biglam/cooper-hewitt-alt-text huggingface dataset:
Plate 13, from Diverses pièces de serruriers (Various Designs for Locksmiths)
Hugues Brisville, French, active ca. 1663, after 1662
Engraving on laid paper
Print

Vertical rectangle showing escutcheon surrounded by interlacing arabesques. At top, the head of a man and woman whose bodies terminate in acanthus leaves.
Inkstand
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and brown ink, brush and gray wash, graphite on off-white laid paper
Drawing

Vertical rectangle. Shown slightly from above. Below is a broad ovoidal base with four protruding angular parts laterally. Upon these sit sphixes who support an ovoidal pedestal having two protruding basins at left and at right. The sphinxes are connected by festoons which hang upon them and which are fastened to a lower moulding of the pedestal. Pairs of doves are shown beside the placs of suspension. The frieze of the front face of the pedestal is decorated with half figures of putti who support wreaths with bust portraits. Upon the covers of teh bowl stand putti; the left one wears a helmet and holds a lance and a sword; the right one holds a compass and a sphere. In teh center stands a round pedetal upon a base of two oblong steps. Upon its face it shows a medallion with the portrait of a Royal person, possibly intended as Eugene de Beauharnais. Festoons hang from teh crown and are carried by storks, which hold snakes with their outside feet. Upon the pedestal is a base with the standing dial. Fortuna is shown on top, running. Framing stripes below and partially at right.
Design for a Fountain with the Labors of Hercules
Vincenzo di Raffaello de' Rossi, Italian, 1527–1587, 1562
Black chalk on off-white laid paper
Drawing

An octagonal basin upon a square platform from which a shaft rises at center supporting a circular basin and two tiers adorned with statues depicting episodes of the Hercules legend. At the top of the shaft, Hercules supports the world.  On top pier, Hercules is shown with the Cretan Bull (at right side); Hercules with Hydra and the Nemean Lion (at left side).  Below them, on the rim of the circular basin (at mid-section of fountain), at each side, are two pairs of putti on Capricorns; the infant Hercules with a snake is shown at the center of this circular basin rim.  On the rim of the bottom octagonal basin are three statue groups: Hercules killing Nessus (center); Hercules and Antaeus (at right); and Hercules about to club another  unidentified male (left).  The sides of the octagonal basin are adorned with relief panels, probably depicting additional scenes from the life of Hercules.
The Young Bacchus with Two Companions
Jacob de Wit, 1695 – 1754, ca. 1750
Black chalk, pen and ink, brush and gray watercolor on rough gray paper
Drawing

Bacchus is shown frontally, sitting, and gaizing at a goblet he raises with his right hand. Oblooing is a boy with a thyrsus standing at right. Another child is at left, bending down to the ground.
Design for Frame Surrounding the Portrait of Thomas Otway
Gravelot, French, 1699 - 1773, active in England, 1737–41
Pen and ink, brush and wash, red chalk on paper
Drawing

Design for frame surrounding the portrait of Thomas Otway. An ovoidal frame stands upon and before a curtain on a pedestal. Attributes referring to the work of Otway lie and stand also upon the pedestal. Framing ink line, narrow paper margins.
Cloud Sketch
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil on white paperboard
drawing

Atmosphere and landscape sketch showing a view of a cloudy sunset sky, likely looking southwest from the artist's property near Hudson, New York. Brownish, rolling terrain extends horizontally across the composition at center, rising at right possibly to Overlook Mountain. The landform at far right merges with the dark, purple-brown cloud that hangs above it, while in the background, the setting sun illuminates a wide bank of clouds that dominates the sky, while leaving a sliver of greenish-blue sky visible along the horizon.
The Youthful Vendor
François Boucher, French, 1703–1770, 1757
Black chalk, white chalk on greenish-blue-gray paper
Drawing

With his right hand, a boy supports a basket-tray resting on a boulder base; with his outstretched left hand he offers a biscuit (or bar of soap?).  On the basket-tray are biscuits (cakes of soap?) and bottles.  A tree trunk is in the right background.
Man wearing a cape, depicted from behind
Raimundo de Madrazo, Spanish, 1841–1920, 
Graphite with white chalk on paper
Drawing

A man, wearing a cape, depicted from behind. To the left of the primary figure is a sketch of a male figure. Likely made as a study for Study of two male heads for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Armchair with slip seat
John Hewitt, American, 1777–1857, ca. 1820
Turned joined mahogany-veneered oak, horse hair upholstery (probably replaced)

Back legs flat-sided, front legs flat excepting rounded front face.  Legs curve outward toward bottom, and back legs inclue toward each other at bottom.  Back side corner posts terminate at top in an elementary volute form.  Flat top rail bowed toward back, slightly arched, with rectangular panel of inset veneer surrounded by beading.  Horizontal splat is composed of a small oblong shape faced with veneer, flanked on either side by horizontal coupled C-scrolls deeply carved with foliage, terminating in volutes.  Double-curved arms, resting on in-curved supports of one piece with front leg.  Seat flares from back to front, with straight edges.
Border
, 17th century
silk, metal, linen Technique: needle lace, metallic

Border for a square, possible a chalice cover, of needle lace, Point d'Espagne. Silk and linen threads in gray and tan, gold and silver thread. Design of symmetrically arranged vine and flowers. Worked in loop and varieties of relief stitches.
"Saltarello Romano," Dancing Peasants In The Neighborhood Of Rome
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

A boy in the pose of the dancer of plate 1, loc. cit., dances with a girl having the hands akimbo, at right. A group of girls with palm-like branches and a boy playing mandolin, are at left. One girl carries a hat upon her branch. Shown against the wall of a villa.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1810–15
cotton Technique: plain weave foundation. Colors added by block and by brush, some over resist.

Diagonal rows of a flowering plant on an orange background. Fabric was meant to look Indian.
Flower Pot
Morris & Co., London, England, designed 1883
cotton Technique: printed over resist on plain weave
Textile

Small-scale symmetrical design of vases and flowers in continuous ogival framework, in pink, white, yellow, green and blue on a dark blue ground.
Lamp shade
Tiffany & Company, American, established 1853, 1907
Favrile glass

1968-55-3-a: (a) Flower bud form glass shade for sconce. Over-a...;     1968-55-3-e: (a) Flower bud form glass shade for sconce. Over-a...
Fragment
, 17th century
silk Technique: 5-harness satin damask

Symmetrical vertical repeat of large stylized decorated palmette head flanked above and below by pairs of ogival shapes formed by long, lobed leaves with flowers curving from either side of the base. Straight flower spray rises from the top. Two broad white warp twill selvages with narrow outer edges of plain weave.
Design for a Playing Card: Valet (or Jack) of Spades
, 1825–1850
Graphite, brush and watercolor on paper
Playing Card

An armored knight is shown standing. The right hand leans upon the shield. The helmet has a crest of feathers.
Cover
, 1875–1900
Lacquered wood, pewter

Ji-maki on brown lacquer on exterior and interior of cover and interior of lower section. Makie on cover of pine tree and tree with two large silvered camellias. Pine branch on interior of lid and of lower section. Pewter rims.
The Facade of Modena Cath
Felice Giani, Italian, 1758–1823, 
Pen and brown ink, brown wash, over traces of black chalk on white laid paper
Sketchbook folio

Verso: Saint Anthony and the Hermits, Study after Lodovico Carracci ??? A one-point perspective view of the Cathedral at Modena. The sheet was part of the small sketchbook, most pages in Giani Unmatted IV. Drawing on verso a study after a Carracci painting which was formerly in the church of Sant 'Antonio Abate, Bologna, and is now in the Brera, where
Drawing
Felice Giani, Italian, 1758–1823, 1810-1822
Pencil. Pen, ink. Brush, bistre. Rough greyish paper

Horizontal rectangle. She is shown sitting and pointing with the right forefinger toward right as she addresses herself to a girl whose upper part is shown at left. The peacock is in the background at right.
Sketch of Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Woman's face seen from the front, turned slightly to the left.
Studies of Mourners' Arms, Hands, and Drapery
Giuseppe Passeri, Italian, 1654 - 1714, late 18th century
Red and white chalk on rough gray paper
Drawing

Recto: Vertical rectangle. A young man, shown from the chest up, looking upwards with raised hands, shown with heavy drapery. Further study of his gesturing hand at the lower right corner. Verso: Horizontal rectangle. At left is probably the right arm of the fainting Virgin. Twice the legs of a lying man and a woman's left hand with drapery.
Fragment
, 18th century
silk Technique: plain weave with discontinuous supplementary weft petterning (brocaded)

Fragment with large scale symmetrical floral pattern in cream and blue with details brocaded in yellow and brown, on a bone colored ribbed ground. Bright red flower in chenille at center.
Fragment
, late 18th century
linen Technique: bobbin lace (Lille-style)

Corner fragment has a design of delicate floral sprays and a fond chant ground.
Purse
, 19th century
glass beads, metal, leather Technique: knitted

Small bag with metal frame knitted with beads and lined in leather. Design of small flowers in red and blue on a white ground, with a floral border at the top and a solid red bottom.
Fringe
, late 18th century
silk Technique: woven

Fringe in red and black with a heading of lozenges and stripes and a picot edge at the top. Skirt threads hang from the middle and edge of the heading.
Fragment
, 17th century
silk Technique: woven

Lions and diagonal bars in yellow. Green selvage at laft.
Frieze with winged female figure and two grotesque roosters
Hans Sebald Beham, German, 1500–1550, ca. 1544
Engraving on laid paper
print

Horizontal rectangle. The sphinx is shown in the center of the composition, seated frontally, and grasping the tails of two dragons, who appear on either side.
Zephyr and Flora Sacrifice to Ceres
Felice Giani, Italian, 1758–1823, 1795-1800
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

In an octagon. Zephyr seated beside Flora upon a bench, holds a wreath over her head. She turns her head toward him, having been busy winding a garland around a herm of Cybele. Two cupids point their bows at her. Cupids shooting bows, one is holding a quiver. A satyr herm rises in the central middle plane.
Christ and the Woman of Samaria
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1658
Etching on cream laid paper
Print

Christ and woman stand beside a well at left. Group of figures at lower right and in background. Foliage and houses in distance. Arched print.
Trimming fragment
, 18th century
silk Technique: woven

Design of red flowers and scrolling green stem with borders of brown. Very worn.
Fragment
, 19th century
linen Technique: bobbin lace (Lille style with heavy outlining thread)

Border fragment of Lille-style lace with a serpentine conventionalized flowering vine design. Quatrefoils near top edge.
Grotesque with Deities. Plate 03 “Jupiter,” 2nd state
René Boyvin, French, 1525 - 1625, ca. 1540
Engraving on white laid paper.
Engraving

Grotesque panel with Jupiter on his eagle framed by two caryatids, segmental arch, tendrils. etc. in a grotesque design.
Floral field and border
, 1780–1815
White on glazed paper
Drawing

Vertical rectangle. A thin undulating branch with feathery leaves and smaller branches terminating in seed pods (outlined in pencil)
Vase
Louis Comfort Tiffany, American, 1848–1933, 19th century
glass

Trumpet-shaped flower form vase with milky white exterior and  lilac turned over lip
Sketch of a Female Nude
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on light brown paper
Drawing

Nude female figure kneeling and facing slightly left, arms upraised.
Textile
, ca. 1860
cotton Technique: printed by engraved roller on plain weave

Allover repeat of large scale flowers in blue and background of blue picotage dots. One selvage present.
Design for Sideboard "A" of Mahogany
A.N. Davenport Co., 1900–05
Graphite on thin paper
Drawing

Massive rectangular sideboard over molded lower shelf; niche under two drawers, center front; single drawer with cupboard underneath on either side of niche; low backsplash.
Design for Music Cabinet
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular body with hinged upper drawer and 2 open lower shelves with stacks of books and music notebooks separated by molded dividers; raised on 4 small tapering en toupee feet; fragment of chair drawing cut off at bottom of sheet; flower vase and open book atop cabinet.
Design for Sideboard in Plan and Elevation
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Elevation view: oblong sideboard with 6 straight tapering legs [4 shown] with foot rings; tri-partite front has 4 drawers arranged in 3 rows, flanked by 2 doors with patera medallions at centers; molded top had brass rail at back.
Plan: shows molded oblong top with rounded corners and brass rail across back and wrapped slightly around sides.
Frieze
Robert Graves Co., New York, New York, 1906–1907
Machine-printed paper

Large floral swag and ribbon suspended from architectural molding. Printed in red, green, brown, taupe and purple on a ground that shades from deep ocher at bottom to light yellow at top.
A Small Salon in the Montpensier Wing, Palais Royal
Jules Frédéric Bouchet, French, 1799 – 1860, 1831
Brush and watercolor, white gouache, graphite on white wove paper
Drawing

This view of the Montpensier Wing of the Palais Royal in Paris shows an elegant room with three French doors leading to a courtyard. Sienna-colored tieback curtains coordinate with the tones of the upholstered Empire style furniture. Console tables on either side of the room are placed in front of tall mirrors which reflect gilt-bronze candelabra. Blue painted medallions in the Empire style decorate the upper border of the salon.
Sidewall
, ca. 1790
Block-printed on handmade paper

Standing figure with Phrygian cap in fromt of column with eagle atop. Eagle with 2 shields on other side of column. This alternates with scene of three children and small dog in front of sea. One child carries pine bough. Large ship in water. Original document for "Norwich House."
Design for a Round Four-Legged Dining Table with Bun-Feet
A.N. Davenport Co., 1900–05
Pen and black ink on thin, cream paper
Drawing

Round molded table top wth dividing stretcher across center; four fluted columnar legs elaborately carved at bottoms and terminating in carved square-shaped elements on bun feet; legs joined by stretchers decorated with carved acanthus leaf scrolls.
Design for Serving Table with Two Drawers and Upper Shelf
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular top having two drawers at front, raised on 4 straight tapering legs; lower shelf half way up from floor level; upper shelf supported by raised backsplash and 2 columnar supports at front.
Model of Sudbury Hall
, ca. 1660–90
pine
architectural model

Model in the form of Sudbury Hall, Derbyshire, an English country house of ca. 1665-early 1690s, a rectangle with protruding central entrances and end wings, a central domed cupola and rectangular chimneys on the main block and two at each end, with small dormer windows above the two floors, delineated by a line of moulding.
Dado
, 1820–30
Block-printed on handmade paper

Neo-classical style; caryatids and affronted mythical beasts between which is a pineapple on a basket. The beasts have the body of a lion with butterfly wings. The main architectectural elements and beasts are printed in grisaille while the capitols, base and foliate band are in green. Printed on faux terra-cotta-colored stone ground.
Sidewall
, ca. 1840
Block-printed

Renaissance Revival style in shades of gray. Original document for "Minuet".
Sidewall
, 1838
Block-printed

b) small fragment, appears to be red swag on very faded ground; c) small fragment, foliate swag printed in blue and green against light and very faded ground colors; d) small fragment of sidewall (?), two medallions, one beneath the other, the bottom of which is printed in two shades of blue. Rest of design is very faded.
Design for Wallpaper and Textile: Flowers
, 19th century
Brush and gouache on cream paper
Drawing

Two clusters of purple flowers with three leaves and a blue flower emerging from center on light gray ground.
Design for a Painted Porcelain Plate, Kitchen Scene with Rear Bedroom, possibly for the Service des Objets de Dessert (Dessert Service)
Jean Charles Develly, French, 1783 - 1849, 1819–20
Pen and brush and brown ink, gray wash, graphite on cream laid paper
Drawing

Design for a painted porcelain plate, rondel. A kitchen in foreground and a bedroom visible through doorway, left rearground.  A figure of a woman holding a spoon in her right hand, right foreground, stands at a counter. Two pots and a watering can hang on a wall behind her. Another woman, center middleground, stands in the doorway at the entrance to a bedroom, through which one sees a figure laying in a canopied bed.
Stripes Motif
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Thin diagonal stripes form the entire composition of this stencil. Silk threads have been added to support the structure of the stencil.
Drawing
, late 19th century
Brush and gouache, graphite on cream paper, lined

Allover design of pink stylized blossoms on curved zigzagged vertical lines on red ground. Lower margin, horizontally-placed pink blossoms outlined in white inside cloud band, on red ground.
"Vues d'Italie" [Bay of Naples]
Dufour et Leroy, 1815–20
Block-printed, mounted on muslin
Scenic

In sepia tones
American Falls from The Falls of Niagara: Being a Complete Guide
, ca. 1857
Color wood engraving on white paperboard
Print

Horizontal rectangle
Castle Garden
, 1830–40
Block-printed on handmade paper, pasteboard support
Bandbox

Bandbox side fragment. With building in background, underneath the words "Castle Garden", figures stroll through garden which includes three trees, printed in green, beige and white on deep blue ground.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Lattice pattern of four-petal floral motif with small six-petal metallic gold flower insets. Fleurons in resulting square spaces. Background of white mica dots on light beige ground. Printed in white mica and metallic gold that is turning green in spots. Printed in right selvedge: "S.A. Maxwell & Co." Pattern number "1907" "GB"
Design for a Sugar Bowl
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Sugar bowl with lid or a cup and lid, cinched, decorated with large green leaves and orange peach blossoms, one bud, with a pointed gold handle; pointed finial on lid.
Frieze
, 1815–40
Block-printed on handmade paper

Design of lyres and columns, printed in shades of brown.

H# 383
spoon bowl
, late 17th century
silver

1985-103-254-a/h: Handle in the shape of female caryatids, handle ca...;     1985-103-254-b: Handle in the shape of female caryatids, handle ca...;     1985-103-254-c: Handle in the shape of female caryatids, handle ca...;     1985-103-254-d: Fork has four curved tines, waisted neck ending in...;     1985-103-254-e: Oval-shaped rattail spoon-bowl, waisted neck, endi...;     1985-103-254-f: Plain, pointed skewer, screw thread on one end.50;     1985-103-254-g: Leaf-shaped blade, plain bolster, handle in the sh...;     1985-103-254-h: Silver handle in the shape of a female caryatid, h...
Ceiling paper
, 1875–1900
Machine-printed on paper

Light peach with white drip-like pattern.
Sidewall
Ericson & Weiss, 1855–1900
Block-printed paper

On gray ground, naturalistic cluster of lavender and white flowers (verbenas?) and green foliage.
Sidewall
M.H. Birge & Sons Co., 1834, 1890–1920
Machine-printed paper

Top portion of trellis panel: on light blue ground, pink wild roses and foliage on white trellis.
Scrapbook of textile and ribbon swatches
, 1900–15
silk, metallic, wool Technique: various weave structures.

Scrapbook, assembled in New York, containing 1,545 swatches of textiles and ribbons. Some examples were purchased in shops in New York and Paris, others appear to come direct from the manufacturer. Several colorways. Swatches are either pasted or pinned into book and include woven, printed, and warp printed, and machine embroidered samples.  

Some swatches have labels attached: 'Magasins du Louvre' on p.13 and 41; 'Arnold Constable' label on pp 49, 111, 133, 136 and 147; 'B. Altman & Co.' p.91; 'Au Printemps' p.93; 'Au Bon Marche' p.147; 'Jarroson & Laval' p.147; a dyeing card from A.B. Chambeyron & fils, St. Etienne, May 14, 1900, some style numbers and weaves.
Jug
George Tinworth, English, 1843 - 1913, 1869–72
Salt-glazed stoneware, incised and relief decoration

A round body with long slender neck on low, banded foot. Two thin, applied collars on neck and two incised bands at lip. Strap handle. Colorless salt glaze on white body, encircled from neck to base by incised blue-glazed leafy branches with relief dots in groups of three.
Sampler
Marie Claerejo, 1753
linen, silk Technique: cross stitch

Rectangular shape.  Top edge filled by eight squares each with a different pattern which may be woven on a four-harness loom.  Yellow, rust, green and blue on a natural ground.  Also eight different patterns along the right hand margin of each square that are unfinished.  At bottom: "Marie Claerejo ANNO 1753."
Darning sampler
Hannah Walne, 1800
silk embroidery on cotton foundation with paper backing Technique: embroidery

Handkerchief embroidered with five darning crosses on sheer cotton. The initials FR and HW surmonted by two crowns, and the date 1800 are worked in black silk; the crosses in green, yellow, cream and red.
Sampler
, late 18th century
silk on cotton Technique: cross, long-armed cross, running, satin and back stitch on plain weave foundation; counted stitches

Scattered motifs and curving floral bands in red, blue and yellow silk.  At the center a deer with a branch of flowers coming from his mouth and a crowned lion.
Bowl
, ca. 1800–20
Glass

Circular bowl with wide turned over rim on tall knopped stem with flat, circular foot. Body has panels of diamond and fluted pattern. Underside of rim also with movided ring pattern.
Border
, 1830–40
Block-printed on paper

Peony-like flowers alternating with berry foliage. Bottom edging consists of fans alternating with dots and striped bands.
Cap streamer
, mid-18th century
linen Technique: bobbin lace, Binche ground

Binche-style lace design composed of an asymmetric pattern of floral and foliated forms, balanced by serpentine garlands and complexly-shaped volutes at intervals.
Sidewall
, 1800–1825
Block-printed on handmade paper

Large central bouquet, with remaining colors of green and white. Printed on blue ground, mounted on board.
Rough Ocean with Rocks and Distant Cliffs
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Ocean in foreground crashing on rocks at right in middleground. At right in distance, a line of cliffs.