biglam/cooper-hewitt-alt-text huggingface dataset:
Recto: Design for a Bottle with a Handle
, ca. 1600
Red chalk, pen and black ink on laid paper; verso: graphite, pen and black ink
Drawing

Recto: The lower part of body of the bottle is shaped like a bowl. On its rim stand two swans, to whose necks the handle is fastened. Alternative suggestions are made for the pose of the necks. A crowned escutcheon is shown in the center of the bottle. Verso: above, a staircase, five sections of entablatures, with measurements, a plan of decorative motif, formed by an equilateral cross, and circles. Lower section at right, six projects, two sketches for frames or parts of frames, some with alternative suggestions.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1779–90
Etching on paper
Print

Six designs for trophies incorporating foliate branches, festoons of flowers and leaves, a feathered turban, lion's head, rifle, armor, spears, fruit, lyre, flaming torch, quiver of arrows, bow, and a basket of fruit. The plate is numbered.
Stage Design, Antique Views in Garden
, 18th century
Brush and oil on canvas
Painting

Vertical rectangle. Fountain in ruins near columns. Ogival arch in background at left, garden scenery. Grisaille.
Trimming
, 19th century
silk Technique: woven

Trimming fragment with tan and green diagonal lines arranged to form chevrons on a white ground; picot edges.
Trophy with Implements of the Hunt, Plate 6 from "Suite de Trophées de chasse," Suite VI
Etienne Claude Voysard, French, 1746 - 1812, 1778
Engraving on paper
Print

A stag's head and dead pheasant with other implements of the hunt and flower garlands form a trophy. Below, engraver's and designer's names. From: "Suite de Trophées de chasse," suite VI, planche 6.
Design for a Doorcase
Giuseppe Barberi, Italian, 1746–1809, 1789–1793
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Another variation of 1938-88-1693, with the emphasis on height. The overdoor is a medallion between two cornucopias, and reaches into the molded entablature. On top of the niche is a keystone, above which is a frieze with two children. They are connected with the keystone by festoons. A number of dimensions are indicated, for example the height of the column. The entire height is the same as -1654.
Fragment
, early 17th century
linen Technique: applique and embroidery

Light brown rectangular fragment with a conventionalized design of a bird and scrolling floral forms.
Fountain
, early 18th century
Tin-glazed earthenware

Molded cylindrical base and top; lion mascarons in relief; two at either side holding intertwined handles, one at bottom of front holding bronze tap. Shaped panels on front and back with Chinese figures in landscape; conventional foliage design on field and moldings. No cover.
Trees and Plants, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on gray laid paper
Drawing

Botanical sketches showing views of trees and plants along the Rio Magdalena in Colombia. At center, a tree with a lush, spherical canopy is loosely sketched. At left, another lush tree is shown covered with vines and other parasitic plants. At right, at tree with a thinner canopy is shown with a tall trunk and several branches. Finally, two trees covered in growth are included at upper center.
Figures
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Five partial sketches of a figure.
Flying Fish
, late 19th–early 20th century
Mulberry paper (kozo washi) treated with fermented persimmon juice (kakishibu), silk threads (itoire)
Katagami

Three flying fish are shown in mid-flight among and between waves. The abstracted waves are depicted as diagonal  linear lines. Since there are large gaps of stencil cut away there are many silk threads which have been attached to support the structure of the piece.
Chaire de l’Eglise St Estienne du Mont de Mr. Fremery sur les desseins de Mr. Sarazin
Martin Frémery, French, active ca. 1650 – ca. 1685, 1657–1716
Etching on laid paper
Print

Design for a Pulpit from a series of six Pulpits from Parisian churches. The Pulpit is illustrated in profile on the left side, with five smaller line details for the moldings and cornice elements, some show ornament such as acanthus leaf friezes and garlands. The sculpted railing is shown in the upper right, decorated with figural panels, separated by columns and acanthus leaf ornament.  A plan of the staircase leading to the pulpit is in the lower right with the title of the series lettered within. The title of the specific pulpit depicted is lettered upper right. There is a scale along the left margin within the plate. The pulpit is richly decorated with sculptural motifs such as an angel, putti, vases, garlands, roundels with figures and scenes, female figures, columns, and friezes. Below the pulpit is a male figure seemingly holding it up with a lion at his feet.
Sidewall
, 1880–90
Block-printed

An asymmetrical floral pattern interspersed with acanthus leaf scrolls. The entire paper is embossed with pebble pattern. Printed in deep ivory on off-white in design with touches of bronze. The entire background is gilded.
Collar
, 19th century
linen Technique: bobbin lace, Chantilly style

Round black collar with scalloped edges in a design of conventionalized flowers and foliage.
Covered Milk Jug with Chinoiserie Vignettes
Royal Porcelain Manufactory, Berlin, German, established 1763, ca. 1770
hard paste porcelain, vitreous enamel, gold
milk jug

1938-57-652-a,b: Pear-shaped, bracket lip, double-curved strap hand...;     T1938-57-650/656: Hard paste porcelain tea and coffee service consis...
Ornamental Vase Design
Juste-François Boucher, French, 1736 – 1782, 1755-1768
Etching and engraving on laid paper
Print

Three vases placed on pedestals. The central vase is lidded and in the form of an urn; it is decorated with drapery at the shoulder and fluting at the base. The vases on either side, slightly in the background, are in the form of incense burners with smoke billowing from the top. The vase on the left has a meander at its shoulder and angled fluting at the bottom. The vase on the right has a wave pattern on its shoulder and a garland of bound laurel leaves draped over lion heads. The columns of the side vases are adorned with garland; the pedestal of the central vase is inscribed with the title. The plate is signed and numbered.
Head of a Cow or Ox
Samuel Colman, American, 1832–1920, 1871
Brush and watercolor, white gouache, pen and ink, graphite on rough grey paper
Drawing

The head of a cow or an ox shown slightly from above with foreshortened upper part of the body. Verso: in graphite, slight sketch of a decorated glass, surrounded by geometric lines.
One of a set of projects for a title page and for the decoration of thirteen vertical panels
Francesco Bedeschini, Italian, 1675-1699
Pen, brush, sepia
Drawing

Escutcheons with two shields. In the upper one, inscribed in blue crayon: "Bernini," (modern) in the lower one a monogram: "J A C" or "F A C" which possibly is that of the artist. Two winged putti. The drawing has two borderlines, the background bearing horizontal lines. Intended to be engraved
Cartouche with Two Laurel Branches
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Engraving on paper
Bound print

Design for upright symmetrical cartouche with two laurel branches at center. At upper center, a mascaron.
Plan du premier estage du rez de chaussée de la cour du Chasteau de Pontz en Champagne
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural floor plan of the first floor with a central courtyard of the Castle of Pontz with a scale below. The plate is titled and signed.
Project for a Doorknocker
, 18th century
Pen and ink, brush and wash on paper
Drawing

Design for a doorknocker with mask and two entwined griffins sharing a pearl in their mouths.
Design for a sedan chair
, ca. 1775
Pen, ink, brush, and various watercolors on paper
Drawing

Shown in profile turned toward right. Decorated similar to 1900-1-2. The panel above the window is decorated above with a small disk upon which lies a garland rising from the lower right corner and a greater one upon which a garland lies. The central panel shows two festoons upon three disks, at left, one festoon upon two disks, at right. In the bottom panels are festoons entwined and laid upon two disks each. In the soil with signature erased. Recognizable ft. from fecit 7 and probably 3 of the date.
Brisé fan
, ca. 1860
Carved and pierced ivory sticks

Brisé fan of lace-carved ivory with figures, foliage, and houses.
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a vase, with three large handles visible, decorated with garlands of flowers and gadroon ornament, friezes, and fluting. The plate is signed and numbered.
Le tempe de l'amour
Gorgerat Frères et Cie., Nantes, France, 1783–1815, ca. 1785
cotton Technique: printed by engraved copper plate on plain weave
Textile

Assortment of scenes of goddesses and humans. In red on white.
Tablecloth
, 17th century
linen Technique: cross stitch embroidery

Long rectangular tablecover in natural linen with checkerboard rectangles of openwork; each rectangle is 6 x 9 cm. The alternate checkerboard rectangles are embroidered in red with geometric floral forms. Outer edge has a narrow floral vine border with pendant flowers.
Textile
, 19th century
silk embroidery on linen foundation Technique: embroidery and smocking on plain weave

Smocking in black silk on natural linen with three pattern bands: chickens and flowers, birds in a floral vine, and a floral vine.
Sampler
Sarah Troup, English, 1738
silk embroidery on linen foundation Technique: embroidered in cross, satin, eye and rococo stitches on plain weave foundation; counted stitches

Bands of alphabets, crowns, reversing pattern, two figures with distaffs, and verse: 
Let none despise the criss-cross row
Did we but know our nearness to the grave
What thoughts and cogitations should we have

With the inscription:
Sarah Troup her work begun August the 21, 1738 in the 9 year of her age
Shadow puppet (wayang kulit)
, 19th century
Wood, painted and gilded leather

Female figure with elaborate coiffure extending down to shoulders, bracelets on wrists and ornaments on upper arms. Painted with red and blue, faded.
Study of Two Spaniels in a Park
Henry Bernard Chalon, English, 1770 - 1849, 1800–1825
Graphite on paper
Drawing

They are chasing a bird. One is running toward right, the other toward left. A group of trees is in the left foreground. More trees are in the background.
Study for "Titian Showing
Daniel Huntington, American, 1816–1906, 1872
Graphite Support: Light Green Wove Paper
Drawing

Vertical rectangle. Man seated, facing to the left, his legs crossed. His head not shown, feet repeated, lower right. Verso: Woman turned to left, seated, holding a book or tablet, facing front; the arm repeated, upper left.
Fragment
, ca. 1700
linen Technique: damask, cross stitch

Narrow panel of blue and white linen. Design in horizontal rows, two motifs repeating alternately: a walled city with the inscription "Gerusalem," and the Resurrection with the inscription, "ich bin die auferstehung und das Leben Johan am 11" (I am the Resurrection and the Life, John chapter 11)

"R" embroidered in red linen cross-stitch in the lower right corner. Triangular pocket of same material on back at lower edge.
Textile
, 19th century
cotton Technique: cut floats of supplementary weft in plain weve foundation (velveteen), embossed and printed with gilt paint

Sprays of flowers in gold on maroon.
Fragment
, 15th century
cotton Technique: double running embroidery stitch

Fragment of white-on-white embroidery showing an eagle, diagonal bands and flowers.
Textile
, 1700–1720
silk, metallic yarns Technique: satin damask with discontinuous supplementary weft patterning (brocaded)

Woven silk with vertical columns of elaborately curving scrolls in gold and silver metallic brocade with pink flowers on a blue damask background.
Fragment
, 18th century
linen Technique: bobbin lace (Valenciennes ground)

Symmetrical flowering vine and palmette design. Round mesh. Heavy thread.
Portrait of Jean Paul Marat
Louis Pannier, ca. 1800
Engraving on paper
Print

Full length portrait of the French revolutionary leader, Jean Paul Marat (1743-1793), shown standing at a lectern on a platform, pointing down with his right hand and looking over his left shoulder. He wears a flowing stock and fur-trimmed coat.
Vases, from Le Blanc 4.
Mauro Antonio Tesi, Italian, 1730 - 1766, ca. 1750
Etching on laid paper
Print

From Le Blanc 4. A: Three metal flower vases. At left: with chimaeras and ram heads supporting festoons of beads. Center: with female heads in escutcheon, and swans as handles. At right: with harpies, and dolphins as handles. B: After Stefano della Bella. At left: the vase with the swans from V1049. Center: the vase with the children's masks, from V1050; at right: the vase with the procession of women and the bunch of leaves from V1050. The sketches at the lateral edges of V1049 are copied. An urn with a fire is sketched in the first interval.
Altar
Angelo Michele Colonna, 1600–1687, 1650–75
Pen and brown ink, red, black chalk, brown wash on white laid paper
Drawing

Left and right half of alternative designs are united. Scroll frame of a painting. Wall panel at left shows an ovoid topped by a shell over a table. At right a flower vase stands on a pedestal before a curtain. Bottom: left half shows an ovoidal framing: the right a frame with architectural forms. Two angels are before concave dado. Flower vase stands on a balustrade at the right. At left: two rough sketches for angels
Pleated fan
, late 17th–mid- 18th century
Front and back leaves of fine parchment with pen and ink drawing, carved, incised and pierced ivory sticks with mother-of-pearl inlay, glass stone at rivet

Pleated fan. Parchment leaf with pen and ink drawing showing bacchanalian scene of the drunken Silenus, a figure connected with Dionysus and vintage festivals, lying in the company of his retinue. Reverse: strap ornament and drapery in black line with hatching and black border. Incised and pierced ivory sticks with rococo scroll work and mother-of-pearl inlay. Glass stone at rivet.
A Bishop with his Entourage
, 1780
Etching on paper
Print

An illustration for some publication. A bishop followed by several persons enters what is possibly a church.
Textile
Schwartz-Huguenin, mid-19th century
Madium: cotton Technique: printed by engraved roller and block printed; glazed

Two samples with same ground design, printed in different color patterns. Ground, broad grey stripe of minute wavy lines alternating with white stripe with foliage edge. A) Sprays of lilac, azalea and asters in violet. B) Same flowers in grey. Glazed.
Drawing
Paolo Posi, Italian, 1708 - 1776, 1775
Graphite, gray wash Support: laid paper

Horizontal rectangle. The ground floor has rustic work with horizontal joints. The main floor has an Ionic order. The central part is somewhat projecting. It contains in the ground floor three arches to which three steps lead up and in the upper floor three windows. Laterally is a window in each floor. Above the entablature of the upper floor are in the center a third floor with three windows and laterally balustrades with trophies upon pedestals at the corners. Above the entablature of the third floor is a straight pedestal with two sitting genii in the center, who support a royal escutcheon in front of a trophy. Laterally are four statues. At left of the house is a fountain with a statue of Poseidon sitting; at right is one with Apollo sitting. Groups of men are beside the left fountain upon steps, and in front of the house. A wheel-barrow man carrying stones is in the foreground at left. Trees. Framing line and stripe of brown ink.
Trimming
, 18th century
silk Technique: supplementary warp pile in a satin foundation (velvet)

Trimming fragment of narrow panel of white satin ground with central yellow satin stripe.  Over this is velvet in geometric zigzag in pink and black.
ornaments [3]
, late 19th century
jet

/-c /: u-shaped pins - /-d /: buckle  /-h /: hair ornament of jet-tipped wires
Album of Prints: Book of Andirons and Ofèvrerie by Jean Cotelle, the Elder
Jean Cotelle, French, 1607–1676, 1622-1676
Album

Album of prints containing two volumes of the six prints of the Nouveau livre de chenest et autre ouvrage d'orfevrerie by Jean Cotelle the elder.
Box and game pieces
Marten de Vos, Flemish, 1532-1603, late 17th century
Engraved and stained ivory

Game-counter box, rectangular, with yellow- and green-stained hinged cover showing female figure representing Africa, holding parasol and tambourine, seated on a lion-drawn chariot. Inside, game counters. One of a set of four boxes (1960-1-13-1a/v / 4a/v).
Allegorical Figure of "America"
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-d: Allegorical figure of "America" with animal attrib...
Allegorical Figure of "Asia"
Royal Porcelain Manufactory, Berlin, German, established 1763, ca. 1770
hard paste porcelain, vitreous enamel, gold
figure

1960-1-44-a: "Asia" standing female figure, wearing turban and ...;     1960-1-44-e: a) "Asia" standing female figure, wearing turban a...;     1960-1-44-f: a) "Asia" standing female figure, wearing turban a...
Textile
, 1800–1850
Printed by engraved roller on cotton plain weave.

Two scenes, both captioned in French, illustrating the difference between two days of marriage and two years of marriage with a couple prominent in each scene. In brown on white.
Fragment
, 17th century
silk Technique: 5-harness satin damask

Red damask showing part of a vertical symmetrical repeat in medium scale with stylized central tulip, rose, and pomegranate flora and flanked by two birds.
Sketchbook Page: Female Nude
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on paper
Sketchbook folio

Sketch of a standing female nude, turned slightly to the left, with right knee slightly bent and right arm held away from body.
Sidewall
, 1875–1900
Machine-printed

On metallic gold ground, large fantastic flowers with feathered and plume-like leaves in tan and white.
Countryside with Trees and Haystacks
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

View of field with haystacks in center. Behind haystacks, a large tree. Further back, trees on horizon at left and right.
An arch
J.D. Woodward, 1894
Pen and ink on paper
Drawing

Vertical rectangle. A semi-circular opening, supported by columns bearing capitals in the Corinthian style. Various classical borders make up the arch itself. Rosettes, upper left, upper right surmounted by a frieze, including a wide rinceau border.
Textile
, 1850–99
cotton Technique: discharged and printed by engraved roller on plain weave

Glazed printed cotton with a dark brown ground and an all-over design of natural-size roses and cornflowers, in strong acid yellow and blue.
Textile
, 19th century
cotton Technique: printed

Fragment in light brown printed with a stylized leaf design in brown and red in a small allover pattern.
Ceiling paper
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper, liquid mica

Yellow roses on stems are scrolled and form a circle, with each of these floral wreaths separated by a framework resembling moire. Small floral sprigs are scattered throughout. Printed on light colored ground.
Chintz fragment
, 18th century
cotton Technique: mordant for 3 reds applied by brush or pen following pattern outline; madder dyed; blue applied by immersion after application of resist; chintz on plain weave

Diamond lattice with beads and ovals with isolated motifs in the center of each space. Although motifs are reused there is no formal repeat.
Frieze
Wm. Campbell Wall Paper Company, 1872, 1905–1915
Machine-printed paper

Floral bouquets, alternating large and small, each enclosed in a foliate medallion. Trellis design and smaller bouquet beneath each tall bouquet.
Small Fishing Port
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on cream paper
Drawing

Sailboats foreground, and rowboats. Houses, beyond, with trees and a ridge in back.
Sketch in Bayeux
Arnold William Brunner, American, 1857–1925, 1883
Graphite and white heightening on brown paper
Drawing

Two shop doorway on a street. Figure in one at left. Right shop window, flowers on window sill.
Crane Hunt using Cones, plate 28 in the Venationes Ferarum, Avium, Piscium series
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or after
Engraving on paper
Print

Horizontal rectangle. Trapping the long-necked bird by means of placing cornucopias in holes in the ground; the cornucopias are probably filled with bait. Several of the birds, rendered helpless by the hoods, are shown in center. Trappers behind tree, right. On rock, near lower right: "Ioan. Stradanus invent. / Carol de Mallery Sculp. / Phls. Galle excud." Below: "AUCEPS E CHARTIS COMFECTOS ARTE CUCULLOS..."
Border
, 18th century
cotton, silk, metallic thread Technique: deflected element work and embroidery

Long narrow border of very fine white cotton ornamented with drawn work, embroidery in white, gold thread, black silks and gold fringe at bottom set onto narrow brocaded ribbon on top. Design consists of a double-headed eagle between peacocks with small birds below. Bodies of birds and wings worked in a great variety of designs in very fine drawn work, geometric patterns, embroidered over in white, outlines in gold thread, bird's eyes in black silk. Seven repeats of this group and in each one drawn work designs are different.
Sidewall
, 1850–1900
Block-printed and flocked

Large-scale diaper pattern in Rococo-revival style. Inside the diaper is a floral bouquet. Printed in green on white satin ground.
Sidewall - fragment
, 1820–50
Block-printed on joined sheets

Stripes of alternating predominantly black & white amoeba shapes with scalloped dots, fragmentary stripe of vertical series of tiny leafy sprigs.
Sidewall
S.A. Maxwell & Co., 1900–12
Machine-printed

Roses in shades of yellow with pastel green foliage, silvery mica scrollwork over alternating pink and maroon stripe.
Plate VIII, from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Man at right working on a wood turning lathe. Treadle on floor connected by rope to string of a bow, upper left, on ceiling. On shelf, upper right, more spools for turning. Grinding pieces with blades on wall. Man holds a section of a bow. Description in Latin on verso of 1949-152-205.
Fragment
, 17th–18th century
silk Technique: plain compound weave

Subtle striped effect in gold, green, pink and orange. Pattern structured around a grid with bars interrupted with dots and flowers. Within each area of grid is a stylized floral shape with flowers and interlacing scrollwork.
Fragment
, 18th century
silk Technique: 4&1 satin damask

Vertically symmetrical design of fruit, small flowers and large leaves in cream-colored silk.
Tablespoon with Scrolling Acanthus Leaf Handle
, ca. 1680–90
silver
spoon

Oval bowl with reeded rattail and stylized scrolling acanthus leaf lace back design. Handle decorated with scrolling acanthus leaves set upon hatched background on both obverse and reverse sides. Terminating in oval cartouche, blank on obverse, with 'RA' monogram on reverse, and a trefid shaped terminal.
Fragment
, late 17th–early 18th century
linen Technique: raised needle lace

Border fragment of Gros Point de Venise in a large floral and foliated serpertine design. Pattern outlined by cordonnet and connected by brides picotées and interspersed by portes and gaze quadrillée.
Architectural Corbel – Orléans
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Architectural console or corbel, ornamented with faces. Center left, seen from the side; seen from the side, right.