biglam/cooper-hewitt-alt-text huggingface dataset:
Fork with Amber and Bone Figural Handle
, ca. 1650
amber, bone amber, steel
fork

Two long straight pointed tines. Curved shoulders, short baluster neck. Handle of clear amber, carved in the shape of a woman in costume. The face and the back of the dress of carved opaque white amber. End of tang visible on top of handle.
Sketchbook, Paris
Kenyon Cox, American, 1856–1919, 1877–78
Recto: Graphite on laid paper Verso: Black pastel on laid paper
Sketchbook

Recto: Inside front cover of sketchbook, with faint sketch of architectural form, possibly Gothic.
Verso: Sketch of nude female figure, standing, facing frontally, with arms at sides.
Bowlers
F.S. Gilbert, ca. 1910
Silver
Matchsafe

Oblong, curved lid and sides, raised c-scroll motifs at slightly protruding and rounded corners, featuring raised decoration of bowler in mid stride, 2 players behind him, swags and flowers above, background of swirl motifs, lid features smaller reserve of 5 bowling pins in a row. Reverse features empty reserve, c-scrolls, swags, flowers and beading on lid. Lid hinged on side. Striker incorporated into decorative c-scroll on bottom.
Earrings
, late 19th century
Gilt and filigreed metal, glass pearls and beads

Pair of earrings of gilt metal, filigree, the outer half circle form has suspended white glass pearls and beads in green and turquoise.  Inner circle is set with pendants.
Head [2]
, late 19th century
Earthenware

-1a) Head with pointed headdress; back slightly concave. -1b) Mask-like head, squared off at top
Study of Kneeling Nude Figure
Louis Schaettle, American, 1867–1917, ca. 1900
Charcoal and white chalk on brown paper
Drawing

Kneeling female nude, back view. Drapery study at upper right. Figure kneels on right leg, left leg bent forward in background. Arms extended in half gesture.
Plate XXI from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Machien for clearing shallow water of rocks. A raft on barrels, with a winch turned by two men. Left, large comb attached to the rope, pulled toward the raft. The raft anchored to opposite shores by two other winches, with two men each. Description in Latin on verso of 1949-152-217.
Dedication plate, from Livre de bijouterie (Book of Designs for Goldsmiths and Jewelers)
Léonard Thiry, Flemish, 1550, ca. 1570
Engraving on paper
Print

At center, an oval reserve with a dedication to Aubin de Carnoy. Surrounding this, a singerie and strapwork design.
Blücher Unhorsed at Ligny
Rufus Fairchild Zogbaum, American, 1849–1925, 1888
Brush with grey, black, white, and yellow gouache, with graphite, on white paper
Drawing

A cavalry charge, with two riders prominently in the foreground. Behind them, a figure is seen climbing off a fallen white horse.
Devouement force, Plate 6 from "Inconvénient"
Auguste-Xavier Leprince, French, 1799 - 1826, ca. 1825
Lithograph, brush and watercolor on paper
Print

Coach stuck fording a stream. It is tipping and the men are working to right it; the women are muddy. Title and artists' names below.
Sidewall and border
, 1856
Block printed on continuous paper

Floral sprigs in brown and blue interspersed with white acanthus scrolls. Printed on light gray ground. Border along top edge. Scrolling border printed in orange, rust-color and tan. Band of dentils along bottom edge of border.
Sidewall - fragment
, 1850–75
Machine-printed on machine-made paper

Machine applied ground color.  Printed in a very subtle shade of taupe or off-white. No design is printed on the ground. However, the ground is very dirty.
Tile
, ca. 1700–25
earthenware, tin glaze

Set of 8 square tiles, each painted in underglaze blue on white with a different Biblical scene and "spider's head" corner motifs; mounted in wooden rectangular frame, 2 across, 4 down.
Studies of Architectural Mouldings
Arnold William Brunner, American, 1857–1925, 1879–80
Graphite on paper
Drawing

Studies of mouldings.
Scenic Panel from 'La Guerre de I'indépendance Américaine'
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1852–53
block printed paper, canvas mount
scenic panel

The background of "Les Vues d'Amerique du Nord" is used for scenes of the American Revolution. The taking of an English redout on the hills of Weehawken by American Militia and volunters, assisted by French troops. Across the bay is New York City. Lengths 1 and 2 adhered together as one panel, from a set of 32.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Diagonal large foliate medallions. Background of red and dark red stripes over an irregular free-style grid with dots. Dark pink ground. Printed in greens, pinks, reds and white. Printed in right selvedge: "S.A. Maxwell & Co. New York and Chicago."
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Large trellis pattern, cells bordered in stylized, open line-work and fleur-de-lis pattern. Each cell contains diamond-shaped medallion composed of stylized foliate scrollwork with small, brown bead at center. Pattern printed in gold, greens and brown on khaki ground.
Sketchbook Page: Caricatures
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Caricature of man with large nose and facial hair, in profile. 
Verso: Caricature of man with long face, in profile. Sketch on landscape, enframed, upper left.
Rising Steam Motif
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Rising Steam (totewaku) shown as an undulating wave design, forms even gaps and spaces. Thin horizontal lines are carved out to create more texture.
Academic Study of a Cast of a Classical Female Bust
Giuseppe Longhi, Italian, 1766–1831, 1790–1830
Black and white chalk on brown paper
Drawing

Study of a cast of a classical female bust, seen frontally. Her wavy hair is arranged in a style resembling a bow on top of her head. Possibly the "Venus Capitoline."
Fragment
, 18th century
cotton Technique: mordants for black and narrow red stripe applied by pen; madder dyed; blue applied by brush or immersion over resist; chintz on plain weave

Stripes of blue and white flowers. Stripe on left on a yellow lattice background.
Panel
, 1200 (crossed out and marked 'Wari Coast')
cotton and wool Technique: warp-faced plain weave with discontinuous supplementary wefts; interlacing on weft-face plain weave on group warps; branching of grouped warps; sides intact; ends with warp selvage.

Panel with tapestry borders made of narrow heavy cotton in a zigzag and checkered pattern of red, dark green, yellow and two shades of brown. Cords at two corners.
Portrait of a Boy
James Henry Moser, Canadian, 1854–1913, ca. 1883
Black crayon on board
Drawing

Boy sitting in wooden armchair, shown in right profile.
Plate 55 from Neüw Grotteßken Buch (New Book of Grotesques)
Christoph Jamnitzer, German, 1563 - 1618, 1610
Engraving on laid paper
Print

Two ornamental cartouches of auricular cartilage forms. The one at the left composed of human and mollusk forms; at the right, of elephant heads with feathery tufts and spiralling trunks.
Bag face
, ca. 1810
linen Technique: needle lace with ground of loop and twist with twist return

Shield-shaped face of a bag. A central figure of a lion standing atop a globe supported by sheaves of wheat, with a pair of scales to the left and a bird to the right. Border of wheat stalks.
Sidewall - fragment
, 1850
Machine-printed and worm eaten

There is no pattern remaining on this top layer of paper. The surface has the appearance of a woodgrain or moire pattern but is actually worm eaten. The layer below has an indiscernable pattern. Possibly a rainbow or irise paper, it is printed in shades of blue.
Demitasse Spoon with Beetle
Charles Victor Gibert, French, ca. 1890
silver
spoon

Oval bowl with plain narrow stem. Stem continues to form leaf with downturned terminal and curled point. Applied oversized crawling stag beetle to base of leaf.
Border
, ca. 1825
Block-printed

Yellow flower beneath black acanthus foliage, alternating with branch of leaves which change from green to gray. Band of anthemia-like motifs run along bottom edge. Printed on deep red ground.
Pleated fan
, ca. 1730
Painted paper leaf, carved ivory sticks with mother-of-pearl inlays on the guards, mother-of-pearl thumb guard and washer at the rivet

Pleated fan. Painted paper leaf. Obverse: mythological scene with Flora, the Roman goddess of flowers and of the spring, at the center. She is presented with baskets of flowers, watered by a stream of running water personified by the figure at the right. Reverse: an enlarged image of the spring flowers received by Flora. Carved ivory sticks with mother-of-pearl inlays on the guards. Mother-of-pearl thumb guard and washer at the rivet.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

On gray ground, arabesques composed of green rinceaux containing groups of yellow flowers with green leaves. Two borders printed across the width.
Projet d'une grande Pendule placée sur un paneau (Design for a Pendulum Clock Placed on a Panel), plate 97, in Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Engraving on laid paper
Print

Pendulum clock on a panel, suspended by a vine; a winged female figure, holding a bundle of flowers and leaves, sits atop clock; left, a standing putto and below a female figure seen from the back, engulfed by wave-like elements, gazes upward. On right, partial mirror; left, partial door.
Cartouche Crowned by Mercury
Pierre Edme Babel, French, 1720–1775, 1743-1763
Etching on cream paper
Print

Cartouche crowned by Mercury and decorated with cornucopias, fountains, a dolphin, and shells. The plate is signed.
Project for an altar with alternative suggestions
, 1625–1650
Pen, brush and sepia on paper
Drawing

Vertical composition of an altar with the statues of St. Nicholas and another holy bishop. Two angels sit on top of the coupled pediment and two smaller angels sit above a smaller pediment with a cross. All four angels have one hand raised.
Female Nude
Daniel Huntington, American, 1816–1906, June 26, 1858
Black crayon and white chalk on light green wove paper
Drawing

Nude female model standing in right profile, her right hand over her chest and her left hand resting on the surface of a table.
Fragment
, 17th–18th century
silk, metallic thread Technique: cut and uncut, voided supplementary warp pile in a twill weave foundation (ciselé velvet)

Fragment of a larger pattern showing a floral spray with infilling of triangles in rose. Traces of silver metallic.
Drawing for a Rocaille Escutcheon
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–60
Black and red crayon on paper
Drawing

Vertical rectangle with the general outline of a harp, a bust of a girl and a shell are in the upper left corner.  An upper field consists of a shell on a stalactite ground.  A lower irregular field looks as if cut out.  Reverse: three concentric circles.
Wall Elevation of a Bedroom Alcove
Pierre Ranson, French, 1736–1786, ca. 1780
Pen and brown ink, brush and watercolor, white gouache, graphite on white laid paper
Drawing

White-toned walls with blue accents. A day bed is arranged in an alcove, under draped canopy, against a bouquet of flowers, lyre, and a water bird painted on the back wall.
Rosette Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Four rosette designs. The rosette at upper left has swirling acanthus leaves; at upper right, bands of oak leaf and acorns, and bead course; at lower left, a bead course; at lower right, swirling lancet leaves, beading, and lamb tongue detail. The plate is signed and numbered.
A Street in Montevarchi, near Arezzo
, 1600–1650
Charcoal, pen and ink brush and watercolor on paper
Drawing

A road leads to houses. In the foreground, a group of trees.
Two Frieze Designs
Jean Le Pautre, French, 1618–1682, 1663
Etching on laid paper
Print

Two ornamental friezes with scrolling leaves (rinceaux), foliate branches, festoons of flowers, and dogs chasing hares or rabbits. The publisher's address is lettered below.
Title Page
Berthelot, French, active late 18th century, 1788
Etching and aquatint on laid paper
Print

Title page for a series of arabesque ornament designs with neoclassical motifs. The title is lettered above two vertical arabesque designs featuring festoons of flowers and leaves, scrolling acanthus leaves, fleurons, rosettes, flaming torches, birds, textiles, terminal figures, a plinth with flaming hearts, hanging tassels, and a vase. The plate is signed.
Galerie métallique des grands hommes français (Great Men of France)
Alexis Joseph Depaulis, French, 1792 - 1867, 1819
Cast bronze
Medal

Bust of Ambroise Paré (c. 1510 -1590).
Sketch, Exterior Scene with Draped Figures and Classical Architecture
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

Sketch, Exterior Scene with Draped Figures and Classical Architecture
Ornamental Vase Design
A. Panier, French, active 18th century, 1772-1793
Crayon-manner engraving with red ink on paper
Print

Lidded vase with coiled snake handles. The vase has garlands of leaves and grapes crossed in front of it and lion heads with rings in their mouths on each side. The print is engraved in red ink (sanguine) crayon-manner. The plate is titled and numbered.
A Stream in Woods
Charles Nicolas Ransonnette, French, 1793 - 1877, ca. 1870
Black crayon, brush and brown watercolor on paper
Drawing

A boat is shown pulled by a man, in the first plane, a man and a woman sit in the boat. The stream winds backwards.
Design for a Frame
, 18th century
Etching on paper
Album of frames

Design for a rectangular frame or framing device featuring rosettes, a molding, festoons of flowers and leaves, foliate branches, putti, and topped with an oval medallion with figures in a landscape. On the bottom, a crowned cartouche with three small profile portraits.
Moonlight over the Alps
Frederic Edwin Church, American, 1826–1900, June - September, 1868
Oil and graphite on paperboard
Drawing

Landscape study showing a nocturnal view of an alpine mountain range and valley illuminated by the light of a full moon. In the foreground, nearby wooded and rocky mountain slopes descend away from the viewer into a narrow mountain valley in the middle distance at center. Towering above the valley, a serrated and snow-strewn mountain range is bathed in the warm light of the full moon, which rises above a jagged ridge at left. Dimly glowing clouds hang in the sky above.
Sheet with Three Heads
Giuseppe Bernardino Bison, Italian, 1762 - 1844, late 18th century
Pen and ink, brush and sepia, watercolor on paper
Drawing

Above, left: a winged head of a woman with a drapery festoon. At right, the head of a stag with leaves and ribbons. Below is the mask of a bearded man with a crown of fruit.
Developpement de l'Entablement Ionique avec Corniche, Imposte, Archivolte à l'usage des Portes et Fenêtres
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Façade and profiles of an entablature in the style of the Ionic order. The plate is signed and numbered.
Mount
, early 19th century
Silver plated metal

Classical female nudes with drapery. Silver plating worn off in places.
Painted Decoration of a Wall
, 1830–50
Pen and ink, brush and watercolor on paper
Drawing

Laterally over a dado are niches with statues, for which a painted framing and top are suggested, In the middle of the wall is a mirror, flanked by grotesque panels. A frieze and two oblong paintings at top.
Stage Design, View of Town and Port
, early 18th century
Pen and brown ink, brush and sepia wash on laid paper
Drawing

Horizontal rectangle. View past castles on left side toward port in center and right with boats.
The Virgin With the Child; A Young Woman; St. George
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Graphite on paper
Drawing

Next to each other; each framed by a line. At left: the Virgin sits in front of an apse, with the Child in her lap. He is seen in profile. A column supporting a wall, at left. Center: a standing yound woman, seen frontally. Her hands are hidden beneath an apron. A wreath hands from her left. At right: the saint is seen after the battle, frontally. At left is the dragon, with a piece of the lance in his head.
Dagger Sheath
Master of the Horse Skulls, German, early 16th century
Engraving on off-white laid paper
Print

Vertical rectangle showing a design for the decoration of a sheath. At top, a bearded man with all'antica armor sheathes his sword, a beheaded figure at his feet. Below, a plant grows from a vase supported on the head of a harpy.
Design for a Mantelpiece
, 1750–1775
Pen and ink, brush and watercolor, sepia on paper
Drawing

Elevation of a chimneypiece. At top, a triple mount with a laurel wreath/. Below this, a peaked entablature and an oval mirror surrounded by festoons, bowknots and crescents. Below, a scale.
Design for a Chimneypiece with Overmantel
, ca. 1700
Pen and brown ink, blue, gray, ochre wash, over black chalk Support: white laid paper laid down
Drawing

Scale: at bottom left, in palmi
Designs for Watchcase Lids or Medallions
Jacques Vauquer, French, 1621–1686, ca. 1660-70
Engraving on laid paper
Print

An ornament print with a central design for a medallion or the lid of a circular watchcase depicting the New Testament Biblical scene of the Baptism of Jesus. The figure of Jesus is kneeling in the center surrounded by other figures and angels, with John the Baptist to his left looking up towards the sky, with a flying dove above representing the Holy Spirit and rays of light shining down. Other angles and putti are in the clouds flanking the dove. To the right, a roundel design with a seated male figure in a landscape, probably John the Baptiste, with his arms outstretched, another figure stands in the distance to the left. The roundel is framed by a garland of flowers, leaves, and ribbons. To the left, a design for a circular frame featuring flowers and leaves, possibly for the use on the lid of a watchcase. The plate is numbered and signed.
Locket
, ca. 1880
Formed and carved tortoiseshell, metal (hinge), steel, glass

Oval locket; hinged at one side; two rings at top. Inside, removeable section, glass cover on steel collet. Overlapping initials "A S" on locket.
Design for a Catafalque for the Memorial Service of a Pope, probably Clement XI
, 1721
Pen and black ink, brush and sepia, gray watercolor on paper
Drawing

A tower-like structure, with, on top, the tiered papal crown upon two cushions. Two crying angels with standards, the left depicting the crown, the right depicting the coat of arms of Clement XI (only the shield with the charges).
Projet d'un Tombeau fait pour Mr. le President de la * * * * * à Dijon en 1733 (Design for a Tomb for President * * * * * in Dijon in 1733), plate 99, in Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Engraving on white laid paper
Print

tomb with two central figures, one reclined on rocaille formation, with right hand on head, left hand holding had of second figure who leans over and holds a book upright in his right hand. tombe topped with two putti and urn; standing putto holds head in hand, while seated putto engraves urn. Architectural indoor background with window behind tomb and columns on either side.
Suite de dessins chinois (Album of Chinoiserie)
Jean-Baptiste Pillement, French, 1728–1808, 1759–71
Gold tooling, morocco leather and marbled paper on boards, ink on paper.
Book

A suite of 11 pieces (out of 12) representing the months of the year personified by Chinese figures in landscapes; published in London in 1759. Engraved by P.C. Canot

A suite of 8 pieces, collection of Chinese and other flowers suitable for many purposes
Designed and executed by J. Pillement. Published in London in 1760

Additional 2 pieces in red from the first suite, and title of another copy of Chinese parasols invented and drawn by J.J. April 1771

Bound in a half brown morocco binding with marbled papers, gold tooling on the covers and spine.
Mule Lying on the Ground
Winslow Homer, American, 1836–1910, 1862
Graphite on wove paper, laid down
Drawing

Horizontal view of a mule lying on ground and facing to the right.
Design for a Bishop's Catafalque
Domenico Antonio Vaccaro, Italian, 1678–1745, 1710–40
Black chalk, pen and brown ink, brush and wash on two pieces of paper
Drawing

Architectural drawing. Only the left half of the tower visible. The tower consists of an oblong room with a balcony (in the middle of the entablature), a high candelabrum with lamps and three lamps of small sizes in left corner.  The plan of the tower is hexagonal.  In front of its first section above, the dado is shown, an ovoid medallion with a half length portrait of a female saint carried by an angel.  Rows of candle brackets flank it.  The next section shows at the front a row of lamps which are connected by festoons, with the one at the front at left holding a thread.  The statues are flanked by candelabra with burning candles.  The next section consists of steps and a pedestal with rows of lamps at the corners and two angels raising a sensor at the front.  A bishop stands above upon clouds containing many angels.  A glory of light surrounds him.  Below is a scale.
Project for a candelabrum
, 1791
Pen and ink, brush and wash, on paper.
drawing

A vase shape with two handles standing on a pedestal.  Two of the three intended arms are shown emerging from the vase.  Ram's heads are applied near their upper ends from which festoons hand toward spirals.  A pole which is decorated with flowers rises on top  Framing lines.
Design for Cartouche with Central Vignette
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a cartouche with an upper and lower compartment, the latter of which contains the title. The upper compartment depicts a scene of Commedia dell'Arte figures in a Roman landscape. The cartouche is comprised of trelliswork, mascaron, branches, musical trophies, rinceaux, scrolls, and wings. The plate is signed and numbered.
The Holy Family
Mariano Rossi, Italian, 1731–1807, ca. 1730–1800
Pen and black ink, black and white chalk on light brown paper
Drawing

Drawing of the Holy Family. At center is Christ as a baby standing while the Virgin Mary is seated to the right supporting him.  Behind them at center left is Joseph standing.  Christ is reaching down to grab an object from the small Sheppard (?).  To the right a man looks over and to the center left a woman seated looks on.  An angel flies above all figures at upper right corner.
Sidewall
, ca. 1710
Leather, stamped, silvered, painted

With black field, flowers and diapered scrollwork.
Sidewall
, 1870–80
Machine-printed

Large-scale pattern of foliate scrolls set with roses. Printed in reds and golds on gold field.
Playing card
, ca. 1855
Red and black ink, paper

At top: N 3 N; below central image: 2
Design for a Badge of a Medal
, ca. 1820
Pen and black ink, brush and bistre wash, black chalk on paper
Drawing

Design for a badge of a medal. The medal consists of an ovoid showing a Maltese cross framed by a string of beads. On top is a crown which hangs from a knotted bow.
Two Arabesque Panel Designs
Juste-François Boucher, French, 1736 – 1782, 1768–75
Etching on paper
Print

Two vertical arabesque panel designs printed on two separate plates featuring vases, incense burners, flowers, cornucopia, female figures, scrolling leaves (rinceaux), festoons of leaves, fluting, gadrooning, and rosettes. The plates are numbered.
Textile
, 19th century
cotton embroidery on cotton foundation Technique: embroidered in double running stitches on plain weave

Design of four stylized flowers arranged around a central block, worked in red and blue on a white ground.
Fragment
, mid-19th century
cotton Technique: printed in red on plain weave

Fragment shows a couple in Eastern dress seated under a tree. In red on white.