biglam/cooper-hewitt-alt-text huggingface dataset:
Three Designs for Decorative Ironwork
Jean Lamour, French, 1698–1771, 1759–68
Etching and engraving on laid paper
Print

Three designs for decorative ironwork, two hanging lanterns with their brackets, upper left, and lower right with a section of a banister in the center. The decorative ironwork features rococo ornament and motifs, including c-scrolls, acanthus leaves, shells, and fleurons. The upper left hanging lantern bracket features birds, two phoenixes, a basket of flowers with gardening tools, and a hanging garland of flowers. The lower right hanging lantern features a dolphin and the lantern is topped with a French crown.
Design for a Segment of a Border of a Woven Shawl
, 1830–1840
Brush and white gouache on oiled paper, mounted
Drawing

Pal frond and leaf motifs run in bands with a long stem meandering over them.
Sugar Bowl
Duc d'Angoulême Porcelain Manufactory, French, 1781 – 1828, 1781–1789
hard paste porcelain, vitreous enamel, gold
sugar bowl

Cylindrical body with flaring sides; domed cover with round knob. Overglaze enamels and gilded. Bands of foliate design, arrows and of scattered flowers. Gold stippling in serrated fields on body and lid. Gold painted ring in low relief at each side.
Title page
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Title page from a series of designs for vases. The title is lettered in the center, on drapery, held up by four putti. The drapery is partly covering a vase, decorated with a garland. The vase is sitting on an architectural plinth, decorated with a Greek-key frieze, and sculpted lions, with an incense burner on the right. The plate is signed and dated.
Clouds over the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, January 1875
Graphite on tan laid paper; verso: graphite
Drawing

Landscape and atmosphere sketch showing a westward view of an expansive, somewhat broken cloud bank over the Catskill Mountains, as seen from Church's home, Olana, near Hudson, New York. Along the lower margin, the sharp, undulaging ridge of the Catskill Escarpment forms the horizon. Above, a loosely-rendered bank of puffy clouds extends from the viewer's position to the horizon. The sky is open at right.

Verso: Landscape and atmosphere sketch showing a southward view of an expansive  cloud bank over the Catskill Mountains, as seen from Church's home, Olana, near Hudson, New York. Along the lower margin, the sharp, undulaging ridge of the Catskill Escarpment forms the horizon at right. The pointed peak of Overlook mountain is visible at lower center. Above, a loosely-rendered bank of puffy clouds arches across the sky and extends from the viewer's position to beyond the horizon.
Study of bridge and canal
Francis Hopkinson Smith, American, 1838–1915, ca. 1880
Brush and watercolor, gouache, graphite on paper
Drawing

View of a covered, arched bridge over canal with houses lining both banks.
Description of the Rock Wall, Recto
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Description of the automata of the "rocher" (also printed on verso: 1921-6-201-26). At the top of the plate is a scene of sculptors at work, as well as known classical statues such as Farnese Hercules and the Venus Callipyge.
Textile
, 19th century
piña (pineapple) fiber, cotton Technique: plain weave

Square comprised of six stitched fragments has hemmed edges. Cream pineapple fiber ground with plaid of orange pineapple fiber and white cotton.
Pleated fan
, 1840–60
Embroidered silk leaf, carved and gilded ivory sticks

Folding fan with ivory sticks carved à jour with decoration in silver and gilt. Silk leaf with small, repeated flower pattern embroidered in white, yellow, and brown on a blue ground; the reverse is plain white silk.
Head of Summer
, 1580–1610
Red crayon on paper
Drawing

Bust of allegorical figure shown in three-quarter view, turning to the left. Young male is crowned with ears of grain.
Sheet 15 of a Drawing Book, Group of the Madonna of the Rosary
Carlo Maria Giudici, Italian, 1723 - 1804, 1780–1800
Black chalk on paper
Drawing

Vertical rectangle. Figure of the Virgin is shown from the front, standing and carrying the Christ child with her left arm and the rosary with the lowered right hand. An angel holds one side of her coat, another sits upon it. Two cherubim are at the base, which has the shape of clouds. Verso: the forepart of a left foot is sketched horizontally.
Designs for Folding Doors or Panels
Henri Sallembier, French, ca. 1753 - 1820, ca. 1780
Etching on off-white laid paper
Print

Two designs for panels with grotesques, birds,and  Pompeian-style figures. The plate is signed and numbered.
Design for a Brooch
, 1815–25
Pen and ink, brush and watercolor on paper
Drawing

A palmette consisting of a chalice and four leaves. In the center, a diamond. In the interval of the two upper leaves a small one. Pending, three round diamonds.
Study of Child's Head for "Christiana and Her Children"
Daniel Huntington, American, 1816–1906, 1850
Black crayon, white chalk on grey wove paper
Drawing

Study of the head of a boy with long curls in three-quarter right profile. Verso: Unfinished outline of a child's head.
Elevation of a factory (?) at edge of river
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Elevation of a factory (?) at edge of river.
Paysage, Chariot Attelé de Boeufs
Charles Emile Jacque, French, 1813 - 1894, 1846
Etching on China paper, laid down
Print

Oxen draw a loaded wagon through a meadow. Figures pile bags in the cart, right.
Textile
, 14th century
silk, gilded parchment wound around linen core Technique: two interconnected structures: 4&1 satin and weft faced plain weave (lampas)

Fragment of woven silk with a deep blue ground and design in metallic gold. Addorsed griffons surrounded by  vines and grape leaves.
Album of Prints: Premier Essai de Papilloneries Humaines and Mes petits bouquets dédiés à Madame La Duchesse de Chevreuse by Charles-Germain de Saint-Aubin
Charles-Germain de Saint-Aubin, French, 1721–1786, 1740-1768
Bound volume of etchings on laid paper
Album

Bound volume of prints, in two suites, featuring 8 prints of butterflies acting like humans and 5 flower prints. The Papilloneries Humaines is composed of two volumes of six prints each; the first set is horizontal, the second vertical. This album only contains two of the six prints from the second suite. The Bouquet of Flowers dedicated to the Duchess of Chevreuse is missing several plates.

Half leather binding with marbled boards, spine lettered in gold ‘ CHARLES GERMAIN DE SAINT AUBIN', and marbled endpapers. Binding signed, with binder's stamp ‘CANAPE' on upper right margin, recto of first flyleaf of upper cover.
L’Epoux à la Grecque
Ennemond Alexandre Petitot, French, 1727 – 1801, 1771
Etching on paper
Print

Print titled ‘L'Epoux à la Grecque', from a series of 10 plates featuring fanciful costumes inspired by Ancient Greek and Roman ornament and architectural motifs. A standing male figure wears a costume and headdress featuring Greek key friezes, scroll and acanthus leaf ornament, garlands of laurel leaves, rosettes, and arms in the shape of cornucopia of fruit. The plate is titled, signed and numbered.
Print
, About 1720
Black ink on white paper

Vertical rectangle. A tall window, with a smaller one above and elaborately sculpted frame is shown, in alternate suggestion, with and without added grille-work. Below, right, the number ''2''. Plate 2 of ''Neu Faconirte Fenster Verkleidung...''
Pair of Side Chairs with Seat Cushions
, 1805–15
Painted and gilded wood, caning, silk
chairs

Two side chairs,  adaptation of Klismos form, lacquered black, with gilding.   Back uprights form continuous curving line both with seat and front legs and with lyre on each side of center.  Medallion containing woman's (Medusa?) head.  Each chair with modern boxed seat cushion, grey background, yellow stripes and multi-colored flowers, tied to rear uprights with tassled gray silk cord.
View of Central Chamber of the Roswell P. Flower Memorial Library, Watertown, New York: Pendentive Decorations
Leon Dabo, American, 1868–1960, 1904
Printed on sensitized paper
Photograph

Arch and two flanking arched segments show. Pendentives depict two figures each symbolizing leisure and industry.
Figural letter, Capital N
Juan Dolívar, Spanish, active in France, 1641–1692, ca. 1700
Etching and engraving on paper
Print

Standing before a Pope baptizing a bearded man. Moulded frame.
Project for a Relief
Leonardo Scaglia, French, active Italy, 1640 – 1650, About 1650
Black chalk, pen, and brown ink with grey ink wash
Drawing

Horizontal rectangle. The goddess and her companions in a pond in the park of a castle. Actaeon, having a stag's head, stands beside, at left.
Sewing instruction book samples
, 1829
Cotton thread

Five edges showing five different patterns
Drawing
Felice Giani, Italian, 1758–1823, About 1820
Pen and brown ink, brush and brown wash on cream laid paper

The seated Telemachus is surrounded by seated shepherds and standing gods. He holds a flute.
Fragment
, late 18th century
cotton Technique: printed by engraved copper plate on plain weave

Printed cotton textile fragment showing a town scene: a bull chases a man with book and tricorn hat up a tree;  a whip is passed between two equestrians; an elderly couple speak to a labourer.
Tassel
, late 17th century
silk, metal thread, wooden core

Skirt of red silk threads with tassels partly covered by gilt threads with red silk tassels and yellow silk ornaments. Collar of silk and metal thread in loops. Head, vase turned and covered with silk and metal threads in spiral design. Loop of red silk cord.
Fragment
, late 18th century
silk Technique: cut supplementary warp pile (velvet) in a woven foundation

Sample of "velours miniatures" has vertical stripes of flower sprigs and flower garlands.
Fragment
, late 17th–early 18th century
silk Technique: compound satin with supplementary weft patterning (brocaded)

Fragment of woven silk showing vertical lace-like pattern with scallops in green and grey with pink and orange flowers on thorny stems. Piece made up of six fragments sewn together.
Fragment
, 1750–1800
linen Technique: bobbin lace (Brussels-style)

Fragment has a conventionalized tulip and leaf design.
Collar
, 19th century
linen Technique: bobbin lace (late Valenciennes ground)

Fragment of flounce made into a collar. Design of oval medallions enclosing S-shaped scrolls.
Textile
, 18th century
wool Technique: printed on twill weave

Panel of yellow wool serge printed in orange red and olive green. Architectural monuments, large scale men and women, and dog chasing a stag among floering trees. Border a festoon of flowers and human figures.
Fragment
, 1400–25
silk, metallic Technique: cut supplementary warp loops in 4&1 satin foundation with brocaded wefts bound in 2/1 twill by supplementary warps

Swinging branches with pomegranite, fruit and blossoms in green and metallic.
Printer's sample book
Old Pacific Print Works, Lawrence, MA, USA, 1880–81
leather, paper, cotton

Small notebook with handwritten formulas for dyestuffs for printed textiles. Contains 149 samples of printed fabric.
Fragment
, 18th century
silk, metallic thread Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Triangular fragment with polychrome sprays of leaves and branches.
Portrait of Catherine-Henriette de Balzac d'Entragues, Marquise de Verneuil (1579-1633)
Hieronymus Wierix, Flemish, 1553 - 1619, 1600
Engraving on laid paper
Print

Bust-length portrait of Catherine-Henriette de Balzac d'Entragues, mistress of King Henry IV of France. She is presented in 3/4 view, and wears a large ruff and elaborate jewelry.
Picture
Gaspard Grégoire, French, 1751–1846, ca. 1800
silk Technique: warp-dyed velvet

Circular picture of flowers in a basket.
Designs for Tableware, Plate XV of Designs of Chinese Buildings, Furniture, Dresses, Machines and Utensils.
William Chambers, British, b. Sweden, 1726–1796, 1757
Engraving on tan laid paper
Print

Eight separate objects, some decorated with motifs from nature including lizards, fish, bamboo, and others are displayed in three tiers. The top tier displays three objects: a vase, a three legged burner and at right, a vase shaped like two fish, joined. The second tier displays a teapot at left in the shape of a seated monkey, and at right, a teapot whose shape bears resemblance to a piece of fruit. The third tier at the bottom of the sheet shows a candlestick at left decorated with a lizard and vines, a teapot with bamboo motifs at center, and at right, a candlestick with ecclesiastic motifs.
fork
Jean-Charles Cahier, 1819–38
silver

Heavy four-prong forks with fiddle-shaped handles. On back, in oval, Bourbon arms in collar of St. Esprit, crowned. A - F, marked (R.6592 and R.6578), Paris quality marks, with ''bigorne'' contremarque. A - E, Lozenge mark with crossed L's and initials JCC. F, Lozenge mark with plant-like device.
Fragment
, 18th century
linen Technique: bobbin lace (Valenciennes ground)

Fragment of a band with flowers.
Sampler
Wilhelmine Neuhaus, 1850
silk on cotton Technique: cross stitch on plain weave foundation

Seven alphabets in differing lettering and four sets of numbers divided by five borders. Signed "Wilhelmine Neuhaus 1850."
The Triumphal Arch
Hubert Robert, French, 1733 – 1808, 1810–29
Etching on paper
Print

A landscape with a triumphal arch overgrown with foliate branches in the background. Figures in the foreground, with one standing on a plinth or base in ruins, with trees and a building to the right. The plate is numbered.
Textile
Ferdinand Favre Petitpierre & Cie, ca. 1785
linen Technique: printed by engraved copper plate on plain weave

Panel of cotton printed in red on a white ground. Chinoiserie design inspired by an opera by André Ernest Modeste Grétry (1741-1813) entitled "Panurge dans l'Isle des Lanternes." Design has horizontally arranged vignettes of performers on a stage, elaborate processions, personages in fantastic dress, and small groups of observers. Opera first performed in 1785.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. grey ground with multi-color floral
b. green ground with multi-color floral
c. pink ground with multi-color floral
d. red gound with multi-color floral
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1760–62
linen warp, cotton weft Technique: block printed on plain weave "siamoise"

Undulating vertical stripes of blue with small white flowers, alternating with wider columns of large pink roses on a white ground.

Image shown is of 1986-84-2d
Lithophane of a Church Interior
, 1825–1900
biscuit
lithophane

1936-58-1: Vertical rectangle with impressed view of an aisle...
Band
, 18th–19th century
linen Technique: bobbin lace, Binche style with Binche ground

Band of coarsely worked bobbin lace with a loose scroll pattern and a five-sided open mesh ground.
Cap streamers
, mid-18th century
linen Technique: bobbin lace, Mechlin style

Cap streamers of Mechlin lace in a pattern showing a series of medallion compartments that are connected by volutes terminating in scrolls. Each medallion contains respectively: a winged cupid, prancing deer, a leaping rabbit set before a large tree and two architectural structures with a bird flying above, and a bird perched on a tree branch.
''Keystone''
Keystone Wall-Paper Company, 1895–1903
Machine-printed with mica pigments on paper support
Sidewall

Repeating floral pattern printed in pink and white mica, with gold mica glitter stamen, on off-white ground. Flitter
Vase
Roycroft Shops, East Aurora, NY, 1895 – 1938, ca. 1910
Hand-hammered copper, "German silver" (white metal alloy)

Hammered cylindrical vase gently narrowing at the top with a simple decoration of German silver in a Native American pattern, a double band encircling the vase with a dropping design at four points.
Cahier de Six Cheminées Nouvelles
N. Bruchon, French, active 18th century, 1775–87
Album

An album with two series of ornament prints after designs by N. Bruchon. The first is a set of chimneypiece designs with neoclassical motifs and the second is for a series of floral letters. The plates are signed and numbered.
Design for Sideboard with Neo-Classical Vase Motifs
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Oblong sideboard with rounded corners and 6 straight tapering legs; straight front with 3 drawers arranged in 2 rows, kylix vase motif between 2 smaller drawers; drawers flanked by narrow vertical strips with slender neo-classical vase motifs; molded backsplash has fruit basket [?] motif on central plaque.
Page of Text, Printed on Recto and Verso
Marie F. Lattré, French, active eighteenth century, 1751
Engraving on laid paper
Bound print

Page of text with elaborate border decoration, printed on recto and verso with a continued description of the celebration given by the city of Paris on February 13, 1747, on the occasion of the marriage of Louis Dauphin and Marie-Josephe of Saxony.
Album of Exterior Door Designs
Jean Mansart de Jouy, French, 1705 - 1783, mid- 18th–late 18th century
Album

Album of exterior door designs decorated with rococo ornament and motifs. Some of the designs appear multiple times but with slight variations to the plates, in terms of finish and titles. Copies of the series were published by J.F. Chereau, signed by Le Canu inv. and Daumont exc. (1760-90) instead of Mansart and Charpentier. At least one of the plates in this album have had the signatures taken out.
No. 30
Josef Lobmeyr Senior, Austrian, 1792 - 1855, 1835
Mouth-blown crystal, broad-cut and polished facets
Wine decanter with stopper

Mouth-blown crystal decanter, broad-cut and polished facets and teardrop stopper.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

There are repeating registers of curvy diamonds that are made up of thin brown/red floral boughs. Inside of the floral diamond patterns are metallic gold C-scrolls. The same C-scrolls also border the outside of the diamond shape and are marked on both ends by larger red flowers. The use of mica makes the floral decoration shiny. Printed with mica on a rosy-brown ground
Frieze
, 1800–1825
Block-printed on handmade paper

A torch motif against a green ground, set within a cartouche. This cartouche is set against a striped background, with a five band architectural molding running along the top edge. A smaller molding runs along the bottom edge. Printed in shades of gray and green.
Band
, 17th century
green silk, metallic thread Technique: needle lace with filet knotting and needle interlacing

Narrow band of squares alternating with a diagonal leaf form.
Textile
Philippe Wyngaert, early 19th century
cotton Technique: printed by engraved roller on plain weave

Adaption of Nantes copperplate printed fabric called '1' agreable lecon.' Some vignettes have been omitted; others added. The title has been obliterated from the pillar and proportions have been changed.
Sidewall
, 1905–1915
Machine-printed paper

Scrolling acanthus pattern, with foliage forming repeating medallions. Printed in red and white on mauve ground.
Uncut slips
, 17th century
silk embroidery on linen foundation Technique: embroidery using counted stitches on plain weave

Four rows of 'slips.' Yellow tulips on a cream-colored ground. Two tulips have been cut away.
Sidewall and border
, 1900–1920
Machine-printed

Large-scale fleur-de-lis with surround of laurel wreath, alternating with small fleur-de-lis. Printed in gold, red, green and tan on off-white ground.
Sampler
, 1836
silk, metallic, beads and shell Technique: embroidered in satin, stem, and knot stitches with couching and applique of woven ribbon on plain weave foundation

Raised work flowers and beads.
figure study: design for a fountain
Elihu Vedder, American, 1836 – 1923, ca. 1890
black crayon, white chalk, on gray paper
Drawing

Vertical rectangle. The nude figure of a boy, standing, seen from the back. The arms are uplifted, the hands indicated briefly. Basin on boy's head, and pedestal, suggested.
Designs for Embroidery
, ca. 1890
Black crayon on tracing paper
Drawing

Designs of abstract floral patterns for panels and borders. Each drawing stamped at top: "Dessin original a broderie." Designs numbered 162 (G)
Textile
, early 19th century
cotton, silk Technique: counted stitch embroidery

Cotton mesh solidly embroidered in multicolored silk. Scallop design in flame stitch.
Drawing
, late 19th century
Brush and gouache on cream paper, mounted on cream paper

Vertical symmetrical band with three straight bands and four curved ones. The straight bands consist of stylized geometric shapes on peach ground. Two cloud bands in green flank central section, and then flanked by cobalt blue geometric lines with green rhomboids.
Stick pin
, 19th century
Gold, pearl, rubies

Straight pin surmounted by jeweled crown form surrounding large baroque pearl.
Frieze
, 1825
Block-printed on joined sheets

In gold and pastel shades of turquoise, pink and green; fantastically elaborate representation of drapery, balustrades, columns, and architrave. Pink, scallop-edged fabric with solar disk pattern in green and turquoise, fringed with gold, elaborately draped. Banding of green foliage with pink flowers over draping of scallop-edged turquoise fabric. Break in pattern, including break in columns, between top drapery layer and foliage banding. Probably dado and frieze to be separated on wall and linked by length of column.
Border
, 1820–35
Block-printed

Irise or rainbow paper. Scrolling vine with stylized floral and foliate motifs. Printed in green flock and overprinted with two shades of green. The background shades from pink to yellow. Band of floral rosettes and dentil at lower edge.
Textile
, 18th century
silk Technique: compound satin weave with supplementary weft

Crimson satin ground with a symmetrical repeat of large attenuated floral ogives in greens, pale blue, mauve, light orange, yellow, and beige. Smaller symmetrical bouquets in interstices. Motifs woven first in crimson plain weave on the satin ground; then above colors introduced in certain areas.
Box
, 1836
Block-printed paper, pasteboard support

a) Is located in Applied Arts Dept. Rectangular box, slightly curved, with rounded corners and hinged cover. Guilloche pattern with rosettes in niello on cover and bottom, diaper pattern on sides. Inside gilt. Marks: St. George, maker's initials "F.L.", silver content 84, and date 1836. b,c) Rectangular box and cover. Glossy or satin white ground and flocking, block printed in shades of pink, blue and green distemper colors. Remains of a red wax seal on the cover.
Purse
, early 19th century
silk, metal, ivory/bone Technique: beaded, crochet

Rose color silk net, crocheted; ornamented with cut steal beads. Steel ring to slide and close. Fitted at top with small ivory or bone bars to open. Cut steel pendant; steel chain to carry.
Spetsmönstret (Lace pattern)
Rörstrand Porcelain Factory, Founded in Sweden, 1726, ca. 1885
Earthenware, transfer-printed decoration
Plate

A white plate with a blue decorative border, and an Egyptian scene in the center.
Fragments
, 16th–early 17th century
silk Technique: velvet

Panel of green silk velvet, cut and uncut, on yellow ground; feathered twining foliage forms and bars.
Queen of Hearts
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Queen of Hearts court playing card from a pack of transformation playing cards. A female figure in a full dress, wearing the costume of a ballerina. The dancer has pink wings and a star above her head, a bouquet of flowers on the stage at her feet. A red heart at upper left.
The Larkin Wallpaper Book, No. 4
Larkin Co. Distributors, 1875, ca. 1910
Machine-printed paper, oatmeal paper, sanitary paper
Sample book

Mail order sample book which includes designs for every room in the home. Includes floral designs, imitation tapestry, tiles, textiles, varnished or sanitary, printed and plain oatmeal, etc. No independent ceiling papers shown. Each sidewall is shown with a border and a ceiling paper. Black and white photo representations of select wallpaper combinations. Prices range from .14-.50 cents per double roll.