biglam/cooper-hewitt-alt-text huggingface dataset:
Figure Studies
François Boucher, French, 1703–1770, 1735
Etching on paper
Print

Figure studies/ sketches on a single plate with various degrees of finish and detail. In the foreground to the right, a seated man in profile holding a stick with his foot on a basket, a women seated lower than him with her hand on the basket. In the background women (peasants, farmers) kneeling with hands on the ground, and others holding baskets, a man on a wheelbarrow with a large basket. Foliage around the feet of some of the figures. The plate is signed and numbered.
Almacigo Trees, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Brush and oil, graphite on paperboard
Drawing

Botanical and landscape sketch of three almacigo trees in the Jamaican jungle. Positioned in the foreground, the trunks of these trees constitute the focus of the drawing. Their lower boughs and branches are largely cut out of view along the upper margin. Beyond, a wooded hillside is visible. Above, a mostly storm sky is punctuated with a patch of blue.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Incised lines, brush and qhite gouache on glazed tracing paper pasted on paper
Drawing

Every other one from a row of undulating rose twigs starts from a plant. The first intention had been to let all of them start thus, as proven by an erased plant. A row of acorns is at the bottom. Not quite two repeats are shown.
Sketch: At a gate
Howard Russell Butler, American, 1856 - 1934, possibly 1888
Red crayon, pencil. Light greyish paper.
Drawing

Verticle rectangle. Two persons, standing respectively outside and inside an obliquely shown gateway, apparently listen to what a bearded man reads to them. He seems to look out of the window.
A Shepherd Boy
Alexis Peyrotte, French, 1699–1769, early 1740s
Hand-colored etching with blue, green, yellow watercolors on paper
Print

Seated on the ground, at right, before a palm tree and fantastic plants. Two sheep at center. Two women stroll before a castle in the left background.
Venus and Cupid
Felice Giani, Italian, 1758–1823, 1800–1815
Red crayon on grey-brown paper over traces of graphite on cream laid paper
Drawing

In center, circular medallion with Venus shown kneeling in opened shell upon sea. Putti shown beside her. Laterally are pen sketches at left of putto and right of Venus. Cupid dancing holding arrow and bow.
Study of a Linden Branch
Sophia L. Crownfield, American, 1862–1929, early 20th century
Brush and watercolor on paper
Drawing

Vertical sheet depicting a linden branch with leaves and berries. On verso, three studies of raspberry canes.
Border
, 16th–17th century
linen Technique: knotting (macramé), withdrawn element work, needle-made filling, embroidery

Border with openwork and macramé edging.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. pink ground with warp face rib
b. blue/grey ground with warp face rib
Screens
Tiffany & Company, American, established 1853, ca. 1905
Favrile glass, patinated bronze

There are three screens. Each consists of three vertically rectangular panels of marbleized glass, each panel framed with narrow copper edging oxidized to green and orange-red tones with two small ball feet at each end. The panels are hinged together by means of wire at juncture of feet and screen.  Glass marbleized in tones of lavender, green and red.
Vase
Tiffany Glass and Decorating Company, American, 1892 - 1900, ca. 1895-96
glass

Iridescent blue, purple and yellow. Free-blown body, depressed sphere in shape, somewhat squared in plan. Heavy, rolled-over rim from squarish opening, drawn irregularly down and attached to applied heavy double threads, accenting four "corners" of body, and diminishing to points, near bottom. Depressed center on underside.
Fragment
, 15th–17th century
silk Technique: Selectively raised supplementary warps in a 4&1 satin foundation (velvet)

Design based on pomegranite form with rosettes as decoration in blue.
Fragment
, 10th–12th century
silk, linen Technique: slit tapestry

Bands of interlacing scrollwork separated by bands of tiraz writing.
Three Sketches of Female Nudes
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Three sketches of female nudes in semi-reclining positions.
Study of Child's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite and white chalk on red-brown paper
Drawing

Child's face turned toward the right. Shadow on the neck.
Design for a Silver Candlestick
Vittorio Maria Bigari, 1692–1776, 1725–40
Pen and brown ink, ruled border in graphite Support: white laid paper
Drawing

Vertical format; scrolls are the supports; in front of the base is an escutcheon with two cherubim on top; the shaft has below the shape of a cap, above a baluster, with an angular shaft; it is decorated with a cherub supporting festoons, and with a bunch of grain and vine; on top is a bowl and a a socket. (RB '45)
Ornamental Panel Surmounted by an Eagle and the Motto NATOS ET NOSTRA TUEMUR, plate 7 from the Livre de Diverses Grotesques peintes dans le Cabinet et Bains de la Reyne Regente, au Palais Royale
Michel Dorigny, 1617 – 1665, ca. 1647
etching with engraving on laid paper
Print

Vertical format; grotesque panel with an oval medallion as a centerpiece; the monogram (LA) of the King and Queen of France of the medallion, whichis surmounted by two victories, eagle and epigram; NATOS ET NOSTRA TVEMUR. (OPB '58) S.K.B. 4004(2), 316
Border
, 18th century
linen Technique: bobbin lace, continuous tape with bars added

Tape like band forming quadrangular fields.
Towel
, 16th century
silk embroidery, linen foundation Technique: embroidered on plain weave

White linen towel with narrow border design of conventionalized vine embroidered in red silk using cross-stitch, and two end bands embroidered with deflected element work showing symmetrical grotesque design of monkeys, dolphins, swans and figures in red silk thread. Red silk fringe on all four sides.
Two vases
, 1650–1700
Pen, ink. Paper
Drawing

Vertical rectangle. Above: a design with some alternative suggestions for the ornamentation. Below is a base. The shaft is a calyx The body is a cherub whose left wing is connected with the shaft by a horn or a garland. Disks are shown below the shoulder at right. Below: with a low base and a short shaft. Decorated only with moldings.
Fragment
, 17th century
silk, cotton (?) Technique: two integrated fabric structures; 4&1 satin and plain weave

Cartouches formed by strapwork containing a snake on a leaf shape. Center of strapwork a medallion containing half the crowned letter 'M'; another compartment containing half a vase of flowers. Selvage at right. Ivory, red and yellow.
Sash
, 19th century
silk Technique: plain compound weave

Sash with a broad band of checkered squares in two shades of tan on either side of thin stripes in the center, also in shades of tan. Knotted warp fringe at one end.
Portrait of Maximilian I
Albrecht Dürer, German, 1471–1528, 1518–19
Woodcut on off-white laid paper
Print

Portrait of Holy Roman Emperor Maximilian I with an ornamental border by Hans Weiditz.
Fragment
, late 17th–mid- 18th century
silk Technique: satin weave with discontinuous supplementary weft patterning (brocaded)

Square textile fragment. Green plain weave with discontinuous supplementary weft patterning (brocade) in rust, green, cream and blue. Design shows basket of flowers with diaper pattern. Below and to the left, a scrolling pattern. Five-harness satin patterned by one and two extra wefts and brocaded supplementary wefts bound by an extra warp in 3/1 twill. Selvage at one edge intact.
Rosettes
, late 16th–early 17th century
linen Technique: knotted

Four circular ornamental rosettes.
Acanthus Ornament
, 1750–1800
Pen and gray ink, gray wash Support: white laid paper
Drawing

Vertical rectangle. Variation of the Roman frieze in Villa Medici in Rome. A calix is shown. No animals. Paper margins.
Drawing
, 1815-1840
Pencil, gouache; parts are oxydized. Paper

Vertical rectangle. Flower boughs and a basket full of fruits, standing upon a sheaf form, an ovoidal framing supposed to be in Louis XV style. The monogram is drawn in pencil in the center.
Textile
, late 19th century
cotton Technique: roller printed on satin weave

Design of two landscape scenes: one of a windmill and boats, the other a church and ships. Both are framed by scrollwork in the style of Delftware. Printed in blue on a white ground.
Fragment
, 1700–1750
silk Technique: woven

Symmetrical pattern of flowering vines around flowering urns on a white ground.Both selvages present.
Panel
, 19th century
cotton Technique: deflected element work

Long white panel embroidered in a small allover design of lacy festoons and small flowers. The long festoons have drawn centers.
Fringe
, 16th century
silk, metallic thread (silver strips wound on a silk core) Technique: plain weave

Red, green, white and metallic silver fringe with a heading in a trellis design formed by an overlay silver threads. Overskirt of twisted red, green and white threads.
A Tiger and A Tortoise
Antoine Louis Barye, 1796 – 1875, ca. 1825
Black and white crayon on brown paper
Drawing

The tiger is shown lying down and putting his right forefoot upon the tortoise. Rocky background.
Fringe
, 17th century
silk Technique: woven

Red fringe with a plain-woven heading and a skirt of red threads.
Macchina delle 40 ore
Andrea Pozzo, Italian, 1642–1709, 1685–1700
Pen and brown ink, gray wash, black chalk Support: white laid paper, laid down
Drawing

Vertical format. A staircase leads to a platform on which upon a high pedestal, two angels raise a cross over an altar. A monstrance stands upon clouds cover the cross. Throngs of angels are shown on clouds some of them singing or playing musical instruments. A kind of altar retable serves as an architectural setting. God The Father appears above, An altar bearing a cross and six candles stands on the first landing of the staircase.
Textile
, 1885–90
silk Technique: satin weave

Pale violet satin figured in white and purple in a design adapted from the Iranian carnation.
Allegorical Figure of "Asia"
Le Nove Porcelain Manufactory, Italian, established ca. 1727, late 18th century
biscuit
figure

1960-1-54-a/d: Allegorical figures of the four continents with th...;     1960-1-54-a: Allegorical figure of "Asia" with animal attribute...
Album of Molding Designs, Plans, and Sections for Interiors
Jean Mariette, French, 1660–1742, late 17th–mid- 18th century
Album

Album with a series of six architectural designs for interior moldings with multiple plans and section views on each plate for the detailed components. The plates are numbered, titled, and signed by the publisher.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-ch: Aesthetic all-over pattern with motif of flowering...
The Four Parts of the World
, ca. 1840
cotton Technique: printed by engraved roller on plain weave
Fragment

Four figures symbolizing America, Asia, Africa and Europe. In red on white.
Sidewall and border
, ca. 1800
Block-printed on joined sheets

Red roses on branch with bow know at end. Rose motifs separated by vining foliage with red berries. Printed in red, white, blue and black on spotted ground. Narrow acanthus architectural molding along 2 edges. Original document for "Flower and Ribbon,"
Borders
, ca. 1830
cotton Technique: block printed on plain weave; discharge printed

Two uncut borders imitating woven upholstery braid. In yellow and black on red.
Mantle
, 1100
wool, cotton Technique: complementary wefts, one continuous, two discontinuous

Bands with tapestry-woven borders. Bird motifs outlined in red. Red line between each group of birds.
Design for a Painted Porcelain Plate, Les Pièces Montées (Tiered Cakes) for the Service des Objets de Dessert (Dessert Service)
Jean Charles Develly, French, 1783 - 1849, 1819–20
Pen and brown, black ink, brush and brown, black wash, white gouache, red crayon, graphite on tan paper mounted on blue-gray paper
Drawing

Design for a painted porcelain plate, rondel. Scene in a hallway at the top of stairs, at right. Two male figures are carrying up the stairs large tiered cakes; one in the form of a windmill, the other in the form of a planted jardiniere.  A third cake in the form of a medieval chapel including sculptural niches, has fallen to the floor, center middleground.  Two children, in the left foreground; one picks up the pieces, the other points his finger in the direction of a horrified man. This man and a woman, rear center, express their dismay. Through a doorway, rear center, people are seated at a table.
Frieze
Philadelphia Wall Paper Mills, 1905–1915
Machine-printed paper

A repeating design of upside down bouquets of pink and magenta flowers incorporated in a scrolling acanthus leaf design in mica. Printed on ivory ground.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Faint sketch at left within a square frame.
Sidewall - sample
, 1906–07
Machine-printed

Vertical stripes, 2 3/4 inches wide and 3 1/2 inces spaced. A leaf garland runs through the center ot the stripe. The background shows some cloud efects. Printed in shades of green and gold mica.
Four of Clubs
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Four of Clubs playing card from a pack of transformation playing cards. Figure of a male bishop carrying a crozier (staff). He wears religious costume and carries a Bible. Two clubs integrated into the design of his staff, the other two integrated into his hat and vestments.
Girl with Bowl
Louise Howland King Cox, American, 1865–1945, 1895–1910
Graphite on light brown paper
Drawing

Girl facing front, looking down into a bowl in her hands.
Sketchbook Page: Historic Portrait No. 8 (Self-Portrait)
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Self-portrait of the artist with chin slightly raised.
Fork with Ornate Silver Handle (Part of Traveling Cutlery Set)
, ca. 1700
steel, gold plated, silver
fork

1985-103-100-a: Wooden sheath, oval in section, covered with silve...;     1985-103-100-b: Two long straight tines with rounded shoulders. Fa...;     1985-103-100-c: Long blade with straight upper edge, the lower edg...
Abraham Lincoln
George E. Bissell, 1839 – 1920, 1898
Bronze
Figure

Figure of Abraham Lincoln standing upright holding a scroll of paper with "A LINCOLN" at the end of the indecipherable writing.
Cup and Saucer
Royal Porcelain Manufactory, Berlin, German, established 1763, 1800–1810
hard paste porcelain, vitreous enamel, gold
cup and saucer

Curved cup with cavetto neck and high loop handle. Curved saucer. Overglaze decoration on cup: at bottom, silver vine on black band; center: pink with gold chinoiserie; top: black vine on white. Inside pink, with wide gold band. Saucer with similar decoration, but wreath instead of chinoiserie.
Skirt fragment
, late 18th–early 19th century
cotton Technique: block-printed on plain weave

Fragment of skirt in cotton, block-printed in red and black on light blue background. Stylized all-over floral shape in form of an orchid.
Dish with Figures on Horseback
, 18th century
wood, paper, paint, lacquer
Dish

Oblong lobed tray with molded edge, of painted wood. Engraved decoupage of four persons on horseback, and a standing woman and child at center. On the rim, chinoiserie and an elephant.
Chimneys – Lusanne
Arnold William Brunner, American, 1857–1925, 1883
Graphite and blue wash on light brown paper
Drawing

Four sketches of chimneys; upper left, barber's sign of brass.
Two Putti
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1600
Black chalk on cream laid paper
Drawing

Two putti, with a light sketch of a large cloth draped over them, are seen back to back. The right-hand putti in the foreground, turned slightly to the right, faces the viewer and points towards the right. The putti on the left with his back turned is shown in profile, with his head turned left.
Die Moritat (The Murderer's Deed)
Frau Sattler, ca. 1840
Block-printed on handmade paper
Overdoor

A man in a white smock shows the story of a murder to a woman and a little girl. He points to a sheet of four pictures which is suspended from the top of a pole which stands on the ground. Persons are dressed in clothes of the 1840s and are situated in a park or garden with balustrades at back; printed in black, white and shades of green on pale green ground.
Second Intermezzo, for La Liberazione di Tirenno e. D'Arnea
Jacques Callot, French, 1592–1635, 1616
Engraving with black ink on paper
Print

Horizontal rectangle. A set design: the second intermezzo of three for a theatrical work by Andrea Salvadori, "La Liberzione di Tirenno, e. D'Arnea." This one is labelled "Hell arming itself for the vengence fo Circe against Tyrene." A street lined with high buildings and ruins, a sea beyond, flames and demons scattered everywhere. Below, title and artists' name.
Fragment
, 18th–19th century
linen Technique: Brussels-style bobbin lace

Belgium bobbin lace copy of Venetian needle lace.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Floral design, alternating large and small floral/foliate medallions.
Sampler
, 1837
silk embroidery on cotton foundation Technique: embroidered in running and cross stitches on plain weave foundation

Central square removed and inserted with pattern darning with "12 years old" (oud 12 Jaar) in center surrounded with nine examples of darning.
Embroidered panels
, late 17th century
silk, pearl, wood Technique: embroidered in satin, stem, couching and looping stitches on 4/1 satin foundation

Three raised work panels for a casket worked on the same piece of foundation cloth.  Frieze at top; dog chasing a rabbit.  Panel at left; Hagar and Ishmael and Ishmael with the angel.  Panel at right; Abraham with Sarah and Isaac in the tent.
Sketchbook Page: Letter about Refusal from Salon
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Copy of letter from a Frenchman (not named) about the refusal of pictures by American artists, including Kenyon Cox, from the Salon because "the United States Government has raised the duties on foreign pictures to 30%." Letter continues on verso.
Square Bottle
Grieksche A [de] (the Greek A Factory), Delft, Netherlands, founded 1658, ca. 1686–1701
tin-glazed earthenware, gold
bottle

Tall rectangular body, sloping shoulders, round neck with top and bottom rim; painted in underglaze blue on white, on sides above cloud-band border with Chinese figures in landscapes and pavillions, on shoulders and neck with chinoiserie motifs; traces of gilding throughout.
"Smile!"
Paye & Baker Manufacturing Company, American, 1901–ca. 1965, ca. 1900
Silver
Matchsafe

Rectangular, rounded corners and sides, featuring raised decoration of man in hat, jacket and waistcoat behind waist-high wood fence, 3/4 view in lower left corner of grimacing dog facing the smiling man on opposite side, inscribed between the two "Tis easy enough to be pleasant when life goes by with a song but the man worth while is the man who will smile when everything goes dead wrong." Inscribed in raised letters on lid "Smile!" Reverse slightly concave. Lid hinged on side. Striker on bottom.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

A repeating design of intertwining pale beige and tan acanthus leaves. The lighter ones forming fleur-de-lys, on a steel gray-green into pale green, textured background, below a border of connected circles. Printed in metallic green, gold, pale beige, tan and silver.
Architectural Details at Lisieux
Arnold William Brunner, American, 1857–1925, 1883
Graphite and white heightening on brown paper
Drawing

Window and roof support, left; mouldings, right.
Fragment
, 19th century
silk, cotton, linen, metallic thread Technique: bobbin lace (?) probably machine

Allover design of small diamonds within diamonds with triangular scallops. Scaled and with wide slits in silver on a yellow silk ground.
Plate
, 18th–19th century
Glass

Circular plate with wide up-turned rim; center cut with radial pattern of petals filled in with fine diamonds, fans in between; rim cut with strawberry diamonds and scalloped edge; glass bubbly.
Border
, mid-18th century
linen Technique: bobbin lace, Brussels style

Border  with a garland of floral sprays.
plate
Metaale Pot [de] (the Metal Pot Factory), 1691–1721
Tin glazed earthenware

Circular plate painted in underglaze blue on white; center with chinoiserie scene of flowers, rocks, insects; cavetto with 14 uniform panels with flowers; rim decorated with evenly spaced reserves of floral motifs on diaper pattern; 7 groups of 4 blue dots painted on underside of rim; low foot rim.
The Cave of Adullam
Irving Ramsey Wiles, American, 1861–1948, 1889
Brush and black and grey watercolor, with graphite, on cream paper
Drawing

A cliff edge and a large plant in the foreground, right. A valley in the center of the composition. Some buildings built into the side of the cliff face, in the distance. More buildings and low, rolling mountains beyond.
Sketch of Helmet and Men at Eton
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper
Drawing

Above, helmet; below two sketches of man in top tat, left from behind, right profile, "Little boys at Eton"
Sidewall
, ca. 1750
Embossed leather, painted, gilded

Diaper or trellis pattern, enclosing floral bouquets. The trellis pattern is composed of strapwork and scrolling foliage in the Rococo style.
Border
, 1835
Block-printed and flocked on handmade paper

Large blue peony clustered with three gray and white daisies. Thin leaves are multi-shade brown flock, one base color, three other shades. Ground of diagonal thin yellow stripes under entire design.
Sketchbook Page: O Goddess! Mother!
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Notes about solo and chorus, and verse about Isis beginning: O Goddess! Mother!
Verso: Notes about Act II, with opening chorus of people with lamps. Verse beginning: To the temple of Isis haste away.
Sampler
, 1807
silk embroidery on cotton foundation Technique: embroidered in cross stitch on plain weave foundation

Isolated motifs including affronted rabbits within border, in the center a church.  In the church windows are letters: d, i, s, o, e, i, e, r, s.
Charles I
, 1881–1882
Block-printed paper
Decorative panel

Series of eight panels, each with British ruler, full length, in grisaille. Charles I, reigned 1625-49. Photo in object file.
Table cover
, 16th century
silk on linen Technique: embroidered

Rectangular table cover in a geometric floral pattern in red silk on linen.
Daniel Boone
, ca. 1890
Patinated brass
Matchsafe

In the shape of Daniel Boone's head in profile, with racoon hat, and banner draped across shoulder inscribed : "[unidentified monogram], 29th NATL ENCPT, LOUISVILLE" and below "DANIEL BOONE", some red patination on surface, identical on reverse. Hat serves as lid, hinged on side. Striker on bottom.
Band
, 19th century
linen Technique: bobbin lace

Band of lace worked in a provincial style with a pattern of geometric star shapes.
Cap streamers
, 1700–1750
linen Technique: bobbin lace, Brussels style

Dense serpentine design with exotic floral forms and chinoiserie elements.
Drawing
Louis-Albert DuBois, Swiss, 1752–1818, ca. 1801
Opaque watercolors

One quarter of design showing corner border with alternate suggestions and field of scattered flowers.
Fragment
, 16th–17th century
silk, metallic thread Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Fragment of orange cut and uncut velvet in a white ground shot with silver thread has an alternating pattern of flower sprigs that intersect hooked barrettes.
Sidewall
Conowingo Wall Paper Company, 1905–1915
Machine-printed paper

Scrolling foliage with beading and acanthus leaves. Ground is pink. Embossed paper with small flowers and scroll motif. Printed in pinks and metallic gold.
Printed in right selvedge: "CONOWINGO.W.P. Co." Pattern No. "712"