biglam/cooper-hewitt-alt-text huggingface dataset:
ART DU BRODEUR
Charles-Germain de Saint-Aubin, French, 1721–1786, 1770
Etching and engraving on laid paper
Print

The fourth plate from a series of ten illustrating the tools and art of embroidery. The designs and tools on the page are numbered and lettered. The numbers and letters are referred to in the accompanying text, which is not included in this album. The upper and lower designs are floral friezes with the design in the center showing a ribbon with scalloped edges. The designs are illustrated in the varying degrees of completion to illustrate the process of embroidery. The designs and tools are on a plain background within a double-lined border. The plate is titled, numbered, and signed. There is a circle in graphite around the upper design and title, with a letter A inscribed below.
Coupe de la Maison restaurée à Sarcelles, par Mandar Architecte et Ingénieur en chef des Ponts et Chaussée
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating two sectional views of both the interiors and exteriors of a country house along with three floor plans, and a general plan view of the house within its garden landscape.  The plate is titled, numbered, and signed.
Vive la Royale Maison de Savoye (Long Live the Royal House of Savoye)
, ca. 1780
Cut paper on wood frame
Lantern slide

Magic lantern slide, optical toy. On black field, vertical ellipse formed of pierced beading, enclosing cut-out text surrounded by twisted baguette motif in red, blue, and white, with circular fleuron at top and bottom.
Title Page
Jean-Jacques Bachelier, French, 1724 - 1806, 1760
Etching on laid paper
Print

Title page from a series of six plates of tailpieces and fleurons designed for the 1755-1759 four-volume illustrated edition of the Fables de La Fontaine.  The upper half of the plate is illustrated with two crossed palm leaves with a snake in the form of a circle in the middle with flowers, grapes and leaves interlaced, with sun rays in the background emanating from the middle. The title and publisher's address are lettered in the lower half of the plate. The plate is signed and numbered.
Chair
Duncan Phyfe, American, 1768–1854, ca. 1840
Turned, carved, and joined mahogany (legs and back), mahogany veneer (frame), oak, maple, ash (secondary wood in frame), brass (casters)

Straight-sided front legs, set square, curving outward toward voluted foot; lotus leaf carved on knee, with volute in side of knee.  Back legs square in section, curving outward from center.  Plain veneered seat rail semicircular about back, straight on sides, slightly bowed on front.  Back, with ogive cresting, descends in forward curve to seat rail.  Arms, round in section, terminate in volute supported by conventionalized lotus flower springing from volute and lotus leaf resting on front leg.  Chair upholstered on both sides of back and on boxed slip seat, with red silk damask edged with brocaded trimming in red and yellow.
Arabesque Designs
Etienne de Lavallée, French, 1735 – 1802, 1788
Etching and aquatint on laid paper
Print

Plate with three vertical arabesque ornament designs. The designs feature scrolling acanthus leaf and foliate motifs, rosettes, festoons of leaves, fleurons, vases of flowers and fruit, textiles, birds, and a hanging incense burner. The plate is signed and numbered.
Dish
, 1810–30
molded and cut glass

Elliptical, deeply notched rim; sides paneled with diamond diapering. On low foot with sunburst pattern.
Textile
Bromley Hall, Middlesex, England, 1712–1763, 1765–75
cotton Technique: printed by engraved plate on plain weave

Straight repeat with five scrolls with flowers framing landscapes. On the left: coastal storm, a hound chasing a hare, two lovers in a field, and a tower on a hill. On the right: woman herding cow and a boy gathering wood, with peacock and chickens.
Healey Gold
Chryso-Ceramics, American, 1892 - 1920, ca. 1893
Gilt porcelain
Jar and lid

sugar jar
Embroidered picture
, ca. 1850
wool embroidery on linen foundation Technique: embroidery on plain weave foundation

Bridge spanning a river; men in boats in the foreground and buildings across the bridge in the background.
Cover
, late 19th century
linen Technique: needlework on knotted net

Long rectangular knotted and embroidered net border comprised of two rows of fantastic riders and beasts surrounding an urn in a vertical symmetrical repeat. Bobbin lace insert between field and border of embroidered net with beasts. Additional bobbin lace insert and pointed edging of embroidered knotted net with animals and tassels at each point.
England's Hope
, ca. 1855
silk Technique: printed by engraved plate on plain weave
Scarf

Silk scarf with a family portrait of Queen Victoria, Prince Albert, and eight of their nine children. Yellow border.
bon Voyage
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

A standing man seen from behind. He wears a hat with his long hair tied with a ribbon. He wears a jacket, cape, and breeches. He holds a long pole in his right hand and his left hand against his hip. In the background a landscape with trees and clouds are visible with flying putti and a nude woman or sculpture, with a sailboat in the distance. The plate is titled, signed, and numbered.
Wall Decoration, Plate from "Loggie di Rafaele nel Vaticano" (Raphael's Loggia in the Vatican)
Giovanni Ottaviani, ca. 1735 – 1808, 18th century
Hand-colored etching in gray ink on thick white wove paper
Print

Wall Decoration, Plate from "Loggie di Rafaele nel Vaticano" (Raphael's Loggia in the Vatican).
Peep-show, Vue de l'Ecluse d'Amstel Regardant Par le Dehors d'Amsterdam
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook paper
Print

Peep-show print
Tile
, 1701–25
Tin-enamelled earthenware

Bluish-white field. In center, blue sea-goat riding upon water. In corners, scroll decoration.
Design for Mosaic or Stained Glass Window in Honor of a Painter (“Palmam Qui Meruit Ferat”)
Francis Augustus Lathrop, American, 1849–1909, ca. 1890
Brush and watercolor, gouache on board
Drawing

A panel with a flying female genius raising a laurel wreath with her right hand, holding a palette and brushes in the lower left one. An acanthus palmette is at the bottom. Inscription at top" "PALMAM / QVI MERVIT / FERT"
A Castle in Ruins Upon the Banks of the Loire
W. Boonett, active late 18th century, ca. 1780-1800
Engraving on paper
Print

Figures cross a low ruined bridge in the foreground, which leads up to a ruined castle. Boats are moored near by at the left, and in the left distance is a windmill.
Plate
Minton Ceramics Manufactory, English, established 1796, 19th century
porcelain, vitreous enamel, gold
plate

Flat marli and smooth rim. At center, white ground with overglaze florals. Surrounding this, a beige grown with gilt scrollwork.
Adoration of the Magi (Design for Stained Glass Window)
Francis Augustus Lathrop, American, 1849–1909, 1898
Brush and watercolor, pen and red ink, graphite on cream wove paper
Drawing

Stained glass design in two halves. Left, Joseph, Madonna, and Child; a King offering a gift. Right, two Magi and two shepherds, facing left.
Finial
, ca. 1750
Fire-gilt bronze

fish
Fragment
, 6th–8th century
Warp; S-spun linen. Wefts; Z-spun linen, Z-spun wools technique: plain weave and tapestry weave

Coptic fragment has isolated ornaments in brown on plain weave ground.
Baby
, late 19th century
Painted wood, cotton, other materials
Puppet

Brightly painted head with white net cap and red ribbon. Printed cotton garment with lace at neck and wrists.
Printing block
, 17th–18th century
wood

Carved woodblock with a figure of a kneeling woman.
Fragment
, 17th century
linen Technique: bobbin made (continuous tape with net added)

Scrolling ribbon like floral design. Ground with small scale ribbon like circular motifs. Two pieces sewn together.
Portrait of Caspar Nemins, Bishop of Antwerp
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, wearing a beretta and short moustache and goatee. Below, his escutcheon and motto, and inscription.
Pope Sixtus II and Deacon
Felice Giani, Italian, 1758–1823, ca. 1813
Pen and brown ink, brown wash, over black chalk on white laid paper
Sketchbook folio

Verso: Study after ''Charity'' by Andrea del Sarto???
Panelling of the Cabinet in Palais Bourbon
Jacques Gabriel, 1667–1742, ca. 1737
Black ink on white paper
Print

Section of a wall with a fireplace with a mirror in center.   Tapestries (or paintings) hung on both sides.  Narrow paneling between, entirely covered with scroll decoration.
Trimming
, 17th century
silk, metallic thread Technique: woven

Design of triangles with a lace border on one side.
Handkerchief
, 19th century
linen Technique: embroidered

Large sheer white linen handkerchief with wide drawnwork border. Monogrammed "S.J.M." with embroidery in one corner.
Design for an Outdoor Birdcage
Jean Romano, 1841
Graphite, pen and black ink, brush and watercolor and gold paint on paper
Drawing

Front elevation of a design for a large, Neo-Gothic birdcage within a niche. Plan and scale below.
A Sleeping Cupid
Bartolomeo Coriolano, 1630–1645
Chiaroscuro woodcut in blue-gray and black printed from two blocks
print

Horizontal rectangle. A bust-length figure of winged Cupid, sleeping, his head thrown back toward the left. Outline block printed in black; the chiaroscure block printed in grey-green gives a uniform toned background, with touches of white heightening.
Ewer
Bernard Palissy, French, 1510 – 1590, probably 19th century
Lead-glazed earthenware

Footed ewer in the style of Bernard Palissy.  Molded rosettes at foot. Bolded leaves and shells on body. Scrolling handle. Mottled blue and red ground with green leaves.
Fragment
, 5th–8th century
linen, wool Technique: supplementary weft brocade (wool) on a plain weave linen foundation

Square with a checkerboard pattern in colored wool
Textile
, 1750–99
silk Technique: painted and block printed printed on plain weave

Fine ivory (probably originally white) silk plain cloth ground with large lozenges formed by diagonally crossing lines of small green vine with red berries. Large four-petal blossom at each intersection of diagonals. Four different small-scale scenes in center of lozenges. Each has landscape background with figures in traditional Chinese costume. Both selvages present.
Program for the Court Performances at the Fontainbleau Theater (Repertoire de Fontainbleau)
Louis-Simon Lempereur, French, 1728 - 1808, 1779
Engraving on paper
Print

"Repertoire de Fontainebleau" from 10th October to 13th November, 1786. Framework surrounded by figures; calendar printed within. Below, a note in ink: "Jeudy 2 novembre / la caravanne / vendredy 3 9bre[….]"
Fragment
, 13th century
silk, metallic Technique: float patterned plain weave

Fine lozenge outlines and Kufic script on banded fabric.
Textile
, ca. 1818
cotton Technique: printed by engraved copper plate on plain weave

Textile printed with four scenes illustrating the story of William Tell (1804), a play in five acts by Johann Christoph Frederich von Schiller (1759-1805). Tell ordered to shoot an apple placed on his son's head, Act III, Scene 3. Tell declares that his second arrow was meant for the tyrannous Governor, Act III, Scene 3. Tell escapes the Governor, Act IV, Scene 3.
Two Floral Tailpieces or Fleurons
Jean-Jacques Bachelier, French, 1724 - 1806, 1760
Etching and engraving on laid paper
Print

Second plate from a series of six of tailpieces and fleurons originally designed for the 1755-1759 four-volume edition of the Fables de La Fontaine.  Two fleurons or tailpieces, one above the other, made of flowers, leaves and branches. The plate is numbered and signed.
Sidewall
, ca. 1850
Block-printed

2 fragments???
Sleeve fragments
, 17th century
silk, metallic Technique: supplementary warp forming loops (velvet)

Diagonal sprigs in blue and coral velvet on silver ground.
Fabbriche Italiane di Seterie, Como, Serie C Vol. 1 DAL 1322 AL Couleur
, 1870–79
silk, paper, leather Technique: jacquard woven samples, bound
Sample book

Book of jacquard woven silks, separated by transparent paper sheets, bound in leather. Samples in various colors with floral and geometric designs; many monochrome, some in two colors.
Sidewall
, ca. 1820
Block-printed on handmade paper

A scalloped fish-scale design. Each frame contains a bird perched on a floral sprig. Design is flipped in alternating horizontal rows. Printed in 2 shades of blue on white ground.
Judgement of Clara
, early 19th century
cotton Technique: roller printed on plain weave
Textile

Four scenes (all captioned in French) of the story of Clara. One scene would only be complete when lengths were sewn together. In red on white.
No. 107
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1868
Mouth-blown crystal, facet-cut and polished
Red wine pitcher

Mouth-blown crystal pitcher, elaborately facet-cut and polished.
Title page from "Cartouches Nouvellement Inventez"
Jean-Bernard Turreau, French, 1672 - 1731, 18th century
Etching on paper
Print

Framed cartouche featuring putti, lions, masks; lower section, another round cartouche with a shell at the top and two putti, flanked by two torches. Cartouche bears inscription: CARTOUCHES / Nouvellem.t Inventez / par J. B. Toro / Chez le S. r Dubuisson, / rue de Guenegaud, avec privilege du Roi
Design for Oblong Serving Table with Two Drawers
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Oblong top with convex front, having two drawers and raised on 4 straight tapering legs; rectangular lower shelf attached just above floor level; plain rectangular backsplash.
Sidewall
, 1830–40
Block printed on joined sheets

Climbing, flowering vines, printed in gray, brown and green on a gray ground.
Album of Prints: Tome 3 of the Oeuvre of Juste-François Boucher, known as Boucher fils
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Album

Album of prints containing volume three of the collected works of Juste-François Boucher, which includes books thirty-three through forty-eight of designs for furniture. By the 41st album, the publisher line indicates Rouen as another place of publication. The album is missing:
36e Cahier, Nos. 11-12
38e. Cahier, No. 224
39e. Cahier, No. 234
7 fragments of vessels
, 1st century BC–5th century AD
glass

seven of originally twenty-six miscellaneous fragments selected for types of decoration, variation in color of glass, and irisescence. / * For other accessioned fragments from the original group of 26 fragments in this accession number see: 1928-15-4-a,b, c, g, h, m and n.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Single red rose with three buds in acanthus medallion alternates with single red rose and one bud in a smaller medallion. Small-scale stemmed roses appear randomly strewn in upper portion of frieze. Frieze background has a shaded effect, with top portion in tan while lower portion contains horizontal brown stripes. Stylized red floral motif in swagged band across bottom.
Frieze
, 1905–1915
Machine-printed paper

A repeating design of an arbor of swags of blue roses, connected by light gray leaves with blue rosebuds. Printed in shades of blue, green, gray and ivory on an ivory ground between green borders.
Panel
, 17th–18th century
silk on cotton Technique: embroidered

Cotton quilted in yellow silk in a cross-hatching pattern. Red embroidered pattern in outline or back stitch has designs set in rectangles. In each, a large peacock above birds in foliage, and below, men in 17th century European dress on horseback, hunting boars; deer in foliage. Two borders have a wave design with circles. At bottom, in a horizontal border, riders hunt lions, boars, etc.
Waves Crashing on Beach with Row of Cliffs in Distance
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Rough sketch of waves crashing on beach at right. Long line of tall cliffs at right in distance.
Chrysanthemums
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Branches of blooming chrysanthemums and leaves take over the lower half of the stencil. Silk threads have been added to support the stencil structure. It appears that part of the stencil is damaged and torn away. Adhesives are left behind in each of the corners, and sun stains are also present.
Sampler
Merwine Family, ca. 1816
silk embroidery on linen foundation Technique: embroidered on plain weave foundation

A list of seven names of members of the Merwine family is embroidered in black in the center: Charles Merwine, Martha Merwine, Thomas Merwine, Ann C. Merwine, Emily Merwine, Charles Merwine, and Elizabeth Merwine.  To the left and right are trees supporting flowering plants; at the top and bottom are large-scale wavy floral vines. The narrow borders are a geometric fret at top and bottom, and a wave-like scroll at the sides.
Border
S.A. Maxwell & Co., ca. 1915
Machine-printed paper

Floral border, grouping of three pink poppies connected by vining arch. Beneath, fill of stylized floral motif. Printed on white ground.
La côu et la pluie, que c'est romantique! Plate 3 from "Inconvénient"
Auguste-Xavier Leprince, French, 1799 - 1826, ca. 1825
Lithograph, brush and watercolor on paper
Print

Group of people with two umbrellas walking uphill to the right against the rain. Title and artists' names below.
Sidewall - fragment
, 1840–45
Block-printed

Single motif of a small cluster of white flower and orange flowers in drop-repeating arrangement. Fine white tendrils make an all-over pattern on the ground. Adhering to the back of this paper were found fragments of a newspaper which semed to recount events of the 1790s.
Female Mask and Butterflies
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, ca. 1900
Silver
Matchsafe

Rectangular, with curved corners, top, bottom, and sides, featuring female mask with pendant earrings, long hair tendrils, and butterfly wings framing her face, smaller butterflies above, on lid, and below. Reverse features open reserve with monogram HB, framed by stylized curves and butterflies. Lid hinged on side. Striker in recessed groove on bottom.
Chintz
, 18th century
cotton Technique: mordant painted and dyed (chintz) on plain weave

Scattered floral sprigs and birds. Indian adaptation of European pattern. As design is hand drawn repeat is irregular.
Sidewall
, 1815–30
Block-printed on joined sheets of handmade paper

A set of pipes, a tambourine, and an arrow centered in a horizontal hexagon shape. Centered in a vertical hexagon shape below is a figure, probably Thyiades, one of Bacchus's female companions.  Figure wears a long, wavy robe while dancing and holding a cup.  Hexagon shapes and images printed in shades of gray and white on a two-toned blue background of floral and leaf motifs.
Chintz
, 18th century
cotton Technique: mordant for black, 1 red and 2 purples applied by pen and brush over resist; madder dyed; blue applied by brush over resist; chintz on plain weave

Meandering stems with exotic blossoms.
Lucullus
Jules Desfossé, French, active 1851 - 1863, 1855
Block-printed paper
Frieze

Putti among fruits and animals, including dog, fish, snake threatening frog, two pheasant cocks, and a fox strangling a goose. Theme of gastronomy. Printed in browns and yellows; border at top and bottom simulating wood grain.
Bonad
, 1775–1825
Hand painted on canvas

First scene, figure in ocher-colored robe, and man in waistcoat on horse; man centered between two women, with chalice separating each; figure reclining in bed with two females standing at foot; man standing between two women; another figure in ocher-colored robe standing in door frame; woman in white gown. This panel represents the lost son, going off to foreign lands.
Sidewall
, 1875–1900
Block-printed

Very stylized floral motifs, set within a large-scale medallion. The design is printed in green and outlined in off-white. Printed on a yellow-ocher ground.
Seven of Diamonds from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Seven of Diamonds from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Robinson Crusoe
, ca. 1875
Machine printed with engraved copper rollers
Sidewall

Children's wallpaper depicting events from the story of Robinson Crusoe. A pattern of entwined branches forms a rustic framework around each of six different scenes, placed in an alternating position in horizontal rows. There is a caption below each scene. Margins at both sides. Intaglio printed in a monochromatic brown design on a light brown ground.
Textile
, 18th–19th century
cotton Technique: wax resist dyeing (batik) on plain weave

Row of three ogival medallions: middle one with rosette, outer two with crested bird and flowers as well as remnants of deep toothed zigzag border on either side. Much filling decoration. In reds and blues on very fine white cotton ground.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Repeating pink floral motif with all-over, monochromatic, smaller floral motif. Background of dash and dot pattern. Cream ground. Printed in pinks, greens, beige and white liquid mica. Printed in selvedge: "S.A. Maxwell & Co." Pattern number "1657"
Ivy and Willow Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

In Japan, the willow is a sign of spring, love, and longevity. It is a perennial favorite for weddings, as it represents a long and happy marriage. It is rare to see the willow in tree form on a stencil. The long branches are known as the "gazing back willow" (mikaeri yanagi), a representation of the sorrow of losing a lover. Ivy leaves accompany this otherwise linear motif. Silk threads are added to support the stencil structure.
Sketchbook Page: Arrow Head
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Sketch of three groups of flowers on a stem, left; study of single flower, center; study of three-pronged leaf, right. 
Verso: Sketch of two large heart-shaped leaves.
Lotus-shaped cup
, ca. 1100 BC
Colored faience (ceramic frit)

Narrow bell-shaped body on tall flaring foot.  Black design of pointed petals, rising from wavy line near bottom, on brilliant glossy, turquoise-colored body.
Pleated fan
, mid- 19th century
Painted paper leaf with applied silk and ivory; pierced and carved ivory sticks, gilt metal bail with knotted silk tassel

Pleated fan. Painted paper leaf showing village scene; figures with appliquéd silk costumes and painted ivory faces. Ivory sticks pierced and carved à jour. Gilt metal bail with knotted red and purple silk tassel.
Brisé fan
, 19th century
Pierced tortoise shell sticks, silk ribbon

Brisé fan. Pierced tortoise shell sticks with brown silk connecting ribbon.
Sampler
Maria Nadeouton, early 19th century
silk and metal-wrapped silk on cotton Technique: embroidered in satin, back, long-armed cross, knot, stem, double running, cross, and aztec stitch (withdrawn element) on plain weave foundation

Unfinished sampler with bands of pattern.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

A repeating pattern of scrolled cartouches containing a tulip flower and stem connected to a smaller similar design on a dotted background of simple flowers and larger dots giving way at the top to flowers and larger dots. Bordered by horizontal bands at the top and at the bottom by repeating tulip flower and horizontal bands. Printed in white, gold, gray and pale gray.
Traveling Spoon
, mid–late 18th century
silver, brass
spoon

Oval spoon bowl with engraved floral decoration on back of spoon. Flat tapering handle has floral engraving on both sides. Tapering handle, round in section, with filigree, floral and paisley design around a plain silver shaft. Rose at the end of handle.