biglam/cooper-hewitt-alt-text huggingface dataset:
Project for a tabernacle for the exposition of the monstrance with alternative suggestions
, 1700–1725
Pencil, pen, ink, brush and gray water color on paper
Drawing

Vertical composition of a tabernacle shaped like a circular tower, standing on the mensa above and between the steps. Below is a base with a panel in front with the representation of chalice and host; then comes a frieze, and an aedicula with openings in front and behind. Columns bear protruding parts of the entabulature. The dome on top is onion shaped. A pedestal with cherubim stands in the aedicula. Below is the plan and its geometrical scheme.
Portrait of George Howard, Sixth Earl of Carlisle, Viscount Morpeth
Thomas Trotter, English, 1750 - 1803, 1787
Engraving in dark brown ink on paper
Print

In an oval medallion, the half length figure of a youth, seen frontally, his head turned slightly to the right. Portrait of George Howard, Sixth Earl of Carlisle, Viscount Morpeth (1773-1848).
Fragment
, 1700–1710
silk Technique: cut and uncut velvet with satin ground

This fragment preserves only a section of a much larger pattern.  The design is in olive green and deep red cut and uncut velvet on cream satin ground.  The upper portion of an arch, its supporting pillars, and large vase forms and large scale floral above the arch.  This piece sewn together with 1948-116-2-a,b.  Right selvedge present.
Church at Puerto Naré, Rio Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 18, 1853
Graphite on white wove paper
Drawing

Architectural study of a church in Naré (now Puerto Naré), Colombia. At center, the church is characterized by its tall gable that nearly resembles an A-frame structure, and its skeletal belltower at the right of its facade. Distant clouds backdrop the building. A sketch of a priest with his back turned wearing a dark robe and wide-brimmed hat is visible at right.
Title Page and Two Balcony Balustrade Designs
Caillouet, French, mid-18th century, 1775–87
Engraving and etching on paper
Print

Title page and two balcony balustrade designs from an album of decorative ironwork. The designs feature scrolling bands, s-scrolls, and c-scrolls. The lower design includes scrolling leaves and sunflowers. The plate is titled, numbered, and signed.
Autre Compartimens pour differens Usage tel que Marqueteries &c
Jean-François de Neufforge, Flemish, 1714 – 1791, 1763
Etching and engraving on laid paper
Print

Ten designs for moldings, framing devices, and patterns featuring neoclassical motifs and ornament such as repeating patterns, rosettes, lamb's tongue, roundels, leaves, and meander or Greek key motifs. The designs vary in shapes and sizes from roundels, ovals, and squares. The plate is titled, numbered, and signed.
Fragment
, 18th century
tempera on silk Technique: printed and painted on plain weave

White moire with stripes of yellow, rose and black. Between the stripes are painted groups of musical trophies. Small flowering vine border.
Designs for Ceiling Decoration
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash off-white laid paper, lined
Drawing

Various designs for ceiling decoration with rosettes, putti, and monogram, among other elements.
FEUX, PELLES, ET PINCETTES
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Designs for three andirons, two fireplace tongs, and two fireplace shovels with Empire style motifs, including winged female figure of Victory, birds, soldier in armer, cannons, snake, armor, chariot, and a sword. The plate is titled, signed, and numbered.
"La course au Sanglier" "The Boar Hunt"
Claude-Louis Desrais, French, 1746–1816, 1780–1790
cotton Technique: printed by engraved copper plate on plain weave
Textile

Cotton fabric printed with red showing three large vignettes with hunt scenes. First vignette shows equestrians jumping a fence; second shows figures in front of an inn; third shows the kill.
Samples
, 19th century
cotton Technique: printed

Four samples patterned by alternate stripes of the following: narrow brown stripes, herringbone stripes and stripes of flowers and leaves of brown and red on a vermicular ground edged with very small brown flowers.
Textile
, 1820–30
cotton Technique: printed by engraved roller on plain weave; mordant for red

Length of printed fabric with pattern in red: offset arrangement of three scenes within horizontal rectangular octagons. Each scene a landscape with classical antique ruins. A small medallion above each octagon-one containing the bust of Licurges, one Homer, and the third Solon.
Band
, 16th century
linen, silk Technique: embroidered with silk and edged with lace (with needle knotted trim)

White linen with border design of cherubim holding a large rinceau in blue silk. Tiny pointed edge of blue and yellow linen "punto in aria."
Jar with Lid
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Mold-blown favrile glass

(a) Silvery-gold metallic luster on amber glass. Engraved band of cherries and leaves encircling mid-section of ovoid footless body; wide neck, narrow flanged lip. (b) Large flattened knob with cut rosette on top.
Title Page
Antoine Watteau, French, 1684–1721, ca. 1735
Etching and engraving on laid paper
Print

Title page for a series of twelve designs for ornamental trophies. The title is lettered in the center on a shell with a putto in the foreground holding a large anchor and leaning against a carved plinth or base with water below and three fish with a foliage to right. The scene appears to be in a cave-like space with the sky visible through an opening in the background, with leafy branches on either side. The plate is numbered, and the address is lettered below.
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Favrile glass

Transparent blue glass with bulging midriff; stepped shoulder; medium neck, flaring lip; low, broad foot. Deep blue lip and shoulder blending into pale blue neck, upper shoulder and body, the latter marbled with iridescent mauve-pink.
Return From The Vintage
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

A pair of girls with baskets pass a boy who sleeps in a seated position, on the rocks. A woman on a donkey rides backward, at left.
The Four Seasons
B. M. Lebert, 1759–1836, 1818–20
cotton Technique: printed by two engraved copper plates on plain weave; mordant for purple
Textile

Panel of cotton, plain weave, plate-printed in violet. Design of the Four Seasons. Above, left, Cupid appearing from a cloud kisses a miaden; right, boys with sheep; center, gathering of the crops, sacrifice of offerings to Ceres; below, Bacchic revel. Printed by Hartmann et Fils - Munster 1818-1820.

Spring is portrayed by Zephyr and Flora (top), Summer by the sacrafice to Ceres (center), Autumn by the offering to Bacchus with the drunken Silenus (below) and Winter by Chronus warming himself by a fire (missing).
Textile
, late 19th century
cotton Technique: stencil resist (katazome) on plain weave

Allover pattern of flowers and seed pods in deep blue and tan on a lighter tan ground. Touches of white.
Cap crown
, 19th century
silk, metal-wrapped silk Technique: embroidery on brocade

Panel embroidered for use as the crown of a cap. Embroidered in a floral pattern of carnations and roses, edged with metal lace.
Tassel
, 18th century
silk, wooden core

Skirt of yellow silk in two lengths, twisted and looped, and each supporting a tassel. Head is cylindrical and swelling toward the base, wrapped with yellow silk threads with collars of looped threads at top and bottom. Loop of yellow silk cord.
Study of Heavenly Figures
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Brush and blue watercolor on tracing paper
Drawing

Four figures seated in clouds, the one at left wears a halo.
Textile
, 19th century
wool Technique: warp rep with warp-patterned stripes

Square made of two lengths seamed down long side. Broad dark brown and rust stripes and brown cream stripes with think stripes of blue and red. Warp-patterned stripes in these colors decorated with animals, flowers, geometrical forms. Double loom cords top and bottom. Elaborate herringbone stitch in brown and blue wool covers center joining.
Band
, late 16th century
linen on silk Technique: cross-stitch embroidered on plain weave

Very wide horizontal repeat with symmetrical central motive with heart pierced by arrows flanked by two lizards escaping from ring supported by leaf arabesques clasped by banderole with worn letters. Fantastic stylized animals, putti, flower and leaf forms, banderoles with Greek-like inscriptions in broad area on each side. Guard band top and bottom with single row of fantastic birds. Desgins are in linen on  ground of faded solid red silk long-legged cross-stitch. For short area at right end, central pattern changes to large-scale vine with leaves and flowers.
Priest in St. Peter's
Francis Augustus Lathrop, American, 1849–1909, November 1, 1883
Graphite on paper
Drawing

Man in monk's robes standing against the base of a pillar, facing towards the right.
Embroidered picture
, late 17th century
silk, metallic yarns, silk-wrapped wire on linen Technique: embroidered on plain weave canvas

Embroidered picture. Three depths: in foreground, a landscape with flowers, a pond and animals (from left to right: lion, stag, leopard, and unicorn); in middle ground, two women, one holding a lute, a bearded man in armor and feathered headdress, a youth in armor with banner, and a military camp; in background, a mountainous landscape with clouds, birds, a sun, a rainbow, and three women with staffs. Counted stitches using silk, stem, cross, padded satin, and tightly pulled deflected elements. Couched silk-wrapped silk and silk-wrapped wire.
Fringe
, 17th century
silk Technique: woven

Fringe in blue and white with a plain-woven heading. Blue and white skirt threads are arranged in stripes.
Print
, About 1720
Black ink on white paper

Vertical rectangle. A tall window, with a smaller one above and elaborately sculpted frame is shown, in alternate suggestion, with and without added grille-work. Outside is a garden setting. Below, right, the number ''5''. Plate 5 of ''Neu Faconirte Fenster Verkleidung ...''
Vignette
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

Three flying cupids support a wreath formed by stars.
Design for a Waistcoat
, 1780-1790
Black crayon and various gouaches on paper
Drawing

Design for the embroidery of the left bottom part of a man's waistcoat. Lilac edges. Bunches of flowers decorate the flap of the pocket and the field beneath it. Leaves and flower boughs grow from the edge in the bottom angle and at the rising side of the waistcoat. Verso: Blotter of a part of an indistinct design: flower?
Drawing
Felice Giani, Italian, 1758–1823, 1790-1800
Pen and brown ink, traces of black chalk, on thin laid paper

Horizontal rectangle. On clouds. at left, a putto raising a wreath with both hands, at right, a sitting putto with a lighted torch in his left hand.
Study of Hand and Wrist
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown paper
Drawing

Hand, lower left, holding a staff. Edge of sleeve cuts off arm, upper right. Verso: section of a geometric sketch.
Border
, 18th century
linen Technique: bobbin lace (Binche style with snowflake ground)

Binche lace worked with conventionalized floral design and edged with shallow scallops.
Old and New Mills, Valenciennes
Joseph Pennell, American, active England, 1857–1926, 1910
Etching in black ink on paper
Print

A windmill in the foreground at left, and modern steel mills in the background at right.
Two Magi and a Boy, plate 13 from the Scherzi di Fantasia
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

First state, before the number
Two standing magicians; the one at left wears a turban, and with his left hand holds a child by the arm; the magician at right holds a quiver of arrows. In foreground, an urn, swords, and a snake. Dead trees and an owl in the background.
Bed hanging
, late 17th century
cotton Technique: mordant painted and dyed plain weave (chintz)

Large hanging of cotton chintz, lined with pale blue Chinese silk damask (now removed), contemporary with the chintz, and bound on three sides with twill curtain binding. The design is of large-scale flowering branches with large blossoms, smaller sprays of flowers, and heavily curved leaves, with birds (peacocks, parakeets, and pheasants) perched among them. With exception of certain leaves, design elements have different color scheme and internal decoration with each repetition, including all kinds of diapers, linear plant sprigs, hatching and shading, sometimes with resist. The trees spring from a rockery of Chinoiserie character, in which appear animal and human figures, including a shepherd in a pointed hat with a crook, blowing a horn to gather his sheep; a hunter with a round hat bearing a spear, while dogs below pursue a leopard; stags, goats, and rabbits.
The painting is elaborate, in multiple shades of red and green, with light blue, violet, and brown, and much shading, on a white ground. The men are in red, with patterning suggested on their clothes.  Animals are red with darker markings or white spots. Birds are in shades of red or green in plumage, with feather marking indicated. The hillocks in the landscape are light brown with darker brown outlines.   
The original glaze is intact.
Project for a ceiling. With alternative suggestions.
Jean Le Pautre, French, 1618–1682, ca. 1660
Etching
Print

Berlin 4007. Second state. The central part is -b. The drunken Silenus is brought to Bacchus who is seated on a rock. Ariadne on Naxos and a landscape are shown in the frame. Bottom: P. MARIETTE Auec Priuil. le Potre Fecit; an octagonal painting showing Bacchus being served wine is suggested in the frame of -a, instead of a polygonal landscape in -c.
Textile
, 17th century
silk on linen Technique: cutwork with embroidery (satin, tent, squared ground, and overcast)

Vertical panel in pink, yellow, cream and blue silk in design of diamonds with geometric fillings between borders; green and white woven fringe at end. The stitches used are principally satin (counted and other variations), tent, squared ground and overcast.
Band
, 1550–1600
linen Technique: grid of withdrawn element work with needle lace (reticella style)

Reticella border with design of crossing diagonal lines forming lozenge shapes on ground of small squares.
Cartouche decoré
Pierre Edme Babel, French, 1720–1775, 1743-1763
Etching and engraving on off-white laid paper
Print

Rocaille cartouche in front of an architectural colonnade and a monumental statue of a female allegorical figure.The bottom right of the cartouche spills water into a basin. The plate is signed and numbered.
Title Page
Jean-Jacques Bachelier, French, 1724 - 1806, 1762
Etching and engraving on laid paper
Print

Title page for the second series of six plates of tailpieces and fleurons originally designed for the 1755-1759 four-volume edition of the Fables de La Fontaine. In the upper section, a beehive with bees, a caduceus (winged staff with intertwined snakes), a basket of fruit, a mask, and a flowing textile, with flowers and leaves sit amongst clouds with sunrays in the background. The title is lettered in the lower half of the plate with clouds surrounding it. The plate is signed and numbered.
Escutcheon
, ca. 1710
Brass

Shaped plate, undecorated
Bowl
, 18th–mid-19th century

Copper lustre decoration
North Germany. Plate from "Dickinson's Comprehensive Pictures of the Great Exhibition of 1851," published 1854.
Joseph Nash The Elder, British, 1808 - 1878, 1851–54
Lithograph
Print

View of the North German exhibit of the 1851 London Exposition showing carriage, chandelier and bird cages. Ironwork structure visible across top of image.
Design for a Gate
Richard de Lalonde, French, active 1780–96, 1789
Etching on off-white laid paper
Print

Design for a gate with a crowned monogram encircled by bead course and framed by scrolling acanthus leaves. The plate is signed and numbered.
Fragment
, ca. 1760
linen Technique: printed by engraved plate on plain weave

Chinoiserie scenes and ribbons with flowers. In off-black on white.
The Chap-Book (Blue Lady)
William Henry Bradley, American, 1868–1962, August 1894
Color zincograph on thin cream wove paper
Poster

Poster for The Chap-Book, August 1894. A woman dressed in blue at the center of the image stands in a wood, holding a pair of skates. The words The Chap / Book, printed in red cover the lower left portion of the poster.
Design for Serving Table with Alternate Design Sketch
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Narrow rectangular body raised on solid double-scroll side supports; lower shelf attached half way above floor; upper left corner, alternate design with body raised on 4 scrolling legs.
vase
Rookwood Pottery, American, 1880 - 1967, 1917
earthenware

Four parrots resting on four branches also bearing flowers and leaves painted on a grey ground with dark pink on the interior. Colors light blue, shades of pink and green.
Design for Sideboard with Serpentine Front in Elevation and Partial Plan
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Partial elevation: oblong sideboard with 4 straight tapering legs [2 shown]; tri-partite front has 2 drawers center, the top one decorated with neo-classical motifs; drawers flanked by 2 doors; molded top shelf supported by backsplash and 2 slender columns.
Plan view: serpentine top and suggested upper shelf.
Plate, from a Dessert Service
Spode Ceramic Works, English, established 1776, 1833–1847
porcelain (feldspar), vitreous enamel, gold
plate

1959-155-1-h: Circular form with scalloped edge and shallow well...
Westward Ho! pattern
James Gillinder & Sons, American, 1860 – 1930, ca. 1880
Pressed glass, acid frosted
compote

Compote with cover.  Oblong shape with frosted sides on colorless base; sides decorated with molded figures of buffalo and deer. Conforming lid is colorless glass surmounted by figure of a kneeling Indian
Knife with Eight-Paneled Agate Handle
William Boswell, active London, late 17th century., late 17th century
steel, silver, agate
knife

One of a set of six knives (1957-29-3-a-f). Each knife with eight-panelled agate handle and scalloped, engraved ferrule below a flaring, square-ended steel blade.
Fragment
, 1706–09
silk Technique: 4\1 satin damask Label: silk satin damask

Fragment of silk composed of several pieces sewn together. Yellow and salmon damask showing design of exotic fruits and vegetation in the ‘bizarre' style.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-cw: All-over Aesthetic pattern of enlarged, highly-sty...
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-ca: Neo-Renaissance pattern with vertical motif of str...;     1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-cf: Neo-Renaissance pattern with vertical motif of str...
Border
, 1820–1830
Block-printed on handmade paper

Border cut from a strip of wallpaper containing several of these stripes. Design consists of a repeating cluster of long pointed blue leaves with two green flowers. These clusters are placed at regular intervals on a curving serpentine stem. Running in parallel diagonal lines across medium brown field are rows of alternating maiden-hair fern leaves and tiny crescents divided in vertical sections of alternating pale and dark brown coloring.
Bird
, late 19th century
Brass
Matchsafe

In the form of a bird in profile, with small incised marks on body and wings to simulate feathers. Bird's head and breast flip open as lid. Lid hinged at back of bird's neck. Identical on front and reverse. Striker on back of tail feathers.
Sidewall - fragment
, 1850–60
Machine-printed

Floral medallion printed in greens with white floral scrolls and striped shading.
Elevation of a Royal Catafalque
Luca Arinelli, Italian, active 1770, late 18th century
Pen and ink, brush and wash on paper
Drawing

Architectural design for a funerary catafalque, domed structure with arch at center, flanked by Corinthian columns. Above the arch, a triangular pediment. Obelisk-like spires at right and left sides. Within the arch, a monument upon a pedestal with candelabra. Above the pediment, groups of figural sculptures. Another sculpture at the top of the dome surrounded by lit candelabra. Rectangular framing lines.
Frieze
, 1905–1915
Machine-printed paper

Two bands of a repeating design placed one above the other. Composed of a flower-filled vase connected by a flower chain to ornamented heart-like shape on a solid ground which becomes a darker tone along the base. Bordered on the top and bottom by horizontal stripes. Printed in gold, brown, green, beige, tan and cream.
Cliffs and Ocean
William Trost Richards, American, 1833–1905, late 19th century
Graphte on white paper, lined
Album page

Ocean in foreground with tall cliffs covering three-quarters of the horizon in the distance.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache on blue paper
Drawing

At center: branch with green, spiked foliage and yellow blossoms, top of branch faces upper left corner of page. Three branches with green and maroon foliage radiate from base of branch.
Plate LX from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Two ships, both with double sterns, approaching a pier, left. T he cannons on the ship, center, are being fired. A pontoon on a framework rests on the pier. Description in Latin on verso of 1949-152-257.
A Ticket for Theatre Royal; Male Caricature
William Hogarth, English, 1697 - 1764, 1732-1794
Etching on paper
Print

Belot, a scene with two women and three men in a salon. All are standing. Enframed by Hermes at left and right, by twigs and a lyre on upper margin. Above, caricature drawing of a man with a wig in side view facing left. Half-length.
Sample
, 1851–63
cotton Technique: roller and block printed, glazed

Sample in a striped design showing light brown stripes edged with dark red dots that alternate with white stripes decorated with a fret design.
Pierced Dish
Longton Hall Porcelain Manufactory, English, 1749 – 1760, ca. 1755
soft paste porcelain, vitreous enamel
dish

Round dish in the form of lettuce leaves with holes throughout, pink midribs and veins, and green edges.
Border
, 1875–1906
Block-printed

Wallpaper roll.
Printed six across, stylized acanthus leaves above a single row of strung beads. Printed in brown, tan and orange on brown ground.
Creamer
, 18th century
Glass

Clear glass creamer in the shape of a four-legged animal (dog?) Tail flares wide open to create a spout.  Some painted decoration
Place Spoon from Rockledge Service
George Washington Maher, American, 1864–1926, 1911–12
silver
spoon

Place spoon, part of flatware service designed in "Martelé" silver for "Rockledge Estate" in Winona, Minnesota. Oval bowl, narrow join, leading to thick flat handle, with gently rounded sides, widening towards terminal. Obverse side 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, with slight upturn at tip. Reverse side of handle undecorated with plain textured hammered suface. Textured hammered surface visible throughout tines and handle.
Queen of Spades
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Queen of Spades court playing card from a pack of transformation playing cards. Female figure of Joan of Arc shown dressed for battle, wearing armor over a blue and yellow skirt decorated with fleurs de lys. She holds an ax in her right hand and points with her left hand. Architecture in the background.
Kashmir Design
, ca. 1875
Woodcut on paper
Print

Repeating design in red, green, blue, purple, gold, yellow, and black. Unit is composed of floral arrangements inside scalloped cartouches in rectangles or squares, all framed by gold foliage-themed borders.