biglam/cooper-hewitt-alt-text huggingface dataset:
A Naiad (Woman Stepping into a Bath)
Francesco Bartolozzi, Italian, active England, 1727–1815, 1802
Stipple engraving on paper
Print

A woman balanced at the edge of a bath, about to enter, Her right foot is on the urn, which is pouring in the water. Below, the artists' and publisher's names, date of sculpture, date and place of publication, title and inscription.
Moonlit Coast, Mt. Desert Island
Frederic Edwin Church, American, 1826–1900, possibly September 1860
Oil on paperboard
Drawing

Landscape sketch showing a view of the full moon illuminating a cloudy night sky above Frenchman's Bay off the coast of Bar Harbor on Mt. Desert Island, Maine. In the foreground, dark and shrouded terrain descends slightly to the left as it extends into the middle distance, where the bay brightly reflects the moon's silver light. In the background at left, the tapering point of Schoodic Peninsula is visible at left. Above, bands of puffy clouds luminously glow as they are backlit by the full moon.
Square from hanging
, 3rd–4th century
medium: Warp; S-spun linen. Wefts; Z-spun linen, Z-spun wool Technique:slit tappestry with supplementary weft wrapping and supplementary loop in a plain weave foundation.

Ride on prancing horse with spotted feline in a circle within a frame of putti and animals.
Project for the Interior of the Sacristy of St. Giovanni de’ Florentini in Rome
Giuseppe Palazzi, Italian, 1740 - 1810, late 18th century
Graphite, pen and ink, brush and watercolor on paper
Drawing

Section. At left is a door opening. At the opposite wall is a cupboard. The long wall is subdivided into three bays with pointed vaults. In the two on the right are landscape paintings with benches below them.
View of the Palisadoes and Kingston Harbor from Bellevue, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of the Palisadoes and Kingston Harbor from the mountain hamlet of Bellevue, Jamaica. Treetop visible in foreground at right. In middle distance, mountain ridges at right and left converge in a steep gully at center left. Long Hill is visible behind these ridges. Beyond, the long and narrow form of the sandy tombolo called the Palisadoes extends into the Kingston Harbor at center and center right. In the background, the Jamaican coastline and sky above are visible.
Fragment
, 14th century
silk Technique: plain weave patterned with plain weave

Small scale tree with affronted lions in yellow and rose.
Textile
, 1818
cotton Technique: printed by engraved roller on plain weave

Architectural scene with trees and clouds. Printed in mauve on tan background. Signed MAADER SCULP.
Fragment
, 13th century
silk, linen, metallic Technique: 2/1 twill with complementary wefts and inner warps

Paired addorsed lions within squares. Fragment cut on bias.
Section of an Ornamental Panel
, 1750–1775
Brush and watercolor on paper
Print

To be continued at top and bottom. Beneath an arch composed of scroll and plant motifs with a Chinese mast at top center are trellis arcades, trees, and flying birds. A candle bracket originating from each lower corner. Head and shoulders of a boy beneath the left one. Bordering line.
Design for Painted Decoration of a Wall
, 1820–40
Brush and gouache, watercolor, graphite on paper
Drawing

Three panels which show stilted arches formed by boughs and ornametal motifs on top are separated by two pilaster strips, which, standing upon a dado, support the frieze of the entablature. Staffs frame the strips which contain three vertical lines topped with a palmette. Larger palmettes, standing upon calyxes, also decorate the frieze.
Designs for Candelabra
Pierre Germain, French, 1703 - 1783, 1751
Engraving on laid paper
Print

Rocaille designs for two candelabra, with ornament motifs including scrolling acanthus leaves and flowers. The plate is signed.
Apron
, 19th century
linen, cotton Technique: withdrawn element with embroidery

White linen apron with drawnwork and embroidery in colored cotton.
The Virgin and Child Surrounded by Saints
Antonio de' Dominici, Italian, ca. 1730–after 1800, ca. 1759
Pen and brown ink, brush and wash, white gouache on blue-gray paper; verso: black crayon, brush and white gouache
Drawing

Horizontal rectangle. Sitting in clouds, surrounded by angels, Saint Joseph sits beside the Virgin Mary, bearing a standard. Mary holds the Christ Christ. Surrounding them are figures and cherubim seated on clouds. Verso: a study, roughly sketched in black crayon with white gouache, of the upper part of a man with outstretched arms shown in profile, turned toward right.
Cupid raising bunches of flowers with both arms
Paolo de Mattheis, Italian, 1662 - 1728, 1710–28
Red chalk, graphite on paper
Drawing

Cupid shown from the front, standing upon a base looking upward.
Mezzaro (shawl or headcovering)
, 19th century
cotton Technique: block printed on plain weave

Mezzaro in a multicolored design on a white ground.  Formed of three panels stitched together. Large-scale tree with a border of alternating bunches of fruit and vases with flowers.
The Holy Family
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Brush and dark brown watercolor on paper
Drawing

The Virgin sits at left, seen from the front, holding the Child in her lap. The scenery is a vaulted room. Joseph near two large logs. At left is apparently a smaller one and the branch of a tree. Framing line.
Two Waistcoat Designs
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Designs for two embroidered men's waistcoats decorated with floral (flowers) motifs. The design to the right has front skirts and both have pockets. The plate is titled, numbered, and signed.
Textile
, ca. 1790
cotton Technique: printed by engraved plate on plain weave

Printed length has a chinoiserie design showing groups of men hunting, fishing, shooting a bow and arrow, and transporting an animal carcass in a tarp. Stylized plants, floral forms, and a zigzagging decorative gate embellish the vignettes.
Textile
, 19th century
cotton Technique: printed by engraved copper plate on plain weave

Continuous meandering rose vine in blue on a speckled gray background. The repeat unit fills the full width of the fabric. Straight repeat.
Border
, 1810–1820
cotton Technique: discharge block printed on plain weave

White pattern on blue background of a floral stripe creating an hexagonal grid framing 8-pointed medallions. Printing goes over edge of fabric on one side.
Prints 1871 and 1872
Old Pacific Print Works, Lawrence, MA, USA, 1871–75
leather, paper, printed cotton textile samples
Printer's sample book

Entries range from 1871 through 1875. Small-patterned printed cottons. Natural and synthetic dyes.
Design for a Mass-Operational House Designed by Hector Guimard, Skylight Construction
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the construction of a skylight.
DESSUS DE CLAVECIN GRAVÉ D'APRES LE DESSEIN ORIGINAL INVENTÉ PAR WATEAU
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Design for the lid of a harpsichord with an oval vignette of a costumed man plaing the violin while a woman dances. Across the top is additional ornament with scrolls, monkeys performing human activities (singeries), dogs, birds, and vines. There is also another oval vignette of a young man and woman sitting and talking. The plate is signed.
Chef de piece
J.P.Meiller et Cie., 1792 – 1826, ca. 1795
cotton Technique: printed by engraved plate on plain weave

In red on white portions of two scenes: a naked sleeper being uncovered and a god holding a lyre and riding a dolphin.
Chef de piece
J.P.Meiller et Cie., 1792 – 1826, ca. 1795
cotton Technique: printed by block on plain weave foundation; different blocks for red and black

Large flowers alternate with ribbon-tied floral sprigs and torsades of 'folded' lace. Red and black on white.
Tapestry
John Crossley & Sons Ltd, English, 1850–1869, 1859–1869
worsted threads on linen Technique: adhesive

"Mosaic" carpet. Worsted threads glued on linen backing showing a scene of a reclining youth and two girl with birds on a rocky outcrop below ruins.
Fragment
, 18th century
cotton Technique: block printed on plain weave

Fragment with a design of a flower spray, a rose, foliage and smaller blossoms. Colors, now much faded, were red, violet, brown and mauve. Heavily starched.
Drapery Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Drapery in circular billows, especially to the left; larger below.
Design for Mantlepiece, from "Cheminées a la Modern"
Jean Le Pautre, French, 1618–1682, ca. 1660
Etching on paper
Print

A = Jombert 48,5. B: th overmantle shows gaines with half-figures of women holding a garland, which is suspended from the beak of an eagle, and flanking a circular landscape. Two children crouch beside a mask on a pedestal over the opening.
Seat cover
, 19th century
silk, wool Technique: plain weave with discontinuous wefts (tapestry)

Shaped panels for a seat cover. A, seat top, has a square center panel with an ewer, lamp and flute with garlands in blues, greens, golds, rose and gray on an ivory ground. Surrounded by a lavender border with a gold grape vine.  B, facing, has a grape vine in golds on lavender.
Fragments
, 17th century
silk, linen Technique: two integrated structures; 4&1 satin plus 3/1 twill

Chasuble fragments with design of cartouches and checkered escutcheons.
The Crackle, or Crow-Blackbird
Ernest Thompson Seton, American, 1860–1946, 1893
Pen and ink, grey wash, on illustration board
Drawing

The bird seated on a branch, facing right in profile.
Border
, late 18th century
linen Technique: needle lace

Design of ornamental scrolls and small conventionalized flowers forming a border with a motif of an upright stem with leaves and three small circles arranged in lines perpendicular to the border.
Fringe
, 17th century
silk, metallic thread (gold strips wound on a silk core) Technique: plain weave

Fringe with a plain weave heading, band in a trellis pattern with horizontal threads, and a skirt of twisted loops.
Band
, 17th century
linen, cotton, silk Technique: long-armed cross stitch embroidery

Design of leaves on angular stem, left in ground; embroidery in long-armed cross stitch forms background.
Study of Right Foot
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown paper
Drawing

Study of a right foot and ankle, from straight on.  Toes pointing towards lower left corner.
Drawing
Felice Giani, Italian, 1758–1823, About 1810
Pen and brown ink with brown wash (iron gall ink) and traces of graphite

V.R. Octagon ??? The two stand in a shell which is drawn by two sea horses toward left. A putto rides upon a horse. Two flying Cupids aim their bows at the couple who are accompanied by sea folk.
Fringe
, 16th–17th century
silk Technique: woven

Red and yellow fringe with a heading in a checkerboard pattern. Skirt threads are arranged in stripes.
Fragment
, 16th century
linen Technique: grid of laid cord with needle lace (reticella style)

Heart shaped design with little areas of relief throughout design.
Stage Design: A Banquet Hall
Giuseppe Galli Bibiena, Italian, 1696–1756, 1740–44
Engraving on off-white laid paper
Print

Horizontal rectangle. Three columned galleries, shown in deep perspective, come together in a large, domed, circular chamber in which five figures are seen seated at banqueting table. Musicians and servants in the background near service tables.
Trimming
, 17th century
silk, metal foil, metallic thread Technique: woven

Loosely woven in a design of lozenges set between borders formed by flat strips.
Drawing
Felice Giani, Italian, 1758–1823, 1810-1822
Pencil. Pen, ink. Brush, bistre. Rough greyish paper.

Horizontal Rectangle. She is shown kneeling in front of her bed. Two doves are at left, cupid beside a quiver at right.
Sleigh
, 1853–73
Painted tin, wire, artificial leather, satin
Miniature

Two-seated ivory colored sleigh with blue and gold trim, black and blue upholstery. Chassis of scrolled wires, runners, and small wheels, in red with yellow stripe. At front, an ornamented swan's head of gilded lead.
Lithophane of a Dresden Landscape
, 1825–1900
biscuit
lithophane

Horizontal rectangle with view of Dresden, in relief. In foreground, boats in the Elbe. Background includes bridge and tall buildings against clouded sky.
Band
, 10th–12th century
Silk, linen Technique: plain weave and slit tapestry

Geometric design in black and white.
View of Altenburg Castle
Christian August Günther, German, 1759 - 1824, ca. 1800
Engraving on paper
Print

View looking across a wooded landscape with a town in the middle distance. Beyond, the Castle of Altenburg, in Thuringia, south of Leipzig.
Sketches of Townspeople in Mont St. Michel and Vitré
Francis Augustus Lathrop, American, 1849–1909, January 20, 1892
Graphite and white heightening on light brown paper
Drawing

Sketches of townspeople in northwestern France in Normandy and Brittany. At left, a cook's stall. At right, busts of women and a child.
Fragment
, late 18th century
linen Technique: bobbin lace (Mechlin-style)

Scalloped border fragment with reserve areas of openwork along the edge. Floral spray design with heavy solid leaves.
Fragment
, 19th century
silk, gold foil on silk core Technique: plain twill with supplementary weft

Design of floral units brocaded in colored silk and gold and on a background design of undulating lines in gold. The ground fabric is in plain twill weave; it is tan and at top and bottom changes to brown and orange-red respectively. This change is produced by chine dyeing of the warps and change of color of wefts.
Pattern with uncompleted lace
, late 19th century
paper, wool, linen Technique: needle lace with ground of loop and twist with loop and twist return

Outlining thread is couched on pattern in design of a rose with bud and leaf, and a small five-petal flower with leaves. Part of the ground has been worked.
Tile
, 18th century
Tin-enamelled earthenware

Square tile with octofoil rosette centered with double walled circle enclosing landscape with shepherd and staff, facing right, in cobalt blue. Ground stippled manganese violet. Heart-shaped reserves at corners with short curved lines along one side.
Sidewall
, 1750–1800
leather

Vining floral design. Red flowers and blue flowers on intertwined vines. Painted on embossed surface.
Plate
, ca. 1763
Tin-glazed earthenware

Octagonal form with fluted rim with narrow green border; center decorated with three Callot-style figures and foliage in green and ochre on white ground.
One carries a flag with the words: Vive la paix.
Sampler
Unknown, 1790
silk, linen Technique: petit point tent stitch, cross and eyelet stitches on plain weave

Embroidered sampler with Adam and Eve under a heavily fruited tree, crucifixion with dripping blood, and the pious pelican pecking her breast to feed her young. Spot motifs include a camel and a basket of flowers. Cartouche containing the initials ACL Anno 1790. Alphabet bands run along the top and bottom.
Designs for Armchair Covers (Back and Seat)
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for upholstered armchair covers (for the back and seat) featuring floral motifs, festoons of flowers, baskets of flowers, ribbons, and scrolling acanthus leaves (rinceaux). Each design is labelled, the plate is numbered and signed.
Fragment
, late 17th century
linen Technique: bobbin lace, Binche style with no ground

Fragment of a band with flowers on a vine.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-cr: Aesthetic style design of dense all-over foliage w...
Cahier de six Feux de Cheminées, à l’usage des Fondeurs. Dessinés Par J. Fr. Forty, et Gravés par N. Foin
Jean François Forty, active 1775 – 1790, ca. 1780
Album

Album containing a series of six designs for andirons by Forty and engraved by Foin. This series is lettered ‘C' and is the third of eight series of designs by Forty, published by Chereau. Each plate is signed and numbered.
Button
, 19th century
Wood, paper and brass

1925-2-407-a: On card 5050
Ornament
, 1780–90
Block-printed

Lone figure of a putto or cherub. The figure is flying, carrying a green fabric garland and suspending a floral swag. Printed in colors on a light blue ground.
Box and game pieces
Marten de Vos, Flemish, 1532-1603, late 17th century
Engraved and stained ivory

Game-counter box, rectangular, with hinged cover showing crowned female figure representing Europe, holding sceptre and orb, seated on a horse-drawn chariot. Inside, game counters. One of a set of four boxes (1960-1-13-1a/v / 4a/v).
Sample Plate
, 1870–1890
porcelain, vitreous enamel, gold
plate

Circular plate, the white body showing progressive sections of decoration around the scalloped rim: a tan ground with applied interlaced curving blue bands, and gilt floral border; the well with a section of gilt, stylized floral decoration in the center; the gilt numbers "6" over "2605" written above the decoration.
Design for Sideboard with Six Drawers in Plan and Elevation
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Elevation view: rectangular sideboard with backsplash and 4 straight tapering legs [2 shown]; 2 large horizontal drawers center front, flanked by 2 doors and topped by 4 small conforming drawers extending across entire front.
Side view: rectangular silhouette.
NOUVEAU LIVRE de Principes d’Ornements Particulierement pour trouver un nombre infini de forms qui en dependent. d’Après les Desseins de C. Gillot Peintre du Roy. Gravé par Huquier
Claude Gillot, French, 1673–1722, 1749–61
Album

Album of a series of bifurcated grotesque/ arabesque ornament panel designs with a different design on the left and right side of the plate, with a title page and engraved text addressed to the reader, after drawings by Claude Gillot from ca. 1710-20, and published by Huquier in the mid-18th century.
Fragment
, 16th century
silk Technique: cut and uncut voided supplementary warp pile (velvet) in a satin foundation

Light brown velvet, cut and uncut, with a cream-colored ground in fan shaped motifs between horizontal zigzag bars.
New Hampshire Bird
, ca. 1810
Block-printed on handmade paper
Sidewall

In the center of a floral swag medallion perches a pink bird with green markings. Printed in pink, varnished green and white on deep blue ground. Two pieces of original document for "New Hampshire Bird."
Drawing Room St. James's, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Men in coattails and women in ball gowns, standing and conversing in a large room with red draperies and gilt framed paintings. Title, artists' and publishers' names below. Title, artists', and publisher's names below.
Sampler
Ramoncita Pita, 1861–1862
silk embroidery on cotton foundation Technique: embroidered in cross, four-sided cross, and running stitches on plain weave foundation

Alphabets, floral and geometric pattern bands, and spot motifs of animals embroidered in red with small touches of green and purple on a natural ground.
Sampler
, 1797
silk embroidery on linen foundation Technique: embroidered in counted cross, eye, and satin stitches on plain weave foundation

Bands of alphabets and numerals, 1797, then a record of the births in the Eaton family:
Job Eaton born May 26 1762/1765
Phebe Eaton born December 20
Sarah Eaton born November 22 1786
Job Eaton born January 21 1789
Moses Eaton born March 18 1791
Hannah Eaton born March 15 1793
Jonathan M. Eaton born June 10 1794
Hanna Eaton born January 27 1797
Ezra B. Eaton born August 24 1799
Wocester Eaton born December 17 1801

Bottom portion is incomplete. The sampler was begun in 1797, and added to in the early 19th century
Sketchbook Page: Letter about Refusal from Salon (Continued)
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Copy of letter about refusal from Salon (continuation from preceding page). 
Verso: Sketch of architectural design.
Ceiling paper
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, liquid mica

In Rococo style, seemingly random arrangement of scrolls and floral sprigs. Printed in colors on tan ground.
Sketchbook Page: Statue on Pedestal
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Recto: Sculpture of a figure on a pedestal, with urn and trees in background. 
Verso: Bust of nude woman, gazing toward the left.
Sidewall
M.H. Birge & Sons Co., 1834, 1900–1920
Machine-printed on ungrounded paper

Stylized floral and foliate design, printed in two shades of yellow green. Large-scale acanthus leaves form basket for floral bouquet.
Fragment
, 300 BC–100 AD
wool Technique: embroidered in stem stitch on plain weave foundation Label: wool embroidered with wool in stem stitches

a) Blue face with yellow eyes and sharp triangular teeth, elaborate ear ornaments. b, c, d, and e) Four small flying masked figures holding trophy heads.
Maximilian I
Victor Jasper, Austrian, 1848 - 1931, ca. 1880
Etching in dark brown ink on white satin
Print

Durer's 1519 portrait of the Emperor Maximilian I (1459-1519) in Vienna. The sitter seen frontally, turned one quarter to the left. He wears a broad-brimmed hat and holds a pomegranate in his right hand.
Details of Church, Stonework
Arnold William Brunner, American, 1857–1925, 1879–80
Graphite on paper
Drawing

Cornices from Notre Dame de Chartres, Semur and Soissons.
Pounce Pot (Sandstreuer)
Royal Porcelain Manufactory, Berlin, German, established 1763, ca. 1770
hard paste porcelain, vitreous enamel
pounce pot

Barrel-shaped pot with molded basket-weave border. Perforated top. Handle modeled to resemble a twisting vine with flowers. Body decorated with floral bouquet.
Box
, 19th century
Molded and carved tortoiseshell inlaid with silver and mother of pearl

Inlaid tortoiseshell with silver and mother of pearl
Matchsafe in the form of a domino
, late 19th century
Celluloid, vulcanite, brass

Rectangular, in the form of a beige domino game piece with ten black dots, four above black, incised, horizontal line in center, six below, with brass bolt situated at center of incised line. Sides and reverse are black, reverse inscribed "Bull & Bell Ropemaker, With E. Cuthbert's Compts." Lid hinged on left side, end protrudes slightly on right for thumb catch. Striker on left vertical side.
Transubstantiantion Satirized
Samuel Ireland, English, ca. 1744–1800, 1794
Aquatint on paper
Print

A landscape scene. On a cloud a Virgin with Child who bends over the hopper of a mill. Below a choir boy catches communion from the spout of the mill. A priest standing next to him gives it to two boys.
Advertisement for Hudson Clothier
, ca. 1880
Chromolithograph
Trade card

An arabian man standing with a long stick in front of a diamond shaped view of the desert and pyramids
Casket
, 17th century
Shaped and engraved tortoiseshell with applied pigment and repoussé silver (mounts)

Oblong casket with arched lid hinged at back; engraved decoration featuring birds amidst floral and foliate borders; silver mounts consisting of center lock in form of double eagle, corner and angle plates, loop handle at top of lid, and four ball feet.
Plate 14, from Livre de bijouterie (Book of Designs for Goldsmiths and Jewelers)
Léonard Thiry, Flemish, 1550, ca. 1570
Engraving on paper
Print

Design for two pendants. At left, a strapwork square flanked by masks and fruit. At center, an oval with classical figures. Above, a pearl hangs before a bearded mask. At right, two mermaids flank a central scene with figures standing under a tent, surrounding a smoking brazier. Above, two putti and a mask.
Study of Rough Waves on Beach
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Large, foaming waves breaking against small rocks in left foreground and a larger rock in left middle ground. Miscellaneous pen strokes in margin at right of image.