biglam/cooper-hewitt-alt-text huggingface dataset:
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

Five heart forms, composed of leaves and a bead.
Plate 18, from Grotteßco in diverßche manieren (Various Grotesques)
Hans Vredeman de Vries, Dutch, 1527 - ca. 1606, 1564
Etching on laid paper
Print

At center, two bearded men with standards shape hands. On either side, a casket below a canopy, and a smoking brazier.
Design for a Doorway to the Sacristy of St. Peter's, Rome
Carlo Marchionni, Italian, 1702–1786, ca. 1778
Pen and brown ink, brush and brown, gray wash, graphite on cream laid paper
Drawing

Doorframe is surmounted by a pointed attic pediment, enclosing a medallion, in the center of which is the symbol of Christ (the Chi Rho) amidst a glory of rays. It is framed by palm branches and moldings. On top is a winged cherub's head. A priest standing in the doorway holds a reliquary before a kneeling cleric. Another cleric approaches from the left. Below are two plans.
Six Lamps in Classical Style
Giulio Romano, Italian, 1499–1546, 1540
Pen and brown ink, brown wash on off-white laid paper, laid down
Drawing

Six oil lamps each with a small head with an open mouth as the spout, all spouts are turned to the right.
Odysseus and the Sirens
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1600
Recto: pen and brown ink, brush and black wash over black chalk on laid paper Verso: pen and brown ink, brush and black wash over black chalk on laid paper
Drawing

Recto: Odysseus stands aboard the deck of a ship, at left. Near the shore, in the right foreground, a group of Sirens call to him. Mountains appear in the background.  
Verso: Within a cave, Odysseus appears in armor, at right. He walks left, gesturing in greeting toward nude figures that stand and kneel before him.
Frieze
, 1880–90
Machine-printed, embossed

Full width, with opposed bands of conventional decoration, shaped in contour. Printed in black, brown and gold on embossed paper.
skewer
, 19th century
silver

Tapering, pointed, flat pin or blade. Relief cast terminal with pair of outstretched wings, topped by a caduceus and head of Mercury.
Title Page
Jean-Bernard Turreau, French, 1672 - 1731, 1716
Etching on laid paper
Print

Title page with the title lettered in the center of a pedestal or monument with grotesque motifs including mascaron (mask), putti, mythological creatures (lions with wings and breasts), fauns with vases on their heads, incense burner, festoons of leaves, fluting, scrolling leaves (rinceaux), c-scrolls, shells, a cartouche, wings, helmet, dragon, shields, horns, quiver of arrows, spears with flags/ textiles. The plate is signed.
Design for a Candlestick
Pietro Belli, Italian, 1780–1828, mid- 19th century
Pen and ink, brush and gray watercolor, graphite on green-gray paper
Drawing

Vertical rectangle. Design for a candlestick. Below is a base in whose upper moulding the designer inscribed in pen and ink "onci 2:12." The boy Hercules is shown standing upon his right leg and strangling a snake with his left hand. His right hand is raised, carrying a vase as the socket. Written on the vase is "di Getto." Accounts are written in graphite in the upper left corner in pen and ink on verso.
1er. Cahier. Ouvrage Utile à l'Art de l'Orfèvrerie
Richard de Lalonde, French, active 1780–96, 1788–1796
Etching on off-white laid paper
Print

Design for a liturgical staff in the form of a sunburst decorated with ornament motifs including cupids, stars, vine, a stork and baby storks, drapery, and bound leaf. The plate is numbered.
Boette à poudre et à Mouche
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a makeup box decorated with ornament motifs including scrolls, a rose finial, bound reed, branches, cartouche, and rinceaux. The plate is signed and numbered.
Plate 11, from Diverses pièces de serruriers (Various Designs for Locksmiths)
Hugues Brisville, French, active ca. 1663, after 1662
Engraving on laid paper
Print

Vertical rectangle showing designs for a variety of metalwork objects. At right, half of an escutcheon; at left, a bracket; below, a handle.
Narumi, Specialty Shop with Arimatsu Shibori Cloth, from the Famous Sights of the Fifty-Three Stations series, No. 41
Ando Hiroshige, Japanese, 1797–1858, 1855
Woodblock print in colored ink on paper
Print

In the foreground, strips of brightly patterned cloth, hang from tall wooden stands, fluttering in the wind as they dry. In the background, small figures pass in front of a row of shops, presumably the shops that would sell the product fabricated from the textiles: summer weight kimono.
Title Page
Thomas Lainé, French, 1682 – 1739, late 18th century
Etching and engraving on laid paper
Print

Title page from a series of thirty plates of designs for moldings, carved frames, doors, chimneys and liturgical objects. The title and text is lettered on a tall cabinet/ piece of furniture within an arched alcove. Ornamental trophies relating to the arts, geometry and geography are sculpted in relief above the cabinet, with the head of apollo surrounded by sun rays above. The cabinet and the alcove are deocrated with rococo ornament and mascarons, with hanging trophies flanking the alcove. The plate is numbered.
Design for an Escutcheon with Alternative Suggestions
, 1750–1775
Graphite, pen and ink, brush and wash on paper
Drawing

Vertical rectangle. Two angels are supporting the oval in the center, which is framed by mouldings, scrollwork and cherubim.
Fragment
Emperor Maximilian, ca. 1865
silk Technique: damask

Eagle beneath crown holding a snake in its beak with crossed sceptres in front over an arrangement of cactus. Had previously been used as the back of a chair. All in dark red.
Suite de developpement de differentes especes d'Escaliers à l'usage des Bâtiments
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Elevations and plans of four stairscases. The plate is signed and numbered.
Spray of Flowers
Arnault-Eloi Gautier-Dagoty, French, 1741 – 1783, mid- 18th–late 18th century
Etching on laid paper
Print

Design for a fantastical chinoiserie spray of flowers with leaves and stems.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel of grotesque ornaments with mythological motifs. At the center is Apollo with his lyre and pairs of dancing bacchantes on either side; at top is a medallion of Hercules and Antaeus. In addition to strapwork, garlands, and scrolls, the design also features animals, such as birds, cats, squirrels, dogs, snakes, a deer, bear, and unicorn, and an owl and a cat. The plate is lettered but not signed.
Border
, 1850–1900
linen Technique: bobbin lace, Mechlin style

Lace border has a fine net ground with tiny flower heads and just below is a deep border with a design of leaves and floral sprays. Mesh is hexagonal and the pattern is outlined in thread or cordonnet.
Fragments
, 16th–17th century
silk Technique: embossed velvet

Deep purple fragments that once formed part of a stole have a stamped pattern of narrow vertical bands containing small scrolls.
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.
The Late Lamented President Lincoln
Thomas Stevens, English, 1828–1888, 1865–1869
silk Technique: jacquard woven
Bookmark

Bookmark or stevengraph with a portrait medallion of Abraham Lincoln surmounted by an eagle perched on a shield flag that holds a banner in its beak that reads "E Pluribus Unum." Inscription at top reads: "Assassinated at Washington 14 April 1865," and just below another inscription: "I have said nothing but what I am willing to live by. And if it be the pleasure of Almighty God. To die by. (A Lincoln)
Study of a Young Girl's Head
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a young girl's head in profile. Her head and eyes are downturned to the left. Her hair is tied up with a ribbon and she wears a Pierrot collar around her neck The plate is signed and numbered.
Floor Plan for the First Floor of the Home of Hector Guimard, 22 Rue Mozart
Hector Guimard, French, 1867–1942, 1909
Photostat, pen and brown ink on paper
Photostat

Floor plan for the home of Hector Guimard, detailing the layout, scale and function of the rooms for the first floor.
Valance with chef
Wetter Freres, France, 1802, 1790–99
plain weave cotton, lined with plain weave linen, trimmed with plain weave silk Technique: block printed on plain weave

Shaped window valance with sharply pointed outer corners. Fabric pattern is a polychrome design of flowers and fruit; roses, grapes, currants, pomegranates etc. in black, blue, three reds, two purples and brown. Valance is lined, interlined and bound with deep green ribbon.
Border
, 19th century
silk

Multicolored border with a symmetrical scroll and leaf pattern.
Dyer's record book
Old Pacific Print Works, Lawrence, MA, USA, 1862–65
paper, cotton, wool

Cardboard book bound with marbled paper with cotton and wool textile swatches pasted on pages.
Fragment
, 18th century
silk Technique: cut and uncut supplementary warp pile in a satin ground (velvet) Label: Silk cut and uncut velvet

Ciselé velvet in tan with a ground of uncut pile with small scale conventionalized rose in cut pile. Diagonal decorative lines voided in satin ground.
Fringe
, 17th century
silk Technique: woven

Red and yellow fringe with a patterned heading and red and yellow skirt threads.
Textile
, late 19th century
wool Technique: warp-faced plain weave and complementary warps

Two panels stitched together; both have a dark brown ground with vertical stripes of maroon, white, blue and white; and red, yellow and white. Geometric patterning in the colored stripes. Selvages turned back and hemmed.
Hat
, 19th century
silk, mirror glass Technique: plain cloth embroidered with silks and mirror glass

Round pointed hat with a shoulder cape. Dark blue silk with all-over closely-spaced formalized flower design in red, yellow, green and cream silks and round bits of mirror glass. Backed with heavy red cotton.
Fragments
, 18th century
linen Technique: needle lace

Argentan lace fragments showing a heavily-worked floral pattern.
Textile
, 19th century
leather Technique: appliquéd and embroidered

Leather appliquéd on leather showing abstracted floral design composed of various shapes, primarily small circles. With some stem stitch embroidery.
St. Jerome in his Study
Albrecht Dürer, German, 1471–1528, 1514
Engraving on off-white laid paper
Print

Vertical rectangle. The elderly St. Jerome is seen seated in his study at a table, writing in a book. Light enters through windows at the left. In the foreground a fox and lion sleep on the floor;
Confirmation
, ca. 1840
Wood engraving on paper
Print

A bishop, seated between two priests, blesses a kneeling boy. Another boy and two girls are awaiting their turn.
Drawing
, 1780-1790
Pencil. Various gouache colors. White. Paper;

Horizontal rectangle. Fluted Ionic pilasters to which the wings of a curtain are fastened support an entablature, the frieze of which is decorated with a flower vase and two trophies of arms which are connected by garlands. Two monumental vases of different designs stand inside beside the pilasters. A floral medallion is shown in the center of the field, containing three children, one of them with a mace and seated in a shell, on the sea. Somewhat more than one repeat is shown.
Fragment
, 16th century
linen Technique: grid of withdrawn element with needle lace (reticella style)

Panel with a geometric design based on the square.
Apollo and Marsyas
Antonio Maria Zanetti, Italian, 1680 – 1757, 1724
Chiaroscuro woodcut from four blocks in blue inks on off-white laid paper
Print

Within a central oval: Apollo standing, playing the violin at left with a sheath of arrows on his back; at right, the satyr Marsyas, seated, holds a set of pipes. Outside the oval frame, a dedication to Pierre Crozat, and the date.
Drawing
Felice Giani, Italian, 1758–1823, 1790-1795
Pen and brown ink on cream laid paper

At left: A woman is shown in profile, walking toward right. She carries a sphere and books or instruments. She is preceded by a child holding two wreaths over an altar. At right: A woman is shown in profile standing and directed toward left. She carries a palette and brushes and writing pens. She is preceded by a dancing girl, holding a wreath over an altar
Sewing instruction book samples
, 1829
White cotton

The mat is made up of four small squares, knitted in two designs, joined together, edged with fringe, a tassel in each corner.
Textile
Morris & Co., London, England, ca. 1890
cotton Technique: printed on twill weave

Length of printed cotton with s-shaped central branch with large exotic flowers and small-scale floral fillings. In golden yellow on a white ground.
Fragment
, 18th century
linen Technique: needle lace

Fragment of Argentan lace cut from its ground. Largely composed of small hexagonal areas enclosing rosettes.
Swatches
, late 19th century
silk Technique: woven

Sixty-five samples of fancy satin technique.
Vase
Ernest Chaplet, French, 1935 – 1909, ca. 1885–89
porcelain

Circular: tall, slender, with small neck and mouth. Decorated in emulation of Chinese flambé porcelain, with underglaze reds, greens and blues. Glaze has crackled.
Scherzi di Fantasia
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

Two old men, and one younger, watch a snake burning on an altar. Behind, them, a boy holding a sword; lower left, a seated woman, holding a torch, seen from the back. First state, before the number
Fringe
, 17th century
silk Technique: woven

Fringe in pink, yellow and gold with a plain-woven heading. Skirts threads are made up of pink, yellow and gold threads that are twisted and looped.
Design for a Pin
George E Germer, 1868 – 1936, 1910–1920
Graphite, brush and white gouache, brush and brown watercolor on cardboard
Projects for pin

Bordering lines as 1939-84-20. Head of a pin, with an ovoidal stone in an escutcheon.
The Bagpiper
Albrecht Dürer, German, 1471–1528, 1514
Engraving on laid paper
Print

A man playing bagpipes, leans against a tree. A neutral background.
Bands
, 18th century
linen Technique: bobbin lace (Valenciennes ground)

Valenciennes borders with delicate leaf scrolls.
Napkin
, 1731
linen Technique: damask

Large dinner napkin of white linen damask. Design of flower filled urn, palmettes, etc. Border design of highly conventionalized floral motifs. At center of lower border the date, 1731, and a crown over the letter "C" are embroidered in red linen.
Mount
, late 19th century
Gilt bronze

Charging winged sea-horses.
Panel
, 15th century
wood

A conventionalized shell occupies a small shaped reserve. Flanking it, in portions of large shaped reserves, are conventionalized foliations intertwined with a stylized Arabic formula. Above the shell is a portion of a third major reserve filled with stylized foliations.
Scene from the Opera "Sylvie"
Jean-Baptiste Tilliard, 1766
Engraving
Print

Horizontal rectangle. The figures of the actor Louis Bercher, called "Dauberval" (1728-1803) and the actress Marie Allard (1742-1802) are seen in a wooded landscape in the act of doing a ballet dance. The scene is Act II of the opera "Sylvie" by P. M. Bertoux Trial. Five lines of verse from the opera in lower margin.
The Cromwell Barn, St. Ives
Ernest Clifford Peixotto, American, 1869–1940, 1899
Pen and ink on illustration board
Drawing

A large brick or stone structure, with buttresses beside the walls, small openings, and a gabled roof.
Chandelier
, 1810–25
Pen and black ink, watercolor, graphite Support: thick white wove paper; old fold(?) at center
Drawing

Vertical rectangle; on top is a bowl with a hanging pomegranate and with a crest of alternating acanthus calyces and stylized fern branches; three chains support the body; they are fastened to three of the horns which carry the sockets; on top of the body stands a bowl with a
Figural Letter, Capital A
Juan Dolívar, Spanish, active in France, 1641–1692, 1685–1692
Etching and engraving on paper
Print

Shown standing before Alexander the Great cutting the Gordian knot. Two framing lines.
Interlaced Circles
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Interlaced circles or "Seven-treasures" (shippo) is an appropriation of older motifs. Shippō is an auspicious design which is a popular motif on women's kimonos, primarily worn in times of need of good luck, such as weddings and new year's. Drill punching and pull carving have been applied to create this detailed motif. There is a bit of staining located near the bottom of the image.
Broken Column of the Parthenon, Athens
Frederic Edwin Church, American, 1826–1900, April 1869
Oil and graphite on tan paperboard
Drawing

Landscape and architecture sketch showing a view of a fallen column of the Parthenon on the Acropolis of Athens, Greece. The foreground comprises a large portion of the scene, and includes a close view of several column drums, or cylindical blocks that make up the segments of an ancient stone column. Four fluted drums lie on the ground in a series from lower right to center, surrounded by tufts of grass that cover the ground. Other stones are visible at left and lower center. In the background, a hill, rendered in purple, forms a rounded horizon beneath a blue and open sky.
Border
, early 19th century
linen, cotton, animal bristle Technique: needle lace with ground of loop and twist with twist return

Border edged on one side by row of floral blossoms and standalone floral sprays.
Band
, 17th century
linen Technique: bobbin lace, continuous braid-like

Design of curving lines forming medallions around circular ornament.
Cloisonne Enamel Teaspoon, Part of a Set of Six
Pavel Ovchinnikov, Russian, 1830 - 1888, ca. 1890
gold plated, metal, polychrome cloisonne enamel
spoon

Spoon (a-f): straight handle, twisted in mid-section, with raised geometric cloissons towards end in blue and turquoise, and on end a lantern form with dark blue panels.  Back of bowl has raised cloissons of symmetrical stylized leaf and flower forms in blues, white, and transparent red and green, against hammered gilt ground.
Lady of the Lake
Malfeson, French, early 19th century
cotton Technique: roller printed on plain weave
Textile

Four scenes illustrating the Scottish story of the Lady of the Lake. Two of the scenes are captioned in French. At each selvedge is a bit of foliage which would complete if lengths were sewn together as a half-drop repeat of pattern. In brown on white.
Sampler
Rebecca Buse, 1814
silk embroidery, wool warp, linen weft Technique: embroidered in satin and stem stitches on plain weave

In the top half, a verse is surrounded by a flowering vine, with a crown at the top with the initials of King George III. In the lower half, a shepherd piping in the lower left corner and a cottage in the lower right, with a large basket of flowers in the center and the inscription below.
The verse reads: 

Come Children tis Jesus that calls
The voice of your Saviour obey
When Jesus invites you to come
No Disciple shall turn you away

The Children he folds in his arms
Must surely be blessed indeed
For Jesus alone can bestow
The spiritual blessings they need

Let Parents with thankfulness own
The encouragement Jesus has given
Delighted to hear him declare
Of such is the Kingdom of Heaven
Study of the ruins of the Temple of Olympian Zeus
Lockwood de Forest, American, 1850–1932, January 24, 1878
Brush and oil paint on thin paperboard, mounted on very thick paperboard
Drawing

Study of grassy landscape with ruins of colonnade in mid-ground, looking to mountainous landscape, that is possibly separated by a body of water and shoreline.  A small stand of dark, pyramidal trees is to the right of two single, free-standing columns.  The columns are in the Corinthian order and likely once comprised the Temple of Olympian Zeus.
Sidewall
, ca. 1880
Machine-printed paper, liquid mica

Pattern of four motifs of clusters of flowers scattered on a ground regularly marked with stylized dark blue clumps of grass; flowers pale blue with dark blue and yellow highlighting; cream ground.
Fritillaria Imperialis Foliis Aureo Variegatis, Plate 68 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Fritillaria Imperialis Foliis Aureo Variegatis" from A. C. Van Eeden's "Flora of Haarlem."
Kneeling winged figure
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Winged figure kneeling and leaning foward. The figure's hands are brought to its chest.
Sidewall - sample
, 1906–08
Machine-printed

Large clusters of red grapes hanging from vines. Printed on patterned tan ground.
Cup and Saucer
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1740
hard paste porcelain, vitreous enamel, gold
cup and saucer

Eight lobed curved cup and saucer. Eared scroll handle. "Gotzkowsky erhabene Blumen" relief pattern. Polychrome overglaze decoration showing figures from the Commedia dell'arte. Diapered gold band.
Ceiling paper
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper, liquid mica

Very light diaper pattern composed of foliate sprigs. Brightly colored foliate sprigs set within framework.
Japonesque Style Pattern Number 5 Frunit Knife
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, ca. 1880
gold plated, silver
knife

Knife in the form of a Japanese sword; rectangular handle with mottled surface, one side decorated with scene of full moon above two naked men, an octopus attacking one's leg; other side with galloping horse and phoenix in full plumage, set within thin border. Flat, curved blade with blunt tip, engraved with stylized foliate decoration on both sides. Some small areas of gold plate throughout surface of handle.
Textile
, ca. 1840
silk Technique: warp printed

Chiné silk fragment with narrow black stripes between two vertical columns of pinkish flowers on a gray ground.
Sampler
Mary Mitchell, 1729
silk, linen, and cotton embroidery on linen foundation Technique: embroidered in back, long aremed cross, cross, eyelet, satin stitches and cutwork with needlemade fillings on plain weave foundation

Bands of pattern in polychrome.  In middle two alphabets and numbers.  At bottom verse, "This work in hand my friends may have when I am dead and laid in grave Mary Mitchel made this sampler in the fifteenth year of my age in the year 1729."
Case
, 19th century
glass beads, horsehair Technique: beadwork

Case in two parts: one part made to slip over the other. Made of white and colored glass beads in design of human figures, flowers and initials.
Decorative panel
, 1810–15
Block-printed on handmade paper

Vertical rectangle. Pedestal to be cut out. Moldings top and bottom. Oak wreath with ribbon ornaments the shaft. In browns and yellows. a) One repeat; b) One repeat and portion of another.
Tile
, 13th century
Glazed and lustered stonepaste

Shaped as a six-pointed star; painted in brown and white with luster glaze:  elephant with large and small dots in center with floral motifs, surrounded by white border with brown calligraphy.
Frieze
, 1875–1906
Block-printed

Wallpaper roll.
Large scrolling foliate motif printed in salmon and ocher against tan mica ground. Wide light blue band with "worm-hole" motif along either edge.
Textile
, 1770–90
cotton Technique: block printed on plain weave

Printed length with vertically intertwined bands; one with single flower heads connected by a winding stem in dark red and white; the other with blue scalloped, plume-like edges. Between the bands are isolated flower sprigs with buds in dark red and blue. Dark brown picotage fills the ground.
Variétés Nouvelles d'Azalées de l'Inde
Alexander Verschaffelt, Belgian, active 19th c., ca. 1859
Chromolithograph on paper
Print

Variétés Nouvelles d'Azalées de l'Inde