biglam/cooper-hewitt-alt-text huggingface dataset:
Small Fork with Fluted Ivory Handle
Joseph Willmore, 1829
ivory, silver
fork

Three tined fork with curving up to sharp edged shoulder. Baluster shaped neck, meeting banded ferrule at join of ivory handle. Rectangular, tapering, ivory handle. On both obverse and reverse, carved with central reeded panel, with perpendicular reeding on sides. Horizontal banded section breaking stem from terminal. terminating in tiered radiating diagonal reeding fanning out to corners of terminal.
Woodland Interior with Stream
William Trost Richards, American, 1833–1905, late 19th century
Brush and black ink, watercolor, white gouache on wove paper
Album page

Forested interior with tall trees left. Stream foreground right and rocks and dense pines on right bank.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

A repetitive design of alternating elaborately wreathed forms in the shape of hand mirrors centering a gold papyrus plant and similar gold flowerheads encased in cartouches, upon a beige striated ground, between complementary borders. Printed in white beige, tan, rust and gold.
Sampler
, 1814
silk embroidery on cotton foundation Technique: embroidered in cross, running (pattern darning), hollie point needle lace (loop and twist and passive return) on plain weave foundation

Seventeen darning crosses, central patch, four squares with needle lace.
Odessa Food Trust
Antonina Sofronova, Russian, 1892 - 1966, ca. 1922
printed paper on board
box and cover

Low, circular box and lid with printed abstract geometric decoration in olive green, yellow, red and black; the english words "ODESSA (in red) / FOOD. TRUST (in black)", "net. 4 oz.", "Made in U.S.S.R. (Russia)" printed on the side of the lid.
Chintz fragments
, 1750–1800
cotton Technique: mordants for 3 reds, 2 purples and black applied by pen and brush; madder dyed; blue applied by immersion over resist; yellow applied by brush; chintz on plain weave

Floral stripe at left; chevron stripe in the middle; floral medallions at right. A painted adaption of a European block printed cotton.
Towel
, late 19th century
cotton, silk, and metal thread Technique: embroidered

Cotton towel with ends embroidered in colored silks and flat metal. Design of flower clusters on either side of a jar or fountain. One selvage present.
Sampler
, 19th century
cotton embroidery on linen foundation Technique: embroidered in cross stitches and deflected element work with overcasting on plain weave foundation

Bands of withdrawn element work pattern with alphabet and numerals at lower right.
Sidewall
, 1870–80
Block-printed paper, embossed

Imitation leather. Large cartouches of scrollwork and auricular style ornament framing realistic bouquets of flowers. These are connected by 'rococo' scrollwork extensions (with some enclosing areas of embossed diaper pattern) which suspend garlands of flowers (roses and sprays of daisy-like blossoms). Small floral sprays above garlands. ; printed in metallic gold and lacquer red.
Fragment
, 16th century
silk on linen Technique: embroidered

Fragment showing scorpion, mermaids winged with crowns holding on to a flowering tree, and a border of human heads. In blue silk on linen ground.
Quilt top
, early–mid-19th century
cotton, paper Technique: printed cotton, pieced and sewn, paper backing

Unfinished patchwork quilt top with a design of hexagons arranged as flowers on a white ground. Some of the fabrics are English block prints from the 1780s and 1790s; others are 19th century roller-printed fabrics. The hexagonal shapes were formed over paper patterns, still present.
Fragments
, 17th century
silk Technique: 5-harness satin damask

Fragment has a design of closely arranged elaborate scrolling leaves, some with fleur-de-lys motif. In dark yellow on a green ground.
Jug
, ca. 1815–18
Glass

Barrel-shaped body tapering at neck, shaped lip with pouring spout, loop handle; cut around center with diamond band, around neck and base with wide vertical fluting; ground pontil mark bottom.
Fragment
, late 18th century
silk Technique: damassé

Blue fragment with off-white floral bouquets set within diamond-shaped scrolling vines.
Design for building for the department of state
Christian Francis Rosborg, 1881 – 1953, 1912
Pen and black ink, brush and grey wash, graphite on paper
Drawing

Large classical building, porticoed facade and pedimented wings. Below: DESIGN FOR BUILDING FOR THE DEPARTMENT OF STATE; lower left: SCALE - 1/16" = 1'0.
Detail from Last Judgment
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Angel sounding a trumpet, based on figure from The Last Judgment by Michelangelo. Accompanied by sketches of border patterns.
Bean
, late 19th century
Tropical bean (Entada scandens), metal
Matchsafe

Circular, with flat top, assembled from a hollowed out tropical bean pod, the top of which is capped with a scalloped metal collar, over which a flat, hinged lid is attached. On front and reverse of collar small oval strikers are attached horizontally. Slight indentation in center of seed where a small, unadorned, metal shield is attached.
Stair at the Cluny, Paris
Whitney Warren Jr., American, 1864–1943, 1887
Brush and watercolor on light board
Drawing

Sketch of the stair and balustrade in the Cluny Museum.
Brisé fan
, 19th century
Carved and drilled horn sticks with applied metal spangles, mother-of-pearl washer at rivet, cast metal bail, silk tassel and ribbon

Brisé fan. Elaborately carved and drilled horn sticks appliquéd with metal spangles. Orange-colored silk connecting ribbon. Mother-of-pearl washer at rivet. Cast metal bail with decorative form. Cream-colored silk tassel.
Sidewall
, 1850–75
Block-printed and flocked

Rococo Revival style: scrolls and medallions forming a diaper pattern, enclosing flowers and foliage. Printed in deep red flock, overprinted with red and black detailing, on a white satin ground with gray shadows.
Entrance Hall, North Wall, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1802 or earlier
Brush and watercolor, pen and black ink, graphite on white wove paper
Drawing

Elevation of a wall, with doorways flanking a large central painted decoration consisting of a cloudy sky, enclosed in a frame, and surrounded by painted representation of stonework and a border of lattice work design. Over the doorway, left, a tablet with Chinese characters, and above that a rectangular framed panel with painted sky.
Fragment
, ca. 1740
silk, metallic thread Technique: plain weave with a set of supplementary warps (orange) and discontinuous supplementary wefts (silks and metallics) bound on the front in 1/3 twill

Long narrow fragment from the right side of a pattern which had a ship at sea and bold vegetation in bright colors and metallic thread.
Cavalry officers at a bridge in a town
, ca. 1840
Graphite and brush and watercolors on paper
Drawing

Three mounted cavalry officers are seen on a bridge in an Austrian town. On the bridge is a statue of St. Wolfgang, and beyond, a church. Before the church are other mounted troops. Two middle-aged men are seen near the officers in the left foreground.
Sidewall
, 1905–1915
Machine-printed paper

Floral medallion design. Alternating red roses and red tulips on diamond diaper or trellis background pattern. The ground is a petite tan plaid pattern.
Ceiling paper
, 1905–1915
Machine-printed paper

Red flowers on stems placed amidst stylized cloud formations. Printed on off-white ground.
Virgin and Child
Heinrich Aldegrever, German, 1502 - ca. 1561, 1553
Engraving on off-white laid paper
Print

Engraving depicting the Virgin and Child seated on a grassy bank.
Sidewall
, 1890–1920
Machine-printed paper, varnish

Sanitary paper depicting eight different landscape views, in tile format.  The landscapes are printed in color and alternate with rows of yellow bricks .
Textile
, 16th century
silk, gold-wrapped silk core thread Technique: slashed and embroidered satin weave

Red silk satin with all-over embroidered pattern of lobed ornaments and leaves, interspersed with small diagonal slashes. Lined with yellow silk taffeta.
Ewer
, 13th century
Glazed and lustred earthenware

On flaring foot, a pyriform body, contracting to narrow neck with rim compressed to form spout.  Loop handle.  Greenish glaze with brown iridescent and turquoise filling areas between large Kufic letters.
Panel
, 19th century
silk, metallic thread, paillettes Technique: embroidered on satin weave

A vertical panel with a design of conventionalized flowers and leaves with scrolling stems worked in green, pink, red, yellow and blue with gilt cord and paillettes.
Andirons, Living Room Fireplace, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on beige tracing paper
Drawing

In center of page:  two different designs for andirons shown from frontal view of fireplace. Two designs are one atop the other. To the right of these: on top a sketch of a fireplace from the side showing the inner workings with andirons, underneath: inscribed.
Study of a Young Boy's Head
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a young boy's head after A. Watteau. The boy with long wavy hair looks down to the left, with his head downcast. Only the collar and part of his right shoulder are sketched. The plate was probably signed in both lower corners but later burnished away. The plate is numbered
LE MAY
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of figures in a landscape: a woman sits against a tree at the center, holding a basket of flowers; to her left, a man stands, gesticulating, with a dog behind him; to the woman's right, three figures in rustic costume sit, one holding a staff, and one holding a trumpet. The scene is set within a field of arabesque ornamentation, and includes motifs such as scrolls, birds, garlands, baskets of flowers, reeds, vines, and meanders. Below the figures in the vignette, there is a cartouche with a smaller landscape depicting two figures on a boat in a river. The plate is signed.
Peep-show, Reggio di Calabria Destroyed by Earthquake, February 5, 1783
Jacques-François Chéreau, French, 1742–1794, ca. 1783
Hand-colored etching on white laid paper, laid down on brown wove paper
Print

Peep-show print
Landing Place, Duisburg
Joseph Pennell, American, active England, 1857–1926, 1910
Etching in black ink on laid paper
Print

View under the approach to a huge iron bridge, resting on two circular piers. A long gang plank runs from the bank to a barge. Smoke stacks in the distance.
Drawing
Felice Giani, Italian, 1758–1823, First quarter of 19th century.
Black chalk, pen and brown ink, on paper.

In an octagon: Latona is seated on the rocky shore and beneath a palm; The infant Apollo kneels upon her right leg, embraces her. The infant Diana sits upon her left leg. Latona gazes upwards and stretches both arms out. Strokes belonging to another design are in the left top corner.
Drawing
, 16th century
Black crayon, pen, brush, sepia. Brown paper

Vertical rectangle. H, above !!!, the right half being partly not executed. A ''stage'' with three round steps in the middle of the front. In the middle of the foreground stands a crowned skeleton with bow and arrow, shooting at the beholder. Behind him the sepulchre proper, a sarcophagus serving as a base for a twisted column, around which a band like a branch is laid, supporting burning candles. Upon the capital is a statue of Christ embracing the cross. The frame of the stage is formed in the foreground by an arc, the columns and pillars of which are supporting candle brackets, each with one candle. In the background is a triumphal arch with statues, at left an angel blowing a trumpet, at right of the Devil, looking at the risen Christ. Above the triumphal arch, as a background for the statue, are four flying angels, each with one or two of the instruments of the passion. The pediment of the arch in the foreground is decorated with angels and escutcheons.
Pleated fan
, 1760–1800
Painted parchment leaf; carved, pierced, painted, and gessoed ivory sticks with colored foil behind the guards, glass stone at the rivet

Pleated fan. Painted parchment leaf. Obverse: Romantic groups and still life in medallions bordered with gold; blue background scattered with gold leaves and pink flowering branches. Reverse: Chinoiserie landscape. Carved, pierced, painted, and gessoed ivory sticks showing figures and flowers in scrolled cartouches and fretwork; colored foil behind the guards. Glass stone at the rivet.
Fragment
, 1750–1800
silk Technique: plain weave with supplementary warp floats

Floral vines on white stripes
Fragment
, 19th century
linen Technique: bobbin lace (Lille-style with heavy thread)

Fragment of Lille type bobbin lace with threads knotted together on one side.
Trimming
, mid-19th century
cotton and metal Technique: woven

Trimming (galloon) with a design of angular stems and leaves; edges scalloped and ornamented with loops; furnishing trim
Ruin of a Mill
Walter Clark, American, 1848–1917, ca. 1885
Graphite on paper
Drawing

View of a raised wodden structure at the edge of a river.
Textile
, 1614–1868
silk Technique: resist

Coarsely-woven orange ground with widely spaced warp ribs has a design in reserve white of snow-covered pine branches. One narrow selvedge more tightly woven than ground.
Study for "Charity," St. Bartholomew's Church, New York, NY
Francis Augustus Lathrop, American, 1849–1909, ca. 1893
Graphite on paper
Drawing

Three sketches of a figure with wings.
Costume Design: A German for a Ballet
, ca. 1720
Lead pencil, pen and ink, brush and bistre, rose water color on paper
Drawing

Vertical rectangle. A young halberdier is shown in the three quarter profile, turned toward left, the head turned toward the left shoulder. Written above, in ink, over pencil: "Sigr Co. Cesare Rangoni." Caption written in pencil: "Un Tedescho."
Border
, 19th century
silk Technique: machine made

Black lace border with scalloped edge formed by flowers with a curving stem with flowers and leaves rising from each border flower.
Border
, ca. 1700
Leather, stamped, silvered, painted

Scrolling vine with flower and fruit motifs, set within a cartouche, which alternates with another design. Bell flowers in band along edge.
Textile
, 1780–1790
cotton Technique: printed by engraved copper plate on plain weave

Textile fragment printed in red on white ground showing the allegorical figure of Europe  surrounded by cherubs, roosters, dogs, and a horse.
Sidewall
, 1840–60
Block-printed on machine-made paper, satin ground

Gothic Revival pattern: a) patterned stripes run along edge of paper, half the stripe being printed along each edge to form a whole when hung: Gothic brackets project from the edging stripes to support on left, woman on right man playing lyre. In center: Gothic arch frames putto holding large dish of flowers, supported by fantastic concoction of gothic ornament. Block printed in black, brown, and what now appears to be white, but where protected by border appears peachy-pink, on white satin ground; b) Simulation of gathered lace over black background, in orange, green and brown with small bunches of blue and pink flowers.
Escutcheon
, ca. 1700
Brass

Lozenge-shaped plate with trefoils at bottom and two side points. Decorated with simple circular stamp in lozenge-shaped band surrounding keyhole.
Design for an Oval Dining Table 'A" of Mahogany
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Oval molded top with dividing stretcher running across center, raised on 6 carved, turned and fluted tapering legs on casters; smll rectangular carved inlaid plaques on table top.
Design for Six-legged Sideboard with Rounded Corners and Five Central Drawers
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Sideboard on six straight tapered legs with rounded front corners; flat central section of tripartite front has three narrow horizontal drawers, each with a pair of round pulls; flanking sections of front each have narrow vertical drawers with single round pulls at centers; low backsplash at back of top.
Design for Stained Glass Window: Skylight in Lodge Rooms
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and wash, gouache, graphite on paper mounted on tan illustration board
Drawing

Rectangular window of blue, yellow, and pink with central petals in pink.
Sidewall
, ca. 1810
Block-printed

Man in a boat with group of ducks swimming nearby. Another pair of men with horses sitting under trees. Classical buildings and ship in distance. Printed in green, gray and black on off-white ground.
Design for Serving Table with Two Shelves and Ball and Claw Feet
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular table top with 2 drawers at front, raised on 4 straight tapering bracket-shaped legs terminating in scrolling ball and claw feet with acanthus leaf motifs at fronts; 2 conforming lower shelves (the middle one suggested faintly in graphite) attached below table top; backsplash.
Figure of Asia
Julius Goltzius, Dutch, died ca. 1595, late 17th–early 18th century
fruitwood
Panel

Panel in gadrooned frame.  Female figure, swinging censer, seated in chariot drawn by two camels; in background, a battle scene against the backdrop of a hill town. At top right, labeled "Asia".
Urn with Gold and Flower Pattern
Royal Worcester, English, established 1751, ca. 1795
porcelain, vitreous enamel, gold
urn

Semi-ovoid, with domed top, raised strap handles and square base. Geometric design on body with square reserve on front, containing flowers. Floral bands about foot, foot bolted to body, top and cover. Gilding throughout.
Pitcher
, 18th–mid-19th century
earthenware

'I do not know...'
Textile
, early–mid-19th century
silk Technique: 7&1 harness satin with continuous supplementary weaft and supplementary warp.

Bright deep red with bright yellow rosettes in two sizes .
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

Two square windows each with blank central squares surrounded by vines.
Cottage Lowboy
A.N. Davenport Co., 1900–05
Photography on white paper
Photograph

Rectangular lowboy with 4 straight slightly tapering legs and 2 doors topped by 2 horizontal drawers; plain backsplash.
Panneau avec son lambris
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for paneling with wainscoting, decorated with ornament motifs including crossed branches and rosettes. The plate is signed.
Folding fan
, 1880–1900
Printed cotton leaf on obverse with dyed and glazed cotton leaf on reverse; narrow woven binding at edge of leaf; ebonized wood sticks with wood slips; metal loop and bone washer at the rivet.

Folding fan with Aesthetic Movement style printed cotton leaf depicting eight different overlapping designs for ceramic plates of the period surrounded by a small fish scale pattern. The reverse leaf is dyed and glazed dark brown cottton. The sticks and guards are made of wood ebonized black with unpainted wood slips in between the two layers of the leaf. At the edge of the fan, binding the two layers together, is a narrow woven binding tape that is dyed black. At the rivet there is a bone washer and metal loop.
Design for Cartouche with Cupid, a Horse and Spears from "Cartouches Nouvellement Inventez"
Charles-Nicolas Cochin the younger, French, 1715–1790, 18th century
Etching on paper
Print

Design of a cartouche composed of a mask above, below sphinxes with bearded men's heads; profile image of a woman. Lower portion of design includes foliate C-curves growing from a bearded man's head.
Design for Round Table on Carved Cabriole Legs
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Round molded table top with dividing stretcher running across center, raised on 4 carved cabriole legs with acanthus leaves at tops, terminating in ball-and-claw feet on casters.
Border
, ca. 1800
Block-printed paper

Band of blue leaves with black stripes, white highlights above a narrower band of chevrons.
Album of Prints: Livre d'Ornemens by Pierre Germain
Pierre Germain, French, 1703 - 1783, 1751
Album

Album of prints containing nine prints of the Livre d'Ornemens by Pierre Germain. The album is missing plate V.
Shaving Basin (for the Mexican Market)
, 1690–1700
porcelain, vitreous enamel, gold
basin

Circular with a double-headed eagle motif
DIVERS DÉCORATIONS DE CHEMINÉES
Jean Mansart de Jouy, French, 1705 - 1783, mid- 18th–late 18th century
Album

Album with two series of chimney piece designs illustrated as detailed wall elevations with two different design options for each plate (split in half). The designs feature highly sculpted paneling (boiseries), mantels, and molding decorated with rococo ornament and motifs. The plates are signed and numbered.
SALIERES
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Designs for six saltcellars with Empire style motifs featuring bells, rosettes, stars, grape vines, shells, snakes, figures, palm leaves, foliate scrolls, heads with wings, mice, and sphinx torsos. The plate is titled, signed, and numbered.
L'ASIE
Jean Lattré, French, ca. 1722 – 1791, mid- 18th–late 18th century
Etching and engraving on laid paper
Print

Design for a hand fan with a map of Asia framed within an upside-down pear-shaped rococo border ornamented with flowers, acanthus leaves, c-scrolls, and ribbons. The plate is titled and addressed.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of four-petal flowers in red between cream-colored borders.
Design for a Cabinet and Pedestal Table
Adam Weisweiler, 1746 - 1820, 1785
Pen and ink, brush and watercolor
Drawing

At top of a cabinet on low legs, with flat top flanked by engaged columns, and intended to be partially gilded. Center panel open, with blue behind. Below, circular pedestal table, with top intended to be adorned with blue and white medallions. The lower shelf has three legs and below shows a table and scale.
Decorated Ceiling and Wall
Felice Giani, Italian, 1758–1823, 1800–1823
Pen and dark brown ink over traces of graphite on blue laid paper
Drawing

Horizontal rectangle. At left, ceiling. In center, sun-face framed by garlands forming oval. Radially, burning torches. Outside, upper parts of circles with pedestal. At right, view into two aisles of tall structure. At left, representation of sacrifice. Verso: scheme of panels of ceiling, outlined.
Ascension of the Virgin
Giuseppe Galeotti, Italian, 1708 - 1778, late 18th century
Pen and brown ink, brush and gray wash on cream laid paper
Drawing

Vertical rectangle, design for a circular ceiling painting. At the bottom is a group of angels lifting the Virgin Mary to heaven. Christ and donor (?) or God the Father, raising a crown together, are shown in clouds above.
Water Falling on Rocks
Frederic Edwin Church, American, 1826–1900, 1856–62
Graphite, brush and white gouache on light brown wove paper
Drawing

Landscape sketch showing a view of water falling on rocks--either a product of waves breaking against a rugged seashore or mist falling on the boulders at the base of Niagara Falls. In the foreground at center, a pile of rocks has a billowing, misty plume of vaporous water crashing into or falling upon them, which then organizes into small rivulets between the rocks. Space behind the mist is lightly shaded. Plume and water articulated in white gouache.
ELÉVATION GÉOMETRAL DE L’HERMITAGE EXÉCUTÉ DANS LE JARDIN DE NIMPHENBOURG
Joseph Effner, German, 1687 – 1745, 1771
Engraving and etching on paper
Print

Architectural elevation of the Hermitage, a garden building in the Palace of Nymphenburg, Munich. The building is set within a landscape, surrounded by trees with an inscription in Latin lettered below. The façade includes a broken pediment with a bell. The plate is titled, signed, dated and numbered.