biglam/cooper-hewitt-alt-text huggingface dataset:
Fragment
, 12th–13th century
silk, metal-wrapped silk core Technique: compound plain weave

Design of two tangent roundels in gold, framing confronted seated figures, each holding a tambourine; hanging lamp in between. Faces are white, hair or caps are red, robes are blue-green with cross-shaped pattern in gold. Interstice, above, gold roundel framing interlaced ornament, blue star center.
Frieze
, 1905–1915
Machine-printed paper

Printed two across. Landscape frieze with harbor view, boats, and lighthouse. Houses and trees on island or peninsula.
Band
, 16th century
silk of many colors, gold metallic foil wound onto yellow silk, silver metallic foil wound onto white silk. Technique: needle lace, metallic

Border of gold metallic lace with colored silks in a pattern of floral and foliated forms and animal images. Gold is wound around a linen core to create a metallic thread.
Chasuble
, mid-17th century
linen Technique: needlework on knotted net

Front and back panels for a chasuble in a similar design. On front panel, the names "Antonius" and "Matthaei," while the back panel has an image of Saint Barbara holding an architectural structure in her right hand and a palm leaf in her left. There are areas of identically composed design on both panels with pairs of winged putti and angels set within a large-scale arrangement, emerging from an urn of floral and foliated scroll pattern, surrounding a large medallion which contains a floral spray.
Border
, 1805–30
Block-printed on handmade paper

Design consists of two bands of varied patterns. The wider top band alternates stylized daisies with stylized floral embellishments centered on quattrefoils. The bottom band contains two rows of "bricks" decorated with a diamond pattern. Printed in light green, yellow, gold, brown and white.
Iris Reticulata, from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Iris Reticulata" from A. C. Van Eeden's "Flora of Haarlem."
Lock with backplate, key
, 1724
Gilt iron

Pierced scroll rectangular plate surmounted by the date 1724, the lock on left lower side.
Design for Textile or Wallpaper: Butterflies
, 19th century
Brush and gouache, graphite on cream paper
Drawing

Square composition at center of page with butterflies and moths of various colors and sizes flying in different directions.
Vase (One of a Pair)
Minton Ceramics Manufactory, English, established 1796, ca.1870–1875
porcelain (possibly bone china), vitreous enamel, gold
vase

Cylindrical shape with long neck, flaring mouth and flaring cylindrical foot; two applied, gilt handles on neck, modelled as prunus branches; grey ground decorated with flying cranes in low relief in white slip, and with gilt oriental and arabesque designs with some touches of black.
Cushion cover
, 1800–1815
cotton Technique: supplementary warp pile (velvet), printed

Cushion cover of printed cotton velvet showing a woman in Directoire dress and bonnet, leaning on a parasol. In shades of rosy reds and tans on a blue-green ground, with narrow scrolling acanthus border.
Fragment
, 17th century
silk on cotton Technique: embroidered on plain weave

Textile fragment with yellow silk embroidered on a natural cotton ground. Design showing three horizontal bands of scrolls,  a double-headed eagle, dragon-headed scrolls, perching birds, hunters with muskets, and men on horseback.
Border
, late 16th–early 17th century
linen Technique: grid of laid cords with needle lace (reticella style), edge of punto in aria

Border of single squares edged on one side with triangular, rounded pendants. Modes: portes, brides.
Frieze
Illinois W.P. Mills, 1900–10
Machine-printed

On frieze, gray-green patterned ground, floral swag of metallic gold and bronze interspersed with water lilies on water-like ground; upper half consists of sinuous stems and flowers in bronze and gold.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a horse, facing away from the viewer.
Bed hangings
, late 17th–early 18th century
Technique: embroidery, tent stitch

Two sets of curtains and six valences (three for bed and three for tester.) The design is one of cartouches of genre scenes alternated with grotesques and strapwork in bright colors on an off-white background.
Textile
, early 18th century
silk, metallic thread Technique: compound satin weave with supplementary weft

Continuous symmetrical design, vertical and horizontal, of a decorated urn shape rising out of a bunch of flowers and joined to next by dropped handle with "bizarre-type" animal face. Various chinoiserie fillings, "bizarre-style" details. In bright green, yellow, and various metal threads on a red ground. One narrow cloth selvage.
Border
, 18th century
linen, cotton Technique: bobbin lace (Valenciennes style)

Border of a garland intersected at intervals by small floral bouquets.
Book with embroidered cover
, 1639
paper, silk, metallic thread Technique: embroidered

Book of Psalms with an embroidered of a tulip in a gold frame.
Embroidered picture
, ca. 1790
silk embroidery on silk foundation Technique: embroidered in stem, daisy, speckling and running stitches on plain weave

Oval picture within a rectangular frame of a mill on a mill pond with a town in the background and fishermen in front, in black on cream foundation.
Louis XVI Pattern Butter Spreader
Joseph E. Birmingham, ca. 1909
silver
knife

Integral construction, wide flat curved blade, widest at rounded point, with notched outer edge. Stepped shoulder, flattened handle of rectangular section, ending in shouldered, rectangular fiddle terminal embossed with oval wreath with ribbon bow, enclosing monogram.
Chintz
, 18th century
cotton Technique: mordant painted and dyed plain weave cotton

Tree trunk with exotic blossoms and birds. Part of a larger piece.
False Perspective Exemplified
Samuel Ireland, English, ca. 1744–1800, 1754
Etching on paper
Print

A river landscape with a bridge and an arch. The bridge and tower drawn in wrong perspective. At right foreground, a tree, hills in background.
Fragment
, ca. 1835
cotton Technique: roller printed

Fragments from a dress. Semi-transparent cotton with self-stripe printed with scattered, widely-spaced naturalistic rosebud in multicolor. Three blue threads in selvages.
View of Harbor Inlet with Village, perhaps Portree Harbor, Scotland
William Trost Richards, American, 1833–1905, ca. 1880
Graphite on white wove paper, lined
Album page

Water lapping on rocks in foreground with village on two shores in middle distance.  Hills and mountains in far distance.
Brisé fan
, late 18th–early 19th century
Metal filigree sticks with polychrome enamel, molded and engraved metal guards, silk ribbon

Brisé fan. Metal filigree sticks with polychrome enamel. Guards are solid metal molded with landscape, figures and engraving.Green connecting ribbon.
Darning sampler
, 1843
silk embroidery on cotton foundation Technique: embroidered in running and cross stitches on plain weave foundation; hemmed with overcasting over withdrawn element work

Eight darning crosses, central patch "darned" and two rectangle cuts mended.
Sunset over the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing a view of a cloudy sunset over the Catskill Mountains, as viewed from or near the artist's estate in New York known as Olana. In the foreground, a dark and loosely rendered hill gently descends from left to right, while a rolling and lush landscape extends through the middle distance. In the background, the lavender-gray silhouette of the Catskill Escarpment faintly emerges from a mass of clouds that obscures the range entirely at left. The golden glow of the setting sun brightly illuminates the clouds at center right, while tinging the clouds above in red. At upper left and upper center, patches of blue sky are visible through the clouds.
Sidewall
, 1750
leather, silvered, varnished and painted

Vining floral design on textured ground.
Trimming
, 19th century
silk Technique: woven

Red trimming fragment in a design of a conventionalized flower placed alternately up and down and separated by diagonal bands; borders in pattern of triangles.
Arabesque Design
Etienne de Lavallée, French, 1735 – 1802, 1788
Etching and aquatint on laid paper
Print

Arabesque ornament design with neoclassical motifs featuring vases, flowers, festoons of leaves, flowers, and fruit, mermaids, masks, fleurons, scrolling acanthus leaves, and rosettes. The plate is numbered and signed.
Design for the Decoration of a Panel
Giuseppe Barberi, Italian, 1746–1809, 18th century
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Roundel with a Sybil (?), grotesques for the decoration above the mirrors, noble cabinet, Palazzo Altieri.
Jerusalem from the Mount of Olives
Frederic Edwin Church, American, 1826–1900, April 1, 1868
Oil and graphite on paperboard
Drawing

Study for the finished painting, "Jerusalem from the Mount of Olives." In the foreground, the nearby slope of the mount is shown with three olives trees and a figure sitting on a stone at lower left. In the middle distance, across the Valley of Jesophat, the city of Jerusalem is prominently shown. Beyond the city walls, the Dome of the Rock is notably visible atop the al-Aqsa Mosque and Temple Mount. Behind, the numerous roofs of city buildings extend to the horizon and reflect the sun's glow. Above, thick, billowing clouds part at center, allowing the sun's light to cascade over the city.
Door Wall Elevation of the Noble Cabinet, Palazzo Altieri
Giuseppe Barberi, Italian, 1746–1809, 1789–1793
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Door wall elevation.
Fragment
, 17th century
silk and linen Technique: 7/1 satin weave plus 1/7 twill weave (damassé) Label: Silk, linen compound satin and twill weave

Yellow and green fragment with a swan and water motif.
Family of Rabbits
Jean-Baptiste Huet, French, 1745 – 1811, 1772
Crayon-manner engraving in red ink on paper
Print

Parent rabbits and three young nibbling on leaves.
Botanical Sketch of a Palm Tree, Ecuador
Frederic Edwin Church, American, 1826–1900, May–August 1857
Graphite on off-white wove paper
drawing

Botanical sketch of a small palm tree in Ecuador. Fronds radiate from the top of its short trunk, fanning out vertically.
Erminia and the Shepherd [above]; Atalanta hunting the Calydonian Boar [below]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1596 – 1600
Recto: pen and brown ink, brush and brown wash over black chalk on laid paper Verso: pen and brown ink on laid paper
Drawing

Recto, above: Landscape with a man sitting under a tree, holding a vessel on his lap. His horse is tied to another tree at right. A woman identified as Erminia stands before him wearing a sword. Recto, below: In the foreground at center, the Calydonian boar stands over a fallen warrior. Atalanta stands at left, firing her bow. 

Verso: Above is a small sketch of an escutcheon surrounded by loosely indicated figures, topped with a crown, the whole raised on two steps. The surface of the shield is blank. At center is a bank of scrolling ornament with a breastplate and helmet at the middle. Below is a close-up study of a bird's foot with talons and with scales. Along the left margin is a partially illegible Dutch inscription.
Scene of Roman Soldiers
, 1775–1800
Pen and brownish-black ink, brush and gray wash on cream paper
Drawing

Interior scene of ancient Roman temple. Three figures in military garb. On right, soldier taking or stealing idol helped by a man in freemen's clothes; on left, soldier pointing at thief with a second figure, while third soldier lies injured on the floor with helmet off.
Mount
, early 19th century
Brass

Polygon with straight lower edge, with repoussé decoration showing Venus, with veil over her head, posing for a drawing done by a woman to the left, and a painting by a woman to the right.
Design for Decoration, Tomb in Wood
, ca. 1800
Pen and bistre ink, brush and wash on paper
Drawing

Horizontal rectangle. View through arch of wooded area with tomb at right, richly decorated sarcophagus of distinguished officer. Hat, sword, and sash on top of tomb. At center, large incense burner with clouds of smoke emanating towards monument. At left, a figure in mourner's hood cradles child and contemplates sword on ground, inscribed "MARENGO."
Design for a Chair
Jean Démosthène Dugourc, French, 1749–1825, 1790
Brush and watercolor, grey wash, pen and black ink on white laid paper
Drawing

Side chair, elongated seat upholstered in purple, bordered with leaf motifs on pink and white stripe. Sloped back, suggesting a reclining chair, upholstered to match the seat.
Guéridon propre à porter des torchères
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a pedestal for a two-arm candelabra, decorated with ornament motifs including a vase, ribbon twist, acanthus leaves, mascarons, fluting, a guilloche with rosettes, banded leaf. The plate is signed.
Nouvelle suite de cahiers chinois a l'usage des Dessinateurs et des peintres", no. 2
Jean-Baptiste Pillement, French, 1728–1808, 1790–1799
Etching with colored inks à la poupé on off-white laid paper
Print

Irregular cartouche with figures fishing at center in an exotic landscape surrounded by flora and open air structures.
Roundel
, 19th century
silk and metallic embroidery on silk foundation, paper backing Technique: embroidered in satin, knotted and couching stitches Label: satin, knotted and couching stitches using silk and metallic thread on silk foundation

Roundel with a young lady seated in a garden surrounded by flowering trees. In polychrome silks outlined in gold metallic embroidery.
A Country Estate, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Brush and oil, graphite on paperboard
Drawing

Landscape and architecture sketch showing view of country estate in the Blue Mountains of Jamaica, likely the home of English governor, John Edward Eyre, known as Flamstead. Estate characterized by white-walled structures, central courtyard, and bilateral symmetry. A palm tree frames the scene at left. View beyond of the deep red sky at sunset over a mountainous landscape.
DIVERS FRAGMENS DARCHITECTURE
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a pediment decorated with a band of bound leaf and rosette and a carved trophy over the pediment featuring a helmet, flags, shields, an ax, and a frame of egg and dart. The plate is signed.
Pleated fan
, ca. 1855
Gilded paper leaf with hand-colored print, carved ivory sticks, mother-of-pearl washer

Pleated fan. Gilded paper leaf with hand-colored print showing pastoral scenes with people in eighteenth century costume. Ivory sticks carved in floral and diaper designs.
Steeple in baroque style in the style of Borromini
Giuseppe Barberi, Italian, 1746–1809, 1796
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Below is a part of an entablature. The scheme of the steeple follows in a general way that of the Sapienza Statues of angels stand upon pedestals obliquely in front of the dado of the first story. In front of its central part two figures support a circular medallion. At right is a part of the plan of the upper story. Colored background.
Environs de Rome
Charles Melchoir Descourtis, 1753–1820, 1784
Engraving in color ink on paper
Print

In foreground at right, ruins of an Ionic temple with three girls, a boy and a horse in front of it. In distance, left, a pyramid and colliseum.
Winter Scene
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

A bright blue river contrasts with the freshly crisp whiteness of snowfall. The bridge shows scenes of light traffic with signs of snow still covering the footpath. The winter has not stopped workers from continuing — long ripples trailing along the river and other ships sailing closer inland.
Musician playing the violin
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a male figure playing the violin.
Juno, Mercury, and the Slain Argus
Jan Luyken, Dutch, 1649 - 1712, 1650–1700
Red chalk, pen and ink, brush and bistre wash on paper
Drawing

Mercury raises the head of Argus with his left hand, addressing himself to Juno whose peacocks stand before her. The corpse lies in the foreground.  Framing lines.
Title Page
Jean Claude Thomas Duplessis, French, 1730-1783, 1775-1780
Etching on paper
Print

Lidded vase with two small scroll handles. The vase has a long neck with a large oval medallion, on which is inscribed the title of the series and the location of Duplessis Fils' place, and which has a garland of flowers draped over it. The vase is elevated on a platform with shrubbery nearby, and with indication of trees in the background. The plate is signed but not numbered.
La veuë du pont de Rouen
François Lefebvre, French, active 1631–1676, 1650-1665
Engraving on laid paper
Print

Plate divided in two. The top half features a jeweled dragonfly surrounded by a wreath of flowers. The bottom portion of the plate features a view of the bridge of Rouen with surrounding scenery and figures.
Design for Ceiling Ornament
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1731–68
Engraving on paper
Bound print

Design for a quarter of a ceiling. At lower right corner, a hunting trophy composed of a horn, fox (or other animal?), and a rifle, suspended by a ribbon wrapped around the leg of a putto figure above, who is seated upon a cloud along with two other putti, one of whom holds a bird on a string. At lower left, a bust of a figure on a plinth emitting rays of light. At upper right, a symmetrical cartouche with a staff at center. Ceiling medallion at upper left.
Fragment
, 18th century
silk; tempera Technique: painted on plain weave

Three fragments of white silk grosgrain with polychrome tempera design alternating large-scale floral sprays and long delicate trailing flowering vines.
The Lazy and Weak-Minded, Illustration for "Königl: Grosbrit [anische] Genealogischer Kalender auf das 1780 Jahr Lauenberg bey J.G. Berenberg"
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, 1779
Stipple and line engraving on paper
Print

A young man talks to a fat man seated on a bench beside his back door. A flock of geese is in the foreground. The poem reads that the man has the qualities of a goose, but that he will have a long and pleasant life.
Superbe POELE formant meuble et décore, multipliant les tuyaux de chaleur par le même proceed que celui du No. 6; pouvant s’ajuster devant une glace; que l’on peut renvoyer par un bouton, dans une boiserie à coulisse, et qui peut découvrir une croisée, dont la situation offre une belle vue. Il est impossible de décrire tous les changemens et avantages dont ce Poële est susceptible.
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching and hand colored watercolor on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form of a framed mirror with a mantle clock and pedestal decorated with a repeating diaper pattern of rosettes and classical figures, with by repeating pattern moldings of leaves, egg and dart, and corbels, along the top and bottom. A clock on the pedestal, decorated with the figure of the winged Father time holding a scythe, and a boy, with festoons of flowers, around the clockface. The clock is flanked by two columns, supporting an arch of flowers, with festoons of flowers intertwined, and a blank framed panel behind. The plate is signed and hand colored in watercolor.
Ceres
Felice Giani, Italian, 1758–1823, ca. 1810
Pen and brown ink over traces of graphite on cream laid paper
Drawing

Ceres shown sitting upon chair, holding with her right hand cornucopia and with left, reins of pair of snakes. Lion stands at left.
The Drawing Academy of Francesco Rosaspina
Giulio Tomba, Italian, 1780 - 1841, 1811
Etching with engraving on paper
Print

Most of the artists are seated at a long table stnading under the lighted lamps. Others stand behind it. a single one sits i nthe corner of the right foreground. A group of women and a child are at right; a woman, evidently the wife of Rosaspina, sits spinning, at left.
Portrait of a Man with a Fur Cap
Giovanni Benedetto Castiglione, Italian, 1609–1664, ca. 1660
Etching on paper
Print

Portrait of a male figure in profile, facing left. He wears a fur cap and coat and has a long beard and hair.
Encensoir
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for an incense burner decorated with ornament motifs including scrolls, gadrooning and cherub heads upon a cloud. The plate is signed and numbered.
Ironwork Gate and Screen Design
Jean Tijou, French, active 1689 - 1712, 1693
Etching on laid paper
Print

Design for an ironwork screen with gates for the Fountain Screen at Hampton Court Palace (London, United Kingdom) with floral vase finials, scrolling leaves (rinceaux), foliate scrolls, rosettes, shells, masks (mascarons), harp, festoons, flowers, and fruit. The plate is numbered and signed.
Decoration of a Dado
, ca. 1775
Black chalk, pen and ink, brush and watercolor on paper
Drawing

Horizontal rectangle. Pilasters decorated with guilloche with rosettes. Between these, panels with floral ornament. Suggestion of marble below.
Calèche à Bancs
Jean-François Chopard, French, active 18th century, ca. 1750
Engraving on paper
Bound print

Plate 6, Folio 6 of a series of 13 prints of designs for carriages or coaches. Horse-drawn carriage decorated with rocaille motifs, shown in elevation, with details of the various parts at upper left and upper right. The body of the carriage is open with various panels decorated with ornate marquetry and inlay.
Design for the Embroidery of a Man's Waistcoat of Pattern No. 1216 of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on grayish paper
Drawing

Five suggestions are made for the outer border. Two of them show chain motifs, one a zigzag motif, another one a string of beads with leaves, the last one a row of feathery lozenges. Stray pattern of four alternative designs is shown, one of them is connected with leaf boughs.
Title Page
François Boucher, French, 1703–1770, after 1751
Etching on laid paper
Print

A pastoral scene with two women and two putti in a landscape. Two half-dressed women sit by the side of a river or stream, dipping their feet in the water, one has her arm around the other. In the water to the left, two winged putti play with a swan in the reeds. A basket of flowers to the left of the couple, with trees behind them and a quiver of arrows and a bow in the foreground, to the right. The title of the series is lettered above. The plate is numbered and signed.
Bag
, mid-19th century
silk, glass beads Technique: beaded crochet

Ladies bag crocheted in bands of gray, yellow and tan silk with glass beads, strung on silk and used as tassels; crocheted cord at top.
Border
, early 19th century
linen Technique: bobbin lace, Mechlin style

Mechlin border with the upper part showing floral sprays and leaf ornaments with little squares sprinkled over the field. The lower part has an openwork band with medallions and a scalloped border of pendant flowers.
Woman
Robert Frederick Blum, American, 1857–1903, 1881–1883
Graphite on paper
Drawing

Sketch of a female figure.
Design for Brooch with Palmette and Escutcheon
, 16th century
Pen and ink, brush and watercolor, sepia on paper
Drawing

A palmette framing an escutcheon, mainly formed by two upright volutes and containing a diamond. Bends of diamonds are in the intervals of the leaves. Pending are three pear-like diamonds.
Armchair
Giuseppe Barberi, Italian, 1746–1809, 1780–90
Pen and brown ink, brush and brown wash, on off-white laid paper
Drawing

Frontal view of a chair. The arms and legs are slightly curved, the back is divided in two halves- the upper padded and trapezoidal, the lower rectangular, with a caned inner oval.