biglam/cooper-hewitt-alt-text huggingface dataset:
Design for Wainscoting with a Buffet, Elevation and Plan
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for wall panelling on either side of a large tapestry depicting a scene of singerie, or of monkeys performing human activities. The tapestry is above a buffet table on which sit candelabra in the form of vases. The panels include trophies of cartouches and pitches wrapped in vines and ribbons.
Mountains near the Gulf of Corinth, Greece
Frederic Edwin Church, American, 1826–1900, April 14-25, 1869
Graphite and white gouache on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing an oblique view of mountains on the coast of the Gulf of Corinth in Greece. Layered mountain slopes descend from upper left to lower right as they extend from foreground to the middle distance. The mountains are highlighted in white gouache with a cloud of mist above them at upper center.

Verso: Incomplete sketch showing a portion of a landscape, in the form of two lines that suggest a horizon and a thin cloud. Likely part of a larger sketch.
Frieze
Robert Graves Co., New York, New York, 1890–1900
Machine-printed, mica

Red, pink and green conventional floral design on tan waffle paper, formal border, mica finish. "No. 86 - Robert Graves Co." printed on edge.
Engraving
, 18th century
Black ink and watercolor on paper

Horizontal formal garden with fountain and strolling figures; terrace with domed buliding in background. Blue-green, lemon, yellow, and deep mallow red.
Coffee Server with Cups on a Plate
Richard de Lalonde, French, active 1780–96, 1788–1796
Etching on off-white laid paper
Print

Design for a coffee samovar on a platter with cups. The samovar is decorated with ornament motifs including ribbon twist, rinceaux, garland, lancet leaves, gadrooning, and bead course. The plate is numbered.
Design for a Public Monument to be Erected on a Paris Square
Jean-Pierre-Louis-Laurent Houël, French, 1735–1813, ca. 1802
Pen and gray ink, brush and brown wash over black chalk, graphite on white laid paper
Drawing

Recto: In the midst of a plaza, above a basin and fountain cloud of mist, is a colossal globe monument, showing Africa, Europe and Asia above the clouds.  On top is a chariot (quadriga) driven by Republican France, accompanied by a winged Liberty. The globe is a symbol of universal equality. People occupy the plaza; some are at the basin's edge. Verso: black chalk sketch of a monument. High pedestal, the bottom part of which is shaped like a tower, rises from narrow basin. At the top stands a figure and chariot.
Coastal Cliffs near St. John's, Canada
Frederic Edwin Church, American, 1826–1900, June 22, 1859
Graphite on light brown wove paper
drawing

Landscape and seascape sketch showing a view of the cliffs and rocky prominences of the coastline near the city of St. John's in Newfoundland and Labrador, Canada. A sketch showing a wide view of the nearby undulating and rocky terrain stretches across the composition at center. At right, steep cliffs descend into the ocean water while a distant horizon is visible above. At lower center, a separate, vignetted view of the steep and curving coastline is included.
Two Ornament Designs
Nicolas Pierre Loir, French, 1624 - 1679, ca.1660–1713
Etching on paper
Print

Two plates of ornament designs printed side-by-side on a single sheet. The designs feature winged figures and seated figures flanking plinths featuring a roundel profile portrait, vases, flowers, snakes, foliate branches, palm leaves, shells, bird heads, mask (mascaron), ribbons, festoon of leaves, fleurons, foliate scrolls, and scrolling leaves (rinceaux). The plates are signed and numbered.
Wild Sugar Cane, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Oil and graphite on orange paperboard
Drawing

Landscape sketch showing four stalks of wild sugar cane growing in a lush mountain valley in Jamaica. In the foreground at right, a dirt path is briefly visible before it curves out of the frame at right. At center, tall, green stalks of sugar cane grow vertically out of the mountainside to the left of the path. Evenly spaced, their leaves are slender and pointed. Below them, three other stalks bend to the left while a small sapling grows beside them at right. In the middle distance, two lush mountain ridges at left and right converge at center to form a wide "V." In the background, a taller, rounded mountain--rendered in a shade of purplish brown--looms over the landscape. Gray clouds fill the sky above.
Ribbon samples
Herman A. Elsberg, American, 1869–1938, 1919
silk, metallic thread Technique: compound weave

Eight samples of wide ribbon. Background of plain weave with a design of interlacing lines outlined in gold thread. Highly stylized gold rose blossoms and scrolling lines form a border on each side. Both selvages present on all samples. Component "a" has interlacing lines of bright and dark red with gold thread accents.
Le temple de l'amour
Gorgerat Frères et Cie., Nantes, France, 1783–1815, ca. 1785
cotton Technique: printed by engraved copper plate on plain weave
Textile

Amusing scenes of people floating around in the sky mixed with a bucolic landscape. In blue on white.
Lower edge of hat veil
, mid-19th century
straw, cotton Technique: satin and running stitches on machine-made net

Hat veil embroidered with straw in a floral design.
Embroidered picture
A. Smith, English, 1787
silk embroidery on silk foundation Technique: embroidered in stem and speckling stitches on warp-faced plain weave foundation

Pastoral landscape with seated shepherd piping and seated shepherdess in black on cream. Farm at center with windmill to the left.
Valley of the Wormsa
Hartmann et Fils, Munster, France, ca. 1840
cotton Technique: printed by engraved plate on plain weave
Textile

Pastoral scenes and scenes of hunters with the hartmann manufactory at the extreme right. In red on white.
COLOMBINE ET ARLEQUIN
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of arabesque ornamentation with figures from the Commedia dell'arte, Columbine and Harlequin, in the center. They stand under a trellis supported by vines and on top of a scalloped based, and are framed by scrolls, wreaths, vases, and birds. The plate is signed.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

orange warp and lighter orange weft
Fragment
, 16th century
linen Technique: cutwork

Fragment of punto tagliato with embroidered designs in satin and curl stitches with tiny reticella squares. Central section has a reticella cross with lilies.
Wood engraving. Vignette.
, 1800–1830
Etching and engraving

A globe.
Valance
, 18th century
cotton Technique: mordant painted and dyed and resist dyed (chintz) on plain weave

Indian chintz. Twelve fragmentary pieces sewn together to form three complete and part of one window valance. Design of flowers - in Indian style - in blue and red outlined in black on white ground.
Fragment
, 17th century
silk, metallic Technique: woven

Serpentine metallic bands on red ground.
Sampler
Ana Cataña, early 19th century
silk, linen Technique:

Oblong sampler of cream linen embroidered in colored silks in various detached motifs: angel, flowers, a shepherd with lamb, house, birds and other animals, and a floral border. On the left side is Mexico's coat of arms - a golden eagle devouring a rattlesnake while perched on a prickly pear cactus.
Sketches of Angels
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown paper
Drawing

Two angels, flying with their heads down. One has arms outstretched towards a large globe, and the other carries a branch.
Panels
, ca. 1770–80
wood, carved. oak paneling, later oak frame.
panels

Trophies composed of musical instruments and laurel branches.
Button
, 19th century
brass

1931-59-516-a: brass button in cut-out design of balls and rosett...;     1931-59-516-b/j: brass buttons in cut-out design of balls and roset...
Madonna and Child
Leon Dabo, American, 1868–1960, 1886–92
Charcoal on brown paper
Drawing

Student work. Half-length figure of the Madonna, turned towards the right, holding the sleeping Child in her arms.
Textile
, 19th century
wool Technique: 2/2 diamond twill

Check of alternating dark blue and warm tan stripes in both the warp and weft, with off-white accents. Diamond or birds-eye twill effect in woven pattern.
Descent from the Cross by Torchlight
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1654
Etching and drypoint on off-white laid paper
Print

Vertical rectangle. A night scene. At left a man, holding a torch, lights up the scene. At upper left, the body of Christ is being carried from the cross; below a sheet-covered litter is prepared. Figures are dimly visible in background.
Drawing
Felice Giani, Italian, 1758–1823, 1813
Pen and brown ink on light blue paper

Horizontal rectangle. The dying centaur gives the poisoned roe to Dejanira, who descends from his back. Hercules is shown fording the river, in the background.
Second View of Pyrmont in Waldeck
Peter Mazell, Irish, 1761 - 1797, 1782
Engraving on paper
Print

View of the broad valley with the town of Pyrmont in the disnace. Travellers and cows on a road in the foreground.
Road to Lake George
Gueliema Field, ca. 1860
Pencil on paper
Drawing

Horizontal rectangle. Landscape with road at the left leading to houses in a small valley. Inscribed (in pencil), left: "Road to Lake George." Title repeated (in ink), and artist's name given in the hand of Alice Donlevy
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on tracing paper
Drawing

Sketch of a woman's head, looking up and toward the left.
Cuffs
, 19th century
linen Technique: bobbin lace with needle connections

Bobbin-made tape arranged in a ornamental pattern with details in needle-made connections.
Salt Cellar
, 1811
gold, silver
saltcellar

Boat-shaped salt on spreading oval foot.  Two tall loop handles at points.  Repoussé rinceau on stippled band below rim. Inside gilded.
Tailpiece
Franklin Booth, American, 1874–1948, 1909
Black ink on paper
Drawing

A symmetrical design, composed of interlacing grape vines. Shown against a rectangular black-and-white speckled background.
Saint Christopher
Albrecht Dürer, German, 1471–1528, 1511
Woodcut Support: white laid paper
Print

Vertical format Saint Christopher , leaning heavily on his staff crosses the stream, moving toward the right. The Christ child is on his shoulders, His left hand raised in blessing, the right hand resting on the saint's head.
Bust of a Roman Senator (rendering from a plaster cast)
Pietro Montana, b. 1890, April 1910
Charcoal on white paper. Wm.: Michallet/ Framce
Drawing

Vertical rectangle. The bust is shown turned half-left. Signed (in charcoal) lower right: "P. Montana / April 1910".
Fragment
, late 19th century
cotton, wool Technique: machine woven

Upholstery fabric in two shades of green. Pattern is an ogival frame enclosing stiff tree form with three pointed leaves. Suggest Art Nouveau style.
Fragment
, 15th–16th century
cotton Technique: resist-printed on plain weave

Design resist-printed with red ground, brown, and reserve areas in white. Torch-like motifs are placed at the apex of an undulating vine with dots. Below is a straight band of dots bordered by two parallel lines. Below the dotted band are rosettes alternating with red dots enclosed by white squares. The squares are connected by dots, creating diamond shapes around the rosettes.
Collar
, mid- 19th century
linen Technique: bobbin lace with needle ground

Design of daisies with leaves crossed by angular band with small stems above it.
Fragment
, 17th century
silk Technique: supplementary warp forming cut and uncut raised pile in plain weave foundation (velvet)

Small pattern of diagonal shapes in green on cream.
Fragment
, 17th century
linen Technique: bobbin lace, discontinuous tape

Fragment has a loosely-worked meandering ribbon-like design.
No. 103
Theophil Hansen, Dutch, 1813 - 1891, 1866
Mouth-blown crystal, cut and polished ornaments
Sherry glass

Mouth-blown crystal sherry glass, cut and polished in the "Greek" style.
Sidewall
, ca. 1880
Machine printed on paper

1970-26-4-ak: Neoclassical pattern of columns of flower bouquets...;     1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...
A Room in the Reuss Palace, Dresden
C. M. Fredro, Polish, 1835–37
Brush and watercolor, gouache, graphite on white wove paper
Drawing

A young man and older woman, presumed to be the present artist and his mother, are seated at a table laden with books, paintbrushes and a potted plant. A folding screen hung with unframed drawings is behind them, while their faithful dog observes them from the left. The walls are hung with blue and ochre striped wallpaper; windows, curtained in white muslin trimmed with fringe, are on either side of a pier mirror; and the floor is of parquet in a diagonal design. The decoration and furniture are English, popular in Germany in the mid-nineteenth century.
Album of Prints: Tome 4 of the Oeuvre of Juste-François Boucher, known as Boucher fils
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Album

Album of prints containing volume four of the collected works of Juste-François Boucher, which includes books forty-nine through sixty-five of designs for furniture. The album is missing:
52e. Cahier, Nos. 307-308 and 310-312
57e. Cahier, Nos. 337, 339. 341-342
58e. Cahier, Nos. 343-348
59e. Cahier, Nos. 350-351, 353
60e. Cahier, Nos. 355-360
61e. Cahier, Nos. 361-366
63e. Cahier, Nos. 373-375, 377-378
64e. Cahier, Nos. 379-384
65e. Cahier, Nos. 385, 390
Curtain
Unknown, ca. 1905
cotton Technique: printed on plain weave

Scrim-style curtain panel in dark green and ochre. Leafy pendants have heart-shaped compartments containing floral forms.
Textile
, 1785–90
cotton Technique: block printed on plain weave

Bouquets of flowers and medallions containing floral trophies on a massed pink flowers on red background which has been interrupted by stripes containing lillies. Black, two blues, two pinks, mustard and lavender.
"Smoke Up & Up Fumar Cigars"
Huntley, Boorne, & Stevens, 1870–80
Plated tin, printed gilded
Matchsafe

Rectangular, curved sides, snuff box style container, featuring black printed decoration on gold ground, cover inscribed "Smoke Up and Up Fumar Cigars, G.W. Van Slyke & Co., Albany, N.Y.", inscribed on thumb catch to right "Bryant & May's, Patent, London" , diamond, star and dot pattern on rest of box body. Striker on reverse.
Sidewall
, 1830–60
Block-printed on handmade paper

Vines and fancy diamonds. Printed in turquoise, deep yellow, green, salmon-color and black on light blue ground.
Border
, 1845
Block-printed

Grisaille scrollwork leaving open areas of red. The latter are embellished with black scroll and leaf forms. Grisaille dentil moldings along the upper and lower edges. (Other lengths have probably been clipped from this). Printed on red ground.
Dado
, 1790–95
Block-printed on handmade paper

Almost complete repeat. Horizontal rectangle, with vase as central motif with winged horses on either side. At extreme right a double tassel with rosette above. Bottom of rectangle has fringe and tassel band. Printed in brown, green on dark, light gray ground.
"Subway N.Y."
T. S. Gilbert, ca. 1904
Silver
Matchsafe

Oblong, rounded corners, curved top,  with raised curves and counter curves on perimeter and where lid's bottom edge meets the box body. Central reserve features image of a train inside the Wall Street station tunnel, above which "Subway N.Y." is inscribed. Inscribed on reverse reserve is the mongram "WCP" or "WCG". Lid hinged on left. Slightly concave striker on bottom.
Square textile
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

Cotton square, possibly a head cloth (kain kepala), in dark blue, light brown, and white. Dark blue ground showing numerous white dots known as "gabah sinawur" or 'grains of rice'. The "semen" (curling tendrils and other non-geometric forms) and "sawat" (wings and tail of Garuda, mount of Vishnu) motifs are also used.
Textile
, early 19th century
cotton, silk, metallic thread Technique: satin stitch embroidery on plain weave

Fragment of sheer cream-colored muslin embroidered in a detached small-scale flower design worked in yellow silk and silver thread. Small dots in silver thread between flowers.
Three Landscapes, Printed proof for Design for Washington Board of Trade Dinner, May 13, 1908
James Henry Moser, Canadian, 1854–1913, 1908
Brush and watercolor, graphite over proof printed in blue ink on paper
Print

Three landscapes, with rivers, mountains, and a tropical beach. Upper left, a sunset in watercolor within a graphite frame.
Marietta
Hans Meyer, German, active in Italy, 1846 - 1919, 1871
Etching in dark brown ink on white satin
Print

Bust-length portrait of a young woman shown frontally, slightly turned to the left. She is looking left. Her dress is unbuttoned at the neck and she wears a pendant earring.
Plates 3, 4, and 5, Illustrations for "Roman Military Punishment" by John Beaver
A.M. Ireland, 1725-1794
Etching on paper
Print

Three etchings on one plate. Plate 3: Soldiers from left advancing to a ship at right. Plate 4: Scene from military life. In right foreground, four soldiers. At left, mid-background, soldiers occupied with a horse and carriage. In background tents and mountains. Plate 5: Execution of soldiers who are in three groups.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Blue poppies with green leaves and scrolls. Areas of lattice run along bottom. Printed in blue, green and mica on tan ground.
Textile
, 18th–19th century
silk Technique: double cloth

Large circular medallion enclosing a lion playing with ball linked horizontally by small medallions enclosing yin and yang symbols; on ground of fine allover patterns—interlocking fret, and small tangent hexagons framing rosettes.
Textile
, 12th–13th century
linen, silk Technique: chain stitch embroidery on plain weave

Fragment of linen with large eight-pointed floral rosette in silk chain stitch, with orange outline and with dark blue petals and center outlined within this. Set close to border of double row of dark blue chain-stitch. Plain selvage turned under this and hand-hemmed.
Unwinding the cocoons
Philip Galle, Flemish, 1537 - 1612, ca. 1590
Engraving on paper
Print

Horizontal rectangle. Several women are seated at long tables on which silkworms cocoons are placed, and are in process of unwinding the cocoons, the thread being wound on long spools.  Woman stands, left, with a child in her arms.  View of street in background, left, with women gathering cocoons (?).
Slop Bowl, from a Tea Service
Spode Ceramic Works, English, established 1776, 19th century
porcelain, vitreous enamel, gold
bowl

1992-5-46: Footed bowl decorated with thin gilded bands. Inte...
Shawl
, mid-19th century
wool, silk Technique: black center and fringe: 2/2 twill panels and borders: complementary weft, patterned 3/1 twill (all panels and borders, including fringe, are woven, cut and attached)

Rectangular shawl with wide borders at each end and narrow borders on each side; made up of woven and cut pieces of fabric with a set-in black center or field.  The primary border at each end contains five elaborately foliated cones.  The ivory is silk throughout.
Architectural Details
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Archway and details of a doorway at Laval Cathedral, and stone bands, details, at Rouen.
Spoon Tray
, mid–late 18th century
porcelain
dish

Scalloped plate, bordered with floral pattern along with tassels. In well, plate decorated with an opened scroll before and urn and flowers.
Fragment of a valance
, 1700–1725
cotton Technique: mordant and resist painted and immersion dyed plain weave (chintz)

Design is incomplete.  A shield shape with blue border frames a jar from which springs a flowering vine of naturalistic small flowers. Large, actively curving leaves (possibly fern?) in red, purple, some in blue, several with strong blue stems and exhibiting fine inner decoration.  Narrow, spear-shaped leaves project and cross heavy foliage; very fine curving line in brownish-purple outlines the whole design, drawn about 1/4 inch from the pattern.
Colors: Two reds, blue, two purples; some yellow appears in narrow lines outlining inner decoration in red leaves, but has disappeared from larger leaves, which are now blue.
Fragments
Meillier et Cie, late 18th–early 19th century
Material: cotton Technique: block printed on plain weave

Design of floral shapes alternate with stripe of loosely folded 'lace' in red and black on natural.
Ceiling paper
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper, liquid mica

Squarish medallion with four round projectiles and quatrefoil center, alternated with roundish medallion composed of C scrolls. Printed in green and metallic gold on off-white or tan ground.
Sidewall
, 1825–35
Block-printed on handmade paper

Green conventionalized floral medallions within mustard sprays of foliage.
Knife with Fluted Agate Handle
, ca. 1750
steel, agate, silver
knife

1985-103-118-a: Sharkskin case without lid, of triangular form, wi...;     1985-103-118-b: Sabre-shaped blade with plain bolster. Octagonal s...;     1985-103-118-c: Four-tined fork with curved shoulders. Baluster-sh...;     1985-103-118-d: Pointed skewer with ball-shaped finial. Part of tr...
Light Shoreline with Large Distant Cliffs
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Shore in foreground with ocean and rock at left center. In distance at right, massive cliffs in three sections.
Plate, 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.
Studies of putti
François Boucher, French, 1703–1770, 1770
Black chalk and white heightening on grey paper
Drawing

A flying putto holds his arms aaloft with something in his hands. Another flying putto and a study of the head and shoulders of a putto. 
Verso: sketch of the back of a flying putto.
Carriage Dress
Rudolph Ackermann, English, b. Germany, 1764–1834, 1811
Engraving, brush and watercolor on paper
Print

Fashion plate of a woman standing against a table, reading a letter. She wears a pale blue fur-trimmed coat over a white dress. A hat on the table, to the right. Title and publisher's name below.
Border
, 1840–60
Block-printed paper

Single row of beading or strung beads, printed in shades of blue and yellow on a gray or light blue ground.
Fork
, ca. 1690
Steel, mother-of-pearl, horn

Fork has two straight tines, rounded shoulders, and long baluster-shaped neck. Brass ferulle engraved, mother-of-pearl handle with inlaid bands of horn, ivory and brass in geometrical pattern. Three brass rivets and inlaid finials on the top of leaf-shaped handle.
Vase (Plate 5 of a Series)
Enea Vico, Italian, 1523–1567, 1543
Black ink on paper
Print

Vertical rectangle. Ewer, with snakes entwining a nude man as handles and neck. He blows a conch shell, with a plate being held by a child beside it. The body is decorated with rinceaux and terms. Inscribed below: "ROMAE AB ANTIQVO REPERTVM MD XXXXIII" and "A.E.V." on a tablet.
Carpet fragment
, 1860–1870
wool Technique: double cloth

Straight repeat of large, three-quarter view blossoms alternating with an offset row of a cluster of three blossoms. One plain weave structure is white, and the other is a mixture of black, green, and red.
Tassel
, 17th century
linen, metal wire Technique: braided and knotted

Linen tassel, braided and knotted. Double loops attached to pear-shaped unit from which hang three elaborate knottings connected with one another in shape of human figures. Hair of figures made of tarnished metal wire. Suspended center element.