biglam/cooper-hewitt-alt-text huggingface dataset:
Design for the Decoration Above a Mirror, Noble Cabinet, Palazzo Altieri
Giuseppe Barberi, Italian, 1746–1809, 1789–1793
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

A variation of 1901-39-1371. Below the medallion with Vestal are bunches of ears of grain. Below, at right, a lamp. The altar at left is supported by standing birds.

Roundel with a vestal, for decoration over mirror, noble cabinet, Palazzo Altieri. (PDM '91)
Sleeve ruffle
, early 19th century
linen Technique: bobbin lace, Mechlin style

Border of Mechlin lace has the upper part ornamented with buds in diagonal rows. At the border, a row of scrolls with flowers and leaves. Edge is straight.
Landscape
Charles Nicolas Ransonnette, French, 1793 - 1877, 1850-1875
Graphite, brush and grey and partly oxidized white washes on grey paper
Drawing

A stream leading backwards is bordered at left by houses and trees, at right by trees.
Surtout et Sucrier pour le Café
Richard de Lalonde, French, active 1780–96, 1796
Etching on off-white laid paper
Print

Design for a centerpiece with an elevated sugar bowl with spoons attached at its side; three coffee cups are elevated on the platter. The sugar bowl is decorated with ornament motifs including a pinecone finial, gadrooning, bound leaf, lozenge with rosettes, garland, bead course, and acanthus leaf. The plate is lettered.
Candlestick
Giuseppe Barberi, Italian, 1746–1809, late 18th century
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Design for a six armed candlestick in the form of a column with figure, possibly the young Dionysos at top.
Paper Doll Costume, White Veiled Dress
, 1876–80
Lithograph, brush and watercolor on cream heavy wove paper
Print

White veiled dress with full skirts and cinched waistline.  Bows and triangular lace adornments alternate across the bottom of the skirt. Veil extends to the floor.  Both front and back of this dress are depicted.
Lily, Stockbridge
Samuel Colman, American, 1832–1920, July 4, 1876
Brush and watercolor, gouache, graphite on paper
Drawing

Botanical study. An upright stem with leaves, lily blossoms, and buds. Verso: an upright stem with leaves and red seeds.
Design for a Woven Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Brush and blue, white, and purple gouache on oily tracing paper
Drawing

The rising waves of an undulating band which have blossoms at their bases are completed to form circles. Falling water and bead chains are shown in them. Over the falling waves stand fountains with springing water and water pouring over the rims. From behind the basin rise boughs with bell-flowers. The units of either motif are shown.
Tree Roots, Prout's Neck
Winslow Homer, American, 1836–1910, 1884
Charcoal, chalk, brush and gouache on gray laid paper
Drawing

A view of a hilltop with large boulder, fallen tree-trunk and gnarled tree roots.
Le demande en marriage
Favre Petitpierre, France, 1802–1818, ca. 1795
cotton Technique: plate and block printed on plain weave
Fragments

Two fragments which contain part of the block printed chef for Favre Petitpierre.
Textile
, ca. 1800
silk embroidery on cotton foundation Technique: embroidered on plain weave

Square of off-white cotton embroidered with a narrow border on four sides, and a small scene in each corner: cupid holding a bow & arrow seated on a short column; two birds holding a bunch of flowers; a nude woman holding an arrow seated on a short column behind a flowering vine; landscape with a city and boats.
Album

1921-6-87: After ''Raccolta di vase''. Top row: After the sec...
The Well
Hubert Robert, French, 1733 – 1808, 1810–29
Etching on paper
Print

A landscape with a woman pulling water from a well with trees in the background. The plate is numbered and signed.
Frank Lathrop
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Bound volume of graphite on white paper
Book

Horizontal format sketchbook by artist Francis Augustus Lathrop containing several graphite sketches. At the center of the cover, in ornate script: Frank Lathrop. Back cover consists of colorful marbled paper with black leather at the left side and right corners.
NIKOU femme Bonze ou Religieuse Chinoise
Antoine Watteau, French, 1684–1721, 1731
Etching on laid paper
Print

From a series of twelve prints, a Chinese woman seated in a landscape holding a parasol in her right hand. The plate is titled, signed, and numbered.
Group with Petrarch and Sappho in "Parnassus" after Raphael Sanzio
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and dark brown wash on off white laid paper
Drawing

Group with Petrarch and Sappho.
Merchand d'Amour
Hippolyte Le Bas, French, 1782–1867, ca. 1820
cotton Technique: printed on plain weave
Fragment

Fragment printed in red and yellow showing medallions and cupids on background of lozenges with daisies.
Sampler
Elisabeth Pecker, American, born 1733, 1750
silk, metal-wrapped silk, and hair embroidery on linen foundation Technique: embroidered in stem, satin, surface satin, cross, running, eyelet and couched stitches with appliqué on plain weave foundation .

Several bands of alphabets separated by small geometric cross borders, followed by an inscription:
Elisabeth pecker is my name and with my needle I wroght the same 1750
Elisabeth Pecker Born July 31 in the year of our Lord 1733

The lower half has a scene with fruit trees, birds, animals, and a female figure. With a strawberry vine border on the two vertical edges.
Chef de piece
Soehnée L'Aine et Cie, 1790–99
cotton Technique: block printed on plain weave with blocks for three reds, two purples, black, mustard, blue and yellow

Small part of a large multi-color design showing exotic flowers and stems.
Design for a Paper Knife
, 1850–1875
Graphite, brush and white heightening on brown paper
Drawing

The design is a variation of that of 1931-72-2, turned in the opposite direction. The handle has below two bearded masks.
Garment for an ecclesiastical figurine
, late 17th century
silk, linen Technique: ribbed plain weave with discontinuous supplementary weft patterning (brocaded); plain woven lining

Garment of brown ribbed silk brocaded in a multicolored floral design. Lined with dark brown linen and hem faced with white silk taffeta. Open down the back and sleeves with linen tabs to fasten.
Salesman's sample
, early 19th century
silk, glass beads Technique: embroidered

Sample of dress trimming of chenille embroidery of leaves and applied ornament made up of knotted white silk and glass beads on satin forming long ovals and pendants representing floral forms, all on thin white ground (plain cloth). Mounted in paper folder
Fragment
, 14th–15th century
cotton Technique: resist-printed on plain weave

Design is resist-printed in indigo, reserved in natural color; shows top half of a shield shape with border enclosing arabesques or vines.  A stylized lotus is inside the "shield" and below, half of a round petal shape is visible.  Printing on reverse is identical and equally clear.
Fragment
, 1750–1800
silk Technique; plain weave patterned by supplementary warp floats

Pink, blue and white striped fabric with tiny motifs.
Log Cabin
, late 19th century
cotton, wool, silk Technique: quilted, appliquéd on plain weave with supplementary warp pile (velvet), backed with satin weave
Patchwork cover

Square table cover. Central "Log Cabin" design of  13 squares (1 large and 12 small) with stars at center (hearth). Each square is composed of colored strips with a variety of decorative embroidery, including blanket and chain stitch. The dark strips of fabric form a large X-shape. Border of bright blue velvet. Backed with blue silk satin, and tufted with yellow silk tufts appearing on the back. .
Plate 4, "Decoration d'une Portal double à placards varie de deux façons"
Jacques-François Blondel, French, 1705–1774, ca. 1727
Engraving on paper
Print

Two double doors in a joint frame with a curved top. Both doors decorated with different carving. Joint overdoor with alternate suggestions of paintings depicting putti. Enclosed in a pediment-like frame. Below, drawing of profile. Inscribed along upper margin, title; lower left: "Mariette excudit"; lower right: "4".
Print
George Baxter, 1804 – 1867, 1856
Oil colors on paper

Vertical rectangle. Tropical landscape with heavy foliage and trees, a stream with large boulders. Two women on bank, lower right, one reclining and playing with a baby. Date, name and place on lower left.
Drawing
Felice Giani, Italian, 1758–1823, About 1820
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper

Top, two, left: standing female genius, writing upon on tablet, turned toward right.  Left, centre; a female genius holds an opened book upon a pedestal, turned toward left.  Right centre: a female genius blows a trumpet, walking toward left; an altar stands in the left rear. Bottom row; left: a priest turned toward right pours wine from a pitcher upon an altar. Left; centre: a garland upon an altar.  Right centre: A girl carries a plate with fruits toward right.  At right: A young man carries a lighted candelabrum toward left:  Reverse: two outlined ovoids, pencil. Caption: #3 fama premiata.???
Fragment
, 17th century
linen Technique: bobbin lace (Binche style with Binche ground)

Binche-style fragment with a conventionalized tulip design. Cinq trous ground and straight edges.
Drawing
Felice Giani, Italian, 1758–1823, About 1820
Pencil, pen, ink, sepia wash. Paper

A square. The Pope sleeps on his throne beside his writing desk, on a terrace. St. Peter seated upon clouds and a standing bishop present a kneeling priest to him. Beside at right sketches for the crozier and for the view of Rome, in the right rear.
Sketch of Figural Group for Ascension
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on laid paper
Drawing

Sketch of figures bearing cross, looking up.
Grammar School, Huntingdon
Ernest Clifford Peixotto, American, 1869–1940, 1899
Pen and ink on illustration board
Drawing

The bend in a narrow street, with the school shown on the far side, between buildings housing shops. The facade of the school, in Norman style, has a deeply recessed doorway, with semicircular head, below a group of narrow window openings.
Flower Market and Butter Tower, Rouen
Joseph Pennell, American, active England, 1857–1926, 1907
Etching in black ink on paper
Print

The Butter Tower rises in the left foreground, with modern buildings at right. Numerous figures in the market in the foreground.
Pompe funèbre de Philipe de France Roy d’Espagne et des Indes, V. du nom, en l’église de Notre Dame de Paris, le XV décembre M.D.CCXLVI
Charles-Nicolas Cochin the younger, French, 1715–1790, 1756
Etching and engraving on laid paper
Bound print

Interior view of the cathedral of Notre Dame during the funeral ceremony for Philip V of Spain in Paris, France. Highly decorated interior with vaulted ceilings, stained-glass windows, candelabra, and drapery. On a mezzanine level, large arched niches similar to opera boxes full of seated figures. At the center of each arch, a large ornamented escutcheon surmounted by a crown. At the ground level, crowds of figures sit and stand for the service. An ornate baldachin at right, the columns of which are decorated with many candelabra. At the center of the baldachin is a hanging shroud. Above the baldachin, a large hanging canopy, the fabric of which is decorated with a pattern of diamonds, the top of which is decorated by a skull. A row of monks sit near the baldachin in traditional costume, holding rifles. Altar and bishop at left.
Cup with Monogram
Frankenthal Porcelain Factory, German, active mid- to late 18th century, late 18th century
hard paste porcelain, vitreous enamel, gold
cup

1936-13-16-a,b: A porcelain cup and saucer with floral pattern in ...;     1938-57-489-a,b: A porcelain cup and saucer with floral swags and g...;     1942-25-21-a,b: A porcelain cup and saucer with floral pattern in ...;     1953-17-108-a: Cylindrical cup with small strap handle. Thick, un...;     1953-17-20: A porcelain cup with floral pattern in gilding. An...;     1953-17-72-a,b: A porcelain cup and saucer with floral pattern in ...;     1992-5-41-a,b: Vienna coffee can / cup and saucer50
Buttonhole Stitch
, ca. 1890
white cotton on white linen; example of button-hole stitch
Cuff

Study card: c/: cuff with Van Dyke edge cut in small scallops and worked in button-hole, overcasting, and loop stitches. See also: 1942-7-2-a, b which were originally a st with this object, and are deaccessioned.
Vase
, 1830–40
Glazed earthenware, transfer printed decoration

Cylindrical vase with everted rim; black transferware decoration of figure in landscape on a yellow ground; bands of floral decoration at rim and base.
Apostles
, ca. 1842
Glazed stoneware
Teapot and lid

A highly decorative white teapot and lid with detail on the body, spout and handle. The center has panels depicting figures in an outdoor scene.
Album of Goldbox and Etui Designs
Pierre Moreau, French, 1722 – 1798, 1771
Album

Album containing two series of designs for goldboxes and etuis designed and engraved by P. Moreau.
Design for Mahogany Dining Table
A.N. Davenport Co., 1900–05
Graphite and yellow color pencil on thin, cream paper
Drawing

Round table top raised on short cylindrical support sitting on round base on four splayed legs terminating in brass animal-paw feet on casters indicated in yellow color pencil.
Sampler
, early 17th century
silk and metal-wrapped silk embroidery on linen foundation Technique: deflected element work, raised work, plaited stitches.

Spot sampler embroidered in blues, greens, yellows, gold and silver on a linen ground.  Geometric designs in rococo work, deflected element work, plaited braid stitch, chain stitch, running stitch, couching and detached needle looping.
Embroidered picture
, late 16th century
silk, metal Technique: satin and stem stitch embroidery on plain weave

Illustrating a biblical subject, the visit of the three angels to Abraham.  A servant of Abraham is washing the feet of one of the guests; two others are seated at a table that has been prepared under the tree.  Sarah appears in the door of her tent.
Design for Semi-Circular Writing Table with Brass Railing
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Semi-circular table top with brass railing at back; raised on 4 fluted columnar legs terminating in slim tapering feet with flute stops; center drawer carved in floral motifs and flanked by 4 shallow drawers with round knob pulls; atop table: ink well, sand container, envelopes, etc.
Ornamental Vase Design
François Boucher, French, 1703–1770, 1738–72
Etching on cream laid paper
Bound print

Vase in the form of a ewer. A shell-shaped lid is attached to the left handle by a chain. The chain connects to a knob handle composed of a ram's head decorated with snakes; this motif is repeated on the opposite side. The vase is elevated on a small, stepped plinth. The plate is signed and lettered.
Tassel
, 17th century
linen, silk, metal wire, paillettes Technique: braided and knotted

White linen tassel with a tire-shaped wooden bead as its base. The bead is covered with woven linen embroidered with metal threads, metal coils and paillettes. From this hang several pendant braids terminating in clusters of small braided balls.
Dish
, ca. 1770
Gilded tin-glazed earthenware

Floral bouquets and gilding at rim. At center, ruins in a landscape.
Plate
, 18th–mid-19th century

Reticulated border
No. 104
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1865
Mouth-blown crystal, cut and polished
Wine decanter with stopper

Mouth-blown crystal, deeply-cut and polished
Sampler
Anne Sharpe, 1831
silk, wool, cotton Technique: embroidered using satin, cross, running stitches

Sampler with a bouquet of flowers tied with a ribbon. Floral border and inscription at the top.
 
Patient in suffering with thy lot content 
And careful to improve the talents lent
Man's coat
, 1770–1800
silk Technique: floats of continuous supplementary weft, floats of a supplementary warp, and embroidery (using silk, satin, stem, and knot stitches)

Ribbed silk in narrow perpendicular stripe of green and brown. Elaborately embroidered in multi-colored silk; floral design with small areas of applied silk, also embroidered. Style slightly cutaway. Standing collar, embroidered. Eight large embroidered buttons.
Study of landscape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite on paper
Drawing

Sketch of a landscape with a sailboat in the center.
Sidewall
, 1810–20
Block printed on handmade paper

Wide area of all-over pattern of gray lines on gray satin ground, flanked by two vertical bands of white and lavender flowers and green flock leaves,and one band of brown rope on flocked maroon ground.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Grid or trellis patterned formed with foliate-filled lines, eight-pointed star motif at intersections. Another larger eight-pointed motif fills each void. Printed in blue, green, white, and gray on light tan ground.
Sidewall - sample
, 1906–07
Machine-printed

Vertical stripes, 5 1/2 and 3 1/2 inches wide alternating. The wide stripe is bordered on each side by a floral design. Its center is filled with a vertical textural weave-simulation. The 2 1/4 inch stripe is vertically designed with fine line lace pattern. Printed in burgundy, green ocher, ecru and gold mica.
Tile
J. & J. G. Low Art Tile Works, 1877 – 1883, late 19th century
Glazed stoneware

Square, molded tile of white clay, the reverse is inscribed: "J. & J.G. Low, Patent Art Tile, Works, Chelsea, Mass. U.S.A. Copyright 1881 by J. & JG Low"
The impressed inscription is set within a double line frame; face of tile is decorated with an all over pattern of daisty-like flowers set between plain, horizontal bands. Glaze is a deep crackle brown.
Bandbox
, 1830–40
Block-printed paper on pasteboard support

Block print repeat design wallpaper pattern: on blue background, two salmon-colored birds on yellow limb with leaves, sprays of salmon and yellow flowers and leaves, salmon-colored bird in flight. Over-all diagonal movement of pattern. Rim border: band of strung beads with yellow and blue highlights on blue background.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Scattered flower and leaf designs accented with fine dotted pattern.
Border
, 1700–1750
linen Technique: bobbin lace, Brussels style

Brussels style border with a serpentine floral pattern surrounding a seated figure, possibly Flora and Amphitrite riding a shell drawn by a dolphin and escorted by mermaids.
Kings Sail
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper; verso: green paper
Drawing

High rock point, from right, with lighthouse; gulls upper left. Sailboats in foreground
Buckle
, ca. 1790
Silver, gold, iron

Pair of English gentleman's shoe buckles with two circular patterns and framed by knotted openwork.
Light Sketch of Sky
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Light sketch of sky with some clouds. Brown oil spots and stains in top right
Panels
, 19th century
silk Technique: plain weave with supplementary weft (?)

Two small panels showing a floral motif surrounded by a floral border in coral, green and light blue on a light brown ground. Floral motifs rise from a footed flat dish.
Textile
, late 19th century
cotton Technique: printed on plain weave, glazed

Large multi-colored floral sprays on a background decorated with forget-me-nots.
Fishing Village
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite and white heightening on grey paper
Drawing

Low coast in background; boat with a sailboat at a pier, left. Group of houses, lower right. House roof, foreground, left.
Pair of Cake Tongs With Caterpillar
Charles Victor Gibert, French, ca. 1890
silver
tongs

Pair of cake tongs consisting of separatable sides, with side (a) tong with applied relief caterpillar decoration and side (b) tong with openwork leaf decoration. Tongs formed  in shape of leaves, with rounded elongated teardrop shape forming jaws. Attached by (a) fitting in to (b) tong at neck to form pivot mechanism. Side (a) tong with leaf decoration and mottled surface, reverse of which is applied with relief caterpillar ornament. Side (b) tong surface of openwork design with skeletal structure of leaf visible. Handle with two round finger holes.
Stand
, ca. 1830
copper, silver

Trefoil-shaped base with applied molded rim, three ball feet; reeded frame for holding 3 decanters and stoppers, tall central circular handle.
Textile
Talwin & Foster, 1783 - 1790, 1765–75
cotton Technique: printed by engraved plate on plain weave

Straight repeat filling the width of the fabric: birds perched on ornate scrolls and flowers with large blossoms. Several species of birds are present including peacocks, cockatoos, hens, and parrots.
Fragment
, 18th century
cotton Technique: block printed (red, light purple) with yellow and blue applied by brush on plain weave

Fragment of a fine floral vine on a black background.
Sauceboat (One of a Pair)
Bow Porcelain Manufactory, English, active ca. 1744 – 1776, ca. 1750
soft paste porcelain, gold
sauceboat

Oval sauce boat supported on oval base. Base domed, modeled in relief with floral garland. Body of boat form molded with relief garlands. Upper rim rises in wave motif at body sides, curving to elongated pouring lip. Exterior body gilded in floral patterns above and beneath molded garlands. Handle in form of serpent/dragon, head rising over sauceboat, with delicately molded scales, teeth, tongue, and ears. Interior of boat with gilded floral spray at bottom, and gilded circle and dot band at inner edge of lip. Body paste creamy white, with minor black imperfections throughout.
Cap fragment
, 19th century
silk Technique: bobbin lace, English style

Cap fragment of black Honiton lace in a design showing the shamrock, rose and thistle for England, Ireland and Scotland.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, mica, liquid

Art nouveau / mission style. Alternating bands of large stylized floral bouquets between and small, monochromatic floral motifs. Background of small trellis composed of dashed, dots and curved lines. Printed on red ground in dark reds, dark green, blue, yellow liquid mica and teal liquid mica. Printed in left selvedge "S.A. Maxwell & Co. New York & Chicago". Printed in right selvedge: "Exclusive Design" pattern number "2216?"
Vase
Rookwood Pottery, American, 1880 - 1967, 1906
Glazed earthenware

Cast white clay body.  Ovoid body with raised neck; no foot.  Underglaze slip-decorated on front with two large unopened lotus blossoms with water leaves and single blossom with unfurled leaf and stem on side.  Blossoms are pastel pink and leaves are a pale gray-green. Background shades from a dark blue to a pale green at shoulder.  Allover clear high glaze with wide crackle. Bottom glazed.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper, liquid mica

Pink floral bouquets with white mica foliate scrolls. Ground is white. Printed in greens, pinks, and white mica.
Frieze
, 1905–1915
Machine-printed paper

Floral bouquets with ribbon garland and beading. Two borders printed across the width.
Who the Devil Told You We Were Going to Charge?
Ludovico Marchetti, Italian, 1853 - 1909, 1891
Graphite with grey and black washes and white heightening on white watercolor paper
Drawing

Two soldiers reporting to an officer after a battle. Other soldiers grouped in the background.
Knife with Scimitar-Shaped Blade from a Cutlery Set
, 1650–1700
steel, wood, horn, silver, brass
knife

Knife with long scimitar-shaped blade, drop bolster, and short baluster neck. Tapered wooden handle of oval section with beaked end. Handle divided laterally by bands of laminated red-brown horn, silver, and brass. Handle piqué and inlaid with rozettes and dots of different metals. Rozette on flat end.
Chairback
, late 19th century
wool on canvas Technique: counted stitch embroidery

Fabric for a chairback in an embroidered design of various multicolored flowers.