biglam/cooper-hewitt-alt-text huggingface dataset:
Moutardiers
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Designs for two mustard pots decorated with ornament motifs including scrolls, scalloping, and branches. The plate is signed and numbered.
Fragments
, 1750–1800
silk Technique: plain weave with supplementary warp floats.

Pink and white striped fabric with floral sprigs.
Border
, 1850–1900
linen Technique: needle lace with ground of loop and twist with loop and twist return

Commonly called Point d'Gaze in a design of foliated forms and medallions in symmetric patterned surmounted by repeat design of oval wreaths terminating in floral sprays.
Les Portiques D'Athenes
Dufour et Leroy, ca. 1820
Block-printed on machine-made paper, applied border
Scenic - panel

One of series, Les Portiques d'Athénes, Bay with mountains in distance; large sailing vessel close to shore; on shore, in foreground, two casks, two men and woman. Architectural border in yellow and blue.
Sidewall
, 1720
Leather, stamped, silvered, varnished, painted

Stamped field, varnished silver; scrollwork and foliage in green and red, flowers in red, blue and white.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, graphite on paper mounted on tan illustration board
Drawing

Rectangular glass window in salmon and green-yellow.
"Medallion" Pattern Serving Spoon
William Gale Jr., American, b. 1825, ca. 1866
gold plated, silver
spoon

Deep oval bowl with pointed tip with exaggerated upward curve. Gold wash on both sides of bowl. Leaf and foliate scroll engraved stippled decoration at base and neck of bowl on obverse side and smaller scroll motif on reverse. Stem of narrow twisted cable form, widening into fiddle shaped handle engraved with patterned borders, terminating with relief medallion featuring Roman soldier with hemlet in profile, topped with half circle with engraved radiating pedal decoration. On reverse of handle, flat continous surface with stippled double line border, with scrolling decoration at terminal. In central reserve on reverse side, monogram, 'L' and '1866' inscribed.
Sampler
Elizabeth Thurston, English, 1703
silk embroidery on linen foundation Technique: embroidered on plain weave

Long vertical sampler worked in colored silks on a linen ground. The upper register has stylized floral vines. In the center, "Elizabeth Thurston 
Look well to what you take in hand for larning is better then house or land When land is gone and money is spent then larning is most excellent. 
Aged 15 August the 9 1703". In the lower register are two columns holding flower urns with a heart and crown in between, two zebras, and the initials JH and ET.
Scenic
, 1800–1830
Hand painted on joined sheets of handmade paper

Large central motif of flowering tree, with white leaves and flowers at top, brightly colored flowers and exotic birds near bottom, along with rocky formations. Three smaller birds fly among the branches near top of tree. Painted on pink ground.
Bedcover
, 18th century
cotton foundation, wool, silk, metal-wrapped silk, sequins, glass beads and metal coils Technique: embroidery in stem, satin and chain stitches on 1\2 twill

Design: Border on all four sides of fan-like shapes alternate with sprays of flowers. In the center a circle containing a figure holding a bow, wearing a sheath of arrows and carrying a spear. Embroidery losses in this area. Central circle is surrounded with a floral wreath. Floral sprays coming in diagonally from each corner. Isolated birds and floral sprigs on the field. Piece is surrounded with a woven fringe where the wefts have been braided into deep triangles. Colored silk has been tied to the crossings of the braids.
Textile
, 1850–1900
cotton Technique: roller printed

Overall pattern of coral branches surrounded by dots in two reds and brown. Fabric has original glaze.
A Library in Gothic Style
Charles James Richardson, British, 1806 – 1871, ca. 1860
Pen and brown ink, brush and watercolor, graphite on white wove paper
Drawing

This library interior is a prime example of Gothic Revival vocabulary. The room is dominated by the ceiling decoration of intertwining arches. French doors are designed with pointed arches, a cross and an overdoor molding of broken arches. A chimney and mirror, flanked by large sculptures on plinths, are at right center. The bookcases terminate in an egg and dart molding.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache on paper, mounted on illustration board
Drawing

Two identical designs, one smaller than the other, made up of green, yellow, orange and red pieces.
View of Mexico City
S. Sarokins, active 19th c., 1830–1840
Chromolithograph on paper
Print

Panoramic view of Mexico City, with the Aqueduct de San Cosmé at the left and Mount Popocatepetl at right. Below, monuments indicated, and title in French and Spanish; also artists' and publisher's names.
Sampler
Sarah Pike, English, 1834
silk embroidery on wool foundation Technique: embroidered in cross stitch on plain weave foundation

"Wicked fashions lead to hell/ Neer may I be found complying/ But in life behave so well/ Not to be afraid of dying."
Nightcap
, ca. 1730
silk, metallic (silver metal foil wound onto white silk core) Technique: two interconnected structures of 4\1 satin and plain weave (lampas), embroidered in surface satin stitch Label: silk lampas, embroidered with silk and metallic yarns

Man's nightcap with a rounded crown and turned-up brim. The fabric has a green silk satin ground with a woven pattern of flowers and arabesques in cream silk. The brim uses a different section of the same fabric, patterned with rabbits, fruit, trees, and addorsed birds.  Touches of salmon and silver embroidery accent both areas.
Frieze
, 1905–1915
Machine-printed paper, liquid mica

A central band of stylizied floral motifs; printed in metallic colors; printed 2 across.
Quick Study of Choppy Sea
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Quick, light sketch of choppy waves; miscellaneous pen strokes in margin to right of image.
Der Musterreiter (Travelling Salesman)
Christian Gottfried Heinrich Geissler, German, 1770 - 1844, 1825
Engraving, brush and watercolor on paper
Print

A travelling salesman is seen on a white horse, loaded down with his wares. Identifying inscriptions on his various articles. In the background, view of Lucerne, Switzerland. Below, title, artist's name and the date.
Textile
, 1835–45
cotton Technique: printed by engraved roller on plain weave, glazed and polished

Vertically symmetrical repeat of two offset isolated Gothic-style windows surrounded by a leafy vine which shelters two birds, one of which is protecting a nest with eggs. Dark brown background.
Adirondack Mountain View
William Trost Richards, American, 1833–1905, ca. 1860
Brush and watercolor, white gouache, graphte on wove paper, laid down
Album page

View towards pyramidal shaped mountain. Rocks left and right (corner) foreground lead to small lake with forest and mountain in middle ground, distant mountains at left.
Sidewall - sample
Maxwell & Co., S.A., Chicago, Illinois, USA, 1907–08
Machine-printed on paper

Sample of a sidewall with lush, leafy serpentine branches with huge chrysanthemum-like flowers on hairline-striped and pinpoint-dotted background. Printed in four shades of olive green, three shades of yellow ochre, beige and gray.
Brooklyn Sanitary Fair of 1864: New England Kitchen
A. Brown and Company, 1864
Chromolithograph on paper
Print

A large kitchen, with open heart. The visitors sample foods cooked there. A group in eighteenth-century costume, at left, is seen spinning. Below: "Brooklyn Sanitary Fair, 1864 / New England Kitchen". (Plate from History of the Brooklyn and Long Island Fair, 22 February, 1864, p. 75).
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, ribbed ground

Large foliated medalions encasing three-flower bouquets. They are interlaced by floral swags suspended from a small bouquet. Foliate swags filled with lattice suspend from top. Green and metalic gold stripes on bottom.  Printed in green, metallic gold, beige and tan.
Chaise longue
, ca. 1750
carved walnut, beechwood, caning, (upholstered cushions later)

Carved and caned; the frame elaborately carved with clusters of blossoms, frilled scrolls, and trailing leaves, the arm pads, black and seat  cushions in green brocade.
Sultane Reine (The Queen Sultana), plate 29 from Caravanne du Sultan à la Mecque (The Sultan's Caravan to Mecca)
Joseph Marie Vien, French, 1716–1809, 1748
Black ink on cream laid paper
Print

Youth in costume of highest ranking and most richly dressed woman in Turkish court. He wears ermine-trimmed robes, high jeweled and feathered turban, necklace and jeweled tasseled belt. Shown facing frontally, landscape beyond.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Large quatrefoil pattern of acanthus and scrollwork with central, stylized floral medallions and sections of trellis or diaper pattern. Design printed in khaki, pale greens and white on beige ground.
Cravat end
, early 18th century
linen Technique: needle lace with ground of loop and twist with twist return

Symmetrical lace pattern with scrolling floral and foliage motifs and scalloped edges.
Medal
, 1878
Brass-colored base metal

Round medal hanging from flat bar pin. Cast crest and raised letters: VILLE DE PARIS 1878.  Verso: EXPOSITION DES TRAVAILLEURS INDEPENDANTS / MEDAILLE DECERNEE A.M. ZABINKSI 1878.
Horsemen in a Landscape
Alessio De Marchis, Italian, 1684–1754, 1740–50
Brush and brown wash, red, black chalk on cream laid paper
Drawing

A figure on horseback rides across a triple-arched stone bridge with fortified ruined approaches in a hilly landscape. Another mounted figure appears in the lower right foreground. In the distance a single-arched bridge and several buildings can be seen. Verso: slight sketch of a complex of church-like buildings set in a hilly landscape.
Coat
, 1700–1750
silk

Flame-colored taffeta, trimmed with cording and tassels of same color.
Stained glass window: Christ and Peter
John C. Wolf, 1890–1900
Brush and watercolor on heavy paper
Drawing

Peter kneeling reaching up to Christ who is standing, one arm raised.
Border
, mid-18th century
linen Technique: needle lace with ground of loop and twist with twist return

Border of Point de Venise à Réseau with floral and foliated sprays arranged in free flowing asymmetric pattern. Fond: réseau. Modes: portes gaze quadrillée, St. Esprit avec rangs clairs.
Sidewall
, 1820–30
Block printed on handmade paper, ungrounded

Design of flowers, foliage, and birds, printed in white, green and brown on gray background.
Italian girl
Elihu Vedder, American, 1836 – 1923, ca. 1885
Pastel crayon on gray paper
Drawing

Head of a young female figure, turned toward the right.
Fragment
, 16th–17th century
silk, metallic thread Technique: cut voided supplementary warp pile in a plain weave foundation (velvet)

Staggered rows of small rust flowering plants in cut velvet on a cream voided background embellished with gold thread.
Our Army before Yorktown, Virginia
Winslow Homer, American, 1836–1910, May 3, 1862
Wood engraving in black ink on paper
Print

Seven scenes of the Union army before the battle of Yorktown.
Mantle fragment
, 400–100 BC
wool Technique: plain weave with discontinuous warp and weft (tapestry) interlocked Label: wool tapestry with discontinuous warps, interlocked

Fragment of a mantle with close-set horizontal rows of stylized warriors' heads, each with different headdress and color combinations. In the top row, upright front-facing heads alternate with upside down heads in profile. In the next row, upright heads in profile alternate with upside down front-facing heads. Rich muted shades of brown, gold, tan, blue, green, purple, and white on a rust-red ground.
Portable desk
, 1840s
Papier-mâché, mother-of-pearl, wood

Stand (a), the top inlaid with mother-of-pearl and black checkboard, decorated with gold 'S' curve supports with stretcher on bases with wheels, inlaid with mother-of-pearl and decorated with gold.

Portable writing desk (b), with mother-of-pearl inlay, decorated with gold and painted with spray of flowers, the slant top opening to reveal a writing surface covered in embossed dark blue velvet, supported by 2 pull-outs with ivory handles. The top back, hinged, opening to pen tray, pigeon holes, etc. Back of top decorated with gold and painted with pink rose and other flowers.
Handkerchief
, 19th century
piña (pineapple) fiber, cotton Technique: appliqué, embroidery and drawnwork on plain weave

Handkerchief in piña cloth edged with a wide border, embroidered in cotton in drawnwork in large scale floral sprays.
Lock and hinge
, late 16th–mid- 17th century
Cast and engraved steel, iron

Circular lock and chest, with hasp and key (pair with -135); circular lock-plates with scalloped and serrated outer edge and wide pierced border containing ornamental motifs of devil's head, lions, monkeys and flowers, inlaid with brass; stirrup-shaped hasps with two staples, decorated with incised imbrications and foliate scrolls, each with hinged strap with foliated end; two keys.
Sidewall
Dufour et Leroy, 1860
Block printed on continuous paper

Venetian blinds, printed in shades of green and black. A single chain runs down either side.
Border
, late 16th–early 17th century
linen Technique: embroidery on plain weave using rosette chain, chain, spaced satin, satin, stem, star, and overcasting stitches; needle lace (reticella)

Double row containing alternate squares of embroidered linen cloth and insertions of needle lace (reticella) in geometric forms. Lower border is triangular pendants.
Fragment
, late 18th century
silk, metallic thread Technique: cut supplementary warp pile (velvet) in a twill foundation

Wedge-shaped fragment with a design of multicolored cut velvet floral garlands on an off-white ground shot with silver threads.
Fragment
, 7th century
s-spun wool Technique: tapestry weave

1971-50-504: Tapestry fragment that likely came from a tunic ha...;     n-t-946: Two figures on patterned ground. Coptic.50
Unfinished Landscape Sketch (Recto); Quick Sketch of Trees in Wind (Verso)
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Recto: Quick sketch with two hills at left and one in distance at right. On top of second hill on left, one (or two) trees;  Verso: Unfinished sketch; horizon line with two trees at left, bent as if blown by wind.
Textile
, 18th century
Block-printed on linen Medium: linen Technique: wood block printed on plain weave

Natural color linen, block-printed in black and soft shades of red and light green, now faded.  Design shows part of a symmetrical ogival frame pattern, in imitation of a woven silk or velvet. Each ogive contains the head of a large, exotic flower. The framing bands are heavily printed in black, and contain interior decoration of flower heads and curving stems.  The repeat is incomplete.
Two Sketches of Cottage
Arnold William Brunner, American, 1857–1925, 1887–88
Graphite on brown paper
Drawing

Two sketches of same house from different perspective. Left, upward view of cottage with chimney. Right, boxed off, front view of cottage.
Sampler
, 1779
silk, linen Technique: embroidered in satin and chain stitch on plain weave

Large square sampler by Maria Brigida Sanchez Mansilla is embroidered with a central square containing floral and bird motifs. Center is surrounded by a series of borders containing a variety of geometric and floral patterning.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

Feathery scroll-like leaves with blossoms; printed in white and yellow on gradient green and gray ground.
Frieze
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper

Large foliate medallions connected by chain or bead swag. Background is light blue at top and dark blue at bottom.
Frieze
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper, embossed

Floral design, with rose stem running horizontal near top with pendant rose clusters, lacy scallops below.
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, ca. 1757–1769
soft paste porcelain, vitreous enamel
plate

Scalloped circular form with brown and aqua foliate scroll.  Foliage includes a radish, a peach, red and black currants, cucumbers and vines.
Design for a Pendant Trophy
Jean-Baptiste Pillement, French, 1728–1808, 1772–77
Etching on laid paper
Print

Design for a chinoiserie pendant trophy from a series of six prints. The trophy features a ribbon tied in a bow with flowers and sprigs, wrapped around a frame or mirror, fan, and a box containing pearls. The plate is signed and numbered.
Fender
Giuseppe Barberi, Italian, 1746–1809, 1775
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Vertical rectangle. Two standing eagles support the tails of dolphins, whose mouths are connected by a festoon. Behind and above them rises a bag-like horn, with leaves and a calyx supporting a star with many points. Usual background.
Cartouche with Mask
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Blank symmetrical upright rocaille cartouche with a mask at lower center; grape vines and roses throughout.
Print
, 1740–70
Hand-colored etching with watercolor on paper

At top and sides is a border composed of scrolls, flowers, birds, and a Chinese mask flanked by dragons at top center. Inside is an arch composed of lattice work scrolls on which grape vines grow. Three birds on and under it. Tops of two plumes. Broken bordering line, bottom.
Orphrey band
, 16th century
silk, metal wrapped linen Technique: woven

Part of an Annunciation scene with the hands of God coming in from the upper right corner and part of an inscription seen in reverse under the eaves.
Two Spanish Women
Constantin Guys, French, 1802 – 1892, ca. 1860
Brush and watercolor, pen and brown ink, graphite on paper
Drawing

Vertical rectangle. Two women seen from the back, both wearing white dresses with black scarves and high Spanish combs. One carries a yellow fan, the other has a yellow scarf over her head. In background, a second floor balcony sketched in graphite.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Six designs for pastoral trophies incorporating leaves, flowers, fruit, baskets, jugs, wheat, rake, drum, hat, music, violin, and a shovel. The plate is numbered.
Africa
, 1740–1770
Etching on paper, mounted
Print

A turbaned African woman is seated at center, a man holds an umbrella over her. Another man with a scythe is seated at left before a wheat field. A tent, a monkey, an elephant, at right. Shield and quiver in the foreground. Ornamental border of rocaille and plants. Bottom center: "AFRICA".
Design for a Pendant Trophy
René Charpentier, French, 1680 - 1723, ca. 1736
Etching on laid paper
Print

A design for an ornamental pendant trophy from a series of twelve plates. The trophy features arms and armor, intertwined with palm leaves, a dolphin's head, a crown, and ribbons, hanging from a tied ribbon from a decorative bracket. The plate is signed and numbered.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of crossing ribbons in red on a yellow ground with red stripes; picot edges.
Frieze
Robert Graves Co., New York, New York, 1890–1900
Machine-printed

This design simulates a stencil design and consists of three identical borders running parallel with selvedge. Latter is marked "Robert Graves Co. 1581".  Field is beige color with a vine in wave-like formation with single flower in orange and cinnamon. Vine and three petaled leaf between each flower in gold bronze. Narrow gold band at bottom. Graduated bands at top of henna, gold, cinnamon, and gray, respectively.
Chairs
Giuseppe Barberi, Italian, 1746–1809, ca. 1785–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

In the center is an armchair, seen from the front, with upholstered seat and oval back. The supports of the arms have triglyph shape. The back has laterally two framing pillars with floral candelabra. At left: above a sketch of an armchair, seen from the front. With upholstered seat and back. The latter is laterally and above framed by a kind of escutcheon. Below is a chair, seen from the side, the back being at right. The arms are straight and are supported in front and at the back by curved boards. At right: above is a chair, seen from the side, the back being at right. The arms are supported at the front by supports with a bird's head. They form the upper frame of a rectangle, with an inscribedl ozenge. Below: an armchair in the same position. The arm is a scroll springing from the back, with a spiral upon the frame of the seat. Usual background.
Icebergs at Sea near Newfoundland, Canada
Frederic Edwin Church, American, 1826–1900, July 1, 1859
Graphite and white gouache on light green wove paper
Drawing

Seascape sketches showing eleven views of icebergs at sea off the northeast coast of Newfoundland island in Canada, organized roughly into three rows. In the top row, two sloped icebergs float close to one another at upper left while two sketches of the same berg are shown at upper right, one completed in white gouache. Three other icebergs are organized in a row below these, the one at far right highlighted in white gouache. Two other rugged are visible at center, while at lower left, two fragmented icebergs face one another, and at lower right, a large, precipitous iceberg with a sheer edge is shown.
View of Mountains, On the Way to Cambridge, Vermont
Daniel Huntington, American, 1816–1906, September 6, 1866
Graphite, white chalk, black crayon on grey paper
Drawing

Fence and stream in foreground. Mountain ridge at left, with others beyond, center and right. Below, faintly sketched mountain peaks with notation.
Designs After Architecture
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including figures of angels and putti, a cartouches, and the top of an altar. Both plates are numbered, neither are signed.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design with a standing, draped female figure, scrolls, vases, a basket, garlands, a mascaron, an oval medallion with faux script, and a panel with a rosette and scrolls.
Morning
, 1750–1775
Brush and watercolor, gold on paper
Print

printed from two plates. A woman sits at a dressing table. Two men are beside and behind it. At right is a railing on which a vase of flowers stands. Trees in background. Bottom: "LA MANANA" "LE MATIN". The same wide border as in 1921-22-256.
Decorated Capital Letter F
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

Letter F before St. Philip (= Filipo) adoring a cross.
Ciboire (Ciborium), plate 80, from Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1695–1750
Engraving on white laid paper
Print

Container on platform with an escutcheon depicting Crucifixion; two putti put arms around stem of container; central body of stem made up of two putti heads surrounded by feathery foliage, leading up to the cup that depicts a scene of the last supper, framed in rococo style and flanked by two angels. Lid has wheat, grapevines and is topped with two putti heads gazing up at a cross.
Trimming
, 19th century
silk Technique: cut and uncut supplementary warp pile on satin ground (velvet)

Red trimming fragment with a design of a curving stem with flowers, leaves and buds between wavy borders.