biglam/cooper-hewitt-alt-text huggingface dataset:
Design for Embroidery of a Lower Front Part of an Overskirt of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

Festoons of a fringed ribbon connect fantastical plants of which two are shown colored. The bigger one consists of naturalistic and "Persian" components, the other has naturalistic leaves and gem umbrels. A flower garland is suggested along the them; a frill is sketched beside it.
Design for a Painted Porcelain Soup Plate
Unknown, Italian, 1787–1800
Brush and watercolor, black chalk on cream laid paper
Drawing

View of plate in plan (above) and in elevation (below).  Above, soup late with slightly scalloped rim decorated in fishscale pattern in gold, with a large floral spray of yellow rose and blue tulip? in middle.  Below, undecorated  lower rim edged in gold and base.
Mixed Sketches, Linstead, Jamaica
Frederic Edwin Church, American, 1826–1900, May 1865
Graphite on gray wove paper
Drawing

Mixed sketches showing views of a home, a lush landscape, and a figure in Linstead, Jamaica. A house with perpendicular gables and a smokestack is visible at lower right, with a floating sketch of a hat beside it. At upper left, a sketch of trees and bushes in a lush landscape is visible. At upper right, a woman carrying a load on her head is shown from the rear.
Figure
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Partial sketch of a figure that has been crossed out.
Mountainous Landscape, Colombia or Ecuador
Frederic Edwin Church, American, 1826–1900, 1853 or 1857
Graphite on brown wove paper
Drawing

Landscape sketch showing a view of a mountainous landscape in Colombia or Ecuador, with a conical volcano--possibly Cotopaxi--as the central focus. Foreground is made up of rocky prominences and wooded hillsides broken by steep gorges. A large building is perched atop the hill at left. The middle distance is comprised of low, flat depression in the topography. In distance, sharp mountains lead up to what is likely a volcano, which looms over the landscape.
Bacchus, Design for Vaulted Ceiling, Sala dei Legislatori, Palazzo Conti-Sinibaldi, Faenza
Felice Giani, Italian, 1758–1823, 1787–1802
Pen and ink, brush and bistre wash over black chalk on laid paper
Drawing

Bacchus shown in profile, turned toward right and seated.  He pours wine from pitcher into bowl. Vine, at right. Thyrsus and crouching panther in left foreground. Inscribed, Bacco inv delle vigne. And inscribed at top left, 9V.
Periclemene, from Vessels of the Argonauts for the wedding celebration of Cosimo de' Medici in 1608
Remigio Cantagallina, Italian, ca. 1582–1656, 1608
etching on laid paper
Print

Left profile of a lobster-shaped boat. Emphemera from the wedding festivities at the marriage of Cosimo de' Medici and Maria Magdalena of Austria in 1608.
Ruine du Theatre ou Colisée a Rome
Nicolas Perelle, French, 1631 – ca.1695, late 17th century
Etching on laid paper
Print

View of the colosseum in Rome, in ruins with foliate branches growing. Buildings and the cityscape in the background, with figures in the foreground on a rocky terrain. The plate is titled and signed.
Study of Pine Foliage, Lake Pleasant
Daniel Huntington, American, 1816–1906, September 13, 1850
Graphite on cream wove paper
Drawing

Study of the foliage of a pine tree, with notes above and below. Verso: Notations of expenses.
Shimada from the series 53 Stations of Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1855
Woodblock print in colored ink on paper
Print

Men are carrying cargo from the nearest side of the riverbank. Some men balance luggage on their heads while others work together and balance the weight of larger containers among them.
Sketch for "The Wreck"
Winslow Homer, American, 1836–1910, 1881
Charcoal on paper
Drawing

Horizontal view showing a group of figures; at center is a man with his right arm upraised; at left are two figures; and to the right is a faintly indicated rough sea and 
a man launching a lifeboat.
Textile
, ca. 1730
silk Technique: compound satin, brocaded

Pink satin ground with a diagonal arrangement of flowering branches and hanging fruit. In shades of pink, green, yellow, violet and blue. Selvage to selvage
Design for a Decorative Hairpin
, 1820–30
Pen and sepia ink, brush and gray watercolor on paper
Drawing

Design for a decorative hairpin. In the center is a vase with two long curving feathers, two branches, and a central blossom. Springing from the foot of the vase are two rinceaux, with festoons of beads. The upper right corner is bevelled.
Design for a Vase Clock in Egyptian Style
Luigi Righetti, Italian, 1780 - 1819, ca. 1800
Pen and ink, brush and sepia wash, watercolor, graphite on paper
Drawing

Vertical rectangle. Design for a vase clock intended to be executed in green and gilded bronze, and white and red marble. Two pairs of columns standing upon a base support an architrave, upon which two sphinxes are lying, supporting the clock; two urns stand at the outsides. Before the inner columns stand two Egyptian male figures, a circular altar in the center. Plan view below elevation, scale at bottom.
Design for a Double Door with Overdoor
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash
Drawing

With the left door folding. It is divided into panels and a central horizontal band, and a circle with a lion mask. The panels have above a festoon and in the center a lozenge, with the figure of a standing woman. The overdoor shows a representation of probably the preparation of the sacrificing of Iphigenia. The frame is decorated with a stem, at left, rising from an acanthus blossom; at right with palm branches springing from a calyx. On top are the cornices of an entablature. The wall is colored.
Title Page
Joseph Marie Vien, French, 1716–1809, 1760
Etching on laid paper
Print

Title page of the Suite de Vases. The title is printed on a large rectangular plaque in the center of the page. The plaque is punctured by two holes at the top, through which is threaded a draping garland. On top of the plaque is a cup-shaped vase with two scroll handles, decorated with a closed-eye mascaron and festoon. The plaque is set on a ledge with five other vases: two tall amphora, one on either side of the plaque, and three shorter vases in front. The plate indicates it was made "chez lhauteur" but is not signed or numbered.
Decoration d'une Porte à placards à doubles ventaux
Jean Mariette, French, 1660–1742, 1686-1742
Etching and engraving on laid paper
Print

Design for a double set of double doors, carved with rocaille molding. Above and between the doors is a panel depicting three putti with attributes of music. Above the panel is a cartouche with a female mascaron. The print has been cut so that the bottom bit of "Mariette excudit" has been removed. The plate is not signed or numbered.
Fragment
, 14th century
silk Technique: two integrated fabic structures, plain weave plus plain weave.

Affronted birds within the arch of linear vines in green on purple.
Design for a Chalice, Elevation
Flaminio Innocenzi Minozzi, Italian, 1735 – 1817, ca. 1785
Pen and ink with ink and yellow washes on paper
Drawing

Design for a chalice, seen in elevation, in a shape of the seventeenth century, with Louis XVI motifs of decoration.
Galerie métallique des grands hommes français (Great Men of France)
Armand-Auguste Caqué, French, 1793 - 1881, 1819
Cast bronze
Medal

Bust of René Duguay-Trouin, (1673 - 1736).
Design for a Table Clock
Richard de Lalonde, French, active 1780–96, 1780
Pen and black ink, brush and wash, graphite on white laid paper
Drawing

Frontal view: A circular frame for dial, surrounded by laurel leaves, mounted on top of a fluted column draped with a garland. Structure sits on base decorated with knobs, cushion feet. Verso: Portrait of a young man, facing left, faintly seen.
Textile
, ca. 1790
Printed by wooden block or roller on cotton Medium: cotton Technique: printed by woodblock or relief rollers; plain weave foundation

Design of curving floral stripes.  The broadest stripe is composed of bouquets tied with blue ribbons on lavender ground.  This stripe alternates with narrower stripes made of small bouquets on a white ground with yellow bars.
Design for Woven Fabric
Anna Maria Garthwaite, English, 1688–1763, 1749–51
Brush and dark brown watercolor on cream laid paper
Drawing

Rising bough with fantastical blossoms, leaves, and seeds in dark brown. Only part of the repeat is shown. Verso: black chalk design blotting.
Detail of Windows and Door of House of Hector Guuimard, 22 Rue Mozart
Hector Guimard, French, 1867–1942, ca. 1910
Photographic print on sensitized paper
Photograph

Photographs depicting windows and doors on Hector Guimard's house. At left, a large window with cast bronze balustrade. At center, seen from the right, the front entrance to the house with grillework. Pictured right, another window without grillework.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1765–70
Technique: block printed on plain weave (size of block: 9 1/2 in. by 7 1/2 in.)

Alternate dark and light stripes of curving ribbons and flowers.
Textile
, 18th century
silk, metallic thread Technique: plain weave with supplementary weft

Floral sprays and scalloped lines in blue silk.
Fragment
, 18th century
linen Technique: bobbin lace (Lille-style with heavy outlining thread)

Fragment of Lille style bobbin lace.
Portrait of Alexander Cabanel
Benjamin-Louis-Auguste Damman, French, 1835 - 1921, 1884
Etching on paper
Print

Half-length portrait of Alexandre Cabanel (1824-1889), French painter, shown facing on quarter left, his head turned frontally. He wears a full white beard and mustachios. With his left hand he holds his glasses, on a chair. Sitter's name below, and at top, publisher's name.
Textile
, early 20th century
cotton Technique: printed by engraved roller on plain weave

Big bunches of lilies and orchids carefully drawn with much lindear detail in pinks, greens, yellow (now faded), in vague serpentine layout of off-white ground. Two plain cloth selvages.
High Bridge at Harlem, New York
Martha S. Day, June 29, 1860
Pencil on paper
Drawing

Horizontal rectangle. The view is taken looking North, with Manhattan Island at the left and Long Island at the right. Inscribed at top (in pencil): "High Bridge at Harlem, N.Y."
Textile
Schwartz-Huguenin, 1851–63
cotton Technique: printed by engraved roller on plain weave

A) Ground divided into broad stripes, one fancy ground of gray with small rosebuds in darker gray; broad white stripe with stiff green foliage bearing pink bell-shaped blossoms. 
B) Similar ground plan but with broad blue stripe made of diamond shapes.
Fragment
, 14th–15th century
cotton Technique: resist-printed on plain weave

Fine cotton plain weave with blue resist ground and small-scale all-over design of rosettes within squares formed by diagonally crossing lines and dots.
Fragment
, 17th century
linen Technique: needle lace

Fragment with a flower bud and a portion of the stem.
Fragment
, late 14th century
silk, metallic (beaten gold on vellum wrapped around linen core) Technique: two integrated plain weave structures (lampas), with discontinuous supplementary weft patterning (brocaded)

Addorsed dolphins in metal threads on a green ground with small scale floral and palmette forms. Horizontals bands of metal threads at the bottom indicate that this fragment came from the bottom of the fabric.
Study for "Martha Washington Reception"
Daniel Huntington, American, 1816–1906, 1860
Graphite, White Chalk Support: Gray Wove Paper
Drawing

Vertical rectangle. Woman with head in right profile, her arms folded. Arms, below; small sketch of pose at right. Verso: horizontal rectangle. Study of arms for same woman.
Vignette, Christ
, ca. 1845
Wood engraving on paper
Print

Half figure; holding the crown in the left arm and blessing.
Ornament
, 17th century
linen Technique: needle lace

Raised needle lace in a design of a double-headed eagle with a crown.
Fragment
, early 17th century
linen Technique: needle lace

Border fragment of tiny rounded points.
Drawing
Johann Melchior Füssli, Swiss, 1677–1736, before 1731
Brush and gray wash, pen and brown ink, red chalk on cream laid paper

Vertical rectangle. With a moulded frame.
Mount
, ca. 1715
Gilt bronze

head
Futon cover
, 19th century
cotton Technique: hand-drawn rice paste resist, indigo dyed

Futon cover with rice paste resist, hand drawn, and indigo dyed, on handspun cotton.
Fringe
, 17th century
silk Technique: woven

Fringe in yellow, pink and white with a plain-woven heading. Skirt threads are striped and cut into scallops.
Textile
Unknown, ca. 1890
cotton, silk Technique: woven

Dark green curtain panel with a geometric pattern in light brown.
Border
, ca. 1820
Block-printed and flocked

Central band of gilt-bronze-looking ornament wrapped with garland of light blue flowers, deep red flock background. Narrow bands of architectural molding above and below.
Design for Memorial Window, Beecher Memorial Church, Brooklyn, NY
Alice Cordelia Morse, American, 1863–1961, 1889–90
Brush and watercolor, graphite on off-white wove paper, mounted to paperboard
Drawing

Stained glass window-style decoration with lobes in blue a Chi-Rho symbol, salmon colored arcs and circles in a vertical pattern; rounded top with concentric circles, and border.
Platter
T. Elsmore & Son, active 1872 – 1887, ca. 1875–85
Glazed earthenware

Oval form, the white ground  transfer-printed with Chinese- or Japanese-inspired polychrome decoration including plants, butterflies, fan, vase of flowers, screen, and geometric patterns. The rim with tan band and brown decoration.
Mug
, 18th–mid-19th century

"A trifle for Charlotte"
Dish
, ca. 1770
Gilded tin-glazed earthenware

Floral bouquets and gilding at rim. At center, ruins in a landscape. Cut-outs above molded handles.
Pieds de Table de Trumeau (Table Legs of Trumeau), plate 46, in Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1695–1750
Engraving on white laid paper
Print

1921-6-212-44-a: Salon decoration includes putti, C-curves; trompe ...;     1921-6-212-44-b: Upper design shows two table legs, covered in feat...
Wall tile
, late 16th–early 17th century
Lead-glazed earthenware

Border tile decorated in white, cobalt, turquoise, apple-green, and purple with black lines. Lower portion forms part of a continuous arabesque frieze featuring interwoven cloud bands. Upper half composed of two quadrants of a four quadrant repeating design, make up of a system of conventionalized blossoms, leaves, stems, and arabesques in shaped cartouches.
Borders
, 1820
Block-printed

Parallel strips of brown bamboo, with highlights, on yellow ground. Eight colors. Two borders included in one width. Shadows falling on ground change direction at approximately mid point of each single width of border.
Ceiling paper
, 1905–1915
Machine-printed paper

Alternating small, medium, and large fleurons in a treillage pattern of scrolls made out of small green lines. Background is covered in a grid of small square dots. Ground is beige. Printed in cream, blue, green, and browns.
Textile
, late 19th century
Technique: embroidered machine net

Embroidered machine net, floral unit repeated; late 19th century Brittany
Sampler
Mary Beacon, American, 1818
silk embroidery on linen foundation Technique: embroidered in counted cross, herringbone, rococo and eye stitches on plain weave foundation

Six alphabets separated by narrow geometric borders, and lower halves of two decorative octagons, all in black.  Some of the alphabets are missing the letter J.
Sarong
, 18th century
cotton Technique: Plain weave. Application of mordants and resist by hand held implement for reds and blue; yellow probably applied directly by brush. Technique very close if not same as for "chintz" dyed in India.

The field is an all-over pattern of octagons and squares on a white background; side borders are floral; end borders are 3 main pendent bands on deep purple, red and blue backgrounds. The pendants incorporate temple figures.
Fragment
, 1650–1700
natural linen Technique: -Narrow loom-woven tape bent and folded to define pattern -Buttonhole stitch over a cord for raised linear details -Buttonhole stitch over a cord for connecting bars -Needle-made fillings -Padded, shaped and tapered forms in high relief covered by buttonhole stitch

Band fragment with rounded tabs has scrolls and floral forms.
"Scribner's Magazine"
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, 1891
Silver, enamel
Matchsafe

Rectangular, with beige and black enameled front resembling the cover of a January issue of Scribner's Magazine. The right long side has incised, vertical lines intended to resemble pages. Reverse is undecorated except for the inscription "W.W. Hallock." Lid hinged on left. Striker of incised hatch marks on bottom. 

Sterling 2867
Horse Armoury, Tower, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Men in armor on horses in a long row to the left, with armor between and hung on the walls and ceilings. A few sightseers. Title, artists', and publisher's names below.
Sidewall - sample
, 1906–07
Machine-printed

Art nouveau; vertical stem with thorns and three rose leaves on stems, repeating every 5 3/4 inches. These stems run parallel to the edge of the paper on each side. A 2 1/2 inch stripe runs at the bottom. The background is stippled. Printed in shades of green, brown and black on a gold background.
From my Window, Florence
Arnold William Brunner, American, 1857–1925, ca. 1892
Graphite and white heightening on cream paper
Drawing

The Arno, below, with street and houses just on the other bank. Carriage and figures move past.
Cap streamers
, 1700–1750
linen Technique: needle lace

Pair of needle lace cap streamers with an asymmetrical floral pattern, with scalloped edges formed by curving leaves.
Portrait of George Washington
, 1856
silk Technique: jacquard-woven damask

Woven portrait of George Washington within an eagle-crested cartouche. Woven, above Washington's head: First in War First in Peace and First in the Hearts of His Countrymen.
Jar and lid
, ca. 1830
Glass

Slender urn-shaped body cut with shallow diamond pattern all over, a row of thin fluting at top edge, wide flutes at base; fluted stem on square base cut with star on bottom; tall bell-shaped cover cut with shallow diamond pattern and prismatic rings, faceted finial.
Niagara Falls From Point Prospect - American Side from The Falls of Niagara: Being a Complete Guide
, ca. 1857
Color wood engraving on white paperboard
Print

Horizontal rectangle.
Border
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, textured, liquid mica

Printed two borders across the width. Each of the borders shades from greige at the center, to tan, then green at the bottom. This frieze is decorated with naturalistic grey/purple and orange/yellow peonies. Between the peonies are thick, stylistic yellow scrolls.
Sketchbook Page: Italian Maple Leaf
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Sketch of an Italian maple leaf and stem. 
Verso: Sketch of an Italian maple leaf, with less rounded lobes.
Textile
, 18th–19th century
wool Technique: plain weave

Blue and brown gingham check (formed when alternating blue and brown stripes in both the warp and weft intersect to give solid blue, solid brown, and a blue/brown mixed shade.)
Textile
, ca. 1890
cotton Technique: printed by engraved roller on plain weave

Panel of thin glazed chintz with ground in grey, with naturalistic flower clusters in lavender, rose and blue-green. Background has a streaked or cracked ice effect. Right side scalloped
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on pale green wove paper
Drawing

Floral border design, pink flowers, green leaves, scattered buds on field above on white ground.
Scrapbook of crochet samples
, late 19th century
linen, cotton Technique: crochet

Oblong sample book of linen with 25 pages of samples of crochet worked in linen and cotton.
Border
, ca. 1825
Block-printed and flocked on paper

Two borders of arched and scalloped design with floral motifs in brown, gold, and burgundy.
Reticule
, late 18th century
silk, painted paper, wire Technique: bobbin lace lined with plain weave

Flat square bag with drawstring top of white silk bobbin lace lined with rose silk plain weave. Trimmed with white silk bobbin lace and flowers made of silk thread, painted paper, silk ribbons and wire. Tan ribbon drawstring.
The Washington
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, mica flakes
Frieze

Flitter frieze containing leafy garlands of large roses and buds. Printed in red, pink, green, tan, yellow, white and gold mica flakes on a tan ground.
William Hardy's Shop Card
Samuel Ireland, English, ca. 1744–1800, 1794
Etching on paper
Print

A marble slab with damaged lower left corner bears and inscription. The upper part of slab is decorated with a coat-of-arms, flanked by two puttis. At right, a standing girl.
Chair
, early 18th century
wood

This side chair is comprised of turned stretchers, a flat seat, and an open back.  The void rectangular area of the chair's back may have been filled with webbing at one point.  The chair rests on elaborately carved legs and feet.
Border
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, ca. 1900
Machine-printed paper

White clusters of flowers and garlands connected by scrolls on paper shaded from pink to greenish gray.
Caster
, ca. 1810
glass, copper, silver
caster

Pear-shaped body, cut with drapery swags and vertical flat flutes; circular foot; hollowed domed lid.
Venus and Cupid
Lucas van Leyden, Netherlandish, ca. 1494–1533, 1528
Engraving on laid paper
Print

Venus seated on the clouds facing left. She and Cupid are holding onto an arrow. Above is another cupid carrying a banderole.
Pocketbook
, 18th century
silk, gold-wrapped silk, gold-wrapped linen Technique: embroidered in stem, satin, surface satin and couching stitches

White silk plain weave embroidered with flower and leaf design. Bag edged with woven silk and flat metal tape. Design the same on front and back. In pink, light blue, dark blue, green, yellow, and brown.
side chair
Charles Rohlfs, 1853–1936, 1901
oak, leather cushions (modern replacements)

High-backed side chair; oak frame composed of two posts culminating in octagonal stiles at top; seat back of four curved horizontal elements. Square seat with slit cut in top rear; apron with curved bottom edges incorporating notch. Four legs ending in eight-sided bun feet. Replacement cushions of dark brown leather with leather lanyards at corners; rectangular back cushion tied to horizontal elements of chair frame; square seat cushion rests on seat, multiple lanyards at each corner hanging to floor.
Folding Knife with Damascened Floral Handle
FGS, ca. 1700
steel, gold, brass
folding knife

Leaf-shaped blade, flat pistol-shaped handle decorated with stylized floral silver damascening with gold flowers and cupid with bow and arrow. Blade folds into handle, brass rivets on handle.
"The Alamo, San Antonio, Texas"
, late 19th century
Brass
Matchsafe

Rectangular, rounded corners and sides, image/text horizontally orientated, featuring raised decoration of Alamo facade, inscribed "The Alamo, Greetings from San Antonio," identical decoration on reverse. Lid hinged on long side. Striker on bottom.
Louis XVI Pattern Dinner Knife
Joseph E. Birmingham, ca. 1909
silver
knife

Elongated flat blade with rounded end. Waisted shoulder. Handle of rectangular line, ending in shouldered, rectangular fiddle terminal embossed with oval wreath with ribbon bow, enclosing monogram.
Flounce fragment
, 1755–70
linen Technique: bobbin lace, Brussels style

Floral lace with scrolling and paisley motifs with finished edge and openwork areas.
Three bishops
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Three bishops. One stands in front of the other two and holds a book(?), presumably the Bible.