biglam/cooper-hewitt-alt-text huggingface dataset:
Tea caddy and case
, ca. 1730–40
shagreen

Transcribed from notecard found in the tea caddy (note placed in object file):

"George II Shagreen Tea Caddy Case with silver mounts, handle, feet escutcheon, etc. - all lined, 3 compartments with red velvet.  We bought it empty years ago without the caddies.  Should be put in museum for "Silversmiths' work."  Pres. S. C. Hewitt."
Set of Trophies, from "Trophey a l'Antique"
Jean Le Pautre, French, 1618–1682, 1680
Etching on paper
Print

Between three olive staffs. Left: weapons, three puttos. A shield showing Hercules and the lion is included. Right: weapons suspended from a ring. Five puttos.
Portrait of a Young Woman
Gilbert Tompkins, New York, NY, USA, 1902
Pencil on cream paper
Drawing

Vertical rectangle. Bust-length portrait of a young woman, facing the spectator, her figure turned toward the right.
Puppet
, late 19th century
Painted wood, cotton, other materials

A dark skinned woman with red flannel head-cloth and printed cotton dress with blue fringe at the neck.
Border
, 19th century
silk Technique: bobbin lace

Blonde lace border showing delicate leaf vine pattern with two sizes of mesh.
Ornament, Christmas tree
, 1850–99
Dough

Shape of a French horn, dark brown and red.
Textile
, 1860–69
silk, linen, metallic thread (metal foil on linen thread) Technique: machine chain stitch embroidery on cut velvet foundation

Brick red cloth ground completely covered by two heights of gray-green silk pile: diagonal repeat giving all-over effect of debased design of scrolling arabesques outlined in tarnished metal; coarse chain-stitch done by machine. One wide selvage with double warps and wefts in brick red with narrow vertical stripes with beige warps from same house.
Textile
, 19th century
silk Technique: damask

Length of red satin damask in an allover floral pattern in an 18th-century style.
Fragments
, ca. 400
wool, cotton Technique: slit and single interlocked tapestry

Two fragments of very fine tapestry weave with cotton warps and wool wefts. A) Face of a man or god, conventionalized and angular in blue, red, tan, black and brown.
Lion Hunt
Jean-Baptiste Scotin I, 1678 – after 1738, 1730–50
Engraving with etching, some green watercolor washes on paper
Print

The lion, battling with dogs, is attacked by a man on an unicorn with a bow and by another on foot with a trident. A third hunter blows a trumpet, at left. The clothes of the rider are decorated with stars. Two trees rise in the middle ground. Landscape with buildings displaying crescents.
Studies of Two Eagle Heads and One Wing, from Cardinal Bernis' Eagle
, ca. 1800
Pen and ink on paper
Drawing

Studies of two heads, one wing of an eagle.
Vignette, The Christ Boy Sleeping on a Cross
, 1800–1830
Wood engraving on paper
Print

The cross lies on the Tables of Law. Roses are in the right rear.
Picture
Michel-Marie Carquillat, French, 1803–1884, late 19th century
silk Technique: jacquard woven

Woven portrait of Patrice de MacMahon (French, 1808-1893), president of the Third Republic.
Fringe
, 18th century
gold foil in a silk core Technique: woven

Gold fringe with a plain-woven heading and a skirt of looped and twisted threads.
Burgermeister
, ca. 1870
carved wood (walnut), upholstery
Armchairs

Chair has four turned and carved legs, arranged with one to front.  Legs support a seat rail enriched with masks, scrolls, and floral swags from which three grotesques and two winged female half-figures that support the semi-circular arm of the chair.  Chair's back cresting is carved with floral scrolls and a knot of flowers.
Drapery Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Figure in full drapery, standing, facing to the left, with her left arm extended.
Cover
, 17th century
linen Technique: needlework on knotted net

Cover of white linen with wide borders of embroidered net with a design of a flowerpot with carnations and confronted peacocks on either side. Edged with scalloped bobbin lace.
Design for Altars, from "Autels et Retables"
Jean Le Pautre, French, 1618–1682, ca. 1660
Etching on paper
Print

Jombert 72,2,4,7,10; with the name ''le Blond'' in the address.
Fragment
, 17th century
silk Technique: plain weave with supplementary wefts

Bands of pattern featuring small birds in green, purle and coral on white.
Drawing
Felice Giani, Italian, 1758–1823, 1780-1790
Pen and black ink, brush with watercolor wash on cream laid paper

Two panthers draw the car with the young Bacchus, toward right. The bacchic crowd accompany it in the rear and at left. Silenus supported upon his donkey by a Maenad and accompanied by Satyr and bacchic children is shown in the left foreground, a group of seated Bacchantes in the right foreground.
Tile
, ca. 1770
Tin-enamelled earthenware, underglaze polychrome decoration

Vertical rectangle, Time from a stove, with flanges of back broken off. Decorated with checkered squares diagonally placed, with hatching running in alternating directions, in green; rococo cartouche outlined with manganese violet scrolls, with reverse, in centre of which is a spray of yellow, blue and violet roses with green foliage.
Ornament, Christmas tree
, 1850–99
Dough

A loop with two black sugar pearls.
Border
, late 19th century
cotton Technique: needle lace with ground of loop & twist with loop & twist return

Wide needle lace border patterned by a repeat of a sprig of flowers and a cluster of bean like forms with a variety of interior patterns.
Textile
Jean-Baptiste Huet, French, 1745 – 1811, 1785–1790
cotton Technique: copperplate printed on plain weave

Three fragments which when put together make one repeat of "La Liberte Americaine," also known as "Franklin Peace Medal." Design consists of foliate scrolls dividing fabric into two pastoral scenes with urns, baskets of flowers, monkeys, foxes, and two medallions of the Peace Medal designed by Benjamin Franklin.
Fragment
, 18th century
linen Technique: lace of early premade tape with needlework fillings

Tape arranged in pattern of flowers and leaves and joined by needlework.
Plate 10, from set of Flowers in a Basket
Jean-Baptiste Monnoyer, French, 1636–1699, ca. 1680
Etching on white paper
Print

Tulips, narcisses, anemones, peonies, etc. in a basket. Four butterflies and a bee flying above; below in table, right: a caterpillar, in center a fly.
Design for a Mass-Operational House Designed by Hector Guimard, Drainspout Construction
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the construction of the drainspout and gutters.
Tile with Quatrefoil Design
Louis Comfort Tiffany, American, 1848–1933, 1880–90
glass
tile

Square tile of green and yellow variegated glass, with quatrefoil in relief on face. Back has raised parallel strips and grips in four corners.
Trimming fragment
, ca. 1830
silk Technique: woven

Floral spray. In yellow and tan on blue.
Trimming
, 1750–99
silk Technique: plain compound cloth brocaded with trimming

Fragments of white floral dress silk with polychrome silk fly-fringe  trimming.
Fragment
, 17th century
silk Technique: slashed satin weave

Plain satin in a dull red color with a design of small T-shaped splashes, two centimeters apart, in staggered rows. Selvage consists of three yellow and two red stripes in satin with edging in plain cloth weave using five warp threads.
Mount
, ca. 1780
bronze (gilt), gold

Male mascaron, with moustache, beard and long hair; above, keyhole surrounded by foliage and at either side a voluted scroll.
Fragments
, 1700–1708
silk, metallic Technique: damassé foundation fabric (8-harness satin plus plain weave) plus discontinuous supplementary wefts bound on the front in 1/3 twill by the foundation warp

Flowering tree in an urn in the "Bizarre" style in multi-color silk and metallic superimposed on a shadow-like pattern in salmon-on-salmon background.
Fragment
, late 17th–early 18th century
silk Technique: damask weave with supplementary weft floats (brocaded)

Textile fragment in the ‘Bizarre' style showing pattern of grey damask brocaded with polychrome florals and strapwork.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of three female figures on a bridge in Venice.
Stage Design, Palace Interior
Romolo Achille Liverani, Italian, 1809 - 1872, 1831
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Interior of large palace hall with vaulted ceiling decorated with paintings.
Sketch of a Broad-Leaved Plant, Ecuador
Frederic Edwin Church, American, 1826–1900, May–July 1857
Graphite on tan wove paper; verso: graphite
drawing

Verso: Botanical sketch showing a broad-leaved plant in Ecuador, likely a banana or plantain tree. Its stem rises along the composition's central vertical axis as large, wide leaves radiate in every direction. The older, lower leaves hang downwards at lower center while the newer leaves point upward at upper center.

Recto: Botanical sketches showing seven views of plants in Ecuador. At upper left, an orange tree covered in vines beside two details of leaves; at upper right, three large, billowing trees placed close to one another; at lower left, the large, billowing canopy of a mango tree; at lower center, a section of a bamboo pole; and at lower right, the wispy tops of two bamboo plants.
Sidewall
M.H. Birge & Sons Co., 1834, 1892–1900
Machine-printed, embossed

Classical balanced design in stripe efect suggestive of Louis XVI period. Anthemion floral motif in gilt enclosed in small leaf and berry spray in delicate sage green. Between these motifs are draped gracefully festooned swags in delicate sage green. Symmetrically placed are gilt rosettes. Field is on ivory band 7" wide followed by a delicate sage green band 1 3/4" wide edged with leaf and berry design. Marked on selvedge: "Process patented July 19, 1892 - Birge - 1684".
Textile
Bannister Hall Printworks, 1816–1817
cotton Technique: block printed on plain weave, glazed

Flowers and leaves on undulating stems in multicolor on a tan background. Original glaze nearly worn off.
Handle plate
, ca. 1800
Brass

Circular. Repoussé decoration with raised boss at center.
Decoration of a frieze
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Decoration of a frieze.
Design for a Wall Elevation with Wood Paneling
Nicolas Pineau, French, 1684-1754, ca. 1720
Pen and brown ink, red crayon, graphite on cream laid paper
Drawing

A door frame with an overdoor at left, two children with torches in escutcheons. Pilaster strips alternate with broader panels. Billing doves are suggested for the left panel.
Landscape at Hastings, New York
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite on paper
Drawing

In the foreground, a sloping hillside. In the background, a wooded forest.
Two Angels with Lance and Holy Sponge
, 1800–1825
Graphite, pen and ink, brush and watercolor on paper
Drawing

Two angels carrying a lance and sponge, symbolic of Christ's Passion. Scrolls flutter laterally with the inscriptions.
Cove Back of Dumpling Fort, Newport
Daniel Huntington, American, 1816–1906, July 30, 1849
Graphite on paper
Drawing

Large mass of rocks sloping into the water from left. More rocks, at right, across water. At center, a sailboat and shore beyond.
Designs for Friezes or Panels
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates, each with three designs for friezes or panels. The plate on the left features, from top to bottom: a mask on a fasces; a scrolled platform with an urn; and a grotesque platform with putti and a trophy. The plate on the right features, from top to bottom: a grotesque plaform with a tall bird at the center, and owls on either side; a cartouche with a river god represented on it, and a putto with reigned dolphins; and a platform with books and leaves. Both plates are signed and numbered.
Sketches of Figures and a Boat, Mexico
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white wove paper; verso: graphite
Drawing

Sketches from Mexico showing figures and a boat. At upper left, a shallow boat with one mast is viewed in left profile. At upper right, a person's face is shown in left profile with a brimmed hat sketched beside them. The upper torso of a figure wearing a hat is shown from behind at lower left, while at lower center a man and a woman with draped clothing are shown from behind. At lower right, a woman holding a basket is shown from the front while a detail of her face is included beside her at right.

Verso: Landscape and architecture sketch showing a loosely rendered view of a church in a valley in Mexico. Situated at center, the church is sketchily rendered from the front with its tall belltower at right. Behind it, steep mountainsides descend toward the center and converge behind the church.
Sketch of Details of a Ship's Railing
Winslow Homer, American, 1836–1910, ca. 1895
Graphite on paper
Drawing

Recto: Horizontal view  of undetermined objects sketched on surface.
Verso: Horizontal view of a portion of a railing.
A Fly-Catcher
, 1650–1700
Pen and ink on paper
Drawing

Shown standing in profile and turned toward left. The beak holds an insect. Framing ink lines.
Apse of a church
Giuseppe Barberi, Italian, 1746–1809, 1800-1825
Pen and brown ink, brush and brown wash (bistre) on lined off-white laid paper
Drawing

At left: lengthwise section. At right, the elevation. Colored background. Plain mensa with two ledges. Oblong, moulded frame for the painting. A door is at the left side.
Camel Studies, Palestine or Syria
Frederic Edwin Church, American, 1826–1900, February 21–22, 1868
Graphite on white wove paper; verso: graphite
Drawing

Field studies showing four views of the heads and necks of camels, divided into pairs by a line across the middle. In upper section, the darkened silhouette of the upper portion of a camel is visible. Below this, a sketch of a camel head, viewed obliquely, is included. In lower portion, two camel heads are shown in profile. One, at left, is rendered with greater detail, and the other, at right, is more of an outline that shows the camel opening its mouth.

Verso: Landscape study showing mountainous terrain near Petra, near the present-day border of Jordan and Israel. In foreground, rocky slopes and prominences at left and right converge into a flat stretch at center. In middle distance, a flat plain extends into the distance, where it meets a tall, rugged mountain range. A group of clouds hangs in the sky above, at right.
Design for a Bread Basket
, ca. 1810
Pen and black ink, brush and gray wash on paper
Drawing

Openwork wire bread basket in center.  The basket as well as the base are octogonally shaped shaped.  The openwork handle of the basket is laid down on the left rim. Fragment of writing in red lower right.
Ribbon
, ca. 1805
silk Technique: plain and satin weave

1937-63-17: Textile design on point paper50;     1937-63-18: Ivory ribbon of the same design as 1937-63-17. Alt...
Design for a Chimneypiece
, 1780–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

The fireplace is framed by moldings which stand upon the same bases as the lateral pilaster strips. The panels of the latter and those of the frieze are of marble. The first ones are decorated with twigs hanging from bowknots. In front of the frieze and of the lower part of the entablature is an oblong with an ovoidal representation of Psyche and Cupid. Ramheads are the upper corners supporting festoons the outer ends of which drag over eagles standing at the corners. Shadow, base line, plans, scale as in 1938-88-8199.
Design for a Console Table with Sphinx Base
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Console able with sphinx base.
Fragment
, 13th century
silk, linen, metallic Technique: compound weft twill

Ogival lozenges containing paired birds alternate with plant forms.
Study of Left Hand for "Lesson of Charity"
Daniel Huntington, American, 1816–1906, 1850
Graphite, black crayon, white chalk on grey wove paper
Drawing

Left hand and forearm outstretched. Verso: Young woman in left profile, walking with arms outstretched.
Cancer, Lunette for Ceiling, Sala Ottagonale, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1804–05
Pen and brown ink, brush and light brown wash over graphite on white laid paper
Drawing

Flying winged putto carrying disk, or platter, and crab in a demi lune.
Ceiling Design
Nicolas Pierre Loir, French, 1624 - 1679, ca.1660–1713
Etching on paper
Print

Design for a square or rectangular ceiling with a detailed view of one end. The center is blank and framed by a molding. The border is decorated with ornaments featuring winged-putti torsos, scrolling leaves (rinceaux), rosettes, foliate scrolls, roundel portraits, sphynx, vase, festoons of leaves, flowers, and fleurons. The plate is signed and numbered.
Design for a Centerpiece
Joseph Anton Seethaler II, German, 1799–1868, 1827-1835
Pen and black, brown ink, brush and gray wash, graphite on cream wove paper
drawing

Three large and three small shell-shaped bowls and a branch with a socket are fastened to a central post which is topped by a ring. Two boys support lower ones of the large bowls. The branch and the small bowls are outlined.
Six capitals of pillars, with alternative suggestions
Filippo Marchionni, Italian, 1732–1805, 1780–1800
Pen and black ink, brush and brown, gray wash, traces of graphite on off-white laid paper
Drawing

1)Two dolphins, a panel with rinceaux and animal heads; 2) at left, the half figure of an eagle, at right, with head and wings of a satyr; in the center a capital over a vase-like object; 3) with a medallion containing the bust of a bearded man, framed by two half figures of eagles and fastened to their necks by a crown; 4) dragons and rinceaux; 5) with ram's heads at the corners and in the center supporting festoons. A panel with rinceaux; 6) in the center above a lion's mask supporting drapery festoons, the opposite ends of which are supported at left by an animal's head, at right by the tail of a dolphin.
LE CHASTEAU DE ST. MAUR
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the garden façade of a castle within its surrounding landscape. The gardens in the foreground feature parterre, planted vases, and fountains with figures. The plate is titled with a short description and history of the castle.
Mountains near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, June–July 1868
Graphite on light green wove paper
Drawing

Landscape sketch showing a loosely rendered view of alpine mountains around Berchtesgaden, present-day Germany. At center, a dark, sharp peak appears to be foremost summit in a ridge that extends into the background at left and right, where multiple serrated peaks are visible. At left, a heavily wooded ridge in the middle distance at left descends toward the center. Above, a mix of puffy clouds inhabit an otherwise clear and open sky.
Constantinople in Moonlight
Frederic Edwin Church, American, 1826–1900, June 4, 1868
Graphite and white gouache on gray-green paperboard
Drawing

Landscape sketch showing a view looking south over Constantinople (now Istanbul) and its environs, from the Galata Tower. In the foreground, the tops of nearby houses are hastily rendered. In the middle distance, numerous masted ships sail into the Golden Horn from the Bosphorus Strait, visible at left. At right, the Galata Bridge is shown spanning the Golden Horn, across which, the skyline of Constantinople is visible, punctuated by several domes and minarets. The moon hangs in the sky above and reflects its light off the waters of the Sea of Marmara in the background. At left, distant mountains are visible along the horizon.
Acanthus Leaf and Fretwork Ornament Design
Alexis Peyrotte, French, 1699–1769, 1749–61
Etching on laid paper
Print

Fifth plate from a series of twelve designs for rococo ornament by Peyrotte. Large acanthus leaves and fronds decorated with shells, fretwork, fleurons and c-scroll motifs with garlands of flowers and leaves. The plate is trimmed and pasted onto the album page. It is signed and numbered.
Mount Desert, Near Schooner Head
Daniel Huntington, American, 1816–1906, August 23, 1856
Graphite and chalk on brown-grey paper
Drawing

Rocky shore in foreground and ridge beyond. Sea lies toward the left.
Anklet and pin
, 19th century
silver, plaster

Hinged, circular anklet (a) closed with a silver pin (b) through center of a large central rectanular panel; the entire form with foliate decoration of curving leafy stems within bands of line-and-circle ornament. Hollow silver filled with plaster.
LA PERSPECTIVE DE LA MAISON DE MR FIEUBET
Nicolas Langlois, French, 1640 - 1703, late 17th century
Etching on laid paper
Print

View of a detail of the exterior of the Hôtel Lieubet in Paris depicting a classical portico - arches (one in ruin), fluted columns, and a statue of Minerva on a plinth surmounted by a cloud with figures representing Time, Evening, and Morning with a blank tablet (sundial). A landscape within the left arch. The river with boats and buildings above to the far left. The plate is titled with a description.
Stage Design, View of Town
, early 18th century
Pen and brown ink, brush and sepia wash on laid paper
Drawing

Horizontal rectangle. View on port through streets with facades of small buildings. Fountain at center, ships, large building, and mountains beyond.
Designs for Jewelry
Gilles Légaré, French, 1617 – after 1685, 1663
Engraving on paper
Print

Designs for jewelry, including cross pendants, bracelets, clasps, and ornamental details featuring flowers, gems, fleurons, and scrolling leaves (rinceaux). The plate is signed and numbered.
Looking towards Franconia & Pemigewasset River from Hill South of Sanborn - W. Campton
Daniel Huntington, American, 1816–1906, September 13, 1855
Graphite on pale green paper
Drawing

Figures on ridge, foreground. Trees below, left and center; river below, right. Beyond, pasture, low hills and mountains in distance.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel design filled with symmetrical, grotesque ornaments. At center, Venus stands atop a shell supported by grotesque figures. Water streams everywhere about the composition. The plate is signed.
ART DU BRODEUR
Charles-Germain de Saint-Aubin, French, 1721–1786, 1770
Etching and engraving on laid paper
Print

The eighth plate from a series of ten illustrating the tools and art of embroidery. Two details of ornamental embroidery from garments. The details are part of section or frieze of embroidery featuring flowers, foliage, and strapwork. The details within the designs are identified with letters and each one is labelled with a description of who it was worn by and for what occasion. Each design is signed. The designs are on a plain background within a double-lined border. The numbers and letters are referred to in the accompanying text, which is not included in this album. The plate is titled, signed, and numbered.
L'Asie
Marie Michelle Blondel, French, active mid 18th century, 1736
Etching on paper
Print

An allegorical female figure representing Asia from a series of four. The female figure is topless seated in a landscape with a tree and a camel to her right, and an incense burner to her left. The vignette is framed by a scrolling cartouche with a shell in the upper center. The plate is signed and titled, signed, and dated.
Design for a Monstrance
Giuseppe Barberi, Italian, 1746–1809, 1815–1830
Pen and brown ink on off-white laid paper
Drawing

Vase shape on a plinth. Cross at top.
Ornamental Vase Design
Joseph Marie Vien, French, 1716–1809, 1760
Etching on laid paper
Print

Vase with gadrooning. The vase has a pattern of acanthus leaves around its neck, and a festoon that drapes from the lip of the vase over the sides. The vase is elevated on a base that extends to edge of the image. The plate is signed and numbered.