biglam/cooper-hewitt-alt-text huggingface dataset:
Folding Knife From Traveling Cutlery Set
, ca. 1720–50
brass, steel
knife

1985-103-258/260: Sabre-shaped blade, pistol-shaped brass handle wit...;     1985-103-258: Sabre-shaped blade, pistol-shaped brass handle wit...;     1985-103-259: Oval-shaped spoon bowl, plain flat neck has small ...;     1985-103-260: Fork has two long tines, slightly bending outwards...
Drawing
, late 19th century
Brush and gouache on cream paper, mounted on cream paper

Left, delicate flowers on vines; center, five vertical zigzags; right, delicate vines with no flowers.
Architectural and Figure Sketches
Arnold William Brunner, American, 1857–1925, 1883
Graphite and white heightening on grey-brown paper
Drawing

Left, railing at Tours. Center, three sketches of woman with bonnet, two profiles one front. Lower right, 4 male figures leaning over a low stone wall.
Key
, 1770–1810
wrought, cast, and cut-out steel

the tubular shaft with two pendant elements, one with three teeth, the other with two, the shaft attached to an openwork handle with opposing scrolls below a terminal shaped like a tent
Bag
, 1837
silk, glass beads Technique: embroidered with beads

Small bag fringed with blue beads and topped with fold-over flap of patterned brocaded taffeta. Rows of simple designs of stars, flowers, dogs. The name Sally Exnights? and Watersbourough, 1837 are worked into the embroidery.
Dessert Spoon with Mouse on Handle
Charles Victor Gibert, French, ca. 1890
silver
spoon

Oval bowl with plain narrow stem. Stem continues to form leaf shaped handle, with terminal turning downwards. Centipede applied as if clinging to side of terminal, overlapping along edge to underside, forming a circle.
Sidewall
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, mica

Heart-shaped motifs form with acanthus and bell flowers, connected by lighter-colored bell flowers forming fish scale pattern. Printed in brown, tan, and light green on light tan ground.
Study of Waves on Rocks with Cliffs
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Rough sea with two rocks in right foreground, distant cliffs on right.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache on cream paper
Drawing

Cluster of three flowers, stems and foliage left to right: pink single flower facing viewer, blue smaller flowers run length of stalk, purple single flower facing away from viewer. Light yellow foliage behind cluster.
Bonad
, 1775–1825
Hand painted on canvas

Bonad is divided into five scenes including the nativity, the three wise men or Magi, and the offering of two turtledoves or two young pigeons. Three figures and an angel to left, two horses in stable; two figures and an angel; two kneeling figures and a standing figure.
Curtain panel
, late 18th–early 19th century
silk Technique: printed and painted on plain weave, taffeta

Allover floral design in polychrome on a natural-colored ground.
Sidewall
Robert Graves Co., New York, New York, 1890–1910
Machine-printed

On tan ground, alternating brown and off-white rose bouquet within "c"-scroll medallions of white and yellow mica.
Steeple in Cambridge
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper; verso: green paper
Drawing

Dark steeple, roofs and tree tops; upper right, birds flying
Man's suit coat
, 1750–70
silk, linen

Man's suit coat in yellow-green ribbed silk lined with undyed linen. Self-covered buttons down the front, along the pocket flaps, around deep cuffs, and at top and sides of side vents. Coat has a small standup collar, no lapels, and three brass hooks and eyes for closing the front which slopes towards the sides of the body. Hangs to the knees.
Sidewall
, 1840–70
Machine-printed on continuous paper

Three fragments of the same design printed in two colorways: a) small green diamonds in brown cartouches with gray background; b and c) small brown diamonds in blue cartouches with off-white background.
Design for China Decoration
Anna M. de Pool, ca. 1894
Gold, water color on paper. Red seals.
Drawing

Horizontal rectangle. Design for the decoration of a cup, saucer, teapot, creamer, and sugar bowl. Design in gold on light yellow background.
Frieze
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, mica flakes

Torch-like motif supported by foliate sprigs tied together with ribbon. Motif is enclosed within a wreath, and connected by foliate swags. Background pattern of wreath with bow knot, connected by swags. Band of stylized egg and dart motif across bottom.  Flitter frieze with elements outlined in gold mica flakes. Printed in green.
Design for a Cabinet in the "Boulle" Style
Pagny, French, 1856 – 1888, 1856–88
Brush and black ink, wash, yellow gouache, brown watercolor, graphite on heavy white paper
Drawing

This drawing depicts an architecturally imposing cabinet in the "Boulle" style, veneered in ebony and symmetrically decorated with marquetry after Berain. Oval panels dominate the cabinet doors. Masked mounts and cartouches are additional decorative elements.
Chaise à Cabriolet [et] Boudoir
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a single chair with curved arms, and a single chair without arms. The furniture frames are decorated with bound leaves, fluting, rosettes, and meanders; the fabric is striped. The plate is signed.
Two Chairs and a Table
Jean Démosthène Dugourc, French, 1749–1825, ca. 1790
Brush and watercolor, pen and black ink, graphite on white laid paper
Drawing

Circular table, fluted column support terminating in bent goat legs. Flanking table, left chair with X-shaped frame, cane seat and back. Right: chair, slightly sloping back rail, blue and ochre patterned seat cushion, tapered legs.
Ornamental Vase Design
St. G..., active 18th century, 1772-1777
Engraving on paper
Print

Lidded vase with an acanthus leaf finial. The vase has a floral garland around the neck, and a band of rosettes around the middle. There is gadrooning at the bottom of the vase. The vase has a thin and tapered foot and is elevated on a low socle. The plate is numbered.
Elevation of a Bed Alcove
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Elevation of a Bed Alcove.
Portrait in Silhouette
, 1839-1849
Scissor-cut black paper on white paper
Silhouette

Seated full-length figure, facing right, of a woman in a rocking chair, knitting.
Bandbox
, 1765–1818
Block-printed paper on pasteboard support

From the same bandbox as 1942-19-8. More of the wreath of gray petalled flowers shows and also a portion of a large center flower of gray with dark blue dots for the center.
Ornament Designs on Ovals
Jean Louis Durant, Swiss, 1654–1718, ca. 1682
Engraving on laid paper
Print

Ornament designs on ovals and rectangles for box or watch covers. The plate is signed,
Landscape
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Sketch of a landscape with hills along the horizon
Study for Head of Mercy in "Christiana and Her Children"
Daniel Huntington, American, 1816–1906, March 1850
Graphite, white chalk on grey wove paper
Drawing

Raised head of a girl in three-quarter left profile. Verso: A left leg from knee downward.
Roundel
, 19th century
silk and metallic embroidery on silk foundation, paper backing Technique: embroidered in satin, knotted and couching stitches

Roundel with an elderly man and young lady in a garden surrounded by flowering trees. In polychrome silks outlined in gold thread embroidery.
Near the Pass of Faido, Italy
Thomas Moran, American, b. Britain, 1837–1926, 1867
Graphite, white chalk, brush and gray wash on brown wove paper creased.
Drawing

None given.
Saint Jerome Reading in an Italian Landscape
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1653
Etching on off-white laid paper
Print

The saint is seated at lower left, reading a book, his left arm resting on a large rock. A lion stands beside him, turned away from the spectator. Buildings in the background, a bridge, right.
Decoration du Lambris du côté du Jardin
Jean Mansart de Jouy, French, 1705 - 1783, 1750–75
Etching and engraving on laid paper
Print

An architectural design print depicting an interior wall elevation for a room in the Châteaux de Brunoy, with a view over the garden, designed by Jean Mansart de Jouy for Jean Pâris de Monmartel, marquis de Brunoy. The wall features two glass paneled double doors with paneled (boiseries) shutters. Wrought-iron balcony balustrades are visible through the doors. In the center, a mirror topped with an over mirror painting, and below a console table supporting an ornamental handled vase or ewer featuring a dragon handle. The paneling (boiserie) is decorated with rococo motifs - feathers, c-scrolls, s-scrolls, fleurons, and scrolling leaves (rinceaux). The plate is titled, numbered, and signed with a scale below the design.
Design for a Woven or Embroidered Textile
, 1825–1850
Pounced, graphite, brush and slight greenish watercolor, brush and red-brown paint on paper
Drawing

Recto: A right bottom corner is shown. A red field shows stripes at the edges which are decorated with rows of motifs: a heart palmette standing puon a circumscribed palmette. A square containing a rosette is in the corner. Outside, a border with curbs.
Abel's Tomb, Syria
Frederic Edwin Church, American, 1826–1900, May 4, 1868
Graphite on white laid paper; verso: graphite and white gouache
drawing

Landscape sketch showing the mountain west of Damascus, Syria that is said to contain the tomb of the Biblical figure, Abel. A diagonal slope descends toward the center in the foreground at left. At center, a tall, rocky mountain dominates the scene, characterized by steep cliffs on all sides. Slopes and washes are shown around its base.

Verso: Landscape and architectural sketch showing an elevated view of a village in Syria made up of multiple rectilinear, flat-roofed structures. Some plaster walls are highlighted in white gouache. Two standings figures are visible at center with a detail of a cross-section of a mud and stone wall at lower right.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates. The left plate depicts a fireplace, with the title of the sereies printed in a rocaille cartouche above the mantle. The fireplace has dragon-themed andirons. The right plate depicts two andirons and a screen, with motifs that include mascarons, scrolls, acanthus leaves, putti, shells, and foliage. Both plates are numbered, but the plate on the right is also signed.
Trimming
, early 19th century
silk Technique: woven

Green and cream trimming fragment in a design of a Greek fret worked in diagonal lines.
Coffeepot
, 1750–1800
pewter, knob
coffeepot

On shaped, flaring foot of a gadrooned pyriform body with attached spout twisted into scroll and knob. Domed, hinged cover. Strap handle, wound with cane, and wooden knob.
Chandelier Pascal
Clément Pierre Marillier, French, 1740 – 1808, 1763
Etching and engraving on paper
Print

Designs for ecclesiastical objects including two paschal candlesticks flanking a hanging censer featuring putti, mascarons (masks), a winged female figure, swags of textiles, festoons of flowers and leaves, scrolling leaves (rinceaux), cartouche, fluting, gadrooning, and meander motifs. The plate is titled.
Two Bedouins
Frederic Edwin Church, American, 1826–1900, March 1874
Oil and graphite on thick paperboard
Drawing

Figure and landscape sketch showing a view of two Bedouin figures emerging from a dark setting, possibly coming out of a cave entrance. Foremost figure has a long, grey beard and looks to the left as he clutches his long rifle with two hands. Behind him at left, a younger figure, also with a rifle, is faintly visible as he looks toward the viewer. The both wear red headresses and long, striped robes. The dark setting around them is loosely rendered and covers only a portion of the leaf. This sketch served as a study for the two foremost figures in Church's finished work "El Khasné, Petra," which now hangs in Olana. Chuch asked his neighbor, Benjamin Bellows Grant Stone, to don bedouin garments and serve as a model for this sketch and others.
Study of a Lion
, ca. 1815
Charcoal on paper
Drawing

A lion in motion walking toward the right. Hind legs unfinished.
Three Putti
François Boucher, French, 1703–1770, 1738–49
Etching on laid paper
Print

Three flying putti among the clouds. The one to the left holds an arrow, and the one in the center holds a bird. Loose ribbons wrap around them. The plate is signed.
Hercules (Pedestal), Plate 51 of Book I
, 17th–18th century
Engraving on paper
Print

Hercules (pedestal).
Frame or Cartouche Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Design for a frame or cartouche featuring a laurel leaf molding, festoon of flowers, scrolling acanthus leaves (rinceaux), acanthus leaf clasp, c-scrolls, flowers, and fleurons. The plate is numbered.
Tree
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of a tree in bloom.
A landscape
Carlo Marchionni, Italian, 1702–1786, 1770–86
Black chalk, pen and brown ink on paper
Drawing

Foreground: foud people on the left with large trees surrounding them. In the middleground are two people, one is riding a horse walking on a path towards a building. In the background is a building. To the right, is a large cliff or mountain.
Textile
, ca. 1830
cotton Technique: printed by block and engraved roller on plain weave

Pillar print of brown and blue with fluted columns, scrolling capitals and baskets of fruits and flowers.
Studies of Head and Arms of a Child
Daniel Huntington, American, 1816–1906, 1840–45
Black chalk, black and brown crayon on grey wove paper
Drawing

Studies of raised head of a child, and arms with hands folded.
Project for an Altar
, 1750–1775
Graphite, pen and ink, brush and watercolor on paper, varnished
Drawing

The mensa is draped with festoons and is supported by two flying angels. In front of the sepulcher are three balls in a glory of rays. A cherub below.  The tabernacle has two adoring angels upon lateral volutes. At top, a flat frame with lambrequins.
Elevation de l’entrée de l’Hostel de la Basignere
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of the front façade of a hôtel particulier (grand house). Central arched doors and a long balustrade above. A scale below. The plate is titled and signed
Stockings
, 19th century
raw silk Technique: knitting

Pair of cream-colored handknit stockings.
Design for Mantle Piece, from "Cheminées et Lambris"
Jean Le Pautre, French, 1618–1682, ca. 1670
Etching on paper
Print

In the scheme of a couped obelisk before a wall panel. A mask and two cornucopias are shown over the frame of the opening, gaines with armless Atlantis beside it. A medallion with two portraits of women over a pedestal from which the heads of two birds emerge, caressed by putti, and garlands form the decoration of the upper portion.
Studies after Paintings by Perugino and Alfonso Lombardo in Bologna; sixteenth-century monument, Bologna
Felice Giani, Italian, 1758–1823, 1813–14
Pen and ink, brush and sepia wash, graphite on cream laid paper
Drawing

Recto, top row:  Two details of Ascension of Virgin; inscription: Perugino Bologna. Second row: adoration of Magi; inscription: Alfonso Lombardo Bologna. Third row:  birth of Virgin.  Two representations referring ro S. Dominic; inscription: Alfonso Lombardo S. Domenico in Bologna.  Bottom row: presentation to Dominicans; inscription: Alfonzo lombardo.  Square with two sarcophagi bordered by two churches; inscription: monumento del cinque cento Ravenna. 
Verso, top: corner of Renaissance palace with view of street; inscription: monumento del/cinque cento/Bologna.  Bottom left: view of coffered arch and coffer; inscription: monumento cinque cento/Bologna.  Part of narrow Renaissance house with short view of street.
Design for a Wall
, 1790-1800
Gouache
Drawing

A niche in each bay contains a vase with flowers and topped by a medallion and garlands. Three alternative designs are suggested for the decoration of the frieze.
Dish and cover
, mid- 18th century
Lead-glazed earthenware ("cream ware")

Lozenge-shaped outline, with rounded corners. A) has a flaring rim, one twisted loop handle, sides with raised quatrefoil and cord design. B) has triangular panels of raised and pierced decoration and fruit branches as knob.
Button
, 1848–52
Pewter

Buttons for the Army, National Guard (1848-1852) showing Gallic Cock and words "Republique Francasie".

On card 57
Plaque
, late 18th century
wood

Transcribed from label on B "Presented by Mr. George A Hearn"
Design for Stained Glass Memorial Window to Thomas J. Post
Robert Winthrop Chanler, American, 1872–1930, 20th century
Pen and black ink, brush and opaque watercolors on tissue paper (mounted)
Drawing

Vertical rectangle depicting an angel that holds a torch in his right hand, and rests his left hand on a shield bearing the inscription: "THOM. J. POST AT REST AFTER A LONG LIFE OF INDUSTRY THRIFT AND SOBRIETY".
Stage Design, View of Town
, early 18th century
Pen and brown ink, brush and sepia wash on laid paper
Drawing

Horizontal rectangle. View toward hills through street with facades of small houses and with castle and draw-bridge.
Design for a Fireplace, Antinous Room, Villa Albani, Rome, Italy
Carlo Marchionni, Italian, 1702–1786, 1755–57
Pen and brown ink, brush and grey, brown wash, graphite on cream laid paper
Drawing

Surmounted by a central eagle, floral garland, and corner vases, the overmantel, presented as an elevation, contains an antique relief of Antinous. The chimneypiece and fire screen below are decorated by garlands, rosettes, and shells. A man approaches from the left. Below is the plan of the mantelpiece and fireplace.
Decorated Capital Letter B
Jakob Frey, Swiss, active Italy, 1681 - 1752, 1715
Engraving on paper
Engraving

Letter "B" standing before St. Bartholomew, who kneels, carrying knife and skin.
Textile
, ca. 1770
silk Technique: chain stitch embroidery on taffeta

White taffeta embroidered in colored silks in design showing an ornament composed of flowers and leaves.
Sketches of Hands for Portrait of William Amory
Daniel Huntington, American, 1816–1906, 1894
Graphite on off-white wove paper
Drawing

Four sketches of hands. Left arm and hand of a man; hand outlined above, and repeated in detail below. Right hand on a chair arm, upper left. Verso: Right arm and hand of a man, holding a pencil, upper left.
Red Peonies
Samuel Colman, American, 1832–1920, 19th–20th century
Brush and oil on thick gray canvas-textured paper
Painting

Vertical view of four red peony flowers with irregular margins showing the gray grounding.
Border
, 1830–40
Block-printed

Intertwined cables of laurel and maple leaves. Ground tone of maple leaves,and printed outline, have been blended in the printing. Printed in browns, greens, gray and white, on buff ground.
HUILIER
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Design for a cruet stand with four cruets for holding condiments with Empire style motifs. The designs feature female figures, putti, fish, turtles, snail, arrows, shell, frieze with figures, ram heads, rosettes, and foliate scrolls. The plate is titled, signed, and numbered.
Sampler
, 1800–1850
silk embroidery on linen foundation Technique: cross stitches on plain weave

Narrow conventionalized border surrounding the alphabet, floral cross border and detached motifs including a woman at a well with flowers.
Button
, 1801–50
Brass, tin

A,B,C) Convex button with ornament showing a shield with coat-of-arms surrounded by a chain and surmounted by a crown. Tin back. Brass shank. On reverse, "Superfin, Paris".

Components -a,-b are on card i80
Component -c is on card C
Tsuba
, 17th century
Sentoku (alloy of copper, lead and zinc), shakudo (copper and gold alloy)

The tsuba is round in shape with ji sukashi (positive design openwork) and hira maru bori (round brass carving) in the form of a kakiwaki (paulownia tree). The surface is migaki ji (smooth) with kebori (line carving). At the center is the nakago-ana, an opening through which the sword passes, with sekigane (plugs added to fit the tsuba to a sword) made of shakudo (a soft copper and gold alloy). The mimi (outer rim) is maru (round).
Cup, from a Napoleon III Table Service (Tasse, Service à Chiffre Doré de l'Empereur Napoléon III)
Sèvres Porcelain Manufactory, French, established 1756, 1849–1853
hard paste porcelain, gold
cup

Napoleon III shallow cup with flaring edges. Circular handle with knobs. Flat saucer with curved edges. Gilding on all edges and crowned cipher on cup.
Designs for Reliquaries
, 1698
Pen and ink on paper
Drawing

Sheet with multiple details for a reliquary.
Design for rosettes
, 1770-1790
Pen and Chinese ink, brush and watercolor, graphite on paper
Drawing

Each rosette is shown against a black background in a square.
Fragment
, 19th century
silk Technique: cut, voided supplementary warp pile in a 3/1 twill foundation (velvet) Label: Silk cut velvet

Cut and voided ferronerie-style red velvet fragment with selvedge has a pomegranate pattern outlined by large palmettes.
Fragment
, 16th century
silk, linen, metallic Technique;

Woven scene of the Adoration.
Button
, 1801–50
Brass

Circular, convex button with ornament showing shield with heraldic devices, griffin supporters, a crown above and below, ribbon with "Aperte et honeste". Brass back and shank. On reverse, "Superieur France".

On card E
Imaginary Landscape with Waterfall
Thomas Cole, American, b. England, 1801–1848, 1870–75
Pen and dark brown ink on off-white laid paper
Drawing

Landscape sketch showing an imagined view of a river landscape with a waterfall and a mountain in the distance. In the foreground, a vertical cliff is visible at left while a grassy bank is shown at lower right. A reflective river extends from the foreground at lower left into the middle distance at center, before curving out of view at left. At right, white water tumbles over a rocky cliff and cascades into the river below. Trees and other foliage line the river's right bank. In the background at center left, a tall mountain with a pointed summit is visible beneath an open sky.
Textile
, mid- 18th–19th century
cotton Technique: printed on plain weave

Textile fragment printed in blue on white showing scattered florals with serpentine stems.
Dome of St. Peter's Basilica from the Pincian Hill, Rome, Italy
Frederic Edwin Church, American, 1826–1900, October 1868 - April 1869
Graphite on tan wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the dome of St. Peter's Basilica through a window created by trees on the Pincian Hill in Rome. At left and right, the trunks and lower boughs of two trees on either side frame distant view of the dome, which is faintly rendered at center.

Verso: Architectural sketch showing the dome of St. Peter's Basilica in the Vatican with one of its towers. While some details are included, the buildings are mostly outlines. Sketch situation on the left side of the sheet.
Study of Mrs. Winthrop for "Lady Washington's Reception Day"
Daniel Huntington, American, 1816–1906, 1860
Graphite, white chalk on buff wove paper
Drawing

At left, full-length standing figure, turned away from the viewer, with left arm extended, holding the skirt. Skirt more finished, with head indicated in outline. Detail of head in left profile, at right. At right, full figure shown from the back, with lowered head turned toward the right and train of skirt over left arm. Verso: Reclining nude with raised arms, and details.
Fragment
, 1870–80
cotton Technique: printed on plain weave

White pin dots on a dark brown ground.
Elevation of a doorcase with figure of a man
Giuseppe Barberi, Italian, 1746–1809, 18th century
Pen and brown ink, brush and brown wash, red ink on off-white laid paper, lined
Drawing

In a doorway flanked by columns stands a man in heavy dress. Above doorway, a bust in relief. Notations visible in ink.