biglam/cooper-hewitt-alt-text huggingface dataset:
Three Gueridons (Candlestands) Designs
Alexis Loir, French, 1640 - 1713, ca.1660–1703
Etching on paper
Print

Three designs for gueridons (candlestands) featuring supporting fauns (half-man, half-goats), festoons of leaves, scrolling acanthus leaves, foliate scrolls, gadrooning, shells, fleurons, masks (mascarons), fluting, and sphynx. In the lower center, there are two designs for finials or lids. The plate is signed by the publisher.
LES CASCADES DE CHANTILLY
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of the cascading fountain (stairs on either side of the jets of water and cascading water) in the gardens at Chantilly with smaller basins and jets of water in the foreground. Trees surrounding and figures (courtiers and gardeners), and sedan chairs throughout. The plate is titled and signed.
Card Case
Nathaniel Mills & Sons, Birmingham, England, 1811–1873, 1845–46
Repoussé and chased moulded sheet silver

A silver card case with a castle on the front. Around the castle is decorated in a carved scroll design.
Fragment
, early 18th century
silk, metallic thread Technique: satin and couching stitches on plain weave

Fragment of a vase filled with flowers that spill into the foreground. To the left is a caterpillar and at right, a small animal, perhaps a dog, on hind legs with a helmet and tunic.
Le Châteaux Roïal de Chambor à quatre lieües de Blois
Nicolas Langlois, French, 1640 - 1703, late 17th century
Etching on laid paper
Print

View of the chateau of Chambord with figures, horseman, and horse drawn carriages in the foreground heading towards the entrance façade. Trees frame the scene and in the background. The title and publisher's address are inscribed in ink below.
Cornice Molding Designs and Sections
Jean Mariette, French, 1660–1742, late 17th–mid- 18th century
Etching and engraving on laid paper
Print

Molding designs for interior cornices with section views. The details are lettered with a legend in the lower center and a scale below. The plate is titled, numbered, and signed with the publisher's address.
Palazzo over Water, Rome, Italy
Frederic Edwin Church, American, 1826–1900, 1868-1869
Graphite on tan wove paper; verso: graphite
Drawing

Architectural sketch showing an indistinct view of buildings along a canal in Rome, Italy. In foreground at left, to arches support a balcony with at least three potted plants. Building outlines are visible at right, and the top of a dome in shown in the background at left.

Verso: Architectural and landscape sketch showing three buildings, likely a villa, in the Italian countryside near Rome. At center, the largest structure with two chimneys is visible, with the darkened facades of two other buildings behind it. Trees gather at right. Ground is loosely rendered.
Brisé fan
, ca. 1725
Painted and gilded ivory sticks

Fan with observe painted with a design of dancers and musicians against a landscape background. Reverse has a landscape scene with trees against a hilly backdrop. In margins are birds and figures in a chinoiserie style.
Wooded Shore of Lake Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, September 1878
Graphite on white wove paper
drawing

Landscape sketch showing the heavily wooded shoreline of Lake Millinocket in Maine. Stretching across the composition in the middle distance, the shore hosts a dense stand of mixed trees and other undergrowth, whose forms are reflected in the water below. In the background at right, a distant, curving shoreline is visible.
Border
, 1860–70
Machine-printed, distemper colors

Printed in black, yellow and pale blue on dark blue ground, with scalloped scroll and floral sprays.
Ornamental Vase Design
L.N. Percenet, French, born 1736, 1761
Etching on laid paper
Print

Lidded bowl-shaped vase. The vase has fluting over its body, and a ring on either side. The vase is set into a rounded niche. There is an architectural plaque below the vase, on which the title is printed. The plate is titled and numbered but not signed.
Sidewall
, ca. 1700
Leather, stamped, silvered, painted

Deep blue or purple grapes with red highlights.
Designs for Pedestals
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates featuring designs for pedestals. The plates are both signed and numbered.
Rest on the Flight to Egypt
Fortunato Duranti, Italian, 1787 - 1863, 1825–1850
Pen and bistre ink on paper
Drawing

Full-length figure of the Virgin, standing frontally, facing the spectator. She holds her sleeping child in her arms, the donkey is behind them, Saint Joseph in distance, left. Inscriptions, above and below, reverse.
Design for Parts of the Embroidery of a Man's Waistcoat
, 1780–1790
Brush and watercolor, brush and white on paper
Drawing

Disposed to form an angle. Flower boughs. A border design, alternating leaves under a stripe. Reverse: tracing; curved edge with halves of flowers.
Fragment
Cocheco Print Works, Dover, NH, USA, 1876
cotton Technique: printed

Small fragment of a centennial print in shades of brown, red and dark yellow. Diamond shape in center has a shield flag with "1876" and "Peace."
Embroidered picture
, ca. 1790
silk and wool embroidery on silk foundation Technique: embroidered in stem and satin stitches on plain weave foundation; face, hands and sky are painted

Scene of a boy holding a bird's nest in his lap with one bird perching on his finger, in a rural landscape.
Napkin
, 1720
linen Technique: 4&1 satin damask

White damask napkin has a field of a horizontally and vertically symmetrical pattern comprised of a wreath of flowers with paisley or cone-like pendants hanging from each corner. Borders have a floral vine twisting around a bar, and each corner has a rosette.
Ornament Designs for Watchmakers, Goldsmiths, Chasers, Engravers and Other Curious Persons
Pierre Bourdon, French, ca. 1656 – 1708 after, 1703
Album

An album containing three series of ornament designs by Pierre Bourdon featuring grotesque motifs and designs for case covers (possibly for snuff boxes, watch cases, and mirror backs), watch keys, fob seals and pendant jewelry. The plates are signed and numbered.
Pleated fan
Antoine Watteau, French, 1684–1721, ca. 1740
Parchment leaf painted in watercolor, carved and pierced mother-of-pearl sticks with gold foil and applied straw decoration

Pleated fan. Parchment leaf painted in watercolor. Obverse: scene of figures in a landscape after "L'Assemblée Galante" of Jean-Antoine Watteau. Reverse: Chinoiserie scene with a man and woman in a landscape with a boat and a bare tree. Guard and sticks of pierced and carved mother-of-pearl with gold foil. Gorge covered with a diaper pattern of applied straw, showing an elaborately carved and pierced rocaille framework enclosing figures.
Sample book
John Philips & Co., Manchester, England, 1787–1803
leather, paper, silk, cotton, linen Technique: woven

Ninety-eight textile samples mounted on hand-made paper and bound in gold-tooled red leather. 53 silk samples; 28 silk-and-cotton samples; 16 cotton; and 1 linen.
Textile
, 4th century
wool, linen Technique: tapestry weave

Fragment with a partial figure of a saint or angel in light brown and olive green.
Noble on Horseback
Theodor de Bry, Flemish, 1528 – 1598, ca. 1575
Engraving on paper
Print

Vertical Rectangle. A: Figure of a man on horseback, facing right. Escutcheon with blank field, upper right.
Study of a Wing
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Wing with large feathers, outstretched to the right.
Fragment
, 18th century
linen Technique: needle lace

Fragment of Argentan, finely and closely worked, in an elaborate floral design.
Fragments
, 19th century
silk Technique: woven velvet

Fragments - two pieces cut & uncut voided satin velvet??? On pale ground, part of large repeat of serpenting*** branch bearing*** large flowers, pair of buds***, in pastel greens & oranges???
Raccolta di teste
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, 1750–1780
Etching on laid paper
Print

Vertical rectangle. Old man ''of Rembrandtesque type''.
Fragment
, 19th century
linen Technique: bobbin lace (Lille-style with heavy outlining thread)

Lille-style fragment with upper portion in a conventionalized pattern separated from border by deep points with heavier thread.
Tie
, mid-19th century
linen Technique: machine-made lace

Narrow border ornamented with small four-petaled flowers. Medallions at either end show design of floral sprays in leaf border.
Steel button
, 19th century
Cut-steel beads
Button

Component -b is on card 64
Fragment
, 16th–17th century
silk, metallics Technique: supplementary warp forming raised cut pile on a foundation of plain weave faced with metallic supplementary wefts.

Scroll pattern on glinting metallic background. Blue.
Friezes, Panels and Ornam
Gottfried Engelmann, 1788 – 1839, 1823
Lithograph Support: white wove paper
Print

Four friezes; tow motifs for vertical stripes; two rosettes; an ornament with a classical sacrifice.
Madame Unzelmann in the Part of "Nina"
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, 1799
Engraving on paper
Print

The seated figure of the acress, Madame Friederike Unzelmann is seen seated in a landscape in a scene from the first act of Armand's play "Nina," in the part of Nina. She holds aloft a bouquet.
Chairs
, 1730–40
Carved walnut, silk damask upholstery (modern)

Pair of chairs, each with natural wood frame carved with foliage and rocaille motifs at crest rail, seat rail and knees; square seat on four cabriole legs terminating in feet on pegs; each back and seat upholstered in blue silk edged with brass studs.
Textile
, 1700–1750
cotton Technique: mordant painted and resist dyed on plain weave (chintz) Label: mordant painted and dyed and resist dyed cotton (chintz)

Finely woven cotton with an all-over, repeating floral design of small sprays of exotic flowers and foliage in many colors on a white ground. Strong reds in the blossoms with yellow, blue and green in the foliage, with fine filling patterns within leaves or flowers, as minute white flower sprays within a red leaf or tiny red flowers on a dark green leaf. Original glaze is still present but now dark with age.
Fragment
, 17th century
linen Technique: lace of early premade bobbin tape with needle work fillings

Border fragment, linen tape lace with needle lace stitches in large scaled Gros Point de Venise pattern.
Fringe
, 17th century
cotton, linen Technique: woven

Brown and white fringe with a plain-woven heading and a thread skirt arranged in stripes.
Fragment
, 18th century
linen Technique: bobbin lace (Mechlin-style with Point de Paris ground)

Fragment with a design of detached floral sprays.
Fountain in a Niche
, 1800–1820
Pen and brown ink, watercolor Support: white wove paper
Drawing

Walls with balustrades on top form a niche in the rear of which an aedicula stands; it shows a niche to which a lion mask is fastened from which water pours in a basin; steps lead up to the basin; the bottom flight is flanked by sphinxes upon pedestals; a sphere on the paved ground. (RB '45)
Decorated Capital Letter S
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

Letter S before St. Stephen suffering his martyrdom.
Fragment
, 17th century
linen Technique: needle lace

Fragment with a pattern of round bud stems.
Fragment
, 17th century
silk, linen Technique: woven (brocatelle)

Strapwork with checkerboard shield shapes and foliage in red, yellow and white. Both selvages present.
Fragment
, late 18th century
silk on cotton Technique: embroidery

Fragment of cotton, embroidered in colored silks, showing floral sprays freely placed. Possibly from a bed canopy.
Trimming fragment
, 19th century
silk Technique: woven

Flowers and diagonal leaves in terra cotta on beige.
Fragment
, 17th century
silk Technique; supplementary warp forming velvet pile and supplementary warp forming pattern

Cartouches containing plant forms. Yellow and rose selvage at left.
Brisé fan
, ca. 1850
Ivory sticks painted with gouache, silk ribbon

Brisé fan. Ivory sticks painted with gouache showing roses, violets, and forget-me-nots. Connected with white silk ribbon. Plain ivory guards. Ivory loop at rivet.
Fragment
, 17th century
linen Technique: bobbin lace, discontinuous tape

Fragment of a floral vine band.
Sidewall
, 1850–70
Block-printed on satin ground

Scrolling ivy design. Printed in gray, black and white on tan satin ground. Original documents for "Climbing Ivy".
Design for Interior Wall Decoration with Bench
Johann Michael Hoppenhaupt II, German, 1709–ca. 1778, 1753
Etching and engraving on white laid paper
Print

Elevation of an interior wall with inset upholstered bench at center. The panels and large central mirror are richly decorated with rocaille ornamentation. The plate is signed.
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 design; tall central vase in blue, floral arrangement below.
Skirt panel
, mid-19th century
silk Technique: warp face plain weave and velvet

Black dress fabric that starts at the top with no pile and then adds horizontal stripes of velvet that gradually turn to grey/tan and the pile becomes longer at the bottom.
Saucer
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1780
hard paste porcelain, vitreous enamel, gold
saucer

1938-57-768-a: in box. Cup has double-curved side, cylindrical fo...;     1938-57-768-b: in box. Cup has double-curved side, cylindrical fo...
Ceiling paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

Four-lobed floral motif, with scrolling foliage trailing off from each lobe, connecting to other motifs. Printed on light ground.
Four Continents
, 18th century
Diamond-cut and engraved glass
Standing cup

Deep flaring chalice, cut at bottom, and engraved with four semi-circles containing the Four Continents enthroned. Asia in turban, with basket of gems; Europe with scepter; Africa with feathered scepter and bird; America with feather cape and headdress, holding bow and arrow. Cut baluster stem and knob; domed foot, with cut top.
Salad Bowl
Sèvres Porcelain Manufactory, French, established 1756, 1763
soft paste porcelain, vitreous enamel, gold
bowl

Ten-sided bowl, with flairing rim; white ground decorated with sprays of flowers on exterior and rim; blue bands with touches of gilding along rim and foot.
Sampler
, 19th century
silk and metal-wrapped silk embroidery on cotton foundation Technique: embroidered in satin, stem, and couching stitches on plain weave foundation

Bands of elaborate floral borders in polychrome silks and metal threads.
Sampler
, 1824, completed early 20th century
silk and mercerized cotton embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Maltese cross followed by alphabet; floral band; field of isolated motifs, all contained within a curving floral border.  "1824" in blue in the center.  The date and the "Art Nouveau" motifs on the left contain mercerized cotton.  The sampler may have been started at one date and completed many years later.  Note resemblance to 1981-28-8 and 1981-28-33.
Border
, 1860–1900
Block-printed paper

Entwined leafy vines forming central column on black ground.
Purse
, late 17th–early 18th century
silk, metal Technique: woven

(a) Red silk with symmetrical patterning in silver. Paired hearts flanked by cupids above crown with monkeys right and left. Parrots in corners above, peacock below, dogs in foliage. 
(b) Blue silk with symmetrical woven pattern in silver. A heart surmounted by a cipher flanked by falcons. Above a crown, border of stylized foliage.
From Our Window Granada
Arnold William Brunner, American, 1857–1925, 1892
Graphite on paper
Drawing

Looking up a slope, past houses and foliage to a tower
Sidewall
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper

Lace-like foliate bands with alternating small and large foliate medallions. Background of vertical alternating wavy lines and waves. Ground is beige. Printed in green, blue, brown, black, and beige. 
Printed in selvedge: "Standard Papers"
Fragment
, 19th century
silk, cotton, metal strips Technique: cut and uncut supplementary warp pile (velvet) in a plain weave foundation, extra weft floats of metal strips cover alternate shots of foundation weft

Cut and uncut velvet with small group of three flowers enclosed in an elaborately decorated ogee lattice. Warp pile colors are dark green, red, light blue, yellow and ivory on a yellow and gold background.
Birdcage
, ca. 1765
Carved and joined mahogany, metal wire, sheet metal

Octagonal form of wood and metal wire; ogee arches springing from clustered columns on the eight corners; one side with hinged door. Ogee domed top with pierced imbrication and leafy finial. Bottom of sheet metal. Two perches and a swing in interior.
Sampler
Dolores Obando, 1853
silk embroidery on cotton foundation Technique: embroidered in satin and stem stitches on plain weave foundation

Sampler is divided into five panels by striped borders. In the largest center panel is a vase of flowers. On each side is a wreath containing the inscription "Lo izo Dolores Obando en la enseñanza de la Academia de Puebla en el Mes de Mayo del año de 1853." At the bottom are two floral bands.
Sidewall
, 1850–55
Block-printed, stamped gold foil, paper

Against a light gray ground are printed isolated, oval-shaped rings of stamped silver, leafy vines. Drop match. Two incomplete widths are joined with a section of printed border, with beading and arches against a deep red ground, across the top.
Liberty, Cartoon for Mosaic in Wisconsin State Capitol Rotunda
Kenyon Cox, American, 1856–1919, 1912
Charcoal on tan paper
Drawing

Allegorical figure of Liberty, wearing a Phrygian cap and crowned with laurel. Her right hand guards the ballot box while her left hand points upward. Roundel outline around figure.
Sears, Roebuck & Co.
Sears, Roebuck and Co., founded 1886, 1921
Machine-printed paper, embossed
Sample book

Collection of machine-printed papers with designs including tapestry papers, grapes, stripes, tile patterns, landscapes, floral, ingrain, intaglio, and varnished tile patterns.
Designs for Snuff Box Covers
William Hogarth, English, 1697 - 1764, 1717-1791
Etching on paper
Print

Two etchings, the first after a drawing show an interior scene in a salon. Two men stand at left foreground; five women in background. Second cover depicts a street scene at night. A man and a woman fighting; at left several figures.
Les parterres du Jardin de Monsieur Rendrop à Watervliet (The Garden Beds of Monsieur Rendrop in Watervliet), in Nouveaux Livre de Parterres contenant 24 pensséz diferantes (New Book Containing 24 Different Variations for Garden Beds)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Landscape architecture design for garden.
Sidewall
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper

Foliate medallion design. Medallion surrounded by layers of scrolling foliage. Printed in metallic gold, burgundy on tan ground.
Waves Breaking against Rocks
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Rough sea with breakers, line of clouds in background over horizon.
Side chair
, late 17th–early 18th century
fruitwood

This chair consists of a slab seat and an elaborately carved back in baroque style.  Four tapered legs protrude from the bottom of the seat.  The chair's seat is rounded on its outermost edge.  A heart shape is carved out of the upper, central area of the seat back.
Sampler
Bernabela Gonzalez, 1797
silk embroidery on linen foundation Technique: embroidered in satin, back, eyelet, detached chain, herring bone, running, cross, stem, and button hole stitches on plain weave foundation

Central square containing crowned double-headed eagle, surrounded by bands of geometric pattern in concentric squares. Trimmed with four red tassels.
Owl's Head
, late 19th century
Plated brass, glass
Matchsafe

In the form of an owl's head, with stylized feathers on front and reverse, long narrow beak, yellow glass eyes. Top of head to upright, tufted feathers above brow line, serves as lid. Lid hinged on reverse. Link attached to upper right side. Striker on bottom.
Study of seascape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite on paper
Drawing

Sketch of a rocky coastline.
Fragment
, 18th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a satin foundation

Fragment of dark red cut and uncut velvet in a design of flower sprigs and ribbon garland.
Map of China
, 1626
Engraving and brush and wash on paper
Print

Map of China and Japan. The upper and lateral margins are decorated with vignettes depicting eight people in their native dress; views of Macoa, Quinzay; "the manner of execution" and the "manner of travelling." On the map, upper left corner, title and inscription: "Newly augmented by I.S./ 1626"; in a cartouche, lower right, inscription: "Are to be sold in popshead Alley by G. Humble.
Cap streamers
, 1700–1750
linen Technique: bobbin lace, Brussels style

The design shows a dense, symmetric pattern of elaborate floral and foliated forms, rising from stylized vases.
De Voorst Palace, Staircase
Daniel Marot, French, active in the Netherlands and England, 1661–1752, 1700
Etching and black ink on white laid paper
Print

Design for an ornate mantlepiece. On the mantlepiece is a bust of a woman's head turned left and ornamental garlands. The panel next to the mantlepiece also has decorative moulding.
Knife
, ca. 1675–1700
steel, ivory

Sabre-shaped blade, notched on upper edge, rounded end (later). Pistol-shaped ivory handle with beaded cresting upper edge, faceted panel opposite, gilded bolster.
Sidewall - sample
, 1907–08
Machine-printed

Vining floral bands alternate with tufted bands of equal width. Printed in yellow, white and green on lighter green ground.
Frieze
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

A repeating design of large and small geometric chandeliers of gold, silvery gray and white hung from a complementary border, all connected by pearl-like chains, upon a beige ground ribbed with a brown geometric design. At the bottom, a faint design in white complementing the sequence above. Printed in beige, brown, white, silvery gray and gilt.
Design for a Wall Altar
, 1750–70
Pen and black ink on paper
Drawing

Design for a semi-domed balducchino supported on paired columns and divided by niches on either side of an arched opening. The ground plan of the structure is below.
Dish
Keswick School of Industrial Art, 1884 – 1984, 1884–90
Repousséd brass

Circular, with concentric bands of ornament. At center, three fish.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Art nouveau / mission style. Thick bands with floral medallions and foliate stripe alternating with bands of stripes of varying sizes. Printed in greens, dark red and gold liquid mica on beige-cream ground.
Design for Wallpaper and Textiles: Birds
, 19th century
Brush and gouache, graphite on cream paper
Drawing

Grouping of seven birds in flight, all flying different directions. Clockwise from top: brown bird facing downward and right, light blue bird facing right, green bird with long tailfeathers facing right, green with brown wing and tailfeathers bird facing left, white bird with pink head facing right, red bird with white wing and tailfeathers facing left, and gray bird facing left.
Chasuble
, 1800–1850
silk, linen Technique: block printed on plain weave

White silk printed in red, yellow, green, and blue in a design of a nosegay whose leaves and flowers are outlined in a beaded effect by small black dots. The blue is bright cobalt. Lined with faded blue linen and trimmed with yellow tapes.
Sketches at Pireus
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper
Drawing

Buts above and lower left of men, standing figures, enter.