biglam/cooper-hewitt-alt-text huggingface dataset:
Design for Two Andirons and Sconce of Gilt Bronze
Jean Démosthène Dugourc, French, 1749–1825, 1777–90
Pen and black ink, brush and watercolor on paper, lined, framed with brown paper and pen and black ink lines
Drawing

Designs for metal pieces. Upper center, a sconce with a young boy with fire on his head standing among six branches, three on each side, with candles at the tips. Lower left, an andiron with adorsed sphinxes crouching on either side of an urn. Lower right, an andiron with adorsed griffins crouching on either side of a flame-topped altar.
Sidewall
François Boucher, French, 1703–1770, 1840s
Block-printed paper

Vertical rectangle. Bright yellow scrollwork frame entwined by floral festoons, enclosing grisaille scenes after Boucher; one derived from his picture "L'Arrive du Courier." Printed in colors on putty-colored ground.
Personification of Justice
Felice Giani, Italian, 1758–1823, 1813–18
Pen and ink, brush and watercolor washes on laid paper
Drawing

On verso: study of sarcophagi after antique
Design for a Doorframe
Giuseppe Barberi, Italian, 1746–1809, 1775-1785
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

Pilasters support the entablature. They are surrounded by bands to which signs are fastened, in their lower half. Keystone with a bearded mask. The cornices on top are not entirely shown. Colored background.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design featuring draped women between plinths of wave pattern and a garland-draped mascaron, on top of which sits a large vase with a relief of classicizing figures, draped with floral garland.
Sampler
, 1749
silk and metal-wrapped silk embroidery, linen foundation Technique: two-sided cross, marking cross, long-armed cross, stem, satin, running, double running, eyelet, and herringbone stitches on plain weave

Crucifixion, religious symbols, text, alphabet, numerals and motifs.
Ceres is told of the Rape of Proserpina
Felice Giani, Italian, 1758–1823, 1812
Pen and brown ink, brush and brown wash over traces of graphite on light brown laid paper
Drawing

Ceres stands at left leaning upon chariot and holding torch in her right hand. She listens to nymph, Arethusa, who reclines upon her. At right edge, parts of two drawings of kneeling figures.
Sagittarius, Lunette for Ceiling, Sala Ottagonale, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1804–05
Pen and brown ink, brush and light brown wash over graphite on blue laid paper
Drawing

Winged putto-centuar shooting his bow and arrow in demi lune.
Design for a Symmetrical Frieze
Felice Giani, Italian, 1758–1823, ca. 1805
Pen and black ink, graphite, brush and wash on paper
Drawing

Two winged female figures, each on one knee flanking a vase and reaching to the hanging fruit.
Stage Design: Interior of Palace Halls
, late 17th century
Pen and bistre, brush and sepia wash on paper
Drawing

Two vertical rectangles on one sheet, both showing circular halls with balustrades running above the vaults of the ground floor. Richly decorated with coupled columns and cloth hangings.
Cope hood fragment
, late 14th or early 15th century
silk Technique: two interconnected structures: 4&1 satin weave and plain weave (lampas) Label: silk lampas

Shield-shaped cope hood, striped vertically with broad stripes of dark blue containing Arabic inscriptions in white, red and yellow, alternating with narrower stripes of red with conventionalized floral and foliate motifs in dark blue, yellow, green and white. The blue and red stripes are separated from each other by narrow stripes of green with a geometric knot-like design in red and yellow. These stripes are bordered with very narrow stripes of white, yellow, red and dark blue.
The Arabic inscription is translated as "Glory to our master the Sultan."
Ornament; part of centerpiece
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, red ink on off-white laid paper
Drawing

Ornament; part of centerpiece.
Fan leaves, first half of the set "Desseins d'Eventails et Ecrans"
Nicolas Pierre Loir, French, 1624 - 1679, ca. 1750
Etching, engraving on laid paper
Print

Semicircular plates.
Designs for Three Pendants
, mid- 19th century
Pen and brown ink, brush and gray wash, graphite on white laid paper
Drawing

Horizontal rectangle. At left: a knot with two small leaves below and hanging diamond; in middle: a knot with two big leaves below and hanging diamond; at right: a knot with a calyx below and hanging round diamond. Each with a ring. Graphite framing line.
Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Trophy ornament design incorporating flowers, foliate branches, festoon of leaves, fruit, vegetables, wheat, scythe, and agricultural tools. The plate is numbered and signed.
Scrollwork Escutcheon
Jacob Floris the Elder, Flemish, 1524 - 1581, 1566
Engraving on paper
Print

Showing men in a landscape with classical remnants, two boys, birds, "PARCE / POPVLO / TVO", "SPAERT HE / ERE•V•VOLCK."
Console table
Giuseppe Barberi, Italian, 1746–1809, ca. 1785–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The legs are lion legs st anding upon circular bases. The frame is formed of what seems to be a skin connecting the legs, with a head, presumably of Heracles, in the center. Plain top. Usual background.
Design for a Fountain in Honor of Emperor Napoleon
Giuseppe Barberi, Italian, 1746–1809, 1796–1801
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Horizontal rectangle. Shown obliquely from one of the statues. The enclosure of the round, probably ovoidal basin is shown at the back. In it rises a rock with four lateral lower ledges, upon which statues stand, Minerva at the front left, Neptune at right. The third visible one may represent Ceres. Upon the rock stands a circular pavilion with a colonnade and a dome, with a figure on top. Dark framing band.
Bag
, ca. 1800
cotton Technique: plain weave

White bag made up of four triangular pieces with cotton braid and tassels on seams and tassel at the bottom. Cotton braided drawstring.
Button
, 19th century
Reindeer antler

Button made from a section of reindeer horn; round and keyhole shaped piercings and notches at edge.

On card 2
Design for the Embroidery of the Left Bottom Corner of a Man's Waistcoat of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1785–1790
Brush and gouache on glazed tracing paper
Drawing

Leaf and flower plants grow from the lateral and bottom edges of the flap of the pocket and from the edges of the waistcoat.  Boughs hang downwards from the top edge of the flap, festoons and floral motifs form the bottom edge of the pocket.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. The usual scheme with a disk above and three drops below. In the center a knot, interlaced with two fruit stems.
Arabesque Design
Aubert Henri Joseph A. Parent, French, 1753–1835, 1788
Etching and engraving on paper
Print

Arabesque with an Asclepeion tripod and a diamond shaped medallion depicted a woman astride a bull (Europa on a disguised Zeus). The arabesque also features heads of lions and goats, draped beading, birds, and lizards. Above the arabesque is an eagle with thunderbolts in its talons, and a male face as the sun. The print is signed, numbered, and dated.
Design for a Woven Textile
, 1825–1850
Graphite, brush and blue, lateritious gouache on oily tracing paper
Drawing

In the same manner as 1906-13-106. Shown are three rows of three squares each containing fourché crosses. Each alternate cross is to show oblique bars in its central square, the bars being in opposite directions in alternate horizontal rows. Lozenge bands surround the squares. Interior divisions of the alternate crosses are sketched in pencil, the designs in alternate horizontal rows being different.
Large Flowers
Bromley Hall, Middlesex, England, 1712–1763, designed 1765–1770, printed after 1774
cotton Technique: printed by engraved plate on plain weave
Fragment

Swirling branches of large flowers including carnations and hydrangeas. In blue on white. Very faded.
Cupid and Psyche
Gorgerat Frères et Cie., Nantes, France, 1783–1815, ca. 1790
cotton Technique: printed by engraved copper plate on plain weave
Textile

Four scenes from the story of Cupid and Psyche in red on white ground. Partial chef at one end; other end scalloped.
Medallion
, late 18th century
Stoneware

1925-2-5-a,b: Seven circular and one lozenge shaped medallions o...;     1925-2-5-a: Circular and lozenge shaped medallions or mounts i...
Fragment
, late 17th–early 18th century
silk Technique: plain weave

Fragments of a continuous pattern in the bizarre style showing three scrolling vines placed side by side, vertically. The main form of the scroll is ivory on top of which twists florals in blue, violet, green and yellow, on a rose ground. Both selvages present.
Textile
, 17th century
silk Technique: 5-harness satin damask

Faded rust red damask with vertically symmetrical pattern offset rows of plants with leaves forming a loose grid enclosing rayed blossom-like medallion. Alternating rows have plant variations.
Retour de Chasse
Benoit II Audran, French, 1698 – 1772, 1727
Engraving on paper
Print

A lady seated in hunting costume and tricorne hat pats a dog with her left hand and fingers dead game with her right.
Necklace
, probably 19th century
Thin metal (copper or gilt alloy)

Necklace: Thin metal (copper or gilt alloy) with tooled ornaments, each bead filled with composition. Cloth disks separate the beads from each other. Most beads are roughly flattened spherical. Two adjoining are conical tubular.
Fragment
, 19th century
silk Technique: 5-harness satin damask

Nineteenth-century copy of an eighteenth-century Louis XV chinoiserie damask in bright yellow with a pattern of figures, festoons and pagodas.
Tile
, ca. 1880
Glass

Blue. Framed by plants, or swan floats on a pond.
Drawing
Felice Giani, Italian, 1758–1823, About 1795
Pen and brown ink, light brown wash, over black chalk on laid paper.

Alexander swings the sword to cut the knot which is wound around the shaft of a chariot. He is aided by a companion. A priest sacrifices in the right middle plane. A crowd fills the temple.
Sundial compass
, late 17th–early 18th century
Bone, brass

Two rectangular pieces of bone, hinged with wire and connected by string, which serves  as sun dial indicator. On top, brass disc with combined symbol of Sun, Moon and Wind, surrounded by numerals and pivoting on nail. Two rings of engraved numerals surround it. On inside, circle with six-petaled rosette and radiating lines for hours. Sunk circular area in lower part held compass.
Fragment
, late 18th century
linen Technique: bobbin lace

Fragment of Lille-type lace showing small flowering branches and floral spray.
Design For a Clock, pl. XV from "Recueil d'Ouvrages Curieux de Mathematique et de Mecanique, ou Description du Cabinet"
Gaspard Grollier de Seviere II, French, 1677 - 1745, 1719
Engraving on paper
Print

Design for a clock ???
Necklace
, early 20th century
amber

Necklace of graduated amber beads.
Fringe
, 18th century
silk Technique: woven

Fringe in pink, yellow and tan with a plain-woven heading. Skirt threads, looped in pink, yellow and tan stripes, are scalloped
Square
, late 19th century
linen Technique: needlework on hand knotted net

Square of net with a darned symmetrical tree pattern.
View of Palazzio Vecchio, Loggia, and Pizza on Occation of Fête in homage to St. John the Baptist, Plate 23 from "Scelta di XXIV Vedute delle principali contrade, piazze, chiese, e palazzi della Città di Firenze"
Carlo Gregori, Italian, 1719 - 1759, 1744
Engraving on paper
Print

View of the Piazza, with the Loggia at center, and Palazzo Vecchio, left. Spectators in stand, right, and in foreground, observe parade of troops in the square. Title in margin below: "VEDUTA DEL PALAZZO VECCHIO DEL G. D. DELLA LOGGIA, E DELLA PIAZZA CON LA FESTA DEGLI OMAGGI NELLA SOLENNITÀ DI S. GIO. BATISTA PROTETTORA DELLA CITTÀ." At lower right: "Carol Gregorj Sculp. Flor."; at lower left: "Joseph Zocchi delin."
Spes (Hope), Design for a Stained Glass Window
Francis Augustus Lathrop, American, 1849–1909, ca. 1890
Brush and watercolor, white gouache, graphite on tracing paper
Drawing

Tall, vertical composition with top arched. Center, figure standing, head in left profile. Anchor in her left hand. Foliage left and right. Cross in a large rosette, above. Spes written on base, above two panels with flowers.
Seaport
Leon Dabo, American, 1868–1960, ca. 1890
Blue crayon on paper
Drawing

View across a sand bank, with tufts of grass. Buildings and sailing ship in the distance.
Bobbins for lace making
, 18th–19th century
wood, metal and glass

Twelve bobbins of [walnut and others]; turned, and ornamented with metal; wighted with jingles.  A through c/: wound with brass wire sunk in grooves; d through e/: same type but wire is missing; f/: metal bands sunk in grooves, called "tigers" [many bands missing]' g/: studded with metal and shows grooves for thread wrappings [now missing]; h through l/: studded with metal, called 'leapards".
Coal scuttle and cover
, 1800–1825
Enameled tôle, metal

Vase-shaped with lion head decorations and painted grape vine decoration.
Border
, early 18th century
linen Technique: bobbin lace, Brussels style

Floral border showing alternating motifs of vases and birds.
Les Vues d'Italie (Views of Italy)
Dufour et Leroy, ca. 1830
Block-printed on joined sheets of handmade paper
Scenic

Includes the Bay of Naples, an erupting Mount Vesuvius, tall ships in the harbor, and many figures attending to business and pleasure. 27 panels plus fragments of panels. Printed in a monochrome yellow ocher colorway, possibly called biche chamois.
Album of Ornamental Trophy and Cartouche Designs
Pierre Ranson, French, 1736–1786, 1759–80
Album

Album containing two series of ornamental floral trophy and cartouche designs. Possibly designs for fire screens or hand fans. Title page for each series, plates unnumbered and unsigned.
Album of Prints: First and Second Book of Vases Designed by Edme Bouchardon
Edme Bouchardon, French, 1698–1762, 1737-1749
Album

Album containing twenty-four prints, representing the first book of vases designed by Edme Bouchardon (12) and the second book of vases designed by Edme Bouchardon (12).
No. 107
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1868
Mouth-blown crystal, facet-cut and polished
Fruit bowl

Mouth-blown crystal fruit bowl on base, elaborately facet-cut and polished.
Lemonade Set
Royal Worcester, English, established 1751, 1879
porcelain, vitreous enamel, gold
beverage set

Trilobed dish decorated with auspicious symbols and bamboo. Gilt pattern at inner edge.
Lace fragment
, ca. 1870
cotton Technique: machine made

Imitation Alençon lace has design of small five-petaled flowers sprinkled on field above a border of curving leaves and flowers and five-petaled flowers within circles.
QUATRIEME LIVRE DE FORMES Ornées de Rocailles Cartels Figures Oyseaux et Dragons Chinois
François-Thomas Mondon, French, 1709 – 1755, 1736
Album

An album with two series of ornament prints with rocaille and chinoiserie motifs (European decorative arts and architectural style inspired by fanciful ideas of China and East Asia). Fantastical designs with ornament, figures, creatures, and mythological figures in various landscapes. All the plates are signed and numbered. The title pages are dated. The second series also includes titles for each plate.
Design for Side Serving Table displaying a Vase of China
A.N. Davenport Co., 1900–05
Pen and black ink on thin, cream paper
Drawing

Table surface (with curved skirting) and back splash supported by four cabriole legs joined by four scrolling stretchers supporting an elaborate urn-shaped vase on a pedestal.  Back splash is decorated with three-plumed carving at center, and scrolls on each side.
Table runner
Unknown, ca. 1910
linen, mercerized cotton floss Technique: embroidered on plain weave

Rectangular white table runner with geometrical pattern at each end embroidered in white and outlined in black. Narrow black border on all sides.
Plate
, ca. 1887
pressed glass

Clear yellow circular form, the wide scalloped rim molded with the words "VICTORIA JUBILEE" at top and bottom, and two sheilds on left and right bearing the years "1837" and"1887" respectively;  large crown above crossed sword and scepter in well.
Ocean Sunset
William Trost Richards, American, 1833–1905, late 19th century
Brush and gouache, watercolor, graphite on lined wove paper
Album page

Sun is setting on horizon, center right, producing dramatically colored effects in sky - purples and blue around clouds and yellows to turquoise in ocean. Waves break over rocks at lower left, landmass visible on horizon at right.
Shawl or stole
, 19th century
linen Technique: bobbin lace (Brussels or Honiton style)

Shawl or stole of Honiton bobbin lace in a dense floral pattern.
Knife
Herder, ca. 1690
ivory, steel, silver

Blade has straight lower edge, upper edge tapering downwards to the point. Flat bolster, silver ferrule engraved with floral sprays. Ivory handle, oval in section, tapered towards blade, carved in relief with stylized lion and unicorn on plinth. (English royal supporters?)
Harvested Field near Seashore
William Trost Richards, American, 1833–1905, 1890–1900
Brush and watercolor, graphite on white wove paper.
Album page

field with conical haystacks in foreground, suggestion of two figures in right corner, tall trees on right. Hill slopes down to cove with hills in the distance on the left. Clouds in sky.
Sampler
, mid–late 19th century
wool embroidery on cotton foundation Technique: embroidered in cross stitch on plain weave foundation

Spot motifs, floral borders, adn sets of initials scattered on the ground in different directions, including a bleeding heart, landscape scene with a house, and a large red cardinal.
Plate 17, from Neüw Grotteßken Buch (New Grotesque Book)
Christoph Jamnitzer, German, 1563 - 1618, 1610
Engraving on laid paper
Print

Ornamental cartouche, with birds, over flaming shells, above, and flying fish suspended from vines, either side. At the sides are spiralling vines which terminate in winged serpents.
Textile
, 800–1000
cotton, wool Technique: Wrapping and tapestry: slit and interlocked. Note: the character of the bands is determined in part by the very heavy warps and the wrapping of single warps

A) narrow band patterned by birds and bird heads in yellow, ivory and blue. outlined in black on a red background. B) Narrow band patterned by foxes (?), a bird, and geometric shapes in yellow, ivory and blue, outlined in black on a red background.
Ceiling paper
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1905–1915
Machine-printed paper, liquid mica

Pink floral swags connect with foliate scrolls printed in metallic gold. Each intersection of four floral swags contains a gold diamond shape. Printed on pink ground.
Law Reigns, Study for Central Panel of "The Reign of Law," Frieze for Appellate Court, New York
Kenyon Cox, American, 1856–1919, 1898
Brush and oil, pen and red ink on canvas
Painting

White ribbon in center with the words: LAW REIGNS. Outline below signifies oak screen that will stand behind the bench. To the right, allegorical figures of Peace and Commerce. To the left, allegorical figures of Plenty Rewarding Industry; she gives him a loaf of bread.
Ceiling paper
Wallace Wall-Paper Co., Cortland, New York, 1905–1915
Machine-printed paper, liquid mica

Trellis pattern with small, diamond-shaped cells containing crosses which emanate a round border of white rays. Pattern printed in white and gold on khaki ground.
Wall pocket
, 18th century
silk, metal Technique: embroidery on coral silk plain weave moire. Stem and satin stitches plus couching using gold and silver-wrapped silk; attached bobbin-lace of gold-wrapped silk.

Wall pocket with two pockets and a rounded top. Made from coral-colored silk taffeta, embroidered in gold and silver threads. The lower pocket has a house surrounded by flowering vines. The upper pocket shows a cardinal's hat with flowering vines. At the top, a bishop's mitre with a red stone inset, and crossed croziers. Trimmed with gold fringe and gold lace. Pockets lined with blue silk. Backed with leather.
Border
, 1790–1810
Block-printed on handmade paper

Wide band of anthemion with scrolling tendrils, below a band of beading. Printed in grisaille.

H# 440
Scarf pin with salamander
, late 19th century
Gold, silver, pastes
Stick pin

Pin with a finial in the shape of a lizard. The lizard is ornamented with colored stones.
The Ascension, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–1511
Woodcut on paper
Print

Only the feet of Christ are seen at the upper  center of the composition. The Virgin stands at left, two of the disciples are in the foreground, kneeling, others in background. Monogram of Dürer on tablet, lower left.
Sidewall - sample
Hobbs, Benton & Heath, Hoboken, New Jersey, 1906–07
Machine printed on paper

Exotic birds flying and perching between bamboo branches with leaves. One directional vertical design. Printed in shades of green, red and purple on a beige background.
Fragment
, 18th–19th century
silk Technique: woven

Small sprigs contained in a lattice-like framework.
Design for a Sugar Bowl
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Bulbous sugar bowl with lid, looped finial, and curved gold handle; decorated with landscape containing sunset and palm trees in fore and backgrounds. Notations in graphite at upper left.
Card Case with Flower Motif
, ca. 1850
mother of pearl, wood, silver
card case

Vertical rectangle with straight sides and hinged cover, all covered with mother-of-pearl.  On front, lozenge-shaped panel with bouquet relief. Contains card inscribed "Miss Groves from her affectionate little pupils."
Sidewall
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper, liquid mica

Floral medallions with rose swags and foliate scrolls. Background of lace-like bands. Beige ground. Printed in tans, pinks, greens, gold mica, and silver mica. 
Printed in selvedge: "Standard Papers 2"
fork
, ca. 1880
silver plated, metal, celluloid

Large fish serving fork with five short tapering tines, connecting to bowl decorated with pierced overlapping scrolling foliate and tulip pattern, surrounded by engraved scalloped line border. Reverse side lacks engraved decoration surrounding pierced pattern. Silver ferrule decorated with scrolling vine and floral pattern on stippled ground, connecting to ivory handle. Terminal of rounded fan-shape and decorated with dense floral pattern.
Daniel in the Lion's Den
, 1775–1825
Hand painted on canvas
Bonad

a) In center, angel in front of temple, wrapped baby in front of well; to left, two figures between steaming cauldron and black horse. b) Blue robed central figure between four "lions" with an angel overhead.
Border
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper

Two bands of a mirror-reversed repeating design composed of landscape vistas. Bordered on the bottom by a thick row of foliated-ornamented alternating cameos containing landscape designs, and on the top by a complementary foliage-ornamented frieze. Printed in cream, gold, white, brown, white, greens and light blue.
Sampler
, 19th century
wool embroidery on cotton foundation Technique: embroidered in satin, cross, long-armed cross, running, double running, and aztec stitch (withdrawn element work with needle-made fillings) on plain weave foundation

Divided into columns of bands, withdrawn element work in flame pattern at right.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

On a cream ground, green and beige scrolls in acanthus like forms, trellises in green above.