biglam/cooper-hewitt-alt-text huggingface dataset:
Design for Mahogany Inlay Sideboard with Neo-Classical Motifs
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Rectangular sideboard on six tapering legs (5 shown) with rounded front corners decorated with oval patera medallions, scrolls, and bellflower garlands; in flat central portion of front, two large horizontal drawers with a pair of "C"-shaped handles each, topped by two smaller drawers; low backsplash.
Insect
, 19th century
Woven reed, gilded paper (dome); lacquered wood (base); paper, wire and feather (insects)
Cage

Grasshopper cage with artificial insect.
Chamberlain's Key
, 18th century
Gilt bronze, tassle
Key

Elaborately wrought, bow with hearaldic devices of fleur-de-lis, rampant lion and castle, surmounted by imperial crown, and bit with monogram in relief
Wing of a Black-capped Kingfisher
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Study of the wing of a black-capped kingfisher.  Both sides of the wing shown, with color notations.
Elevation of a Sepulchral Monument
Giuseppe Barberi, Italian, 1746–1809, 1820–1835
Pen and brown ink, graphite on off-white laid paper
Drawing

Horizontal rectangle. Sarcophagus stands upon a great high pedestal. It is partly covered by a cloth. On top of it is a cushion, probably with sceptre and crown. At the front of the sarcophagus is a medallion portrait. In front of the pedestal stands another one with an inscription at the front, and with a group of the Virgin mourning the dead Christ, together with another figure, above. Behind rises the cross. Below is a podium, to which have been transferred to steps, which the design, as shown at left, suggested in the beginning. Two candelabra with flames flank the monument. Compare 1901-39-244.
Frieze
Jean Le Pautre, French, 1618–1682, 1663
Etching on paper
Print

A = Jombert 9, 5 bottom. B = J. 9, 6 bottom. C = J 8, 4.
Baths of Trajan
Giovanni Battista Piranesi, Italian, 1720–1778, 1776 (printed date)
Etching and engraving on off-white laid paper
Print

View of a large section of the ruins of the Baths of Trajan. Smaller sections to the left and right in background. Title on cartouche, center below: "Veduta degli Avanzi delle Fabbriche..." Signed in cartouche, right "Cav. Piranesi F."
Band
, 17th century
linen Technique: bobbin lace, continuous tape with bars added

Band of northern Italian guipure with connections. Early 17th century style, but worked later.
Fragment
, 14th–15th century
cotton Technique: resist-printed on plain weave

Pointed rectangle, probably originally used as portion of ornamental border for large cloth or hanging.  Design of stylized lotus blossom and foliage with vine border, resist-printed in white on dark blue ground.
Peep-show, A View of the Hospital Piazza of St. Mari at Florence, No. 48
, 1760
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Textile
, early 18th century
silk Technique: compound satin weave with discontinuous supplementary weft (brocaded)

Woven silk textile with "bizarre" pattern showing large flowers and leaves against a background of architectural motifs including a balustrade and paved path with planter.
Portrait of Washington Allston
Johnson Fry, 1863
Engraving on paper
Print

Full length portrait of the American painter, Washington Allston (1779-1843), shown seated, his back to his easel, and beside a table on which is a marble bust. His left foot rests on the rung of a stool beside him on which are palette and brushes. Descriptive lines below, with publisher's name.
Print
Pierre Maleuvre, French, 1740 - 1803, 1810-1815
Engraving, brush and watercolor on paper

Street scene. A monkey on the back of a beggar pulls at the wig of a passer-by, who is about to be greeted by a friend. Title below, and engraver's and publisher's names. At top: "Musée Grotesque, No. 42".
Fragment
, 1820–30
cotton Technique: printed by engraved plate on plain weave

Romantic scene of symbolic episodes of love and friendship. Very solidly printed in dark violet with areas of the design, mainly the human figures, reserved in white. The background shows elaborate varieties of cross-hatching. Center design shows a woman in classic robes embraced by a man (amour). to the right, kneels Father Time breaking scythe. Below left: temple. Boat in which two amorous figures sleep, guided by winged boy, drawn by dolphins.
Textile
, late 18th century
cotton Technique: plain weave, indigo dyed, resist applied by stencil (katazome)

Stylized over-all repeat of Pawlonia leaf and flowers in continuous scrolls.
Cap streamers
, 18th century
linen Technique: bobbin lace made in Lille style with heavy outlining thread

Peasant work, copy of Brussels type of 18th century lappets. Pomegranate and leaf motif.
Five designs for various structures for a villa
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Center left: ''fontana di/villa'' ? Fountain for a villa Center right: ''caffeaus'' ? coffeehouse Bottom left: ''porta di villa'' ? villa's entrance Bottom right: ''Pianta della/porta di villa'' ? planimetry of the villa's entrance.
Rendering of One Sutton Place, New York City
Mott Brooshovft Schmidt, American, 1889 - 1977, 1921
Graphite, pen and black ink, brush and watercolor on white paper mounted on board
Drawing

Front and side elevations of a four story brick and limestone trim corner house, erected for Mrs. William K. Vanderbilt on the northeast corner of Sutton Place and 57th Street, New York. Scale indicated. Inscribed below: "House for Mrs. W. K. Vanderbilt / No. 1 Sutton Place / New York / Mott B. Schmidt / Architect / 1921."
Drawing
Felice Giani, Italian, 1758–1823, 
Pen, brown ink, brown wash on laid paper.

Vertical rectangle. Top: Spring, a woman watering flower pots. At left is a dancing putto, at right a herm of Ceres.
Portrait of Francois de Nesmond
Robert Nanteuil, French, 1623 – 1678, 1667
Engraving on paper
Print

In an oval enframement is the bust portrait of François de Nesmond, Bishop of Bayeux (1629-1715), shown in clerical attire, wearing a simple episcopal cross suspended on a ribbon. Below, his coat of arms in an oval enframement. At the four corners, hunting horns.
Box and cover
, early 19th century
straw

compartment box
Textile
, late 17th–early 18th century
silk, metallic yarns (metal foil wrapped silk-core yarns) Technique: 7\1 satin with supplementary weft patterning and discontinuous supplementary weft (brocaded) bound in 1\3 twill Label: silk satin with supplementary weft patterning and brocade in silk and metallic yarns

Length of woven silk brocaded in gold and silver yarns with pale blue, violet, green, coral and touches of magenta silk. 'Bizarre' style design of feather-like scrolls and geometric frets composed into large curving shapes.
Ornament, plate 22 from the "Frammenti di ornati per li giovani principianti nel disegno" (Fragments of Ornament for the Young Students of Design)
Mauro Antonio Tesi, Italian, 1730 - 1766, 1783
engraving on laid paper
Print

[Berlin 597] Top row: acanthus roll; winged female half-figure with scrolls. Center: right half of a scrollwork escutcheon; right half of an acanthus frieze. Bottom: an eagle displayed; leaf; an urn flanked by two sphinxes. Two border lines; trimmed top left.
Chair
Mrs. Abram S. Hewitt, American, 1830–1912, 1820–25
carved mahogany

Crozier posts include panelled top rail and slat carved in form of an eagle with wings outspread.  Slip seat covered in horsehair.  Flat front legs are moulded on front surface and are sharply curved.  Rear legs are sharply curved as well.
LES SINGES DE MARS
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of ornamentation with a figure of the god of war, Mars, armored and holding a sword at the center. The figure is framed by drapery, branches, scrolls, a bas-relief of a battle, and columns made of cannons. On steps around the columns on either side are monkeys dressed and preparing to light the cannons (singeries). The plate is signed.
La Danseuse de Corde
Petitpierre et Cie, Nantes, France, 1770–1848, 1785–90
cotton Technique: printed by engraved copper plate on plain weave
Valance

Shaped valance showing rural scenes and part of a tightrope walker. In red on white. Quilted.
Mise-en-Carte for Textile, No. 8359
Robert M. Davidson, January 24, 1918
Brush and gouache, graphite on pre-printed graph paper
Drawing

Floral design of tulips, berries and stylized leaves.
Frieze
Delicourt et Cie, French, 1838 - 1860, 1850–60
Block-printed paper

Ribbon-entwined lyre in a laurel wreath within molded banding. Printed in white and shades of green on a medium green ground.
Waistcoat
, ca. 1795
silk Technique: silk 7&1 satin (gray) with supplementary warp binding supplementary weft (white). All other colors have been painted on the surface.

Left and right front of gentleman's waistcoat. Dancing figures and letters on pockets.
Waves on Beach and Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Waves coming onto shore. Land in left foreground with tall cliffs behind. Miscellaneous pen marks in bottom left of sheet outside image.
Study of seascape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite on paper
Drawing

Sketch of a coastal cliff and rock formation.
Sugar Bowl (Sucrier)
Vincennes Porcelain Manufactory, French, active ca. 1740 - 1756, 1754
soft paste porcelain, vitreous enamel, gold
sugar bowl

Octagonal form with rounded corners. Molded with relief decoration of Japanese-style flowers on body and lid. Scattered sprays of blue flowers. Gilding at edges and on the stem of the floral finial, whose petals are painted blue.
Frieze
, 1905–1915
Machine-printed paper

large-scale foliate medallion alternating with smaller medallion. Separate band of motifs run along bottom edge. Printed in deep red, green, white and metallic gold on background that shades from green at the top to burgundy at the bottom.
Fashion Plate, Modes Vraies
Rossin, French, active 19th c., 1856
Engraving, brush and watercolor on paper
Print

Two women by a park bench. One standing, right, in pink dress with a black lace shawl. The other, seated, in pale brown, with emrboidery. Artists' and publishers' names below. Description on verso.
Cap stand
, mid-18th century
Tin-glazed earthenware

On globe a cartouche of gesturing figure, and a floral design. Cobalt blue and manganese purple.
Plant Stand (Jardinière)
Bruckmann & Sohne, German, 1805 – 1973, late 19th century
silver plated, metal
jardiniÃ¨re

Adam style oval planter with scroll handles; pierced bell flower decoration and center crest. Silver-plated liner.
Plaque
Thomas Bentley, English, 1730 – 1780, ca. 1778
Jasperware, gilt wood, glass

Vertical oval plaque, pale blue solid jasper body with darker slip and white relief showing a youth, nude except for drapery falling from shoulder. He stands in left profile and hold bowl in one hand. In black and gilt frame.
Plate XXVII from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Apparatus for grinding grain, inside a mill. Above (third floor), men pour grain through funnel into grinding bin. On floor beneath, two men turn wheels on axel which turns a central screw (by a cross on axel and circular frame as cogs on screw). Description in Latin on verso of 1949-152-224.
Personification of "Textiles," Study for the Dome of the Manufacturer's Building, World's Columbian Exposition, Chicago, IL
Kenyon Cox, American, 1856–1919, 1891
Brush and watercolor, white gouache, graphite on paper
Drawing

Mural study for pendentive. Female figure in a two-tone pink dress, standing before a railing and flowers, facing frontally. She holds a spindle and thread. Behind her at left, a spider weaves a web.
Standing Mother and Child
Carlo Morelli, Italian, active 1830—1860, 1830–60
Charcoal on light green paper, laid down
Drawing

Three-quarter length figure of a standing woman, turned slightly to the right, holding a child in her left arm, which she rests on a parapet. The picture is squared for transfer.
Sketches in Turkey
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper
Drawing

Above, landscape of Windmills, Dardanelles. Below, sketches of figures praying, profile views.
Textile
, 5th–7th century
linen, wool Technique: plain weave with continuous supplementary weft patterning

Plain weave natural linen with grid pattern of double blue lines. Continuous supplementary weft patterning in colored wool forming  figures or diamonds. Large areas of wool loss.
Sketch of Half an Ornamental Motif
Gilles-Marie Oppenord, French, 1672–1742, 1692–99
Black chalk
Album page

1960-102-8: Vertical rectangle. The left half of an ornamental...;     1960-102-9: Vertical rectangle. The elevation of the right hal...
Dish and cover
Wedgwood, English, established 1759, ca. 1880
Molded and glazed earthenware ("majolica")

A)	Cylindrical hollow bell, straight-sided, flat topped. Molded with asymmetrical flowering branches in brown with red flowers, green and brown leaves, and with clusters of chrysanthemums. Top of bell contains similar ornament, with applied twig handle. B) Dish fitted to accommodate cover, on three feet, decorated at border with branches and blossoms.
Scent flask and cap
, ca. 1800
Glass

Flattened ovoid body cut on each side with central panel of diamonds, rayed fluting either side, cut around the side with 2 rows of ridged printies, threaded neck, stopper; silver cap.
Corner of Winter, Washington and Summer Streets, Boston
Winslow Homer, American, 1836–1910, June 13, 1857
Wood engraving in black ink on paper
Print

Illustration on first page of issue, showing a busy intersection with numerous figures and carriages.
Textile
, late 19th century
cotton Technique: printed on plain weave, glazed

Two columns of multicolored bouquets in baskets on an off-white ground.
Border
, 16th century
linen Technique: knotting (macramé)

Border with horizontal band finished with triangular tabs.
Dish, from a Tea Service
Spode Ceramic Works, English, established 1776, 19th century
porcelain, vitreous enamel, gold
dish

1992-5-48: Dish with segmented decoration of gilt and enamel ...
Fragment
, 15th century
silk, metallic threads (yellow silk and gold strips wound on a silk core), linen Technique: cut (in two heights) and voided supplementary warp pile (velvet)

Fragment of a very large repeat of a pomegranate pattern shows wide curving bands and much outlining of detail in red pile.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, ribbed ground, liquid mica

Large acanthus medallion with trellis work and floral rose bouquet. Separating the medallions is a floral wreath suspended with a bow knot to a pendant foliate swag. Smaller bouquets and floral swags along bottom.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketches of sailboats.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Crocheted dark blue silk ornamented with bands of cut steel beads running lengthwise.  One faceted steel band controls side closure.  Cut steel bead tassels at each end.
Textile
, 1810–15
cotton Technique: block printed on plain weave

Straight repeat of a garland of polychrome flowers twisting around stacked Corinthian-style columns. Small-scale vines with brown leaves fill the yellow ground between the columns. Green color is made by printing blue over yellow.
Porcelain Figure Mounted as a Two-Light Candelabra (One of a Pair)
Mennecy Porcelain Manufactory, French, active 1735 – 1773, 18th or 19th century
porcelain, vitreous enamel, bronze, gold
candelabra

Porcelain Chinoiserie figure of a young boy dressed in a lavender robe with flowered shawl, wearing a leaf cap and yellow slippers, prancing beneath an ormolu bell-hung canopy on rustic supports; the base fitted with two scrolling enleafed candle arms bearing porcelain flowers.
Textile
, 18th century
cotton Technique: block printed, with blue and yellow applied by brush, on plain weave

Straight repeat of a slender floral wine with small flowers.
The Taking of Christ, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–1511
Woodcut on paper
Print

Saint Peter, with sword upraised, stands over the fallen servant of the High Priest. In the background, Christ receives the Kiss of Judas as he is taken by the soldiers. Monogram of Dürer, lower right.
Yellow-Billed Waterhen, Plate 28 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

Black bird with yellow bill and red legs and feet. In a marsh. Title and artists' names below.
Designs for embroidery
, ca. 1890
Black crayon on tracing paper
Drawing

Designs of abstract floral patterns for panels and borders. Each drawing stamped at top: "Dessin original a broderie." Designs numbered 164 (H)
Paper Fan Motif
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Randomly placed around the stencil are paper fans. The stencil is not in good condition. The silk threads are damaged and missing.
Cap crown
, 1700–1750
linen Technique: bobbin lace, Brussels style

Cap crown with a central design of a vase surrounded by elaborate stylized floral and foliated forms.
Recto: A Fountain Group
, late 18th century
Graphite, pen and black ink, brush and sepia on paper; verso: graphite, pen and dark ink
Drawing

Recto: A woman with a cloth is sitting upon a dolphin; beside it are two mermaids and two small boys. The round basin is sketched. Verso: a pitcher with a cover, a handle in the shape of a maze; the spout is formed by upper part of an eagle. At left, in vertical direction, the tureen with two lion feet, two masks with rings as handles, and a fruit basket as finial.
Comb
, 19th century
Tortoiseshell, gold

Ornamental tortoiseshell comb with chignon netting of gold arranged as scallops with ball and star motifs.
Designs for Ornament
Briceau, French, 16..–17.., 1709
Engraving on laid paper
Print

Central oval medallion with scrolling ornamentation against a dark field; bands of scrolling ornamentation on the four sides.
Design for a Brooch
, mid- 18th century
Pen and ink, brush and sepia wash on paper
Drawing

Jewelry design for a brooch. A vase with a large flower stem, a small one, and a leaf stem. In the center is a large blossom.
Decorative Motifs; Verso: Anatomical Studies
Felice Giani, Italian, 1758–1823, 1814–18
Pen and ink, brush and watercolor washes with traces of graphite on laid paper
Drawing

Two studies of ceilings with grotestsque; two decorative partitions. Verso: three anatomical studies with detailed rendering of knee joint and both elbows.
Elevation of a Fountain
, 1820–1850
Pen and black ink with gray and brown wash on off-white paper on secondary paper support
Drawing

A rusticated wall with a keystone frames a niche with a fountain of Poseidon and Amphitrite standing on a rocky plateau with dolphins at their feet. Below, two mermen blow on conch shells.
Tile
, late 18th–early 19th century
Earthenware, glazed and high fire decorated

Man in manganese coat and yellow umbrella shaped hat, playing a guitar like instrument. Chinoiserie type of decoration.
Saint Jerome
Giuseppe Longhi, Italian, 1766–1831, ca. 1800
Engraving on paper
Print

Half-length figure seen looking up, left, holding a cross in his right hand. A trumpet, upper left, signifies the voice of God.
Rocaille Setting in Landscape
, ca. 1740
Engraving on paper
Print

Rocaille Setting in Landscape.
The Festival of Pan
Giovanni Benedetto Castiglione, Italian, 1609–1664, 1648
Etching on paper
Print

Figural scene in a garden or forest clearing. At center, the Greek God Pan reclines at the base of a monument topped with a statue, a flute in his right hand, his hindquarters and legs in the form of a goat, like a satyr. In the foreground, a tambourine and an empty wine vessel. A seated woman at right raises another tambourine or drum. A male figure at right holds a large bowl. Behind him, a smoking urn on a pedestal.
Frame with Mascaron and Fantasy Crown
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Upright frame design for a mirror or painting, topped by a mascaron and a fantasy crown. Figures of putti at left and right; below them, banners and drums.
Fragment
, 19th century
cotton Technique: relief printed on plain weave

Pattern of moss roses printed in blue on neutral background with stripes and stippling
Console a Feuille d'Heaux
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation and profile of a design for a console decorated with lancet leaf, bead course, rosette. The plate is signed and numbered.
Title Page: Arabesque Ornament Designs
Etienne de Lavallée, French, 1735 – 1802, 1788
Aquatint and etching on laid paper
Print

Title page with two vertical arabesque ornament designs featuring fleurons, festoons of leaves and flowers, flaming torches, an incense burner, drapery, urns, masks, birds, putti, rosettes, scrolling acanthus leaf motifs, butterflies, dogs, snakes, and a nude female figure with a basket of fruit and foliage on her head. The plate is titled and signed.
Sampler
, 1704
cotton, linen, silk Technique: cross stitch

Panel showing birds, animals, initials "PS" and date, "1704" worked in cross stitch; surrounded on three sides by a band of drawnwork with pattern of birds and animals in darning. Edge worked in clustered overcasting.
Project for Entablature and Pediment
, 1700–1725
Pencil, pen and ink, brush and sepia wash, red and white crayon on brown paper
Drawing

Vertical rectangle showing escutcheon in a pediment beside a cornucopia.
Frame with Armorial Trophies
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Upright frame design for a mirror or painting, rectangular form, with armorial trophies at left and right.
Mountain Range, Maine
Frederic Edwin Church, American, 1826–1900, 1876 - 1881
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch showing the first part of a panoramic view of a rugged mountain ridge in the wilderness of Maine. Stretching across the middle distance, the ridge features a small rounded peak at left, while the rest of the ridge slowly ascends to the right and extends out of frame. A loosely-rendered line of trees extends horizontally in front of the ridge.

Verso: Landscape sketch showing a loosely-rendered woodland scene that includes a pair of trees in the upper portion, and in the lower portion, indistinct vegetation and possibly a pool of water.
Spoon
, ca. 1550
Brass

Large circular bowl. Long handle terminating in a robed figure whose head is pierced to receive a loop.
Nippori, Temple Gardens (Nippori, jiin no rinsen) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1857
Woodblock print in colored ink on paper
Print

This scene is an example of how Hiroshige used artistic freedom. Along the lush landscape and visitors viewing the scenery are blooming cherry and azalea trees that do not bloom around the same time. Along with the artificial topography, Hiroshige added a tree in the shape of a sailboat. Even with these peculiar details and elongated tree trunks in the foreground, people from Edo were able to recognize this landscaped garden immediately.
Study for a Painting of Saint Anthony of Padua Holding the Infant Saint James Major or Saint Luis Gonzaga
Giacomo Zampa, Italian, 1731 - 1808, early 19th century
Black chalk, pen and ink, brush and gray wash on paper
Drawing

Saint Anthony stands in the center. A pilgrim, from whose girdle hangs a book and who bares his breast, is shown en face kneeling at left. Saint Luis is shown in profile, kneeling at right. Framing lines.