biglam/cooper-hewitt-alt-text huggingface dataset:
Possibly the Virgin and Child
Fortunato Duranti, Italian, 1787 - 1863, 1820–1860
Graphite, pen and ink on paper
Drawing

The Virgin is seated in the background, facing left in profile. Her right hand rests on a shield bearing a serpent over a crescent moon, on which are inscribed three stylized lower-case F's. Another inscription around border of shield. With her left hand, she gently pushes the nude Child, who carries a torch. A group of figures above, enclosed in the half-circle of the moon. Surrounded by rays of light.
Mountain Range, Mexico
Frederic Edwin Church, American, 1826–1900, February 27, 1893
Graphite on beige wove paper
Drawing

Landscape sketch showing a view of a mountain range in Mexico. Viewed across flat terrain that makes up the foreground and middle distance, a low mountain range with one tall, rounded peak at center left creates an undulating horizon in the background.
Teapot
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1780
hard paste porcelain, vitreous enamel, gold
teapot

Globous body and flat cover with floral finial. Painted with scattered florals. Gilding at rim of lid.
Sidewall - fragment
, ca. 1785
Block printed on handmade paper

Portion of the figure of a woman in classical drapery, holding cymbals, against a marbleized ground. Photograph owned by C.U.M.
Project for an altar in a side chapel
, 1725–1750
Pencil, pen, ink, brush and blue water colors on paper
Drawing

Verticle composition of an altar. The backwall of the chapel is framed by the lower part of the bay of the main nave of the church with two pilasters supporting the entablature. The entrance arc is supported by two shorter columns. There is a eustachian above with a crown in front of two festoons. Groups of pilastars and columns support the entablature of the altar. A window is included in the center with the Dove of the Spirit in front of it.
Design for a Watchcase
Jacques Vauquer, French, 1621–1686, 1660–1670
Engraving on laid paper
Print

Design for the lid of a circular watchcase, decorated with a biblical scene representing two adults with two infants and an angeli; flanked by rectangular arrangements of ornamentation. The plate is signed.
Pleated fan
, 19th century
Lace and gauze leaf, mother-of-pearl sticks, brilliant set in metal pin, silk tassel

White fan leaf. OBverse: lace with floral design. Reverse: plain gauze. Mother-of-pearl sticks. Brilliant set in metal pin. White silk tassel with decorative knots.
Hummingbirds
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Sketch of a nest with young birds.
Panel with the Letter "S" from the "Newes ABC Büechlein"
Lukas Kilian, German, 1579 – 1637, 1627
Engraving on off-white laid paper
Print

A boy ready to cut a goat's beard ("schneiden").
Il Vappo
, 18th century
Carved and painted wood, glass and woven cloth
Puppet

Set of Commedia dell'arte marionettes, each with facial masks and costume of stock character. Il Vappo  shown with a large straw hat, long blue jacket and red stockings.
Shoreline Flowers and Mountain Peak
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite and white gouache on tan laid paper; verso: graphite
Drawing

Landscape sketches showing separate views of flowers and other vegetation along the shoreline of a pool or lake, at upper center, a wide, rocky, bulging mountain at center, and the corner of a trellis at lower center.

Verso: Architectural sketch of buildings in a city, with the belfry and onion-shaped steeple of a church prominently visible at center. The corners of two other buildings in the foreground frame the scene.
The Yankees Are Coming
Winslow Homer, American, 1836–1910, 1862
Graphite on wove paper, laid down
Drawing

Recto: Vertical view of the end of a log cabin with a large barrel crowning its chimney.

Verso: Three monograms of Winslow Homer's name.
St. Matthew (S.Mathevs)
Cornelis Visscher, Netherlandish, 1629-1658, 1650
Engraving on off-white laid paper
Print

Saint Matthew is presented in three-quarter view seated at a desk writing his gospel. In his right hand he holds a quill and his left hand rests on an open book. He is accompanied by his attribute, a young angel who appears at left, just behind the Saint's shoulder.
Mausoleum
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Most of the elevation is shown; the design is a variation of that in -1132, bottom. The lower part of the chapel is surrounded by a colonnade with four porticoes; the design is drawn over parts of a mathematical figure and of a tough crayon sketch of an elevation.
Printer's sample book
Cocheco Print Works, Dover, NH, USA, 1884–87
cardboard, paper, cotton

Notebook with 219 swatches of printed cottons with dye recipes.
Vinaigrette
, 1802–03
Silver, gilding

Oval straight-sided box with hinged cover. Hinged interior grill pierced with anchor and plow(?) amid foliage, arranged as trophy. Interior of box, and grill gilded. Exterior bottom of box engraved with band of husks and dots. Upper surface of cover with similar band encircling oval device of rosettes and lozenges.
Kashmir Design
, ca. 1875
Woodcut on paper
Print

Allover design of vines in green and brown filled with small flowers on a white ground consisting of floral pattern in red, blue, green, and yellow.
Sampler
Scuola d'Industrie Italiane, New York, NY, USA, 1917
linen, silk Technique: double running, satin and stem stitches on plain weave

Sampler with twenty-one complete cross borders in geometric and floral designs. Some designs unfinished. Embroidery in yellow silk.
Le Printems
François Boucher, French, 1703–1770, ca. 1754–86
Etching and engraving on paper
Print

An allegorical scene representing spring with three putti (children) seated within a landscape, next to a vase on top of a plinth. The vase and plinth are decorated with more putti. A wall and fluted column in ruins behind them. The putti are looking closely at the plants and flowers that surround them. A verse is lettered below. The plate is signed and titled.
Design for brooch with green diamonds and pearls
, 16th century
Pen, brush, sepia, green, light grey water colors. Paper
Drawing

Vertical rectangle. An escutcheon containing a green diamond. Eight small pearls upon the inner frame. Below, hanging, a pearlike pearl.
Drawing
Felice Giani, Italian, 1758–1823, About 1800
Pen and brown ink with brown wash (iron gall ink)

Horizontal rectangle. Protogenes seated at right, upon a chair, before painting representing a satyr blowing the flute. He is grinding colors and looks up to the King who stands beside the chair speaking to Protogenes and pointing with his right hand on the door, where a guard is posted to prevent people from entering: A group of officers stand behind the king discussing the painting. The edges are divided into eight and ten sections, respectively, each being numbered with a figure written in pencil.
Initial Frame
Homer Wayland Colby, American, 1874–1950, ca. 1910
Black ink on paper
Drawing

A symmetrical design of flowers and leaves. Blank frame for initial, center.
Fringe
, 17th century
silk Technique: plain weave

Pink and white fringe with a heading and a skirt of twisted loops, each supporting a tuft of the same color.
Coverlet fragments
, 1840
cotton, wool Technique: double cloth

In navy wool and cream cotton, large ornate pattern of acanthus pillars framing large rosettes, with thistles and branches and some diaper filling. Fragment "a" shows part of a border of plain houses flanked by small trees, and in right corner, small boat in profile, with "Year 1840." Reversible, with colors in interchanged positions.
Study of a Young Bull Standing in a Meadow
Henry Bernard Chalon, English, 1770 - 1849, 1820–1849
Black crayon on grayish cardboard
Drawing

Shown in profile, turned toward left and eating a high plant. Written above at right: "Parsons…"
Drawing
Felice Giani, Italian, 1758–1823, 1790-1800
Pen and brown ink, yellow-brown and gray-brown wash over black chalk. Paper

The procession of priests, soldiers, bacchic and bucolic people of putti and children is directed toward right. Children accompany the two-wheeled carriage with Cybele, which is drawn by two lions which are led by a boy.
Peep-show, Vue Perspective du Dedans de L'Eglise des Chartreux de Pavie en Italie
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
No. 230 the Strand
Joseph Pennell, American, active England, 1857–1926, 1903
Etching on paper
Print

Vertical rectangle. Façades or irregularly shapes buildings seen frontally; one is in the form of a triple tier of bay windows. Numerous figures in the street.
Fragment
, 18th century
linen Technique: bobbin lace (Brussels-style)

Fragment has an incomplete large-scale floral design with varied patterns of ground mesh.
Printing block
, 19th century
wood Technique: carved

Small block of carved wood shot through lengthwise with 5 large holes. Design of an elephant with howdah (carriage) is made by small squares dug out of the surface of the wood for reserve printing. A large round hole for elephant's eye, another for a jewel in the howdah and a circular pattern of holes for the sun pierce through to the lengthwise tunnels in the wood. Remains of red dye or wax on sides of block and in the round holes.
Floral field and border
, 1780–1815
White on glazed paper
Drawing

Vertical rectangle. Top: A bough with three leaves and seeds. Bottom: an upright bough rising between two others; the left half of the motif is shown.
Fragment
, 17th century
silk Technique: supplementary warp forming raised pile in plain weave foundation (velvet)

Diagonal leaves facing in alternate directions in blue on blue.
Selvage on left side.
Morganlandschaft
Wilhelm Witthoft, German, 1816 - 1874, ca. 1850-1860
Steel engraving on paper
Print

An idealized landscape of mountains behind a deep haze-filled valley. On the right a castle is perched on rocks. Soldiers and other figures in the foreground.
Aigues-Mortes
Francis Augustus Lathrop, American, 1849–1909, January 20, 1892
Black crayon on paper
Drawing

Walled tower, at right; lower wall with windows, extending at left.
Execution of King Louis X
Paul-André Basset, ca. 1793
Hand-colored etching Support: off-white laid paper
Print

Horizontal format; before the crowd assembled in the Place Royale, the executioner holds aloft the severed head of the King.
Yoshiwara. Hidari Fuji (Yoshiwara with Mount Fuji), from Tokaido Gojusan Tsugi-na Uchi (Fifty-Three Stations on the Tokaido)
Ando Hiroshige, Japanese, 1797–1858, 1834
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

A horse with three women upon it, led by a man, is seen on a road bordered by pine trees raised above bordering rice fields. Mount Fuji at the left.
Rocaille Arch and Fountain with Venus and Amor
Pierre Edme Babel, French, 1720–1775, 1743-1763
Engraving on off-white laid paper
Print

Fountain viewed though a rocaille archway that frames a statue of Venus and Cupid. The plate is signed and numbered.
Fragment
, ca. 1890
linen, velvet Technique: machine made lace with velvet applique

Fragment of black lace in design of rose branch with flowers, leaves and fruit. Fruit in dark red velvet applique.
Urn (One of a Pair)
Coalport Porcelain Factory, English, active late 18th - 20th centuries, ca. 1830
porcelain, vitreous enamel, gold
urn

On a square pedestal, a footed pyriform urn, reeding on its lower portion and fluted on contracting neck. Body covered with garlands of applied flowers. Triple-scrolled handles, green and gold. Flowers are polychrome on a white body.
Fragment
, 17th century
silk Technique: supplemenatry warp forming cut and uncut pile in a plain weave foundation (velvet)

Pattern of interlocking crescents and little leaf forms reserved in tan with dark green cut and uncut pile.
VIIe Cahier de Meubles, et 1er de Lit
Richard de Lalonde, French, active 1780–96, 1792–1814
Album

Four plates from a series of bed designs in the neoclassical and empire styles. The plates are titled, signed, and numbered.
Textile
, 1830–40
cotton Technique: red and black printed by engraved roller, red (background) and blue printed by relief or block, on plain weave

Offset clusters of red and blue flowers enclosed by floral swags and tassels on a red ground.
Waistcoat fronts
, late 18th century
silk Technique: embroidered on ribbed plain weave

Two waistcoat fronts, in ribbed off-white silk are joined together. Fronts are embroidered in multicolored silks with a large floral designs along the bottom edge and up the center front. Remainder is embroidered with small flower sprigs in an open grid-like arrangement.
Border
, 1805–1810
Block-printed on handmade paper

Upper part of border has two addorsed seated Nymphs with wings, a vase between. Below a band with rosette and portion of a checkered lozenge, on green ground.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Rinceau of acanthus scrolls and rose floral motif in center, strung bead at top and bottom. Printed in greens and browns with liquid mica on a pale green background.
Cord with two tassels
, mid-19th century
cotton, silk, wool, wood

Tasseled tie-back of blue and white cords twisted; each end terminated by a large blue tassel.  The center of the folded tieback is caught by a large slip bead.
Plate Illustrating Fanmaking from Diderot's "Encyclopédie"
Denis Diderot, French, 1713–1784, ca. 1751–1766
Engraving on paper
Drawing

Plate illustrating fan manufacture from Diderot's "Encyclopédie."
Carpet fragment
Bigelow Carpet Company, American, 1849–1900
wool, hemp Technique: cut pile on plain weave ground

Section of field with Louis XVI wreath repeat and section of border. In shades of light brown on pinkish-orange pile.
Border
, late 17th century
linen Technique: needle lace

Needlepoint lace border. Elaborate, emerging vine and foliage design.
Textile
, 18th century
cotton Technique: relief printed

Fragments
Sample Plate
, ca. 1875
hard paste porcelain, metal-oxide pigment, gold
plate

A sample pattern plate displays a variety of patterns in numerous colors. This white plate has samples on both the front and back of the plate, including five portraits on the front.
Sugar Sifter with Spider Web-Shaped Bowl and Monkey
Charles Victor Gibert, French, ca. 1890
silver
sifter

Rounded deep bowl with pierced openwork covering interior in concentric circles in the shape of a spider web. Large long leaves fan out from neck overlapping pierced decoration. On neck, relief monkey applied as if sitting perched. Handle formed and decorated in bamboo-shape with occassional knobs and horizontal breaks. Handle widening slightly towards rounded terminal, which is covered in knobbed decoration.
Sampler fragment
, 19th century
linen, silk Technique: embroidered

Fragment of a sampler embroidered in polychrome silk showing a basket with flowers and birds, and a standing woman. Geometric border pattern and floral sprays.
Sampler
, 18th century
silk embroidery on linen foundation Technique: embroidered in rococo stitches on plain weave foundation

"Rococo" embroidered sampler showing diamond designs, potted plants, and bouquets throughout the field.
Textile
, ca. 1790
cotton Technique: block printed with resist, indigo dyed, plain weave

Textile with design of stylized floral scrolls, in white on a blue ground.
Sidewall
American Wall Paper Manufacturers' Association, 1879–1887, 1879–87
Machine-printed on paper

Against a pale yellow ground, an all-over floral and foliage pattern is printed in very grayed hues of brown, blue and red. Embossed and gilt areas between pattern to suggest a woven ground. An imitation brocatelle.
Snail Shell
, late 19th century
Brass, with evidence of silver plating
Matchsafe

In the form of a snail shell, with raised scroll work and gadrooning on sides, decorative cartouche at top near lid, decorative shell motif on lid, which flips open at wider, flat end, hinged at center, c-scrolls below. Worn hatch marks on back possibly intended as striker.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Staggered foliate medallions connected by thin foliate scrolls. Ground is dark pink. Printed in white, red, pink, yellow, and gold mica. Printed in right selvedge: "S. A. Maxwell & Co. New York & Chicago" "1946"
Textile
, 19th century
silk Technique: wax resist dyeing (batik) on plain weave

Silk textile, probably a shoulder cloth (selendang) or breast cloth (kemben), with all-over geometric pattern ("ceplokkan" motif) in dark brown and cream-white. Outer edge decorated with narrow border similar to the running-key design. Fringed.
Sidewall
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1875–1900
block-printed and embossed paper

Imitation leather. On background of narrow and wide ribbon-like vertical stripes, bouquets and sprays of flowers emerging from acanthus-leaf center motif.
Chatelaine
, ca. 1860
Silver, gold wash, ivory, enamel, glass

Seven components of various materials attached to simple, gold-washed hoop bracelet: a: Ring; b: Mirror; c: Egg;  d: Mesh bag; e: Eyeglass case; f: Eye glass; g: Heart shaped Locket; h: Memo pad; i: Compact; j: Pin cushion; k: string.
Courting Couple
Simons Bros. & Company, ca. 1895
Silver
Matchsafe

Oblong, with curves and counter curves around perimeter, featuring raised decoration of a 3/4 view of courting couple, she in hat and long dress with full sleeves and small hat, holding bicycle handle bars, he stands at left, behind her, leaning on bicycle, with cap in hand, suit, vest and tie, trees in background, elaborate surround of alternating c-scrolls, small flowers in bottom corners, lid features 2 birds on branch, with c-scroll surround, reverse unadorned except for c-scrolls. Lid hinged on side. Striker in recess on bottom.
Designs for Painted Porcelain Plates, Les Ananas (Pineapples) from the Service des Objets de Dessert (Dessert Service)
Jean Charles Develly, French, 1783 - 1849, 1819–20
Pen and brown ink, brush and brown wash, graphite on white laid paper
Drawing

Sketches for two plate designs on the theme of pineapples. The sketch on the left is a preliminary drawing for 1989-13-14. In a greenhouse interior, a man in the right foreground offers a piece of pinapple to two young children. Another man in the left middleground points to a themometer hanging on a verticle roof support to indicate the ideal temperature for ripening pineapples. Potted pineapples rest on shelves to his left.  A map of Brazil hangs on the rear wall, center. The sketch to the right shows in the right foreground the exterior of a Mexican house. A man in left middleground wearing a sombrero points to a man kneeling on the ground in front of the house picking pineapples. Mexican pottery appears on a low wall, center middleground, attached to the house.  In the left foreground, a woman shaded by an umbrella points to the kneeling man while offering pineapple slices to two small children. On verso at upper left, (sideways), in graphite, is a circular sketch of figures of a woman and three children in an interior, and at right a sketch of a duck.
Abstract Zig Zag Motif
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Sharp, jagged zig-zags create this abstract pattern. Many of the points are bent and damaged. The silk threads are also in disarray.
Frieze
S.A. Maxwell & Co., 1905–1915
Machine-printed paper

Alternating large and small acanthus medallions with floral motif centered in each. Metallic gold floral motifs in upper background and metallic gold stripes across middle ground. Metallic copper fill in medallions and appearing on lower portion. Background shades from green at top to tan towards bottom.
Sidewall
, 1790–1800
Block-printed on handmade paper

Arabesque, including roundel with battle trophies in grisaille, vase with flower above decorated apron, confronted birds, roses, and trophies of quivers and torches; printed in blue, pink, green, orange and cream on gray ground.
Sidewall
William H. Gledhill, 1905–1915
Machine-printed paper, liquid mica

Bright pink poppy flowers and green foliage appear randomly scattered, printed on tan ground.
Band
, 17th century
silk embroidery on linen foundation Technique: embroidered on plain weave

Fragment of border, cream linen ground embroidered in red, green, white and black silk. Highly stylized plant forms with birds and stags confronted. Narrow guard borders.
Study of Wind in Trees
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Hill with seemingly windswept trees in right middleground. Second hill with windswept trees in left distance. Flat land out to horizon in center, with dramatically cloudy sky. Miscellaneous pen in margin to right of image.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a woman in profile, seated in a chair. She holds something in her hands, possibly sewing or reading.
Sampler
Fabiana Muriel, 1808
silk embroidery on linen foundation Technique: embroidered in cross, satin, stem, back, and marking cross stitches on plain weave foundation

Spot motifs and inscription arranged around a central cross, within a frame of concentric borders, in pale blue, green, yellow and pink on a natural ground.  A tassel of embroidery silks on each corner.
Collar
, mid-19th century
Technique: appliqué, bobbin lace

Bobbin lace applique collar, floral scalloped; mid-19th century
Fragment
, 19th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Fragment in blue and white in a pattern of large-scale floral forms alternating with small-scale star form.
Frieze
York Wall Paper Company, 1895, 1905–1915
Machine-printed paper

Horizontal repeat of alternating large and small vegetal medallions surrounded by rococo inspired borders of foliate c scrolls and blue, beaded garlands. The bottom edge of the panel is bordered with a row of highly stylized blue blossoms, and the top of the panel is bordered by plain brown and blue stripes. An allover pattern of tiny, interlocking dots gives the panel the appearance of a cross-stitched embroidery. This design was printed in shades of dark red, green, blue, brown and gray on a beige ground.
Border
, 18th century
linen, silk Technique: bobbin lace, Mechlin style

Border of fine cream-colored lace, fine hexagonal mesh sewn with dots, but almost entirely covered with elaborate border design of roses, flower sprays, and foliage arranged above curving lines in a variety of little vines and flowers and edged with leaf shapes in a scalloped line. The curving bands of ornament are regularly interrupted by a medallion of flower heads framing heart-shaped decoration. Silk cordonnet outlines motifs.
"Le Villageois et le Serpente" from La Fontaine's Fables
, ca. 1770–1800
Black ink on white paper
Engraving

Horizontal rectangle. Scene from La Fontaine's fable of the same name, showing a man striking at a serpent with an axe at his friends, while his wife and child look on in consternation.
Textile
, 1750–1800
silk Technique: satin weave with supplementary weft

Off-white satin with large multicolored flowerheads and curving stems that show Chinoiserie influence.
Figures from Last Judgment
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Two figures from the far right side of The Last Judgment by Michelangelo. The one in the foreground is supporting a cross.
Sketchbook: Newport, Rhode Island, New Jersey, and England Views
William Trost Richards, American, 1833–1905, after 1890
Pen and, black ink (80 leaves), graphite (9 leaves)
Drawing

Eighty-nine drawings on eighty-eight leaves of paper (one blank; one additional leaf torn out); Eighty pen and black ink and nine graphite.  Bound in cardboard with Harvard Co-operative Society sticker on cover.