biglam/cooper-hewitt-alt-text huggingface dataset:
Ornamented Pitcher, Vase, and Gueridon Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Designs for pitchers, lidded vases, and gueridons, featuring ornamental motifs such as meanders, griffins, rosettes, mascarons, portrait medallions, rosettes, terms, and acanthus leaves. The plate is signed and numbered.
Design for a Main Altar
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The retable has the shape of a niche, framed by two embedded columns and outside by two more at the ends of the receding backward part. The columns stand upon pedestals which in their turn stand upon a base. In front of the base is the mensa on top of a sepulchrum; in front of the frieze, below the niche, is the tabernacle. In the niche stands a figure with extended arms upon a pedestal beside which two angels sit. Laterally, the base ends with projecting round pedestals, either of them with a group consisting of a saint or an allegory, apparently upon clouds with cherubim or angels. Colored background.
Design for Two Decorative Vases
, 1600–1650
Graphite, pen and black ink, brush and wash on paper
Drawing

A top, a full vase in elevation with serpentine handles and the suggestion of a mask. Below, the lip of a vase with scrolls.
Stage Design of Antique Buildings and Details
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink on lined off-white laid paper
Drawing

Interior of theater showing arrangement of boxes and decoration of ceiling.
Plate 24, from Grotteßco: in diverßche manieren (Various Grotesques)
Hans Vredeman de Vries, Dutch, 1527 - ca. 1606, 1564
Etching on laid paper.
Print

Grotesque panel. In center, nude woman or goddess sits in carriage drawn by a pair of swans. A satyr pushes the carriage from behind. From above, Cupid aims his bow and arrow at the rider.
Inkstand with victory column flanked by figures of fame on top of military trophies
Giuseppe Barberi, Italian, 1746–1809, 1796–1804
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Shown slightly from above. Below is a dodecagonal pedestal, formed by a broad oval with protruding squares in the middles of the ends. It is supported by eight obliquely disposed claws. The covers of the bowls show female genii standing above trophies of arms. Both are blowing trumpets. They hold with their inside hands, the left one a standard, the right one a wreath. In the center rises a monumental column. Below are three steps. A relief is shown in the pedestal. Eagles stand obliquely at the corners beside the base. A scepter and a wreath are fastened by another, a laurel wreath to the shaft. Above stands a general upon a globe which is supported by sitting slaves. Colored background.
David Receives the Holy Bread and Sword of Goliath [above]; Two Dragons Decapitated [below]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca .1595–1605
Recto: pen and brown ink, brush and brown and black washes, with corrections by the artist in white opaque paint, over black chalk on laid paper Verso: pen and brown ink, brush and black wash over black chalk on laid paper
Drawing

Recto, above: Within a portico, David receives the holy bread and sword of Goliath from the priest Ahimelech. Figures and buildings appear in the background. The drawing has been heavily reworked. An inscription in Italian appears beneath a framing line at the bottom of the image. 
Recto, below: A dragon lies beheaded in the foreground of a landscape. A man bends over it, holding an axe, with other figures nearby. In the background, another man raises an axe above a second dragon, which lies at his feet. 
Verso: In the foreground of a landscape with army camps seen beyond, Jonathan dips a rod into honeycomb upon the ground, then eats it. An explanatory inscription in Italian appears beneath a framing line at the bottom of the image.
Title page, from Diverses pièces de serruriers (Various Designs for Locksmiths)
Hugues Brisville, French, active ca. 1663, after 1663
Engraving on laid paper
Print

Vertical rectangle showing title and dedication within a cartouche composed of interlacing lines. At top center, the Longuet coat-of-arms and mask. The upper text remains the same as the 1662 edition (see: 1921-6-261-1). The lower text reads: A PARIS / Chez Meriette rue St. / Jacques aux Col.nes d'Hercule Privilege du Roy. At bottom, a faint lion mask and landscape.
Title Page
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Title page and two designs for lidded vases with handles, decorated with leaf motifs, gadrooning, and fluting, with festoons of flowers intertwined in the handles and on the lid of the lower design. The plate is titled, numbered, and signed.
Plan et Elevation d'une Salle de Compagnie Ornée de Tapisserie
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Plan and elevation of an interior with a central sofa surrounded by tapestries depicting figures amongst Roman ruins. The room also features ornament motifs including bound leaf, acanthus leaf, lamb tongue, fluting, bead and bar course, garland. The plate is signed.
Button
, 19th century
pearl shell and copper

central brilliant of white glass set in pearl disc, cut to represent a daisy and ornamented with small brilliants and copper strips - copper shank.

On card 29
Mandolin
, mid-19th century
Silver filigree
Miniature

Top worked in plumose designs; equipped with four keys and brass strings. Underside of sound box opens on hinge and is constructed of radiating ribs with open scrollwork filling the spaces between.
Design for Decoration of a Ceremony
Carlo Marchionni, Italian, 1702–1786, ca. 1760
Black crayon, brush and gray watercolor on laid paper
Drawing

A podium is erected above a pediment bearing seven burning candles. Festoons of garland hand upon it, and two cherubim are in a glory beside central part.
Sampler
Barbara Hunter, 1817
wool embroidery, linen foundation Technique: embroidered

Ornamental motifs including animals, ships, trees, Garden of Eden. 
Inscription: Barbara Hunter is my name and with my needle I have done the same, and by this work you may see what care my parents have taken of me Aged 10 in the year of Our Lord 1817 Wrought at Margery Fothergill's School at Percy Main Collery. 
Verse: Pass a few swiftly fleeting year and all that now in bodies live shall quit like me the vale of tears Thou lord hath led thy people through the deep, as careful shepherds guide their flocks of sheep O lead us with thy grace, to that blessed place, where we may see and know thee face to face
The John Sussanah/ The Ann Margaret/ The George William
Band
, ca. 1810
linen Technique: bobbin lace (Valenciennes ground)

Band of bobbin lace has a royal couple, each on horseback, facing each other. In between the pair is a royal coat of arms. Other motifs include royal emblems, a sprinkling of stars, and two moons.
Textile
, 19th century
silk, metal wrapped silk Technique: satin woven with supplementary wefts

Gold diamond lattice containing blossom on red background
Textile
, ca. 1740
silk Technique: plain weave foundation, discontinuous supplementary weft patterning (brocaded) bound in twill

Sprigs of flowers tied with bows, horizontally offset, in shades of pink on a white ground. Secondary monochrome pattern of white sprigs.
Design for a Trophy
Antoine Watteau, French, 1684–1721, ca. 1735
Etching on laid paper
Print

Design for an ornamental trophy from a tied ribbon. The trophy incorporates a large basket, two sickles, large stick, small cask, intertwined with sprigs of leaves and berries, and wheat. The plate is signed and numbered.
Drawing
Felice Giani, Italian, 1758–1823, About 1820
Pen and brown ink, brown wash, over black chalk. Paper

Horizontal Rectangle. Two women sitting upon a bench. Flora at left raises a wreath, Ceres at right carries a sickle and a cornucopia. A basket with wreath and sheet of grain are respectively at left and right.
Curtain border fragment
, 3rd–4th century
Warp; S-spun linen. Weft; S-spun linen, S-spun wools Technique: tapestry woven

Polychrome leaves
Project for an embroidered vertical border
, ca. 1808
Incised lines, gouache colors, glazed heavy paper
Drawing

A flower spray and a plant are to alternate growing from two stripes. Written with ink at right: agoirand.
Drawing
Felice Giani, Italian, 1758–1823, 1813
Pen and brown ink, brush and brown wash over traces of graphite on light brown laid paper

Top: a) The group of the dancing graces is the usual scheme; Cupid flies at left;  Bottom: Ceres is seated in a chariot, which two lions drive toward right conducted by a girl. The goddess holds a cornucopia with her left hand. She is followed by a woman with a sheaf of grass and a sickle, and preceded by two girls with trumpets. Reverse: unfinished pencil sketch for the triumph of Ceres. The goddess is shown and the upper part of the woman behind her, carrying a basket upon her head.
Inkstand
, 1625–50
Black chalk, pen, ink. Paper
Drawing

Hexagonal. the coat of arms of Bologna in front of a bowknot. The cover is decorated with architectural and plant motif scrolls, and a row of leaves. The knot is shaped like a vase and a bead. A palmette is sketched at right.
Fragments
, 19th century
silk Technique: plain weave with discontinuous supplementary wefts (brocaded)

Length of bright purple silk taffeta, brocaded with detached motifs in black and white on floral ground. Dyed with fuschine, the first stable synthetic dye.
Portrait of William Frederick, Duke of Gloucester
Edward Scriven, English, 1775 - 1841, ca. 1835
Stipple and line engraving on paper
Print

Within an oval enframement is a bust portrait of William Frederick, Duke of Gloucester (1776-1834), shown in military uniform, his gaze directed to the left. At top, a crown, and at bottom, a trophy composed of the badge of the Order of the Garter and a plaque symbolizing his charitableness. Below, title and engraver's and artist's names.
Drawing
Felice Giani, Italian, 1758–1823, 1800-1810
Pen and brown ink with brown wash over traces of graphite on cream laid paper

Top, a/Jupiter, kneeling upon the bed, watches Hercules whom he has put to the right breast of the sleeping Juno, who now has awakened. Centre, Amphitryon springs from the bed drawing his sword toward the boy Hercules killing a serpent with either hand. Alemene watches afraid. Bottom, C/Hercules is seated and is crowned with a wreath by a kneeling woman, offering him a cornucopia with her right hand. The river god Achelous is shown in the extreme left middle plane. Reverse: a part of the scheme as 3424;
Netsuke
, 19th century
Ivory

1952-164-35: Five sections, with an elephant and three flying b...;     1952-164-36: Head of a monkey, with gold eyes.50;     1952-164-37-a,b: Figure of a street vendor, wearing a sambaso hat a...
Fragment
, 1000–1400
cotton Technique: complex gauze weave

Self-contain square fragment with edges continuous with field. Two parallel warps cross next pair to form an allover trellis loosely spanned by basic wefts.
Fringe
, 16th century
gilt foil on silk Technique: woven

Gold fringe with a patterned heading and a skirt of twisted loops.
Portrait of Abraham Lincoln
H.W Rowland, American, 1906
Mezzotint with drypoint and black ink on white wove paper
Print

Bust portrait of Abraham Lincoln within an oval.
Fringe
, 18th century
silk Technique: woven

Green, off-white, tan and yellow fringe in stripes with a trellis band at top.
Tsuba
, 18th century
Mixed and inlaid metals

Circle of open fans
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1620-1630
Pen, brush, brown. Paper

Horizontal rectangle. At left, obliquely shown, an acanthus plant with a calix. At right are two sketches for the decoration of a frieze, both turned towards left, and one above the other. Above, a putto riding a fantastic animal, half-figure, ending in acanthus spirals together with a sea animal, below.
Studies of Hands and a Foot
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Three studies of a right hand, with the one in the upper right corner of the page more finished. Study of right foot, lower right corner.
Figural Letter, Capital B from a Story of Louis XIV of France
, ca. 1700
Etching with engraving on paper
Print

Shown against a battery firing at a town. Ten horses pull a cannon in the foreground. Moulded frame.
Study for Cleopatra
Francis Augustus Lathrop, American, 1849–1909, 1880–90
Brush and gouache on paper
Drawing

Right part of the bust of a woman obliquely shown. The head is turned toward the right shoulder. A snake winds towards the breast.
The Flagellation
, 1840s
Wood engraving on paper
Print

Two men scourge the Lord; a priest watches.
Fragment
, 18th century
silk, metallic yarns Technique: satin weave with supplementary weft patterning (brocaded)

Silk fragment showing design of flowers and acanthus leaves in gold and silver, with details in brocaded in polychrome silk. One selvage present.
Fragments
, late 18th century
silk Technique: plain weave with supplementary warp floats

Barred pink stripes and stripes with a lion on a pedastel.
Title Page from "Premier Livre De Differents morceaux A l'Usage de tous ceux qui s'appliquent aux beuax Arts Inventé Par G.M. Oppenort Architecte du Roy Et Gravé par Huquier," Serie A (Moyen Oppenord)
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Title in a cartouche flanked by Apollo (right) and Diana (left); a rooster on a shell above. Below, piece of ground with shells, etc. Inscribed in center, title; along lower margin: "A Paris chez Huquier vis a vis le Grand Chatelet avec privilege du Roy"; upper left: "I"; upper right: "A". Center: "Preuier livre / de / different ruarceaux / a l'usage / de touts ceux qui s'appliquent / aux beaux arts / inventé / par G. M. Oppenort / Architecte du Roy / et / [???] par Huquier" ("first book on the different herbs to be used for all purposes related to five arts, written by G.M. Oppenort, Royal Architecetu and printed by Huquier").
Fragment
, 17th century
medium; silk, metallic Technique: combination of two structures, 7&1 satin plus plain weave

Birds, rabbits and flowers in green and silver.
Fragment
, 17th century
silk Technique: supplemenatry warp forming cut and uncut pile in plain weave foundation

Quadrangular motif which gives the impression of diagonal movement in red velvet.
Cap streamers
, 1850–1900
linen Technique: needle lace with ground of loop and twist with twist return

Alencon style lace designed with little flowers and flowing ribbons.
Keyhole escutcheon
, ca. 1880
brass

1912-4-28-a: Rectangular, with incurving sides, and top and bot...
Fragment
, ca. 1810
cotton Technique: relief printed on plain weave

Piece, formerly a lining of 1949-35-1-b, and formerly quilted. Design in two shades of dark red on white ground, shows group of people in early nineteenth century dress; a man holds head of a goat while a woman with child on knee holds up goat's legs and child suckles from goat's udder. Behind sits a second woman with a basin on her knee and hand with another basin stretched out toward fountain. Trees and foliage.
Design for a Round Table with Ball-and-Claw Feet
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Round molded table top with a dividing stretcher running across center; is raised on plain column-like support sitting atop an elaborately carved base terminating into four (three shown) molded and carved ball-and-claw feet.
Fragment
, late 19th century
cotton Technique: roller printed on plain weave

Two scenes: an Indian on horseback spearing a buffalo and cowboys wrangling a group of horses. The two scenes are surrounded by large floral motifs. Predominantly reds, pinks and white on a dark brown background.
Allegorical Figure of "Europe"
Meissen Porcelain Manufactory, German, active from 1710 to the present, 18th–19th century
hard paste porcelain, vitreous enamel, gold
figure

1960-1-29-a/d: (a): Standing female figure, wearing jeweled mantl...;     1960-1-29-b: Standing female figure, wearing ermine and crown, ...
Embroidered picture
Misses Patten, ca. 1805
silk, metallic and chenille embroidery on silk foundation, with metal sequins Technique: embroidered in satin stitch on plain weave; details added in watercolor

An oval image depicts a mother with two children offering bread to a beggar child. The scene is based on a mezzotint engraving entitled Charity by P. Stampa, published  in 1802. The scene is painted, with a chenille embroidered tree and satin stitch grass. The rectangular framing device is worked in satin and padded satin stitches. The oval is framed by golden ears of wheat, and above, a metallic gold eagle is holding floral garlands in his beak, caught up at the corners with spangled gold ribbons.
Austria No. 1: Plate from "Dickinson's Comprehensive Pictures of the Great Exhibition of 1851," published 1854.
Joseph Nash The Elder, British, 1808 - 1878, 1851
Lithograph on cream wove paper
Print

View of the installation of the Austrian Pavilion at the 1851 London Exposition.
Image is dominated on the right by a large carved wooden bed with lush red hangings. Clusters of men and women are shown viewing exhibits.
Paper doll
Harriet Blackstone, American, 1864–1939, 1922
Brush and oil, graphite on board

Paper doll of a bull.
Sidewall
, 1875–99
Block-printed paper, embossed

Imitation leather. Embossed symmetrical rococo floral and foliate pattern, with some areas in stippled texture; printed in metallic bright green and metallic gold.
Textile
, 1875–85
cotton Technique: printed by engraved roller on plain weave

Imitation patchwork organized as a square diamond lattice. The half dropped patterns are geometric, small scale floral, or paisley type. An octagonal medallion contains a bunch of flowers. Scenes from Pickwick Papers are included: "Pickwick", "Sam Looked at the Fat Boy", and "Alarming position of Mr. Pickwick."
Picture
C.W. White, 1785
silk Technique: printed by engraved plate (with color added) on 7&1 satin

Circular picture showing two fashionably dressed women, one holding a bird on a string.
Ceiling paper
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper

Wave scroll and medallion lattice with small floral bouquets in resulting square spaces. Background of brown square dots in groups of four. Beige ground. Printed in greens, pinks and white. Printed in selvedge: "Hobbs. Benton & Heath." Pattern number "381" "FM"
Design for Stained Glass Window
Sir Walter Sterling of Drumpellier, Scottish, 1780–1864, ca. 1860
Brush and watercolor, pen and ink, graphite on paper
Drawing

Three tall vertical panels, with pointed arches. Two small panels to upper right and left of central panel. Central panel contains figure of Christ enthroned, with angels, and coat-of-arms below labeled: Walter Stirling of Drumpel-
Reverie
Henri-Emile Lefort, French, 1852 - 1916, After 1882
Etching on vellum
Print

In a landscape setting at dusk, a standing woman leans on a balustrade, her head resting on her right hand, in attitude of contemplation. Swallows in the sky.
Sidewall
, 1905–1915
Machine-printed paper

Floral stripe pattern with iris flowers on stems alternating with green stripe containing petite floral motifs strung together.
Nemesis
Albrecht Dürer, German, 1471–1528, 1501–02
Engraving on white laid paper
Print

The winged nude figure of a woman, standing, facing right, in profile; she holds a covered vessel in her right hand, a bridle in her left, and stands on a globe; view of a town below.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Portrait of a woman in profile.
Sidewall
, 1800–1825
Block-printed on handmade paper

Pastoral vignettes, printed in dark red, pink and white on natural ungrounded paper.
Two Sketches of Men
Arnold William Brunner, American, 1857–1925, ca. 1891
Graphite on paper
Drawing

Center, man leaning against a pole, left profile, hands in pocket, wide brimmed hat, jacket over shoulders. Upper left, a head of a workman, with hat and mustache in left profile.
Landscape with Large, Dark Trees and Haystacks, probably Newport
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Countryside with a stand of large, dark trees at left and in distance.
Sidewall
Jean-Baptiste Réveillon, French, 1725–1811, 1788
Block printed, hand painted, gilded on handmade paper

Arabesque; with four different classical female figures, with vases, flowers and putti.  Block printed and hand-painted in color with gilded highlights on ungrounded white paper.
White Men Stalking a Tiger
, 1850–1875
Silhouette of white paper, cut out, on black paper mount
Silhouette

White men stalking a tiger.
Sidewall
, 1905–1915
Machine-printed paper

Large stylized floral medallion. Each medallion is enclosed within a scrolling ogival framework. Printed in green, blue, and tan on patterned ground.
Lausanne Chimneys
Arnold William Brunner, American, 1857–1925, 1879–80
Graphite on paper
Drawing

Seven sketches of chimneys.
Candelabrum
Alphonse Giroux & Cie, 1799–1867, ca. 1875
Gilt bronze

Three-legged gold decorative clock with three lower arms and one raised center arm for candlesticks. Insects are scattered among the candelabrum.
Sidewall
, ca. 1885
Fiber composition, tung oil

Imitation leather. Closely spaced small fans turned in different directions. They are decorated with flowers, stripes and lattice designs. Fans are the color of the ground: brownish-yellow; and the apparent ground of dark brown is actually a choke.
Three figures
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Three figures. The taller figure at left rests his hands on the shorter figure's arm and shoulder. Both are draped in robes. A faint third figure's head and bust in the background.
Miser's purse
, 1830–60
silk yarn, glass beads Technique: bead-linked mesh

An open mesh formed of small opalescent beads with a turquoise bead at each intersection and turquoise beads outlining the side opening. Two floral patterned gold rings control slit opening. Twisted gold and cut metal beads form tassels at either end.
Textile
, late 17th–early 18th century
wool Technique: stamped

Stamped wool
Design for Wallpaper and Textiles: Flowers and Birds
, 19th century
Brush and gouache, graphite on cream paper
Drawing

Two birds facing eachother, oriented diagonally surrounded by branches with foliage and berries. Birds and foliage within confines of pencil outlined square. Frog in bottom left corner of composition, facing bottom left. Bird on left: yellow with legs and wings extended, head facing downward. Bird on right: red with legs folded, wings extended, head facing upward.
Folding Fork with Damascened Floral Handle
FGS, ca. 1700
steel, gold, brass
folding fork

Fork has two flat tines, decorative chiseling at the join and a broad neck. Pistol-shaped flat handle with stylized floral damascening with gold flowers and cupid. Tines fold into handle. Brass rivets on handle.
House of Lords, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Scarlet robed men in white wigs sit along three sides of the room. Clerks at a table, center. Speaker's chair, rear center. Title, artists', and publisher's names below.
Two winged figures with crowns
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Two winged figures, each holding a crown. The figures are perpendicular to each other. Their heads are close together.
Border
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

On light gray and tan vertical striped ground; staggered bouquets in gold scrolls and white and tan bouquets, rinceaux linking them all.
Louis XVI Pattern Teaspoon
Joseph E. Birmingham, ca. 1909
silver
spoon

Integral construction. Oval bowl. Pronounced shoulder, stem of rectangular line ending in shouldered, rectangular fiddle terminal embossed with oval wreath with ribbon bow, enclosing monogram.  Slight upturn at end of terminal.