biglam/cooper-hewitt-alt-text huggingface dataset:
Rocaille Fountain 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 fountain within a landscape, featuring C-scrolls, acanthus leaves, foliage, a mask, and shell motifs with a frieze of columns and topped with a rocaille vase, with flowering branches and two birds. The base of the fountain features a female figure and a putti carved in relief. The water from the fountain is flowing into a stream with rocks and foliage. The plate is signed with an address.
Ceiling Design
Jean Lemoyne, French, 1638 – 1715, 1700–15
Etching on laid paper
Print

Plate from a series of seven ceiling designs, showing half of an ornately decorated ceiling cornice with a cartouche and roundels with scenes and portraits, masks, friezes, putti, arabesque and grotesque motifs, shells, c-and s-scrolls, fretwork, garlands, and fleurons. The oval ceiling is blank. The plate is signed.
Design for a Frame or Medallion
, 18th century
Etching on paper
Album of frames

Design for a round frame or medallion, topped with a castle or fortress crown, foliate branches, and a festoon of leaves tied with ribbon with emanating sun rays. Below, a trophy of arms and armor with a drum, spears, banners, canons, axes, and foliate branches.
Panel Design (Left Plate)
Bellay, French, active from 1734, ca.1734-49
Etching and engraving on laid paper
Print

A design for an ornamental panel, pasted to the left of another design. The design features rococo and chinoiserie (in the Chinese style) motifs with an ornately decorated frame featuring vases, drapery, leaves, shells, feathers, c-scrolls, plinths, fleurons, and rinceaux. In the center, two male figures stand within a fantastical landscape, one holds a large parasol above the other. The plate is signed and numbered.
West Shore of Lake Brienz, Switzerland
Daniel Huntington, American, 1816–1906, June 13, 1844
Graphite on paper
Drawing

Still lake surrounded by mountains with a sailboat on it, at center. At right, a boathouse and rocks jutting into the water.
Knob
, ca. 1795
brass
knob

Repousee head with boss surrounded by leaf moulding. Threaded bolt on back.
Four Schooners
Winslow Homer, American, 1836–1910, ca. 1880
Graphite on cold pressed paper
Drawing

Horizontal sketches of four schooners, one shown on water with sun setting behind hills in the background; two dinghies.
Kaaterskill Clove from Long Hill, New York
Frederic Edwin Church, American, 1826–1900, possibly 1863
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of the Catskill Escarpment--specifically the section from Kaaterskill High Peak (left) to Blackhead Mountain (right)--as seen from the artist's property in Hudson, New York. The surface of the Hudson River is shown along the lower margin, while the rolling terrain on the opposite side of the river comprises the middle distance, where the village of Catskill lies. In the background, the Catskill Escarpment creates a rugged horizon. Kaaterskill Clove is visible at left, flanked by the peaks of Roundtop and Kaaterskill High Peak at left, and South Mountain at right. On the far right of the ridge, the summit of Blackhead mountain is also visible. Vague clouds are faintly suggested in the sky above.
Loft Building by a Dock, Hartford, Connecticut
Frederic Edwin Church, American, 1826–1900, April 1845
Graphite on white wove paper
Drawing

Landscape and architecture sketch showing a view of a loft building on a dock by a stream, inlet, or other body of water in Hartford, Connecticut. In the foreground at right, the large, three-storied building is shown with multiple basement entrances and beside a wooden wharf. A figure can be seen standing beside the building at extreme right. In the middle distance, the placid waters curve around a spit of land with a tall tree, at left, before extending toward other, incompletely rendered buildings in the background.
Button
, 19th century
Brass

1931-59-950-b/k: Components -b,-c are on card 44
Two of three bras...
Botanical Study, Ecuador
Frederic Edwin Church, American, 1826–1900, 1857
Graphite on white wove paper
Drawing

Botanical study showing a view of a plant's ribbed leaves that are colored green on top and maroon on their underside. Four mature leaves and one mature leaf are visible. Possibly Calathea.
Sconce
, ca. 1720
Quill-work, silver, glass, and black-painted pine

Within the glazed wooded frame which is crested with pierced scrollings and foliations is enclosed a quill-work composition of scrolls and flowers, roses, tulips, carnations, etc. in a vase. A siler bracket at the base receives the S-curved arm which terminates in candle-holder and drip pan.
Interior of Egyptian temple
Giuseppe Barberi, Italian, 1746–1809, ca. 1796-1801
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

Horizontal rectangle: interior of Egyptian temple showing statues of holy animals, etc., with middle altar with "Apis" bull.
Landscape
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of buildings and chimneys.
Profil de deux Venteaux de la porte Cochere
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

Design for a carriage door (double door). Each door decorated with panels, geometric designs at bottom. The doorjamb made of stone. Scale at bottom center.
Study of Plant, Possibly Tufted Hairgrass
Sophia L. Crownfield, American, 1862–1929, ca. 1890
Brush and oil on black paper
Drawing

Vertical sheet depicting grasses and leaves.
Three Studies of Poppies
Sophia L. Crownfield, American, 1862–1929, early 20th century
Brush and gouache on gray paper
Drawing

Studies of three poppies on long green stems. Flowers have dark red petals and purple centers.
Textile
, late 19th century
cotton Technique: block printed on plain weave

Paired birds on forked branches with flowering blossoms.
Les Monuments du Midi
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1810
cotton Technique: printed by engraved roller on plain weave
Textile

Four country scenes on a grid background.
Le Mariage de Figaro
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1785
cotton Technique: printed by engraved plate on plain weave foundation
Textile

Four scenes, two in the form of medallions, inspired by Beaumarchais' play in red on a white ground.
Sampler
Francesca Amari, ca. 1915
linen Technique: embroidered on plain weave Label: Embroidered linen

Sampler showing the seventeen steps necessary for the formation of the grape stitch, with the needles still in place.
Cartoon for Cotton Printed Textile, La Route de Jouy
Horace Vernet, French, 1789–1863, after 1815
Red and white chalk, pen and ink on white paper mounted on muslin
Drawing

Engraver's study for cotton printing. Full scheme in pen and ink in center of sheet, with repeats indicated in sanguine about edges. The design shows hunters and hounds on the scent and in full cry, with a stag. Near a reposing stag in the center right is a sign post which bears the inscription: "Ligne du Grand Maitre...Rond de Nagu...Rond Victor."
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1780
linen warp, cotton weft Technique: block printed on plain weave

Heavyweight fragment in a small allover design of leaf and bud clusters. Ground in red picotage. Leaf with a green center and leaves in red and dark brown. Buds are yellow rising from small mounds of red and blue.
Miniature: Seated Figure
Unknown, 18th century
Pen and black ink with watercolor and gold on paper, mounted
Drawing

A central figure is seated on layers of geometric and vegetal carpets, wearing a short-sleeved robe composed of many male figures and animals that are constrained to the frame of the garment.  A garment like a coronet draped with a white cloth is worn upon the head.  The figure is holding in the right hand a small vessel with a bird perched upon the rim.  Laid upon a small carpet at the feet of the figure is a bowl of fruit, two small vessels, and a tall, handled ewer with elongated spout.  In the background (possibly viewed through a window?) is a large green mound framed by two trees in bloom, with clouds rendered to appear fast-moving.
Apron
, 18th century
silk, metallic thread Technique: embroidered on satin

Apron for an altar figure in pink satin embroidered in silver thread. With 1949-83-2 forms costume for figure of Infant Jesus.
bank note
, February 17, 1864
Colored inks on paper

Horizontal rectangle. Bank note, five dollars, The Confederate States of America, Richmond, number 93050. Large building at top; medallion portrait of a man, lower right.
Embossed wool
, 19th century
wool Technique: glazed and moire plain weave

Thin, loosely woven glazed wool with irregular watered pattern, broad double warp. Selvages. In soft pinkish tan. Said to have been made and used by Quakers.
Sketch for an Angel
Francis Augustus Lathrop, American, 1849–1909, 1880–90
Chracoal on tracing paper
Drawing

The upper part of an angel is shown, turned toward left. He blows a trumpet, supported by his extended right arm. The left hand lies upon the shoulder.
Textile
, 1780–1789
silk Technique: 8-harness satin (brown) patterned by weft-floats (light gray) with continuous supplementary weft (ivory), and a discontinuous supplementary weft (light blue) bound on the front by a supplementary warp in a 1/3 twill

Reddish-brown satin with a large-scale design of vaguely chinoiserie character. Horizontal row of motifs formed by: groups of vases, trunks filled with scrolls and fabric swags, rocaille forms with dragons, Chinese pavilions, mirrors, and shield-forms with rooster heads.
Fragment
, 18th century
linen Technique: bobbin lace, Mechlin style with five hole ground

Scrolling floral forms in a Louis XV pattern in field of ''fond à la Vierge'' or five-hole ground.
Saint Martin's
Joseph Pennell, American, active England, 1857–1926, 1887
Etching in black ink on paper
Print

Church portico with horse-drawn vehicles passing nearby. In the distance, the Nelson Monument in Trafalgar Square, London.
Fragment
, 5th–7th century
S-spun wool warp, S-spun wool and linen weft Technique: dovetail and slit tapestry weave

Woven square with a red ground containing strictly frontal human seated figure with hands raised in each corner; hourglass motif in a blue-green frame between each pair, and in center, a symmetrical motif of a lozenge with four dots on an orange ground. Soumak was used to outline the frames with hourglass motifs. Small area of white cross stitch on bottom left side.
St. Thomas' New York
Childe Hassam, American, 1859–1935, 1918
Lithograph on paper
Print

View looking North on Fifth Avenue at 53rd Street, New York City. St. Thomas' Church appears lower center.
Two Candlesticks
, 1625–50
Pen and brown ink, brown wash, black chalk Support: light brown paper laid down
Drawing

Vertical format. - Right: a bowl with dolphins as handle. Above it stands a kind of chalice with two displayed swans standing beside - Above a cover. Left: a lyre form, cup on top from which helmets hangs.
Cap streamer
, late 18th century
linen Technique: needle lace with bobbin-lace ground

Point d'Alencon, with Brussels ground, seme with sprigged ovals, and worked with a festoon border, with fern and dot motifs; an irregular edge.
Fragment
, late 16th–17th century
silk, metal Technique: embroidered and couched on plain cloth

Probably a piece of a no robe. Fine close all-over design of foliage (bamboo, peach, pine, etc.) and various emblems (cane, tortoise, flaming pearl, straw cape, hat, etc.) closely set on tobacco brown ground (octagonally orange). Embroidered in shades of orange, green, and white in various satin and laid stitches. Couched gold.
Floral field and border
, 1780–1815
White on glazed paper
Drawing

Vertical rectangle. A vertical line, right, from which grow to the right regularly spaced leaves. At the left, two rows of vertically placed leaves facing each other.
View of S. Ferdinando in Castello and the Quarter Around and Beyond S. Spirito, Plate 5 from "Scelta di XXIV Vedute delle principali contrade, piazze, chiese, e palazzi della Città di Firenze"
Antonio Pazzi, Italian, 1706 - after 1768, ca. 1743
Etching on paper
Print

Bottom margin: "Io. Zocchi delin." "Veduta d'una parte di Firenze presa dalla Vaga Loggia." "P. A. Pazzi sculp."; "printed with a separate plate: "T.V."
Frieze of a Mural for the Rosewell P. Flower Memorial Library, Watertown, New York
Leon Dabo, American, 1868–1960, 1904
Printed on sensitized paper
Photograph

Frieze showing classical procession of five female figues half nude, piping man and winged child riding on one of pair of lions drawing chariot.
The Ass Clad in the Lion's Skin, Illustration for Aesop's Fables
Victor Wilbour, ca. 1916
Pen and red ink, crayon on white board
Drawing

Ass, left, under a tree, in right profile with skin over him. Birds around. Woman at right on house st eps offers him a carrot.
Les Portiques D'Athenes
Dufour et Leroy, ca. 1820
Block printed on machine made paper, applied border
Scenic - panel

One of series, Les Portiques d'Athénes. Mountains and city in background; water in middle distance. In foreground, a "concert champêtre," with a term surrounded by shrubbery. Architectural frame in yellow and blue.
Textile
, 7th–9th century
linen, wool Technique: tapestry weave with slit, non-horizontal wefts, wrapping, on plain weave

Coptic linen shawl patterned with supplemental weft floats and tapestry woven ornament outlined in natural linen with polychrome coloured wool on grouped warps. Knotted warp-fringe at one end.
Design for Cabinet in Oak
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Demi-lune-shaped glass cabinet with flattened center front; molding along top edge; 4 shelves; raised on 4 short tapering legs.
Mug
, 18th–mid-19th century

Shepherd scene
Button
, 19th century
Ivory

1931-59-120-f: Circurlar button of ivory carved in relief in desi...
Design for a Jardinière
Amédée de Caranza, active Longwy and Bordeaux, ca. 1867 – 1885, 1875–85
Brush and watercolor, gouache, graphite on white wove paper, lined
Drawing

A jardinière decorated with plum blossoms on a blue and white diaper-patterned ground in imitation of a porcelain body with a scrollwork band imitating a tortoiseshell mount, around the upper edge and the base.  Feet in the shape of gourds with small leaves and vines support the vessel.
Button
, 19th century
Ivory

1931-59-120-d: Circurlar button of ivory carved in relief in desi...
Sidewall
, ca. 1820
Block-printed on handmade paper

Original document for "Diamond Damask". Blue diamonds in floral framework with brown striped overprinting. Printed on yellow ground.
Panel
, 1770–80
linen warp, cotton weft Technique: block printed on plain weave

A woman following a horse or a mule towards a windmill in offset alignment. Flowers surrounding motif. Picottage background.
Design for a Rectangular Table with Five Fluted Legs
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Rectangular molded top with a dividing stretcher at center is raised on five straight turned and fluted tapering legs with flute-stops on casters.
Figure of a Female "Ranelagh" Dancer (One of a Pair)
Derby Porcelain Factory, English, established 1756, ca. 1765
porcelain, vitreous enamel, gold
figure

"Ranelagh" type figure. A) A cavalier dressed in pink knee-breeches, a pink cloak, and orange waistcoat with flowers and green sleeves. B) Lady dressed in orange skirt with large rosettes, pink bodice edged with blue and a scarf floating from feathers on her head. At her feet, a mask. Both are standing on scrolling bases with gilding and are supported by bunches of flowers.
Textile
, after 1785
cotton Technique: block printed on plain weave

This is a block printed copy of an Oberkampf plate printed fabric, 'Hommage de l'Amerique a la France'. The colors are three reds and a lavender.
Jar and cover
, possibly 19th century
Bronze, inlaid metal

Jar (a) with lid (b).  Footed round jar, the body cast in two parts.  The joint covered by an encircling banding. Short, wide, straight neck.  Two small horseshoe-shaped handles hinged at shoulder.  Lid overhanging the neck, stepped up to onion-shaped finial.  Topmost element of finial missing--decorated with concentric bands of triangles and rectangles.
Yad
, ca. 1800
silver, wood
yad

Round, dark wood shaft sheathed in silver at each end with small, movable, scalloped and incised finger rest in the center.  Pointer terminates in right hand with index and middle fingers extended; rumpled cuff above wrist.  Sheath on grasping end is pierced for suspension.
Figure Toy
Harriet Blackstone, American, 1864–1939, 1922
Brush and oil, graphite on board
Paper doll

Paper doll of a female figure in a red dress.
Sampler
, 1664
silk and linen embroidery on linen foundation Technique: embroidered in satin, eyelet, star, and double running stitches with deflected element work and cutwork on plain weave foundation

Bands of alphabet, date, and pattern.  White work at bottom.
Ceiling paper
, 1905–1915
Machine-printed paper, ungrounded, liquid mica

A trellis pattern of large diamond shaped cells is created by stylized foliate and starburst motifs. Small quadrilateral medallions with concave sides are placed in the center of each cell. Behind the larger trellis pattern is printed an allover pattern of small "Y" and "T" shapes, giving the paper a textured appearance. Patterns are printed in khaki and metallic gold on ungrounded paper.
handle
, late 17th century
silver

Silver handle in the shape of a female caryatid, handle can be screwed on implement.
Cockade fan
, 1850–55
Brocaded silk leaves trimmed with marabou, incised and drilled bone sticks with metallic foil

Cockade fan with white silk leaves with scalloped edges, each brocaded with a red flower, and trimmed with white marabou.
Decor Pastoral
Jules Desfossé, French, active 1851 - 1863, 1851–64
Block-printed paper
Decorative panel

Framed oval medallion, depicting a Louis XVI shepherd and shepherdess in sepia, is suspended from a blue ribbon. The frame and ribbon are set off by clusters and ropes of roses, leaves and vines. Printed in colors on white ground.
Chair seat
, 1800–1810
linen, silk Technique: counted stitch embroidery

Octagonal medallion of upholstery fabric illustrating a fable by Aesop known as "The Fox and the Dog." The pattern is in white and shades of yellow on a light blue ground.
Textile
, 18th century
silk, metallic thread Technique: complementary weft 3/1 plain weave

Panel with rows of flowering plants facing alternate directions in each row in shades of orange and green on a silver ground. Fragment is enclosed on all sides by four woven strips applied as borders, all patterned by flowering plants on worn metallic ground. In each corner is a triangular-shaped fragment with rows of small flowering plants on a metallic ground. Guard stripes of silk taffeta in vermillion, purple, light purple, and light blue-green.
Design for a Painted Porcelain Plate, L'Écrevisse (Cancer) from the Le Zodiaque Travesti (The Farcical Zodiac) Service
Jean Charles Develly, French, 1783 - 1849, 1824
Pen and brown, black ink, brush and brown, black wash, white gouache, red crayon, pink, tan watercolor, red crayon, graphite on cream laid paper mounted on cream laid paper, ruled border in pen and brown ink
Drawing

Design for a painted porcelain plate, square format. Scene at a seafood restaurant whose sign is posted in the doorway: " à l'ecrevisse / et sa fille." A couple, right foreground, stand at the restaurant entrance.  The figure of a man smokes a pipe, the woman stands with her left hand on her hip and gestures to a  young, well-dressed couple seated outside the restaurant at a table beneath an arbor.  The young woman is taken by surprise when she sees her aunt and exclaims, "What are you doing here auntie--what are you coming to do?"
Textile
, 1850–1900
cotton Technique: e-gasuri (warp and weft ikat) on plain weave

Narrow vertical panel with a vase, stool and blossom in weft ikat alternating with a geometric form in warp and weft ikat.
Plate
, 19th century
Tin-glazed earthenware

Circular plate with wide rim; painted in underglaze blue on white, center with chinoiserie scene of pavillion in landscape, cavetto with diaper pattern, outer rim with dot and line border.
Two-Handled Sugar Bowl with Landscapes
The Sweetser Company, New York, New York, active 1900 – 1915, 1900–1915
silver, gold
sugar bowl

Squat cylindrical form with applied gold edges and chased with elaborate Chinese-inspired landscapes; two handles. Tapering conical lid with stepped knop.
Plate
, late 19th century
Creamware with underglaze transfer printing and painting

A and B, with flat marly bearing the alphabet in relief and rope molding on rim. Hand-colored transfer-print of "Fox and Goose."
Sidewall
Ithaca Wall-Paper Mills, Ithaca Wall-Paper Mills, inc. 1900-1907, 1905–1915
Machine-printed paper, liquid mica

All-over floral pattern. Very dense imagery. Single flower, or pair of buds, each containing a few leaves. Shadow effect of mica leaves surrounds. Printed on gray ground.
Study of landscape, Brunnen, Switzerland
William Stanley Haseltine, American, 1835–1900, 1856
Brush and watercolo, graphite on paper
Drawing

Sketch of farmhouse with mountains in the background.
Dark Sea and Sky with Distant Boats
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Beach in foreground with dark rocks at center. Ocean in distance under very dark sky. On horizon at center, two small boats in the distance.
Knife Blade with Threaded Screw Base
, early 17th century
steel
knife blade

1985-103-253-a: Small case for six implements, stamped leather wit...;     1985-103-253-b: Oval rat-tail spoon bowl with round neck and screw...;     1985-103-253-c: Plain straight handle with finial on top, can be s...;     1985-103-253-d: Waisted steel handle inlaid with mother-of-pearl, ...;     1985-103-253-e: Slightly curved upper edge, lower edge curving tow...;     1985-103-253-f: Waisted handle inlaid with mother-of-pearl, four r...;     1985-103-253-g: Three straight tines, rounded shoulders and plain ...
Fragment
, 16th century
linen Technique: plain weave embroidered with withdrawn element work, needlework filling stitches

Woven linen fragment showing an allover pattern of large and small diamond shapes in withdrawn element work and embroidery on plain weave.
Castles in Spain
, 1835
Block-printed paper, pasteboard support, varnish
Bandbox

Pasteboard bandbox lid, rim missing. "Castles in Spain" pattern. Buildings and trees are printed in pink and browns on yellow background. The lid is small, only the central portion of complete pattern shown.
Tea Bowl and Saucer (One of a Pair)
Royal Worcester, English, established 1751, late 18th century
soft paste porcelain, vitreous enamel, gold
bowl and saucer

Tea bowl on high foot and a high-side saucer. Molded ribbing and scalloped edge. Overglaze polychrome floral swags. Gilding at rim.
Sidewall
Whiting & Sons, 1880s – ca.1900, 1879–1887
Machine-printed paper

Running in four parallel bands, intertwined lines form guilloche-like design composed of octagonals alternating with squares. Printed in pale green, terra cotta, and tan on light tan ground.
Study of foliage, Trachselwald, Bern, Switzerland
William Trost Richards, American, 1833–1905, August 2, 1867
Graphite on paper
Drawing

Sketch of trees with foliage.
Sampler
Sarah Davenport, English, October 7, 1681
silk and linen embroidery on linen foundation Technique: embroidered in eyelet, satin, back, double running, cross, montenegrin, four-sided, and overcasting stitches, with two bands of withdrawn element work with needlemade fillings, looping, wrapping, and interlacing, on plain weave foundation.

Bands of pattern in polychrome, white and withdrawn element work.
Sharkskin Sheath for Agate-handled Knife and Fork
, 1675–1700
wood, sharkskin, metal
sheath

Small wooden case covered with shagreen. Two circular and one wide opening inside. Lid hinged to the lower part of the body.