809, ca. 1786–1787
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Elevation of a public building.
Design for a Tureen
Joseph Anton Seethaler II, German, 1799–1868, 1825-1835
Pen and ink, brush and washes
drawing

The vessel and base are banded by grapevine. A seated lion supporting a blind shield forms the finial, and the handles are in the form of arched snakes issuing from lotus buds. The base rests on paw feet.
Title Page
François Boucher, French, 1703–1770, 1775–84
Etching on laid paper
Print

Title page for a series of designs of putti after F. Boucher. The title is lettered in the lower left, over a cloud with three flying putti. The plate is lined in red, creating squares over the printed image.
LE BERCEAU DE L’HÔTEL DE CONDÉ
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of a section of the garden of the Hôtel de Condé in Paris. In the foreground small trees framed within hedges on either side of the paths where figures are strolling throughout the garden. In the background, elevated by steps, a trellis /lattice domed garden pavilion. The plate is titled.
Design for a Silk Damask
, 1815–1840
Graphite, brush and white opaque paint (recto design); brush and red, rose, black, and green opaque paint partly applied (verso); white for the frame along the left edge
drawing

The right half of a floral palmette is shown following the early Louis XV style and consisting of a central leaf motif which is surrounded by flower boughs. Lace motifs occur.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1737
Etching on laid paper
Print

Vase in the shape of an urn divided into four distinct sections. The lid of the urn has a fish scale pattern, and a finial at the top. The neck of the urn is adorned with a relief band, on which is a scene of a man pursuing a woman (perhaps Pan and Syrinx) into the reeds; an older man sits in the water near Syrinx, leaning against a spilled vase, and holding his arm up (the iconography of a river god). The body of the vase is decorated in high relief: two tritons, each with one hand, pull open the mouth of a grotesque mask. The tails of the tritons twist between them and over their shoulders to form handles that reconnect at the bottom of the frieze. The foot of the vase is tall and thin and has twisted fluting. The finial at the top and the egg-and-dart foot of the urn exceed the boundaries of the shaded portion of the plate. The plate is lettered and numbered.
Side Chair with Coat of Arms of Fourth Earl of Scarsdale
Thomas How, British, active 1710 - 33, 1724–36
Walnut and beechwood, gilt pewter, gilt and reverse-painted glass (verre églomisé) panel, mortise-and-tenon construction
chair

Shaped open back with voluted top rail and two horizontal crossing members enclosing a verre églomisé panel bearing the arms of the Earl of Scarsdale (extinct 1735).  Cabriole sharply raking rear legs, voluted at knees, and with moulded ankles and Dutch feet.  Voluted cabriole front legs with gilded pewter mounts at knees; hoof feet.  Gilded  pewter mask in center of front seat rail.  Slip seat.
Study for "Astronomy," "The Sciences," Library of Congress, Washington D.C.
Kenyon Cox, American, 1856–1919, ca. 1895
Graphite on paper
Drawing

A nude female figure seated holding a compass in her right hand.
Fragment
, 6th–7th century
wool, linen Technique: slit tapestry with supplementary weft wrapping Label: wool slit tapestry in linen foundation

Polychrome tapestry medallion with confronted riders flanking a tree.
Bluffs on a Riverbank near Terni, Italy
Frederic Edwin Church, American, 1826–1900, October 1868 and April 1869
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of wooded bluffs along a river near Terni, Italy. In the middle distance at center, an abrupt bluff is surmounted by a grove of trees and possibly a structure. In the background at left, the curving bluffs are again visible. At left, the water of a river is shown.

Verso: Botanical and field sketches from Paestum and Pompeii, Italy, respectively. Above, a sketch of an ancient Roman galley manned by numerous soldiers is shown, copied from a fresco in Pompeii. Below, seven sketches of briers, thistles, and trees from around Paestum are included.
Map sampler
Jane Tinkler, ca. 1780
silk Technique:

A signed map of England and Wales in very poor condition.
Ornamental Vase Design
A. Panier, French, active 18th century, 1767-1793
Crayon-manner engraving with red ink on paper
Print

Lidded vase with two handles formed from stylized acanthus leaves that terminate at the top with grotesque heads of monsters. The lid of the vase has a pinecone finial. The vase has a garland of leaves draped across its concave belly, at the center of which is a medallion with a military portrait. The bottom of the vase has a pattern of swirling acanthus leaves and a tapered foot with a spiral pattern. The vase is elevated on a low socle and there is some indication of a ground of grasses beneath. The print is engraved in red ink (sanguine) crayon manner. The plate is not lettered or numbered.
Design for a Stove
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation of a design for a stove set within a niche and featuring a large vase on a pedestal at the chimney. The base of the stove is decorated with ornament motifs including shells, fluting, scrolls, lozenge, and bead. The plate is signed and numbered.
Study for dancing women, “Moods to Music,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1893–1895
Pastel and graphite on wove paper
Drawing

Sketch of four female figures dancing.
Purse
, early 18th century
silk and metal thread embroidery over paper on silk foundation Technique: embroidered in stem and knotting stitches and couching over paper on damask foundation

Small sheild-shaped purse of yellow silk satin damask embroidered in design of arabesques worked in silver thread with flowers in pink, blue and green silk, with the same design on both sides. Lined with pink silk and mounted on a hinged frame of engraved steel.
Design for a Ceiling
, ca. 1800
Pen and brown ink (iron gall ink) and traces of graphite on cream laid paper
Drawing

Corner of a design for a ceiling showing alternative suggestions. At left, rinceaux; at right, a figural frieze.
Temple of Diana
Bromley Hall, Middlesex, England, 1712–1763, ca. 1790
cotton Technique: copperplate printed
Textile

Panel printed in red on white with a design of the temple of Diana.
Band
, 19th century
silk embroidery on linen foundation Technique: embroidered on plain weave

Border of natural linen with triangular tab edge, embroidered in red silk with a stylized floral vine growing out of an urn.
Band
, 18th century
linen, silk, metallic thread Technique: cutwork, embroidered

Narrow band with a scrolling leaf and flower design. Edged at top with a row of flower sprigs. Cutwork is embellished with embroidered outline of red, green, and dark yellow. Loops of metallic thread decorate edges and spaces between motifs.
Tassel
, 18th century
silk, metallic thread

Fringed tassel with braided cord - red-orange and white silk plus gold. Slip clasp on cord.
Sampler
, 1842
wool on cotton Technique: cross stitch on plain weave foundation. Counted stitches.

An alphabet (missing the letter "J") and a set of numbers at the top and scattered floral and animal motifs at the bottom with initials.
Sketch for Scene 3 of cartoon for cotton printing:The History of Heny IV [L'Histoire de Henri IV]
Hartmann et Fils, Munster, France, ca. 1820
Pencil on cream-colored paper
Drawing

One scene from Voltaire's epic "Henriade" showing 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).
Woven portrait of Napoleon III
Auguste Malpertuy, French, 1823–1897, 1855
silk Technique: cut and uncut supplementary warp pile (velvet) in a satin foundation

Woven portrait of Napoleon III in profile in a richly framed circular medallion, initial "N" framed in laurel leaves at bottom. Swags, oak leaves, and arabesques surround the medallion which is surmounted by the imperial crown. Woven for the Exposition Universelle of 1855 in Paris.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. rust color ground with 2 shades of gold color
b. rust color ground with off-white and lighter rust/orange
Photograph of a Window on the Facade of the House of Hector Guimard, 22 Rue Mozart
Hector Guimard, French, 1867–1942, 1910
Photographic print on sensitized paper
Photograph

Photograph of a window on the facade of Hector Guimard's house on a higher story. Window has a metalwork balustrade.
Stemmed Sherbert Dish
Louis Comfort Tiffany, American, 1848–1933, ca. 1905
Favrile glass
dish

Spreading foot and short plain stem support bowl flaring to lip - iridescent - engraved band of symmetrical vintage mofits about inside upper margin.
Flora's Retinue: Bluebelle
Walter Crane, English, 1845–1915, ca. 1891
warp: linen; weft: silk Technique: damask, 4 & 1 satin
Doily

Small square doily, fringed on all sides, with an ivory linen warp and a bronze-colored silk weft. A figure of a woman dressed as a bluebell with and framed by bluebells, with the word Bluebell in the upper left, all appearing in ivory on a bronze-colored ground. A set of six, the doilies would have been used on the table as part of a dessert service.
Textile
, 17th century
silk, metallic threads Technique: plain weave with supplemetary weft (brocaded)

Medium-sized repeat of stylized symmetrical flower sprays of gold with touches of pale pink and coral in a trellis framework of fine silvery leaves and flowers on dark blue ground. Silver and gold threads are now much worn revealing white and yellow silk cores respectively. Cord selvage of bunched salmon-pink silk.
Costume Design: A Halberdier for a Ballet
, ca. 1720
Lead pencil on paper
Drawing

Vertical rectangle. Shown in profile, moving toward left. The halberd is shouldered and held with his left hand. Fantastical attire intended to be of the seventeenth century.
Design for a Candlestick
, 1815-1819
Pen and ink, brush and brown washes on paper
Drawing

Tapering pedestal with a palmette decoration and ram heads at the upper corners. The shaft consists of a calyx , upside down, a balaster, a flower upside down from which two branches rise and out of which sockets grow. A fantastic flower with a third socket rises in the center.
Button
, 19th century
brass

1931-59-812-a: button ornamented in design of a procession of men...
Nightcap
, 18th century
silk, metallic yarn (metal foil wound around silk core) and flat foil strips Technique: plain weave with discontinuous supplementary wefts (brocaded) Label: silk and metallic brocade

Tall man's nightcap with deep bicorne cuff in salmon-colored ribbed silk, brocaded with a symmetrical floral design in silver metallic yarns and blue, green, yellow, pink, and white silks.
Study for "Diana and Her Attendants among the Constellations"
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Graphite on paper
Drawing

Sketch of a model's foot.
Thamar ejected from her brother's house
Martin Van Heemskerk, Netherlandish, 1498 - 1574, 1559
Engraving on off-white laid paper
Print

Ammon appears in bed ordering his servants to eject his sister Thamar, who leaves the room by a door in the left foreground.
Textile
, 18th century
silk Technique: compound weave

Large-scale flowers and fruit on curving ogival stems, in white on salmon pink weft-ribbed ground. Two plain selvages.
Fragment
, late 19th century
silk Technique: compound satin weave Label: silk compound satin

Fragment of woven silk with a yellow paisley pattern on a blue ground. Flowers and details in white, pink, green, red, and purple.
Printing block
, mid-18th–mid-19th century
wood, metal

Symmetric stripes adjacent to graceful floral pattern.
Fragment
, 16th–17th century
silk Technique: 4&1 satin damask

Incomplete large-scale design with circular motifs and acanthus foliage in red and yellow.
Madonna and Child
Hans Sebald Beham, German, 1500–1550, ca. 1535
Woodcut on laid paper
print

Vertical rectangle. The Virgin is shown seated under a tent, holding the infant Christ on her knees. The Child gestures toward St. Joseph, seen crouching at right.
Trimming
, mid-19th century
silk and metallic thread Technique: woven

Galloon with design of curving stem with flowers, leaves and fruit; furnishing trim
Fragment
, 4th–6th century
linen, wool Technique: plain weave with discontinuous wefts (tapestry)

Fragment of dark brown wool tapestry with a pattern band incorporating circular patterns in tan.
Repose
Mary Cassatt, American, 1844 - 1926, 1890
Drypoint on paper
print

Seated woman is shown frontally wearing blouse with hearts on it. On her lap sits little girl in plain dress.
Hercules at the Crossroads (The Effects of Jealousy)
Albrecht Dürer, German, 1471–1528, before 1500
Engraving on laid paper
Print

A nude woman is seated on the ground lower left, beside a satyr. She turns her head toward another woman, who stands, draped, menacing her with a large stick. The latter is blocked by a nude man standing, lower right. Town in the background.
Band
, 19th century
silk Technique: plain weave with supplementary warp

Narrow band fringed at both ends. Woven in red, green, yellow, and gold in geometric design.
Landscape
Walter Clark, American, 1848–1917, ca. 1885
Pastel on grey paper
pastel

Distant view across hilly country with water shown in the foreground. High sky with clouds.
Box
, late 16th–early 17th century
wood, painted

Rectangular box with hinged lid. Sides painted with framed panels of conventionalized flowers. On lid, Esther kneeling before Ahasuerus with two women attendants and one man. Lock and key.
Textile
Schwartz-Huguenin, 1851–63
cotton Technique: printed by engraved roller on plain weave

A) Molette ground in broad grey stripe and grouped pink stripes; over-printed with small rose clusters. 
B) Same design as A with grouped  tan stripes.
Hillside and Tree with Sailboats in Distance
Leon Dabo, American, 1868–1960, 1895
Black crayon on laid paper
Drawing

Two figures near a lone tree on a high bank in the foreground. Beyond, a body of water with two sailboats. Low, distant shoreline.
Roundel
, late 2nd–early 10th century
wool, linen Technique: tapestry weave

Rough hexagonal medallion with striding fantastic animal suggesting combination of ostrich and rabbit, in blue, green and yellow wool and natural linen on dark red ground with a few indistinguishable landscape conventions. Remains of linen cloth ground at top and side. Paired linen warps in tapestry area.
Fragment
, 17th century
silk, metallic Technique; brocaded satin damask

Red damask weave with gold. Ogival pattern.
Pink, brown
Emile Gallé, French, 1846 - 1904, late 19th–early 20th century
Glass
Vase

Tall vase with wide base and narrow foot, straight shoulder and flared mouth; decorated with peach-colored flowers on white and yellow background.
Sidewall
, 1860–75
Machine-printed

Medallion stripe design. Parts "a" and "b" appear to be the top and bottom halves of the same motif. A sdingle motif is centered between two columns of narrow gold bands. This is followed by a band of scalloped motifs, then a band pairs of deep gray stripes. Printed in shades of gray and metallic gold on a gray ground.
Towel
Unknown, ca. 1850
silk, copper, cotton Technique: embroidered

Towel end with three rows of flowers embroidered in bright colors of red, blue, green, dark yellow, brown, and tan with metallic thread.
Design for a Round Dining Table on Molded Base
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Round molded top with dividing stretcher running across center raised on short molded columnar support sitting atop molded base terminating in 4 splayed legs on casters.
Box
Black, Starr and Frost Co., American, founded 1810, ca. 1900
silver
box

Flat, irregular shape; lid hinged at back side.  Relief decoration on sides and lid of curving lines with whiplash terminals.
Button
, 1840–50
Mother-of-pearl

On card 29. Small round button with incised design. Center rosette and saw-toothed border incisions blackened. Two holes for sewing.
Design for Sideboard with Upper Shelf and Decorative Carved Stripes
A.N. Davenport Co., January 6, 1902
Pen and black ink on thin cream paper
Drawing

Oblong sideboard with rounded front corners and neo-classical motifs; 6 straight tapering legs [5 shown]; niche front center, flanked by 2 small rectangular drawers and topped by  large single inlaid drawer; vertical stripes of decorative carving either side of niche; raised backsplash, pair of columns, and 2 "L"-shaped volutes support narrow upper shelf.
Sidewall and Dado
, 1805–25
Block-printed on handmade paper

a) Sidewall containing a vase with bouquet. The background is printed with a stylized floral motif forming a trellis pattern. Printed in shades of green, blue and white on a light blue ground.
Study of "Soul in Bondage"
Elihu Vedder, American, 1836 – 1923, 1897
Pastel crayon on gray paper
Drawing

A female figure with wings, turned toward the right. Her wings rise behind her, framing her head.
Design for North wall, Yellow Drawing Room, Royal Pavilion, Brighton
Robert Jones, British, active 1815 – 1833, 1817–18
Graphite on paper
Drawing

Elevation of a wall. A large central panel of large flowering plants and containers with flowers is flanked by two narrow panels of birds and plants. These are enclosed in frames which terminate at top in cusped arches in the Indian style, the entire decoration reflecting this taste.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Art Nouveau / Mission Style. Quatrefoil formed with stylized floral motifs. This alternates with a single floral motif. Printed in pinks, greens, brown, and yellow on a black dotted background. Light green ground.
Printed in selvedge: "Carey Bros. W. P. Mfg. Co. 1029"
Welcome Panel
Clauss Kuntzli, 1621
stained glass, silver stain, enamel, metal
panel

Rectangular stained glass panel depicting a well-dressed couple; with one hand, man pulls a cord with tassel, and woman holds a gold goblet. Possible wedding portrait. Above couple, an oval crest showing two black bears flanking a yellow pine tree, between two scenes. On left: men dining and drinking (celebrating), on right: standing musicians. Below, left, a gold shield crest featuring a black symbol of a cross, star and crescent conjoined. To the right, an inscription: "Clausskunklibzi" [?]
Sidewall - fragment
, 1830–50
Machine-printed on handmade paper

Large ashlar block design printed with 3 dimensional effect. Printed in brown, green and white on taupe ground.
Rag Pickers, Quartier Mouffetard, Paris
James McNeill Whistler, American, 1834–1903, 1858
Etching and drypoint on paper
Print

Vertical rectangle. In the farthest corner of a gloomy room, seen through an open door, a child converses with a girl who sits up in bed.
Two Vestals at an Altar
, 1750–75
Pen and black ink, brush and grey wash on paper
Drawing

Two Vestals or Vestal Virgins stand before an altar set in a circular columned chamber. One of the women holds a book in front of her, while the other holds a book positioned on top of a circular table before them. At the left is a statue on a high socle of a winged figure.
Ceiling paper
, 1905–1915
Machine-printed paper

Alternating large and small floral medallions connected by floral vining and wreaths. Empty medallions in the resulting negative spaces. Ground is very light blue. Printed in yellow, light blue, white, and gold mica.
Cotton Prints Samples
, 1850–60
paper, printed cotton
Sample book

Blue cloth bound volume of 366 numbered samples of printed cotton. Samples of floral and plaid stripes. Title page has two book plates. Book title: "Cotton Prints Samples"
Ceiling paper
Steubenville Wallpaper Company, The, 1905, 1905–1915
Machine-printed paper, liquid mica

Treillage of gold scrolls with clusters of green flowers on gray-lavender ground.
Beach with Rocks, Trees, and Distant Boats
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

In left foreground a rocky hill, which leads down to a line of trees in distance. Behind trees at right, another hill. Behind trees at left, the ocean, with two small boats on the horizon.
Fork
, ca. 1700–1800
silver, leather, brass, steel

Fork has two long straight tines, decorated shoulders and neck.
Plate
, ca. 1905
Raised copper with silver overlay

Circular copper plate with design overlaid in silver of leaves, vines and flower.
The Little Buffoon
Hans Sebald Beham, German, 1500–1550, 1542
Engraving on off-white laid paper Support: white laid paper
Print

A child dressed as a buffoon and holding in his right hand an instrument for making wafers, is surrounded by a long, interlaced scroll with motto: "On dir hab ich gerisen, Das ich mich bechisen." Second state.
Portrait of Abraham Francen
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1656
Etching on paper
Print

A man is seated before a table, facing left; holding a print in his hands. An open window is behind him. 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
, 1880–1900
Machine-printed

On dark green-blue ground, pattern of orange-brown oranges on branches with green foliage. The whole is spotted with dots, in random pattern of metallic gold.
Sidewall - fragment
, 1850–70
Machine-printed on ingrain paper

Diamond diaper design with stylized floral motif containing green center enclosed within framework. Printed on terra cotta ingrain paper.