biglam/cooper-hewitt-alt-text huggingface dataset:
Set of Demitasse Spoons in Raphael Pattern
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, patented 1874, produced late 19th century
silver
spoons

Set of six identical demitasse spoons, each with ovoid bowl with frosted finish to interior. Tapering stem with small gadrooned knop below the pointed, rounded terminal which is stamped with scrolling vines and a dove on a matted ground. Obverse engraved with monogram "JDA" in trefoil-topped heart-shaped reserve.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Rose bouquets and rinceaux over vertical pattern of ribbon-like bands. Printed in shades of green, cream, gold and copper gilt.
Textile
, 19th century
cotton Technique: stenciled resist on plain weave (katazome)

Single and overlapping full-faced chrysanthemums with curving stems in reserve on a dark blue ground.
Fowling
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1595
Black ink on paper
Print

Horizontal rectangle. Fowlers behind tree, right. Methods of snaring birds indicated: center, two birds are tied to the ground, thereby attracting other birds (starlings) to the scene. Above, groups of birds carry off glued snare-lines. At lower left: "Ioan. Stradanus Ioan. Collaert Sculp." Left center: "Phls. Galle excud." Below: "CORNICEM IN CAMPO LIGAT AULEPS..."
Four Continents
, 1680–90
Honeycomb-cut and engraved glass
Standing cup

Short, wide chalice, engraved with Asia, holding a bow; Europe with cornucopia and banner with the coat of arms of the House of Habsburg and the eight Electors; Africa in sun hat, seated on crocodile; America with feather skirt and headdress, arrow and coral, attended by elephant. Baluster stem with circular cut, and air bubble. Foot engraved with flowers.
Urn and pitcher
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Drawing showing the ornamental details of an urn and a pitcher.
Five of Clubs from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Five of Clubs from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards
Sidewall
, 1850–70
Machine-printed

Medallion stripe design. Red and white medallions, alternating with smaller white motifs, repeating vertically. Vertical bands containing ornaments with red quatrefoils run between these vertical repeats. Printed in red and white on gray ground.
Fishing motif
, patented 1871
Silver, brass, copper
Matchsafe

Oblong, curved sides and corners; one side featuring incised and inlaid decoration of trout leaping out of water, situated horizontally on box body,  its back a dark, oxidized color, its underside brass, fins and eyes copper, stalk-like vegetation on right, some vegetation on left, fishing line with fly attached suspended in air on upper left; reverse features fisherman, situated vertically on box, with fishing rod line caught in seat of his pants, he wears dark, oxidized jacket and shoes, brass colored hat and shirt, copper colored pants, grassy bank brass color, with brass tipped cattails on right and left. Lid hinged on side. Striker on bottom.
The Saviour
Hans Sebald Beham, German, 1500–1550, 1520
Engraving on laid paper
Print

The figure of Christ is shown standing on a cloud, holding the orb in his left hand, and giving the benediction with his right. Stigmata wounds visible at his feet.
March of Intellect No. 2
William Heath, British, 1794 - 1840, 1828
Engraving, brush and watercolor on paper
Print

Cartoon showing other fantastical means of surface and air transportation than are seen in -84, including a balloon brigade, and a roasting spit with fire provided from Mount Etna. Below, title and publisher's name.
Sidewall - fragment
, 1900–1920
Machine printed

Floral wreath and swag motifs with red flowers and green leaves on a beige ground, anthemion.
"Vues d'Italie" [Bay of Naples]
Dufour et Leroy, 1815–20
Block-printed
Scenic

In sepia tones. A tree rises up over some architecture, a few figures are in front of building. A large cow or steer is in the foreground.
Tamari and Ivy onPpine-bark Lozenges
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Handballs (temari) are an old craft used in handball games. They are highly valued gifts, symbolizing friendship, and loyalty. Stylized ivy, shown in a circular motif, is placed on pine-bark lozenges. Silk threads have been added to support the stencil structure. The overall condition of the stencil is in tattered shape. There are many holes within the stencil.
Sidewall - sample
Gledhill Wall Paper Co., New York, New York, founded 1900, 1906–07
Machine-printed

Cluster of three round pink roses on stems. Roses are printed on vertical stripes and are connected by swags. Printed in pink, green, tan and brown.
Border
, 1790–1820
Block-printed on handmade paper

Border consists of a simple repeat of bunches of flowers, buds and foliage.The upper edging is banded by two stripes, printed in pink, white, olive, glossy green and black on a pale olive-gray ground.
Sketchbook Page: Two Portraits
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Two sketched portraits, likely self-portraits of the artist.  Above, three-quarter view of head and shoulders, within rectangular frame. Below, additional sketch of head.
Contours of Waves on Beach
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Unfinished sketch, contours of waves coming onto shore.
Sketches of Children at Eyub
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper
Drawing

Four standing figures; one head, center. All with Turkish trousers.
The Sheriff's Posse, Illustration for Century Magazine (XXXVII, No. 3, January 1889, p. 449)
Mary A. Hallock Foote, American, 1847–1938, 1889
Wood-engraving in black ink on paper
Print

Four armed men on horseback, moving toward the right. Mountainous landscape in distance.
Sampler
Marguerite Maurel, 1834
silk embroidery, cotton warp, linen weft Technique: embroidered in counted cross, stem and satin stitches on plain weave foundation

An alphabet at the top followed by "Fair par Marguerite Maurel de Pezenas agee dei ans chex les demoiselles Bedard lei Fevrier 1834". Numbers and motifs of an altar with sacred monogram, the cross with symbols of the passion and other religious emblems.
Border
, 1700–1750
linen Technique: needle lace with 6-sided reworked ground

Band with a design of floral sprays arranged and emerging from a cornucopia. Stylized pattern.
Ceiling border
, 1875–1906
Machine-printed paper

Wallpaper roll. Narrow pairs of parallel lines filling about two-thirds width of paper. Border corners fill the remaining third, with both round and square motifs. Printed on beige ground.
Purse
, 1830–60
silk, glass beads, ivory Technique: bead-linked mesh

Purse of black beads strung in an open diamond-shaped pattern with white and gold beads as decoration. Carved ivory or bone ring to slide and close purse. Two small ivory bars at top through last row of beads, to open. Small chain of black and white beads for carrying. Corner tassels of pink beads.
The Beheading of John the Baptist
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1631
Etching on laid paper
Print

Interior of dungeon. The decapitated and fettered body of St. John lies in foreground. The executioner stands behind him, sheathing his sword.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper

Foliate medallions, alternating between large and small. Printed on ground which shades from light green at the top to deeper green at the bottom. Printed in white, dark and light green and metallic silver.
Sidewall
, 1875–99
Block-printed paper, embossed

Imitation leather. Embossed large-scale shell motifs on vertical striped bands, alternating with vertical bands of cartouches enclosing floral bouquets. Printed in metallic green and gold.
Portrait Sketch of a Young Woman
Elihu Vedder, American, 1836 – 1923, ca. 1885
Black crayon, white chalk, on green paper
Drawing

Bust length portrait of a woman, her head turned sharply to the right, shown almost in profile, facing right.
Chalice cover (half)
, early 17th century
linen Technique: needle lace

Formerly a square chalice cover, now cut in half on the diagonal, in linen punto in aria needle lace. Showing the device of the Borghese Family, the Agnus Dei and the eagle with wide-spread wings.  The letters:  ECCE AGNUS DEI ECCE O ... appear in half-circle.

Inscription: ECCE AGNUS DEI QUI TOLLIT PECCATUM MUNDI (Behold the Lamb of God who takes away the sins of the world)
Fork
, 1660–80
steel, enamel

Fork has two long pointed tines, baluster shaped neck. Tapered handle with multi-colored floral enameling in relief; green, white, yellow and red on light blue ground.
Study for Hercules and Antaeus
Annibale Carracci, Italian, 1560–1609, 1800–20
Black chalk on paper
Drawing

Hercules, wearing a flowing loin-cloth, lifts the giant, Antaeus, over his head. The figures are seen foreshortened from below.
Carpet fragment
, mid-19th century
wool Technique: double cloth

Floral design in shades of red and green on a light cream ground.
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, ca. 1757–1769
soft paste porcelain, vitreous enamel
plate

Scalloped circular form with brown and aqua foliate scroll.  Foliage includes a pear, plums, kidney beans, and beans in a pod.
Cape
, 1770–1800
cotton Technique: block printed on plain weave

Full cape with a hood whose fullness radiates from a tight group of pleats at the back of the head. Cotton has a small-scale design of exotic floral forms in the Indian style in brown, blue, green, yellow, red and violet with small amounts of reserved white, on a dark gold ground. Bordered all around with a wide gathered band of the same fabric. Lined with coarse dark blue cotton, resist-printed with a thin white stripe.
Ceiling paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, textured, liquid mica

Repeating pattern of quatrefoil motif with squarish fill of floral vines. AS square boss fills the void between quatrefoils. Printed in terra cotta and tan on lighter tan ground.
Textile
, mid-19th century
cotton Technique: printed by engraved roller on plain weave

Grid of scrolls and floral medallions enclosing stripes so as to simulate warp printing. A large mixture of pattern sources. Blue, two shades of greens, pink, yellow, orange and brown on white.
Capital in St. Chapelle de Paris
Arnold William Brunner, American, 1857–1925, 1879
Graphite on beige paper
Drawing

Five-lobed leaves decorating a capital.
"Assyrian Head" Pattern Sugar Tongs
Meriden Brittania Company, Meriden, Connecticut, USA, 1808 - 1898, 1885–86
silver plated, metal
tongs

Tongs with two arms, each topped with three-tined claw or chicken foot-shaped head. Tines decorated with horizontal hatched bands, leading to fanning horizontal fluting towards neck. Narrow neck and stem, decorated with diagonal reeding halfway down handle, meeting setting sun motif above banded section. Stem continues, flaring towards terminal, decorated with scrolling foliate pattern, including sun with scrolling rays. Terminating in crowned antique style "Assyrian" head with laurel surrounding neck. Curved end connecting arms, plain polished surface, with thin plain border on both top and bottom. Interior of arms devoid of ornamentation, with plain polished surface.
Border
, 1820
Block-printed on handmade paper

Horizontal band of clusters of leaves and clusters of flowers connected by stems. Blue flowers and green and white flowers. Yellow and green leaves. Printed on red ground.
Wood block
, 1860–70
Wood and brass

Rectangular block of five layers of laminated wood, of which the upper one is carved. Straight top, two large and two small scallops at bottom, fitted with summarily indicated swags and bows. First block of a set of three (1956-164-2 and -3).
Decor Chasse et Peche
Desfossé et Karth, French, 1863, 1859–65
Block-printed paper
Decorative panel

"a": Oval motif in the Neo-Renaissance style imitating brown wooden carved and turned openwork. At center, a console ornamented with gold supporting a grisaille group of hounds attacking a stag. Sepia putti, top and sides; "b": Similar motif with console supporting grisaille wolf caught in a trap.  At top an eagle attacks a swan-like bird. Same color scheme as "a".
Brisé fan and case
, late 19th century
Painted ivory sticks, silk ribbon, faceted stone

Brisé fan. Painted ivory sticks. Obverse: figures of man and woman in landscape. Gorge and borders in "Vernis Martin" style, showing floral motifs within miniature cartouches. Reverse: landscape without figures. Rivet is set with a faceted stone. Fan case has removable lid.
Plate XLIII from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Pulley system for a well. Man, left, turns large wheel to a beam, rope wound around it. Cut-away below shows bucket on pulleys. Description in Latin on verso of 1949-152-240.
LA BALANÇOIRE
François Boucher, French, 1703–1770, 1738
Etching and engraving on laid paper
Print

A group of five putti playing seesaw with a large branch in a landscape. The plate is titled and signed.
Family Seated Near a Wall
Dominique Vivant Denon, French, 1747 - 1825, ca. 1788
Etching on paper
Print

A mother is seated with her child in her arms, right. At the left, a seated elderly couple. Garden setting; a figure leans over a wall in the left background.
Cartouche Design
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Design for an asymmetrical cartouche framed by military motifs, including a helmet, birds, mascaron (mask), putto, spears with banners, quiver of arrows, festoons of leaves, shells, scrolling leaves (rinceaux) and palm leaves. The cartouche sits on a base decorated with an oval profile of a woman framed by a diaper and rosette patter. The plate is signed.
Coupe et Profil de la Salle de Concert pris sur la longueur
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Cross section showing the interior of a multi-storied concert hall with a central domed and coffered ceiling. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters). The plate is signed and numbered.
Project for a Fountain
Mario Asprucci The Younger, Italian, 1764 – 1804, ca. 1800
Pen and black ink, brush and watercolor, graphite on paper, lined
Drawing

Elevation and plan of a large scale horizontal structure, an elaborate fountain.  The upper portion of the drawing depicts the elevation.  The large central archway (exedra) is embraced on either side by a colonnade (with Ionic capitals) and smaller archways (exedrae).  Sculptural decorations are positioned above all three exedrae.  The water pours from the arched openings in the dados of the colonnades and the lateral exedrae.  An outline of distant hill behind the elevation. 
The plan is located below the elevation (lower portion of the sheet).  The left portion of the plan is rendered with pen and ink while the right portion is sketched with pencil.
Fragment
, 1750–1800
silk, metallic thread Technique: uncut voided supplementary warp pile in a compound satin foundation (velvet)

Small-patterned or "miniature" velvet fragment with a peach satin ground shot with flat gold strips. Allover design of green rosettes outlined with black against purple ground, in turn, partially outlined with black, all in uncut pile.
Design for Magazine Cover
Kenyon Cox, American, 1856–1919, ca. 1900
Graphite on paper
Drawing

Sketch of a magazine cover with a nude female figure seated with head resting on left arm.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Six designs for pastoral trophies incorporating leaves, flowers, fruit, baskets, jugs, bottles, hat, glasses, rake, tambourine, triangle, sickle, potted flowers, wheat, scythe, and sticks. The plate is numbered.
Elevation d'un petit pavillon de 9 toises de face du côté du jardin
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation of a two-story pavilion decorated with garlands, carved wave pattern, and acanthus leaf keystones. The pavilion is stated to be 9 toises; 1 toise is the equivalent of about 3.799 square meters. The plate is signed.
Ornament Designs
Nicolas-Jean-Baptiste Poilly, de, French, 1707 – 1780, mid- 18th century
Etching and engraving on laid paper
Print

Individual designs for rococo ornament featuring acanthus leaves, cartouches, c-scrolls, shell, palm leaves, wings, plumes, gadrooning, floral motifs and a dragon. The plate is signed and numbered.
Design for a Woven Motif of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Incised lines, brush and white gouache on glazed tracing paper pasted on paper
Drawing

An eagle standing on top of a circular medallion holds a laurel bough in the beak.
Title Page
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Title page and design for a candlestick decorated with putti, scrolling leaves (rinceaux), fluting, festoon of flowers, mask (mascaron), foliate branches, laurel leaves, and paws. The plate is titled and numbered.
Border
, 1890–1900
Machine-printed, mica

Old rose, brown and green branch and leaf design on burlap paper with stripes, mica finish. Printed two across.
Design for a Baptismal Font
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A variation of -1408. The staff is somewhat higher and shaped like a fluted baluster with a row of leaves below. In the lower part of the lif are festoons, supported by cherubim. The pedestal is higher and decorated with a row of leaves, below. On top a sitting angel, raising with his right hand only a partly visible object, being probably a chalice. Usual background.
Plan du Parterre de Louvois fait de differete façon
Michel Lebouteux, French, 1648 – 17.., 1679–1703
Etching on laid paper
Print

Plan view of the parterre in the gardens of the chateau of Louvois, featuring formal parterre planting with scrolling foliate and fleuron designs, fountains, a basin, statues on plinths, trees, ramp, and stairs. The plate is titled, signed, and with a scale below.
Floral and Acanthus Leaf Design
Alexis Peyrotte, French, 1699–1769, 1749–61
Etching on laid paper
Print

Fourth plate from a series of twelve designs for rococo ornament by Peyrotte. A large acanthus leaf ornament with leaves forming fronds, c-scrolls, with flowers and leaves intertwined. The plate is trimmed and pasted onto the album page. It is signed and numbered.
Sketches of Bulls and an Oak Tree, Catskill, New York
Frederic Edwin Church, American, 1826–1900, September 1844
Graphite on off-white wove paper
Drawing

Sketches from Catskill, New York, showing views of two oxen yoked together in right profile at lower center, a frontal view of a bull's face at center left, three views of bull's heads and horns along the upper margin, and finally, at upper right, the left portion of an oak tree's canopy, including its dark branches.
Suitte des Enfants
Michael Hartwagner, German, d. 1775, 1770
Etching and engraving on off-white laid paper
Print

Left plate on a sheet printed with two plates. Rocky statue with putti playing musical instruments on it. The plate is signed and numbered.
Design for a Vase
, 1760–1780
Pen and ink on paper, lined
Drawing

Loose sketch showing the elevation of a footed vase decorated with a mask and two swags.
Design for clock
Lefebvre Manufactory, Tournai, 1800–1825
Pen and black ink, brush and yellow, red watercolor, on cream laid paper
Drawing

Base of clock supported by knobbed feet, at front panel are crouching sphinxes ending with rinceaux decoration. Dial set in fluted column, a sun dial on top. At left, a young woman in classical garb, carrying an opened letter.
Study: An outstretched left forearm and hand
, 1750–1800
Black crayon and white heightening on brown rough paper
Drawing

Horizontal composition of an outstretched left forearm and hand with forefinger raised. The other three fingers are bent and turned toward the right. On the reverse: part of a sketching
Ornamenti di fregi e fogliami
Stefano della Bella, Italian, 1610–1664, ca. 1648
Etching on paper
Print

Plate 6
Wall Elevation of Bedroom Alcove
Pierre Ranson, French, 1736–1786, ca. 1780
Pen and brown ink, brush and watercolor, gouache, graphite on white laid paper
Drawing

Elevation of a section of a painted wall showing an alcove at center hung with tasseled draperies above a day bed with blue pillows. Predominate color scheme is white, blue and gold. Trophies on side walls include quivers, arrows, swords, ribbons and doves, possibly indicating a theme of love.
Veüe du Jardin des Thuileries comme il est à present 1680
Adam Perelle, French, 1638 – 1695, 1680
Etching on laid paper
Print

View of the garden of the Tuileries Palace in Paris with its fountains, parterre, and trees. Figures walking and standing along the garden paths on the stairs leading to the garden in the foreground. In the background, trees, hills, buildings, and windmills. Details are numbered with an explanatory legend below. The plate is titled and signed.
Elevation d'un Batiment de 11 toises de face
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation of a building, with a facade decorated with garlands, reliefs of wave pattern, balustrades, and an overdoor with a rondel and crossed cornucopia. The building is 11 toises; 1 toise is the equivalent of about 3.799 square meters. The plate is signed.
The Judgment of Midas
John Ogborn, 1725 - after 1801, 1801
Stipple engraving on paper
Print

Midas sits in the center upon a throne and judges the musical abilities of Apollo and Marsyas. Nymphs witness the scene.
Design for an Embroidery Border
, 1805–1820
Brush and gouche on glazed tracing paper
Drawing

A yellow stripe with orange edge rises at left of border composed of blossoms alternating with leaves. Bunches of flowers form a vertical row at right. One and a half repeats are shown. Incised lines.
Fountain; elevation of a church
Giuseppe Barberi, Italian, 1746–1809, 1792–1795
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Top row: fountains. Water pouts from lions and the dado upon which they crouch; column with a female figure in the center. Water pours from the pedestal of a monumental column. Water pours from crouching lions. Female statue in the center, incompletely shown. Center row: the left point is shown. Domed circular statue with cross-wse projecting loggias. Collonade flanking the ground floor. Rough sketch of the plan of a fountain. Bottom row: fountains double basin. Water pours from crouching lions, springs in the upper basin and pours from the capital of the central column, upon which a figure stands. Corner view. Water pours from crouching lions and from arches in the base upon which a column stands on a pedestal. Incompletely shown. Monumental column. A variation of the second design.
Cabriolet
Jean-François Chopard, French, active 18th century, ca. 1750
Engraving on paper
Bound print

Plate 9, Folio 9 of a series of 13 prints of designs for carriages or coaches. The open, horse-drawn carriage has rocaille motifs, shown in elevation, with details at upper right. The body is decorated with marquetry inlay.
Brighella
, early 18th century
Carved and painted wood, glass and woven cloth
Puppet

Carved head with small black beard, black moustache. Beige velvet cap with green bands. Natural cotton sleeves banded in green. Cotton twill cape, banded in green, a later addition. Carved wooden hands nailed onto the sleeves.