biglam/cooper-hewitt-alt-text huggingface dataset:
Alcove and Terrace Design
Jean Le Pautre, French, 1618–1682, ca. 1651
Etching on laid paper
Print

Design for an exterior alcove and terrace. An arch supported by squared fluted pilasters with Corinthian capitals, above a central cartouche with putti and festoons of flowers. Balustrades, sculptural figures, and vases. An exterior wall in the background with windows and a rooftop balustrade. In the foreground three figures and possibly a bed. Trees in the far background. The plate is signed.
Cartouche Design
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Etching on laid paper
Print

A cartouche design featuring a festoon of laurel leaves and scrolling acanthus leaf motifs. The plate is numbered and lettered.
Sidewall - fragment
, 1795–1805
Block-printed on handmade paper

Almost complete width of paper with alternating vertical bands, a white, with grey chevrons and vermiculations, and a dark, with shaded squares enclosing fleurons.
Textile
F. Schumacher & Co., New York, NY, USA, founded 1889, 1906
silk, cotton, paper Technique: jacquard woven

A. Flowers, stems and leaves in a 17th Century-inspired design. Red on gold and red background. B. Drawing for the design on point paper.
Japanese Cranes Over Waves
Christopher Dresser, Scottish, 1834–1904, ca. 1870
Glazed earthenware
Tile

A blue and white earthenware tile with a painted scene of three birds flying over water.
Tiraz fragment
, 10th–12th century
linen, silk Technique: plain weave, slit tapestry with eccentric weft, doublefaced

Tiraz fragment of linen with two multicolored bands of confronted birds in a cartouche.
Standing Songzi Guanyin
, 19th century
rock crystal; wood
devotional sculpture

Standing 'Guanyin' ('Quan-yin' Goddess of Mercy) holding naked baby with both hands supported on left arm, baby shown with hands in prayer; edges of tunic and skirts shown ruffled at hem; etched hair dressed in a coiled bun, secured with pin. Transluscent inclusions.
Textile
, 18th century
silk, metallic thread Technique: satin damask with discontinuous supplementary weft patterning (brocaded)

Large scale design, symmetrical around the center line of the fabric. A heavy floral form enclosed within an ogival framework of twisted ribbons and flowers. In gold on a medium blue damask ground.
Bowl and lid
, ca. 1810
Molded and glazed stoneware

Bowl molded with relief decoration showing palmettes and a woman standing before a classical bust. Raised guilloche crown and handles. Lid with floral finial.
Divinité Chinoise
Gabriel Huquier, French, 1695–1772, ca. 1730
Black chalk, brush and black ink, wash, traces of stylus on cream laid paper, lined
Drawing

An enthroned chinaman is surrounded by topiary in perspective. Figures on steps to right and left pay homage; trees enframe the scene. Above and below, arabesques composed of herms, medallions, are shown as if seated.
Design for Stained Glass Window
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Brush and watercolor, white gouache, graphite on paper
Drawing

Three long, narrow panels, with pointed arched tops. Left: Formed foliated design.
Peacock Side Chair
Frank Lloyd Wright, American, 1867–1959, 1921–22
Oak, leatherette upholstery
chair

Side chair with octagonal seat, hexagonal back supported by three central vertical members which rise from seat stretcher. Legs attached at slanting angles to form triangular voids and solids and irregular hexagonal voids at intersections with stretchers. Slip seat and back panel covered in yellow leatherette.
LAO GINE ou Vieillard Chinois
Antoine Watteau, French, 1684–1721, 1731
Etching on laid paper
Print

From a series of twelve prints, a Chinese man seated in a landscape, holding a fan in his right hand, buildings in the background. The plate is titled, signed, and numbered.
Fontaine et animaux
Jean-Baptiste Huët, French, 1745–1811, ca. 1803
loosely woven cotton plain weave Technique: printed by engraved plate (or roller)
Fragment

Design of an elaborate fountain held up by women over a medallion of Ceres. Alternate with cattle by a pollarded tree. Various birds are around the fountain. In brown on white.
Elevation of a Town Mansion
Giuseppe Barberi, Italian, 1746–1809, 1790–1809
Pen and brown ink, brush and brown wash
Drawing

Three stories and a basement. The central section have five bays. The door is in the center of the ground floor. The two top floors have a colonnade with four Doric columns in front. The lateral wings project slightly and have two windows in each storey. Pyramidal roofs over the wings. Colored background.
Study of a Young Bull Lying in a Meadow
Henry Bernard Chalon, English, 1770 - 1849, 1820–1849
Black crayon on grayish cardboard
Drawing

Shown from the left front shoulder. At right: a sketch; shown from the head, sleeping.
Environs de Rome
Pierre Antoine Demachy, French, 1723 - 1807, 1784
color aquatint on paper
Print

Tondo in vertical rectangle. At left a facade of a Doric temple in ruins. At left fallen off pieces of temple in front of a vase. Three girls and a dog upon the debris.
Design with Overlay for Portion of Stairway in Château-sur-Mer, Newport, Rhode Island
Charles Salagnad, French, 1872
Brush and ink and watercolor on paper
Drawing

Horizontal rectangle. South wall of stairway, with stairs rising from main story level at left to landing at right. Hinged overlay attached to give alternative of solid wall, on main level, or door (door in existing scheme). Decoration of panelled wainscoting, surmounted with simulation of tapestry by painted sacking.
Studies of Ducks and a Fowl with Chickens
Henry Bernard Chalon, English, 1770 - 1849, 1825–1849
Black crayon on paper
Drawing

At left: a duck is shown in profile with her head turned backwards. Two ducklings are behind her. At right, a standing duck shown in profile turned toward left. On verso: a crouching fowl with chickens in front of and beside her, shown in profile turned toward right.
Fragment
, 1000–1300
wool Technique: complementary warps

Reversible fabric, pattern of stylized pumas in rows. Warp-patterned in four bands of two colors each which alternate as the pattern demands: pink and red, green and dark blue, red and yellow, light and dark blue. Each puma stands in profile within a rectangle of the contrasting color. Where band-decoration ends, a singl ered warp, 2-ply S-twisted tightly, interlaces in tabby with the single brown weft, also 2-ply, S-twisted, which it covers entirely. Pattern warps woven in an over 3-under-1 extended tabby, Left band (unpatterned) selvage reinforced with overcasting in red wool thread. Piece probably part of a bag, and is cut off at each end.
Views Representing the Most Considerable Transactions in the Siege of a Place, from Twelve of the Most REmarkable Sieges and Battles in Europe
Carington Bowles, British, 1724 - 1793, ca. 1760–1770
Engraving on paper
Print

Soldiers are seen capturing outlying fortifications before a town. Ships at sea, left distance. Inscribed below: "Views, representing the most considerable TRANSACTIONS in the SIEGE OF A PLACE", followed by a two-line description, and below: "Printed for and Sold by Carington Bowles, at his Map and Print Warehosue, No. 69 in St. Paul's Church Yard, London". In the upper left corner: "Book 24"; upper right: "1".
Poritrait of Abraham de Fabert
Gerard Edelinck, Flemish, active in France, 1640/41 - 1707, after 1658
Engraving on paper
Print

In an oval enframement is the bust portrait of Abraham de Fabert, Marshal of France (1599-1660). He is shown facing half left, wearing armor and with a sash over his left shoulder, under a lace collar. The sitter's coat of arms in an oval frame.
Textile
, early 19th century
silk Technique: 8-harness satin (light blue) patterned by weft floats (yellow and white) bound in plain weave or 1\3 twill by a supplementary warp (light blue). Supplementary warp interlaces with foundation wefts as 2/2 plain weave. Plain weave binding for white weft float. Twill binding for yellow weft float.

Empire Period lampas in blue and yellow symmetrical design. Large star motif with rosette in center surrounded by a small square frame and scrolls forming a spray in each corner. Below a garland with three roses in center. Scroll forms a triangle above the garland.
Fragment
, 1750–1800
linen Technique: bobbin lace (Brussels-style)

Small fragment of a floral border, slightly scalloped. Widely-spaced floral sprays on "vrai droschel" ground.
Design for a Ceiling (?) Painting with the Coat of Arms of Cardinal Francesco Maria de'Medici
Antonio Domenico Gabbiani, Italian, 1652 - 1726, ca. 1690
Lead point, pen and ink, brush and brown, black wash on paper
Drawing

The escutcheon is supported by a single putto flying beneath whereas three putti are busy with the hat. Hope stands, faith sits at left of the escutcheon, Charity nursing a child sits at right on clouds. Written with ink, top right: "p[er] la cascata del Balcone (?) / d[ell]a Sala di Roma". Coat of arms of Cardinal Frencesco Maria de' Medici (1660-1711; cardinal 1686-1709).
Fringe
, late 18th century
silk Technique: plain weave

Red fringe with heading, trellis band with floss tufts and looped skirt with tufts.
Fragments
, late 18th century
silk Technique: plain compound cloth

Orange twill ground divided into hexagons by ribbon-like bands in extra green and white silk wefts. Small floral spray in center of each hexagon woven in extra wefts of blue, green, red and rose. Twill in ground of hexagons runs right to left in one horizontal row and left to right in alternating row.  a/ and b/ have one selvage present.
Fragment
, ca. 1850
cotton Technique: printed on plain weave

Fragment with a dark greenish-black ground and a design of blue and white daisies and red berries, with grey-green foliage.
Fringe
, late 18th century
silk Technique:

Heading of narrow tape with intervals of appliqued red cord. Cords are caught together in lozenge pattern and end in loops. Decorated with ornaments of yellow and cream-colored silks.
Studies of Arms
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Above, left arm rolling up sleeve of right arm. Below, left arm, with hand holding a staff.
Sunlight Soap
Joseph Pennell, American, active England, 1857–1926, 1905
Etching in black ink on laid paper
Print

Old shop front shown with figures on the steps. Two women, wearing shawls, stand at the left.
Fringe
, 19th century
cotton

Header of gauze weave separated into four rectangles, each with an upright leaf inside. Rectangles are formed by thicker threads which are carried down to create loops underneath that support large tassels.
Sketch for a Wall Mural
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on laid paper
Drawing

Train engine and tree, center; groups of figures on the left and right. Eagle in the lower right corner.
Fragment
, 6th–8th century
wool, linen Technique: dovetail and split tapestry weave

Tapestry-woven square mounted with glue on wool plain weave. At each corner, strictly frontal nimbate figures on red ground with hands raised; at right angles to warp. The pair at bottom of the square inverted 180 degrees from the pair above. Between them, and in center, a medallion containing each a bird; those at side on tan ground, in center on pink ground, in the direction of warp. These medallions and outlines of figures and birds worked in soumak. The square has a brown plain outer border. On the red ground, small dots with centers are used as fillers.
bank note
, May 1, 1862
Colored inks on paper

Horizontal rectangle. Bank note of one dollar, State of Mississippi, number 122494; colored pledged. Railroad train, center, figure of a young woman, upper left; figure of a young man, lower right.
Trimming
, 17th century
silk, silver thread Technique: woven

Design of leaves placed alternately up and down in yellow and white with silver thread.
Mount
, ca. 1830
Gilt bronze

Flower, furniture mount fragment
Fragment
, 19th century
wood, gilded

flower head
Fragment
, 17th–18th century
silk and metallic thread Technique: cut and uncut, voided supplementary warp pile in a satin foundation (velvet)

One end of a stole (religious apparel). Large dark red floral design on gold background.
Band
, 18th–19th century
linen Technique: bobbin lace, continuous tape with bars added

Band of northern Italian guipure in a design using scroll tapes with brides. Design is based on a 17th-century pattern.
Decorated Capital Letter I
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

Letter I before St. John, kneeling and pausing in his writing.
A park of a castle
Jean Le Pautre, French, 1618–1682, ca. 1650
Etching
Print

Angle view of a park terrace with a casino, center. Two workment work on the bottom road before a garden pasture, right foreground. Two riders are near them. Address, bottom right: van Merlen Avec Priulege
Drawing
Felice Giani, Italian, 1758–1823, 1815-1820
Pencil. Pen, brown ink. Gray-brown wash over traces of black chalk. Paper.

Top: Two Romans struggling to abduct two Sabines are shown at left. Two pairs of kneeling Romans and Sabines at right. Center a Roman carrying off a Sabine woman. Bottom: Three women are shown riding horses serors*** the Tiber, directed toward the right. The head of a fourth woman is visible at the left. The god is Tiber is seated in the left, foreground. The tents of Porsenna ' army stand in the left rear.
Fragment, bras de lumiere
, late 17th–mid-18th century
wood

Drokeb arn abd drippan
Fragments
, 17th century
silk Technique: supplementary warp forming raised pile in plain wave foundation (velvet)

Leaf motifs within a framework in green.
Fragment
, 17th century
linen Technique: bobbin lace with needle ground

Fragment has a wavy, ribbon-like floral design, on needlepoint ground.
A Russian Winter Garden
Vasily Semenovic Sadovnikov, 1800 – 1879, 1835–38
Brush and watercolor and gouache, graphite on white wove paper
Drawing

This is possibly a view of the winter garden of the Pavlino Palace of the Wittgenstein family. The conservatory, here transformed for a ball, shows a floor covered with large parquet squares; a chandelier consisting of eight Argand lamps and two additional single fixtures; and chairs set about. A shawl and bouquet of flowers are placed on chairs in the left foreground. The dominant theme of the room is the exuberant display of roses and clematis and ferns, interspersed with classical marble statues.
Sidewall
, 1860–1900
Block-printed on paper

1972-42-118-a: Pin-stripe sidewall papers: a) varnished, on oak w...;     1972-42-118-b: Pin-stripe sidewall papers: a) varnished, on oak w...;     1972-42-118-c-1,2: Pin-stripe sidewall papers: a) varnished, on oak w...;     1972-42-118-d-1,2: Pin-stripe sidewall papers: a) varnished, on oak w...;     1972-42-118-e: Pin-stripe sidewall papers: a) varnished, on oak w...;     1972-42-118-f: Pin-stripe sidewall papers: a) varnished, on oak w...
Button
, late 18th century
Copper, nickel plating

1931-59-216-e: A) Copper center with pierced and engraved nickel ...
Cloisonne Enamel Teaspoon, Part of a Set of Six
Pavel Ovchinnikov, Russian, 1830 - 1888, ca. 1890
gold plated, metal, polychrome cloisonne enamel
spoon

1944-44-3-a/g: Spoon (a-f): straight handle, twisted in mid-secti...;     1944-44-3-a: Spoon (a-f): straight handle, twisted in mid-secti...;     1944-44-3-b: Spoon (a-f): straight handle, twisted in mid-secti...;     1944-44-3-c: Spoon (a-f): straight handle, twisted in mid-secti...;     1944-44-3-d: Spoon (a-f): straight handle, twisted in mid-secti...;     1944-44-3-e: Spoon (a-f): straight handle, twisted in mid-secti...;     1944-44-3-f: Spoon (a-f): straight handle, twisted in mid-secti...;     1944-44-3-g: case (g): rectangular hinged leather case with sil...
Proof for exhibition catalogue, "Jockeys," Kingore Galleries, New York, NY
William Hunt Diederich, American, b. Hungary, 1884–1953, 1920
Offset printing on fabriano cotton wove paper
Book

Full page layout for text.
Allegorical Figure of "Europe"
Le Nove Porcelain Manufactory, Italian, established ca. 1727, late 18th century
biscuit
figure

1960-1-54-a/d: Allegorical figures of the four continents with th...;     1960-1-54-b: Allegorical figure of "Europe" with animal attribu...
Le Marchand d'Orvietan
Dubern & Cie., ca. 1785
cotton Technique: printed by engraved copper plate on plain weave
Textile

One and a half repeats of scenes of a quack doctor selling medicine to villagers. In red on white.
Design for Music Cabinet "B" of Mahogany and Inlay
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular cabinet with molded, frieze-like top, raised on 4 short, tapering legs on casters; closed upper shelf with 2 doors; open lower compartment filled with large folios separated by 2 bracket-shaped dividers.
Album of Prints: Ornament Designs by Cuvilliés père
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1695–1768
Bound album of etchings and engravings on paper
Album

Bound album featuring 87 folios with etchings and engravings from multiple series by François de Cuvilliés the Elder and his son.
La Danse Savoyarde
, ca. 1790
cotton Technique: printed by engraved copper plate on plain weave
Valance

Three pieces sewn together to make a shaped valance with a scalloped bottom.
Scenes of women washing, a shepherd, an old man reading to a family group and a man beating a drum while toe young males dance. 
In red on white.
Tile
, ca. 1725
Tin-glazed earthenware, underglaze manganese decoration

Tile from upright rectangular panel of tiles; dark purple (manganese) on white ground showing arched framework; oval cartouche bearing double monogram (probably Lubert Adolf Torck), supported by pair of nude amors; pair of small amors holding crown above, borne by pair of female terms; surrounded by leafscrolls and foliations, with pair of flower-filled urns; top center, lunetted amor's head pendented with rosetted lattice cartouche.

To be used in Rozendaal Castel. Intended to be viewed inset into a wall- indicated by the inclusion of a trompe-l'oeil marbleized edge that surrounds three sides of the panel.
An Elizabethan Room at Lyme Hall, Cheshire
Joseph Nash The Elder, British, 1808 - 1878, 1872
Brush and watercolor, gouache, graphite on thick white wove paper
Drawing

The Elizabethan interior was a popular style revived during the Victorian period. It is characterized by heavily carved panelling, the use of stained glass, intricate plasterwork and high-backed carved oak chairs. An armorial cartouche on the overmantel and a gold ewer and tray on a skirted table are elements commonly seen in Elizabethan interiors.
Knife with Porcelain Handle (One of Four)
Chantilly Porcelain Manufactory, French, active ca. 1725 - ca. 1789, ca. 1735–1740
soft paste porcelain, vitreous enamel, steel, silver
knife

Blade slightly curved upper edge, lower edge tapering towards the point. Plain silver ferrule. Tapering octagonal white porcelain handle decorated with kakiemon design in yellow, blue and green (underglaze) and brown-red (overglaze). Rounded silver cap at the top of the handle.
"I Go For Pull Out Now, Boy," Illustration for Mooswa & Others of the Boundaries (William Briggs, 1900, p. 195)
Arthur Henry Howard Heming, American, b. Canada, 1870–1940, ca. 1905
Ink on paper
Print

Trial proof for illustration. Snow scene with a hunter on showshoes with three huskies at the door of a log cabin. A young man stands in the doorway.
Design for an Oil Lamp.
, ca. 1855
Pencil, brush and ink, watercolor, tempera colors on tracing paper, tipped down.
Drawing

The body of the lamp is a blue porcelain vase with a central field in the form of an oval containg a bust-length portrait of a woman.  The portrait is enclosed in a bronze frame, flanked by garlands which are tied to the bronze handle mounts.  Bronze base and fixture above holding a glass globe (partly shown.) At lower center: No. 518. Lampe "Cares" pate tendre and Bronze. haut. 74c largeur 40c." (inscribed.)
Sampler
, 18th century
cotton embroidery on cotton foundation Technique: embroidered in four-sided stitch and withdrawn element work with needlemade filling on plain weave foundation

Twenty-two bands of pattern, all in natural.
Frieze
William H. Gledhill, 1905–1915
Machine-printed paper, embossed

Stylized rose alternating with acanthus or foliate medallions. Strung beads along top and bottom edges, also outlining medallions. Printed in soft pink and green on light yellow ground.
Knife with Porcelain Handle (One of Four)
Saint-Cloud Porcelain Manufactory, French, active by 1693 - 1766, ca. 1735–1740
soft paste porcelain, vitreous enamel, silver, steel
knife

Blade has slightly curved upper edge. Lower edge tapering towards the point. Drop bolster, silver ferrule has horizontal bands. Tapering white porcelain handle with rounded top, flat sides. Handle decorated with kakiemon design in blue, green and yellow (underglaze) and red-brown overglaze. Silver button cap at the top of the handle.
Dinner Knife from Rockledge Service
George Washington Maher, American, 1864–1926, 1911–12
silver
knife

Dinner knife, part of flatware service designed in "Martelé" silver for "Rockledge Estate" in Winona, Minnesota. Long straight rectangular blade with rounded tip. Waisted join, leading to four-sided hollow handle, with gently rounded sides, widening towards terminal. Obverse and reverse decorated with lily motif within border, stemming from join of handle continuing up handle with three sets of mirroring leaves on either side of central stem, terminating in mirroring lily blossoms encasing mongram 'EKG.' Terminal in form of segmented or flat arch. Textured hammered surface visible throughout handle.
Textile
, ca. 1815
cotton Technique: printed by engraved roller on plain weave

Five scenes illustrating the story of Don Quixote. In red on white.
Virginia Modeling, Study for Etching
Jerome Myers, American, 1867–1940, ca. 1912
Black crayon on paper
Drawing

A young girl sitting before a table, with a tool in her hand, modeling a figure in clay. She faces right, in profile. A potted plant or flower arrangement is on the table, right.
Nail File from Traveling Dressing Case
Asprey & Son Co., London, England, 1872 - 1879, 1875
mother-of-pearl, steel, brass
nail file

Nail file with mother of pearl handle.
Textile
Schwartz-Huguenin, 1851–63
cotton Technique: printed by engraved roller and/or block printed on plain weave; highly glazed

Three samples, same design, different colors. A) Grey ground, probably printed by "Molette," in minute geometric patterns with areas of foliage in grey, with white flowers; floral pattern of rose clusters printed over ground, probably by block. B) Green ground, roses red-violet. C) Grey ground, flowers blue with grey foliage. Highly glazed
Fashion Plate from Le Moniteur de la Mode
A. Bodin, French, active 19th c., 1882
Engraving, brush and watercolor on paper
Print

Two women walking in the woods, with a child in red with a jumprope. A house beyond, left. Artists' and publisher's names and date below. Description on verso.
Sidewall
, 1850–1920
Machine-printed

Very small fragment: small diaper or diamond trellis pattern with single diamond in each grid. Printed in deep blue on ungrounded paper or tan ground. Sample is mounted on a small cardboard support.
Design for a Jug
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, black, gold gouache, graphite on cream paper
Drawing

Design for a jug with squared and curved handle; body of jug is covered with a purple branch bearing several brightly colored flowers; the neck has gold Greek key motif over black.
Dado
, 1790–1835
Block-printed on handmade paper

Inset panels alternating large panels with small. Printed in grisaille on gray ground.
Plate with "Disheveled Birds" (One of Thirteen)
Chelsea Porcelain Manufactory, English, 1745 – 1784, ca. 1758–1769
soft paste porcelain, vitreous enamel
plate

A porcelain and enameled plate with three birds perched on green branches.
Border
, ca. 1845
Block-printed

Grisaille rococo scrollwork with leaf forms, enclosing medallions. The latter are embellished with black strapwork scrolls and leaf forms on blue ground. (Probably clipped on one side or both. Were probably two or more lengths to a width originally). Printed on blue ground.