biglam/cooper-hewitt-alt-text huggingface dataset:
Distant View over the Blue Mountains, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing view overlooking the Blue Mountains of Jamaica. In the foreground, a green and brown mountaintop gives way to succeeding hillsides that descend as they extend toward horizon. In middle distance, a mountainside features roads--one of them leads to homes. At center right, a large prominence is visible. Beyond it, morning fog inundates a valley while distant mountain ranges and the soft gradient of the morning sky comprise the background.
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

Pear-shaped lace panels hang from every other point of an arched line, alternating with a leaf, and staggered in a bottom row.
Repose, from "Etchings of Pictures in the Metropolitan Museum, New York"
Jules Ferdinand Jacquemart, French, 1837 - 1880, 1871
Etching on paper
Print

Figures and cattle are shown in landscape.
On a Square in a Spanish Town
Constantin Guys, French, 1802 – 1892, ca. 1870
Pen and brown ink, brush and watercolor on paper; verso: graphite
Drawing

Vertical rectangle. Two women standing in the square of a town, church steeples and outlines of figures in the background. Both women have on very full gray skirts almost covered by shawls or mantles. The woman at left has an elaborate hairdress in Spanish style, the woman at right wears a scarf over her head. Verso: sketch of a woman, seen in left profile, bending over. A wall or doorway indicated at left.
Entablature in the Classical Style
Unknown, Italian, 1770–90
Pen and black ink, blue, brown, and gray wash, slight traces of graphite on white laid paper
Drawing

Depiction of a fragment of the right corner of an entablature, featuring a frieze with a ram's head in the center of symmetrical rinceaux on a blue ground.
DIVERS MOUTARDIERS
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Six designs for mustard pots with Empire style motifs featuring satyrs, putto, bird, sphynx, egg, hooves, stars, acorns, foliate scrolls, scrolling leaves (rinceaux), and rosettes. The plate is titled, signed, and numbered.
Desseins de Cartouches
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

First state of designs for cartouches. See 1921-6-285-105.
Design for Ceiling Ornament
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Rocaille design for two quarters of a ceiling with alternate suggestions divided by a central rosette.
Design for a Cartouche with Crayfish (Horizontal)
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

Cartouche with large crayfish dominating the central space. At top, elements of the chase: a hunting dog, a mandolin, a bow and arrow. At top center, a mask looking towards the sky. Clusters of grapes, leaves, and cascades of water at left and right of cartouche.
Design for an Altar
Leonardo Scaglia, French, active Italy, 1640 – 1650, ca. 1640–50
Pen and bistre, brush and wash on paper
Drawing

Right half of altar shown. In the center is a sculptural representation of the Adoration of the Kings. In the lateral compartment is a niche with a statue of Saint Roche. Below it is a relief of a female saint.
Ornamental Vase Design
Joseph Marie Vien, French, 1716–1809, 1760
Etching on laid paper
Print

Vase in the form of a pitcher. The spout of the vase is formed from an open-mouthed bird with wings stretched back. The bird has a garland looped around its neck, held by a triton who sits astride its wings. The vase has a body decorated with vertical gadrooning, and a tapered foot. The vase is elevated on a platform that extends to the edge of the image. The plate is signed and numbered.
The Annunciation
Giovanni Battista Tiepolo, Italian, 1692 - 1770, ca. 1734–1736
Pen and brown ink, brush and brown wash over black chalk on off-white laid paper
Drawing

The praying Virgin gazes at Gabriel kneeling and bowing low on clouds which cover most of the floor of the room. Cherubim surround the group with the Dove at top left.
Fragment
, 4th–5th century
Warp; S-spun linen. Wefts; Z-spun linen, Z-spun wool Technique: slit tapestry

A square, monochrome tapestry, depicting a hare within a scalloped frame.
Nudes
Manni, Italian, ca. 1721
Red crayon on brown paper
Drawing

a. A standing young man, seen from the back. Figure with legs standing close together, right arm raised. Head is only slightly indicated. 

b. A seated boy with raised arms and raised left leg. Figure with left foot standing higher than right. Seen from frontside. Outlines stabbed for copying.
Title Page
Gabriel Huquier, French, 1695–1772, 1738–49
Etching and engraving on laid paper
Bound print

Title page from a series of twelve designs for rococo ornament by Huquier. The title is lettered within a central cartouche framed by acanthus leaf fronds, c-scrolls, palmette motif and a bamboo stock. Surrounding the cartouche is a chinoiserie structure decorated with flowers, leaves, a fan pattern, animal mascarons, with a roof-like shape with scalloped edges with leaf and floral motifs. The plate is trimmed and pasted onto the album page. It is titled, signed, and numbered.
Textile
, 17th century
silk Technique: 4&1 satin damask

An offset repetition of an eared vase holding flowers in red and white. Both selvages present.
Façade d'un Bâtiment de l'ordonnance Composite élevé sur terrasse et soubassement
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Façade and profile of a building of the Composite order with figurative statues at the roof. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters) at the bottom of the page. The plate is signed and numbered.
Design for a Pulpit
, ca. 1750
Pen and black ink, brush and wash, rose watercolor, graphite on paper
Drawing

Design for a pulpit without supporting separate columns. Cherubim as brackets at top. The scheme of the project same as 1938-88-3612.
Bag
, 19th century
glass beads, silk Technique: beaded knitting

Knitted bag with colored glass beads in design of floral band in many colors on a tan ground, with blue at rounded bottom. Silk cord at top, beaded ball at bottom.
Ironwork Gate Design
Jean Tijou, French, active 1689 - 1712, 1693
Etching on laid paper
Print

Ironwork gate design topped with a cartouche, crown, palm leaves, cornucopia with fruit and decorated with fleurons, rosettes, scrolling leaves (rinceaux), and foliate scrolls. The plate is signed and numbered.
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

Four fantastic fruits hanging into scallops.
Square
, 5th–7th century
wool Technique: plain weave with discontinuous wefts (slit tapestry) Label: Wool slit tapestry

Square of wool tapestry containing an almost frontal bust of a woman with dark hair knotted at the back, gazing to her left, on a red ground. Broad frame imitating gold set with cabochons and rectangular faceted jewels in blue, green, red and white. The woman is wearing a pink garment with perhaps a mantle of sky blue on her right shoulder; she wears a white band in her hair, which is mingled dark blue and brown wefts.
Table cover
, 18th century
linen, silk Technique: embroidered in satin and chain stitch

Cream-colored linen table cover, with wide border designs worked in polychrome silks of pale green, yellow, pale rose, light blue, dark blue and dark green. Edged with border of dark green needle lace. Design made up of detached motifs of a leaf or feather pattern, much used in Spanish embroidery; at ends on inner border of curving vines enclosing birds holding flower in beak, and crowned lion. Stitches, largely satin stitch; bodies of animals outlined in contrasting colors in chain stitch. Soft floss silk used.
LA BALANCEUSE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of figures in a landscape. At left of the vignette, a young man and woman sit talking; at center, a woman sits on a rope swing suspended between two trees; a young man at lower right holds the rope that swings her. The scene is set within a field of arabesque ornamentation, and includes motifs such as scrolls, birds, garland, baskets of flowers, reeds, and meanders. Below the figures in the vignette, there is a cartouche with a landscape scene with a woman bathing at a river, and two figures in the background. The plate is signed.
LIVRE NOUVEAU de Differents Trophées Inventez par A. Watteau et Gravé par Huquier
Antoine Watteau, French, 1684–1721, ca. 1735
Album

Album with a series of twelve designs for ornamental trophies after Watteau. The trophies feature musical instruments, arms and armor and agricultural tools. The plates are signed and numbered.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1790–99
cotton Technique: madder colors (reds, black) block printed; yellow and blue applied by brush on plain weave

Fragment of printed cotton with a small-scale over-all design of  brightly colored flowers and fine leaf sprigs on a dark brown background. Printed in several shades of greens, blues, reds and yellow, with reserved white.
La Motte-Piquet sauve un convoi
Petitpierre et Cie, Nantes, France, 1770–1848, 1782
cotton Technique: printed by engraved copper plate on plain weave
Textile

Principal scene is a battle at sea with ships firing at each other and other scenes are people on jetties, fortifications and scenes associated with ports. The building with the square tower is the chateau de Bouffay, a fortification in Nantes. In red on white.
Design for a Cipher (Interlaced Letters)
Charles-Germain de Saint-Aubin, French, 1721–1786, 1766
Etching on paper
Print

Design for the crowned letters P and possibly L, interlaced and comprised of branches of leaves, flowers, and a meander pattern. The plate is signed and numbered.
Fragment
, 19th century
linen Technique: bobbin lace (Lille style with heavy outlining thread)

Fragment of Lille-style lace showing small trefoils along border in two rows. Ground powdered with small square dots.
Landscape
Walter Clark, American, 1848–1917, ca. 1885
Pastel on grey paper
pastel

Distant view of a wood across a stretch of water or of barren soil. High sky with some clouds. Margin at right.
Fragment
, 16th–17th century
silk, metallics Technique: woven

Tulips and hyacinths alternate with a palmette within a branched ogival framework. Details include three balls and cloudband.
The Compliments of the Season
Thomas Stevens, English, 1828–1888, 1871
silk Technique: jacquard woven
Bookmark

White silk ribbon with a oval vignette consisting of a winter landscape with holly. Below is the passge: May blessings rest on kindred and on friends, At this great festival of Christian love. May all be happy and contented here, and meet at last with joy in Heaven above.
Sample
, 1815–20
silk, metallic thread Technique: twill weave with supplementary weft

Sample of material woven for the Russian church. Silver ground with symmetrical design of central formalized blossom framed with rococo curves and acanthus leaves in gold and silver brocade with outline of dark red silk.
Fringe
, 17th century
silk Technique: plain weave

Red fringe with a heading and skirt threads of a graduated length forming a scalloped edge. Each thread is looped and twisted and supports a tuft of red floss.
Panel
, late 19th century
silk, metallic thread Technique: twil weave with supplementary weft patterning (brocaded)

Panel with a light brown ground has a small-scale Chinese pattern of cranes, floral sprays, mountains, flaming pearls and dragons. Pattern in shades of green, brown, blue, orange, and silver.
Sewing sample
, late 19th century
Wool

Sample of grey wool cloth with narrow black stripes and finished with black silk looped cord edge. (No mending visible to eye - may represent a patch (?) ).
Textile
, 1790
cotton Technique: block printed on plain weave

Printed in vertical stripes of thickly clustered polychrome flowers on black ground. Between black stripes are narrow stripes with widely-spaced flower clusters printed on white ground. Two selvages with three blue threads.
Fragment
, 6th–7th century
wool Technique: dovetail tapestry; one weft carried at a time; S-spun white wool warp; S-spun white wool and S-spun red-purple wool wefts

White tapestry-woven fragment, in very good condition, containing two narrow purple bands. Each band contains three horizontal panels, an octagon and eight-pointed star between them. The panels in embroidery and white tapestry weave are divided into very angular "mosaic" geometric patterns. Embroidery is also used on the two other motifs.
Design for a Paper Knife
, 1850–1875
Graphite, brush and white gouache on brown paper
Drawing

Intended to be executed in metal. The edge is formed by the wings of a fantastic body of an eagle with one foot. The edge and the foot are curved toward right, the head toward left.
Devotional Image with the Virgin of Einsiedeln
, ca. 1750
Pen and ink, brush and gouache, gold paint on cloth-covered cardboard
Cut paper

Vertical rectangle with white lace on a red ground. At center, a cartouche with a devotional figure and child.  Below, in gold paint: Maria Einsidlensis.
Panel
, 16th century
silk, metallic Ttechnique: embroidered motif appliquéd onto velvet

Christ enthroned holding chalice containing Host in left hand.
Textile
, 19th century
cotton, tin edging Technique: tied resist patterning in weft (ikat) on plain weave; discontinuous supplementary weft patterning (brocaded)

Narrow textile, probably a breast cloth (kemben), with ikat warp-printed center. In black, red, and white. Ends brocaded and warps gathered in tin edging.
The Guildhall
Joseph Pennell, American, active England, 1857–1926, 1905
Etching on paper
Print

Vertical rectangle. The façade of a flamboyant Gothic building with high peaked roof is seen across the background. The Mansion House stands at the right.
Le Port de San Remo
Adolphe Appian, French, 1818 - 1898, 1878
Etching in black ink on cream-colored Japan paper
Print

Fishing boats, some drawn up on a beach, are seen gathered together near a town. A tower stands in teh background. Four figures in the foreground.
Fan case
, 19th century
silk, metallic yarns Technique: embroidered in satin and stem stitches on satin weave

Fan case. Silk embroidery with silk and metallic threads in design of flowers, deer and birds. The other side, flowers and birds. Edges bound with blue and white braid. Yellow silk cord with knots at top.
Design for four pins; leaves, flowers
, 1650–1700
Pen, black ink. Paper
Drawing

Vertical rectangle. At right three pins, one below the other, at left one, similar to a bunch of leaves in an urn. At right: the uppermost like a bunch of flowers in an urn; the center one a symmetrical combination of leaves and balls; the one below: stems with flowers springing from a volute.
Portrait of Sir John Percival Bart of Burton in the County Cork of Ireland
John Smith, British, 1652 - 1743, 1708
Mezzotint on paper
Print

A boy standing among ruins.
Fragments
, 17th century
silk, metallic Technique: brocaded satin

Stripe or border of metallic design on satin ground.
Fragment
, 17th century
silk Technique: supplementary warp forming cut and uncut pile (velvet)

Continuous ogives enclosing plant forms. Deep plum color.
foot warmer
, 1759
wood

Lid panel: Eve giving the apple to Adam; the Tree of Paradise is in the center.  Front and back panels: Two storks and plants in circles. Lateral panels: Double headed eagles in circles. Bottom panel: reciprocal petals in a circular band, showing parts of circles and A T P 1759. The circular grooves for the feet are near the corners.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, watercolor on paper mounted on tan illustration board
Drawing

Five designs, similar but with variations. All yellow, framed with dark olive green and filled with row of diamonds.
The Column from the Temple of Solomon
Nicolas Beatrizet, French, active in Rome, ca. 1515–65, 1570–73
Engraving on white laid paper
Print

This depicts the ancient marble column preserved in the Chapel of the Pieta in St. Peter's, Rome.  It is a spiral column with the top half covered with a leafy vine ornamentation between a ring of acanthus leaves (at the middle) and another ring of acanthus leaves (at top), capped by an Ionic capital.  The bottom half of the column is a fluted spiral.  At the base is another row of acanthus leaves.  This impression is a first state before the inscription.
Swatch
, late 19th century
silk Technique: machine embroidery on silk

Fragment of a fabric prepared for a dress. Cording applied on top of a woven pattern.
Charleston Rose
, ca. 1810
Block-printed
Sidewall

Blue rose alternating with a blue rosette, in tile format. Printed on blue ground.
Cache-pot
Clérissy Factory, established ca. 1686, ca 1730
Tin-glazed earthenware

2017-20-7: One of a pair. Berainesque blue decoration with mo...;     2017-20-8: One of a pair. Berainesque blue decoration with mo...
Sidewall
, ca. 1880
Machine-printed paper

Aesthetic all-over pattern with scattered stylized flowers and leaves on dotted ground; motifs form a diamond-shaped repeat in off-set columns; color scheme of brown on cream.
Button
, late 18th century
Copper, nickel plating

A) Copper center with pierced and engraved nickel border; B) Nickel plated button with copper band and gouging on nickel C) Nickel plated button with engraved cooper band D) Cooper button with stripes of horizontal and vertical line, set in copper rim.

On card 47
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, foliate branches, a basket of fruit and flowers, and scrolling acanthus leaves (rinceaux). Each design is labelled, the plate is numbered and signed.
View of the Picture Gallery at the Château d'Eu (Vue de la Galerie au Château d'Eu)
Alexandre Dominique Denuelle, 1818 – 1879, 1844
Brush and watercolor, white gouache, graphite on paper
Drawing

In this view, the highly decorated Galerie des Guises in the Chateau d'Eu is lighted by three large crystal chandeliers and additional wall candelabra. The coffered ceiling in a square pattern reflects the design of the inlaid floor. Portrait paintings of the Renaissance period are placed in panels along the walls. A lone visitor, hat in hand, gazes up at a painting.
Fragment
, 1750–1800
cotton Technique: block printed, with blue applied by brush, on plain weave

Fragment with two offset rows of fruit-like motifs on a fishscale lattice, on a white ground with black picotage.
Border
, early 18th century
Technique: bobbin lace

Bobbin lace sample, dense floral; early 18th century Maline
Knife with Porcelain Handle
, 18th century
gold, steel, porcelain, vitreous enamel
knife

Leaf-shaped gilded blade, plain bolster. Banded ferrule, white porcelain handle, rectangular in section with polychrome decoration of birds on branches and butterflies, surrounded by a decorative pattern in gold.
Charger with Alexander the Great Defeating Darius Surrounded by the Four Continents
Adolf Gaap, German, active in Augsburg, 1664 – 1695, 1689
gold plated, silver
charger

Oval, with four repoussé martial trophies on marli, wreath around center. Applied, on marli, four high relief medallions with the Four Continents (after Stefano della Bella's playing cards, published in Paris in 1646).  Asia, turbaned, in chariot drawn by two elephants; Europe, crowned, drawn by horses; Africa, with feather headdress and parasol, drawn by lions; America, in feather headdress and tunic, drawn by armadillos.  In center, relief plaque of Alexander and King Darius, lying dead in battle chariot with attending warriors (after an etching of 1645 by Hans Ulrich Frank).
Les Grands Hommes
Jules Desfossé, French, active 1851 - 1863, 1856–57
Block-printed paper
Decorative panel

Wallpaper panel showing full length view of George Washington in cutaway coat with epaulettes and a sword. At his feet are a conventionalized cannon and three cannon balls. All supported by shallow circular base. Imitation of statuary. Of the series "America's Heroes" [Les Grands Hommes] which also includes Franklin, Lafayette and Jefferson. Printed on light wood grain background.
Cowboy
, ca. 1900
Silver
Matchsafe

Rectangular, with rounded corners and sides, featuring raised decoration of cowboy on bucking horse, reins in his left hand, whip in raised right hand, to left is hat flying off his head. Reverse side undecorated. Hinge on side. Striker on bottom.
Silk
, 1840–1860
cotton Technique: printed on plain weave foundation.
Handkerchief

Promotional handkerchief printed with several steps in the process of producing silk.  Hemmed on three sides.
Sidewall
, ca. 1885
Fiber composition, tung oil, embossed

Imitation leather.. Checkerboard pattern of geometrical compartments ornamented with foliate forms and connected to one another by strapwork. Black field washed with brown. Parts of the design have been painted in red, green and other colors.
Ceiling border
, 1875–1906
Block-printed paper

Large anglo-Japanesque ceiling corner border in fan shape, with the main focus having the appearance of a folded wallpaper border, containing many red roses. A fleur-de-lis is at the one corner.  Contains illustration showing application for use as a border corner or a medallion.
Fashion Plate from Le Mercure des Salons, Modes de Paris
, 1830
Wood engraving, brush and watercolor on paper
Print

Ttwo women in walking dresses. One stands left, wearing a gray dress and pink lined bonnet, and holding an umbrella. The other, in white, sits right. Title above and below.
Sidewall
Cory-Heller Company, 1905–1915
Machine-printed paper, textured, liquid mica

Striped floral medallions connected by swags and scrolls. Printed in red, green, brown, and metallic gold on light yellow ground.
Vase
, ca. 1825–30
Glass

Tall straight-sided bow with wide turned-over rim and flat bottom spool stem on wide flat circular base; turned-over rim cut with all-over diamond pattern, notched at rim, band of strawberry diamonds center of side, prismatic band above, fluting below; glass slightly greenish.
Wall Elevation
Frederick Crace, English, 1779–1859, 1815–22
Pen and black ink, brush and watercolor on wove paper
Drawing

Horizontal rectangle. Wall elevation, marbled niche with mirror center, an eagle above it.
Knife with Ivory Handle
, ca. 1896
steel, brass, ivory
knife

1985-103-142/143: Fork has four curved tines. Angular shoulders, eng...;     1985-103-142: Knife with blade with straight upper edge, lower e...;     1985-103-143: Fork with four curved tines. Angular shoulders, en...
Border
, early 17th century
linen Technique: needle lace (punto in aria)

Border of serpentine bands of floral and foliated forms irregularly placed.
Design for Woven Silk and Embroidery, with Lion attacking a Deer (recto) and Woman swallowed by Fish (verso)
Unknown, late 14th century
Pen and brown ink, traces of leadpoint (recto only) on vellum
Drawing

Recto: Center of design occupied by stylized tree with cut-off branches.  Lion attacking a hornless deer on the left.  On the right, another deer is entangled in flowering tendrils.  Verso: At top left a stylized fish in the form of an "O" has a woman in its jaws.  On the bottom left, a medallion fragment is depicted with plant and rabbit motifs.  Right side of sheet occupied by head of Christ surrounded by seraphim, five of whom are visible.
Knife with Porcelain Handle
Saint-Cloud Porcelain Manufactory, French, active by 1693 - 1766, ca. 1744
steel, silver, soft paste porcelain, vitreous enamel
knife

Sabre-shaped blade, plain bolster. Banded silver ferrule with scalloped edge. Pistol-shaped white porcelain handle with dark blue floral and scrolled decoration.