biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1887–1903
Brush and gouache on paper
Drawing

On gray ground, light pattern of fleurs-de-lys, upon which is a black cartouche composed of somewhat heart shape with bright yellow rinceaux and flowers below. Page is framed with border of black ribbon and yellow dots.
Bobbin Lace 2
, 17th century
linen Technique: bobbin lace
Band

Two levels of pinwheels connected with flowers and circles of alternating central motif. The bottom level has scalloped edges.
Design for Embroidered Floral Motifs of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1785–1795
Graphite, brush and gouache on paper
Drawing

Top row: three flower boughs, numbered "1 to 3", white. A rough graphite sketch of a fourth one is at right. Second row: a bunch of carrots, a flower bough, a turnip plant, a fantastical plant, numbered "4to 7". Between "4" and "5" shown: "8", a turnip plant. Third row: "9", and a small flower bough crossed yb another one, two small flower boughs, 14 and 11 respectively, a leaf bough, "13", two bunches of flowers, "10" and "12". Fourth row: flower boughs, numbered "15" to "19". Fifth row: a bushy bough "24", two leaf boughs, "23" and "22", a bough with buds and leaves, "21", leaf boughs "20". Bottom row: a small bough and an unfinished one. Written in ink, top left: "tout menace, si en veut."
Architectural Design Around Door
Giovanni Battista Natali III, Italian, 1698 - 1765, ca. 1750
Pen and brown ink, gray wash, black chalk on laid paper
Drawing

Vertical rectangle showing archway. Only left side of drawing finished.
Ornamenti di fregi e fogliami
Stefano della Bella, Italian, 1610–1664, ca. 1648
Etching on paper
Print

Plate 11
On the Peak of Chocorua
Daniel Huntington, American, 1816–1906, September 16, 1862
Graphite, black and white crayon on grey paper
Drawing

Large rock outcropping, left. Mountain ash on a crevice. Ridge, center, and Mount Washington beyond, far right.
The Academy of Plato
Salvator Rosa, Italian, 1615 - 1673, 1662
Etching and drypoint
Print

The garden of Plato's Academy: Plato in center, seated, surrounded by his students.
Child's dress
, early 18th century
satin, silk Technique: embroidery

Dress of white satin; pleated bodice; square neck, elbow sleeve with wide cuff turned back; skirt opening to show panel; embroidery on cuffs, front opening and hem in design of flowering sprays and sections filled with ornamental stitches; lined with white silk.
Llamas Grazing and El Altar in Splendid Moonlight, Ecuador
Frederic Edwin Church, American, 1826–1900, September 1853
Graphite on tan wove paper
Drawing

Figure sketches of grazing llamas and a landscape sketch showing a view of the moon over the dormant volcano, El Altar, in Ecuador. A pair of succeeding hills are visible in the foreground and lead up to the wide form of El Altar at center. Mountain ridge extends to the left and right, with a prominent, snowy peak in the distance at left. In the sky, the moon illuminates several clouds in a light glow. In a separate section above, eleven studies of llamas in various poses and in various states of completion. Most are viewed in profile and lack either legs or a head.
Confluence of the Catskill and the Kaaterskill, Catskill, New York
Frederic Edwin Church, American, 1826–1900, July and November 1844
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the confluence of the Catskill and Kaaterskill Creeks in Catskill, New York. Treetops and bushes stretch across the immediate foreground and lead to a tree that frames the view at left. In the middle distance at center right, Kaaterskill Creek curves around a wooded piece of land with houses at center left. The exact confluence of the two creeks is visible at center right, with Catskill Creek extending out of view at right. Behind the houses, the steep opposite bank of the Kaaterskill rises abruptly. In the background, three prominent peaks around Kaaterskill Clove are clearly visible at center. From left to right, they are Kaaterskill High Peak, Roundtop Mountain, and South Mountain. The rest of the Catskill Escarpment extends across the horizon and out of view at right.

Verso: Landscape and atmosphere sketch showing a view of the sunset over Catskill, New York, looking south. Wooded terrain extends across the lower portion, leading to a view of Overlook and Plattekill Mountains at right. Groups of puffy clouds extend across the sky above, with a large, billowing cloud at upper left.
View of Petty Harbour, Canada
Frederic Edwin Church, American, 1826–1900, June 24, 1859
Graphite on tan wove paper
drawing

Landscape sketch showing an elevated view of Petty Harbour (now Petty Harbour-Maddox Cove), in Newfoundland and Labrador, Canada, looking south from hills north of the town. In the foreground, steep hillsides at left and right frame a diminutive view of buildings in the town--one building with a tower (possibly a church) is prominently visible at center right, beside what could be a rising plume of chimney smoke. Another indistinct structure is shown beside it at left. A prominent hill known as Booms Head looms immediately above the tower at center right, while behind it, rolling terrain extends to the horizon. In the background at left, the Atlantic Ocean is visible.
Console table
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Slightly curved. Supported by two pillars with lion's feet. They are connected below and above; above by a board with two symmetrical birds and a festoon below it. The top is shaped like two cornices. At left, sketch of a detail with an acanthus motif and some strokes, belonging to other projects.
Bras de Cheminée à la moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a two-arm candelabra decorated with ornament motifs including scrolling acanthus leaves, fluting, lion head with ring pull, wave pattern, and a vase. The plate is signed.
Design for Palmette Pendant
, 16th century
Pen and ink, brush and watercolor on paper
Drawing

An escutcheon composed of volutes, topped with a palmette. A pearl drop at bottom.
Interior, Japan
Robert Frederick Blum, American, 1857–1903, 1891–1892
Graphite on wove paper
Drawing

Recto: Sketch of a screen with Japanese characters; Verso: Sketch of an interior courtyard.
Demoiselle Chinoise
François Boucher, French, 1703–1770, 1738-1745
Etching on laid paper
Print

Plate printed with a young woman dressed in Chinese costume (chinoiserie) standing at a table and eating out of a bowl with a spoon. Under the table is a censer. The plate is signed (twice; Boucher etched his signature at lower left) and numbered.
Textile
, 17th century
silk Technique: 2&1 twill reversing to 1&2 twill with continuous and discontinuous supplementary metal wefts

Densely packed organic plant forms in green silk with gold and silver metal.
Study of Pale Pink Peonies
Sophia L. Crownfield, American, 1862–1929, early 20th century
Brush and watercolor, graphite on gray paper
Drawing

Horizontal sheet depicting two peony blossoms in pink. Left blossom is depicted  with a green stem.
Textile
, mid-19th century
cotton Technique: printed by engraved roller on plain weave

Chinese style 3/4 view of blossoms within a diamond grid made up of curving vines in red and black on a toned background.
Design for a Fan Leaf
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Sheet of arabesque ornament for a fan leaf. The design features the Commedia dell'arte figure, Pierrot, standing under a baldachin of drapery in a landscape. Other decorative motifs of the design include an exotic carpet, garlands, cartouches, scrolls, acanthus leaves, and a theatrical mascaron. The plate is signed and numbered.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Orange/brown weft with tan warp forming floral pattern.
Design for a Church Window
Bancel La Farge, American, 1865–1938, 1888–1900
Graphite and watercolor on tracing paper
Drawing

Five-light Gothic church window, with the Cross in the center. Above, indications that the design is to be continued.
Head cloth
, early 19th century
silk Technique: plain weave

Head cloth made of yellow silk with five broad and two narrow stripes in vine. The textile is in loom width, both ends finished in buttonhole stitch of blue silk and red tassels.
moire silk
, late 18th century–early 19th century
silk Techinque: B) moire C-F) moire; float patterned

B) Moire silk with small scale floral pattern
C-F) Fragments of float patterned silk with moire.
Study for Memorial Window in Church at Oceanic, New Jersey
Francis Augustus Lathrop, American, 1849–1909, ca. 1889
Pen and black ink, brown and black wash, and white gouache on paper mounted to board
Drawing

Acanthus scrolls surround a circular design. Interlaced black ribbon joins five circles, a central one and four lateral ones. Crosses stand in the latter. An angel is shown in the center holding a paper scroll with the inscription: FOR OF SUCH IS THE KINGDOM OF GOD.
Textile
, late 19th century
cotton Technique: stencil resist (katazome) with some reserve

Big double flower-heads, leaves, and scrolling arabesques in white, gray, and black on dark blue ground. two plain selvedges continuous with ground.
Design for pendant with gaines
, 16th century
Pen, sepia, brush, grey water color. Paper
Drawing

Vertical rectangle. A Square diamond has a frame of scrollwork. Above is a broken pediment, with a shell supporting the ring, on top. At the sides it is supported by gaines which have drapery festoons instead of legs, one part of which is ending below in volutes, beside the center. Between them is a leaf supporting the hanging diamond. the upper volutes of the pediment are supporting a festoon.
Pillow cover
, 1600–1650
linen foundation, silk, metallic thread, mica, glass chips and beads, pearls Technique: silk embroidered on plain weave using tent stitch and tent stitch with cut loops over padding; metal thread embroidery using slanted running stitch with diagonal alternating from row to row, couching and detached interlooping stitches over padding

Small cushion with a design showing a woman in the center with short brown hair and a blue and white gown worked in chenille thread. She holds in her right hand a scroll with the inscription: "Faith." She is surrounded by oversized flower sprays. At lower right is a pool with a bird, and at left, a leopard. Above is a castle with mica windows. Background is worked in silver thread and sides edged with silver lace.
Trimming
, 19th century
silk, silver thread Technique: woven

Design of triangles and diagonal bands with a leaf pattern in white with silver threads.
Fragment
, mid-18th century
silk, metallic yarns Technique: woven with discontinuous supplementary weft patterning (brocaded)

Fragment of brocaded silk. White and grey ground with details brocaded in metallic yarns and green and pink silk, showing a flowering plant on a dotted background.
Old House in Gainsborough
Ernest Clifford Peixotto, American, 1869–1940, 1899
Pen and ink on illustration board
Drawing

Houses lining a narrow street, on both sides. At right, a three-story brick house, the upper two stories projecting to the edge of the walk, supported by a row of pillars.
Square
, ca. 1880
linen Technique: linen embroidery on linen net

Embroidery in design of zigzag bands and stars on plain net and bordered with ruffle of plain net.
Fragment
, probably 15th century
cotton Technique: resist-printed on plain weave

Design in brown and red on undyed fine cotton plain cloth.  

In horizontal bands:
1. Upper plain red
2. Rectangles containing geometric ornament
3. Stylized floral forms
4. Repeat of rectangles containing geometric ornament
5. Interlacing dotted bands on the  bottom
Studies of a Heron and a Monkey
Henry Bernard Chalon, English, 1770 - 1849, 1820–1849
Black crayon on paper
Drawing

The heron is above at right shown in profile turned toward left. The money is below at left, shown from the front, sitting upon an oblong.
Fragment
, 18th century
linen Technique: bobbin made continuous tape with net added

Rectangular fragment has a scroll pattern. Small scallops on three sides.
Panel from a chair back
, early 18th century
cotton, linen, wool Technique: embroidery on twill weave (crewel wool)

Panel of cream linen warp and cotton weft twill weave embroidered in multicolored wools in long and short stitch: two upright cornucopias with inward-curling ends, out of which grow life-sized, naturalistic garden flowers: carnations, morning-glories, jonquils, violets, pinks, roses and buds, campanula, ragged robin, a sunflower, etc. The whole enframed by thin green scrolling lines. From a chair back.
Collar
, late 19th century
linen, silk Technique: bobbin lace (Lille-style with heavy outlining thread, Lille ground)

Collar of bobbin-made lace (Lille style) has a scalloped edge and floral sprays.
Handkerchief
, late 19th century
Technique: needle lace with ground of loop & twist with loop & twist return

Square Handerkerchief, linen with square shaped center edged all around with needle lace, Point de Gaze. Pattern shows elaborate festoons ornamented with floral sprays. In each corner superimposed floral petals. Solid center square worked with initials (E. S. ?) and a crown.
Design for Pulpit
Jean Le Pautre, French, 1618–1682, ca. 1670
Etching on paper
Print

A = Jombert 80,1, but showing, instead of a title of the set: ''Se vendent / Chez le Blond / rue St. Jacques'' (correction) ''à la / Cloche d'argent.'' B = J. 80, 2, with the name, ''le Blond.'' Rev: blotted black crayon sketch: segments.
Cup and Saucer
Ott & Brewer, American, 1871 – 1893, ca. 1880
porcelain, vitreous enamel, gold
cup and saucer

Extremely thin, transparent white body moulded in ridges resembling a scallop shell. Relief decoration in green and gold.  On cup, a bunch of leaves and a butterfly, on saucer a thistle plant.
Drapery Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on tracing paper
Drawing

Figure standing, wrapped in a heavy cloak, facing right, his left arm extended.
Barca di musici rapra Clauco dio marino e Tritone, from Vessels of the Wedding Celebration of Cosimo de' Medici in 1608, plate 18
Remigio Cantagallina, Italian, ca. 1582–1656, 1608
Etching on laid paper
Print

Chariot drawn by sea-creatures, with musicians on board and Clauco atop the stern. Emphemera from the wedding festivities at the marriage of Cosimo de' Medici and Maria Magdalena of Austria in 1608.
Cup and Saucer
Du Paquier Porcelain Manufactory, Austrian, active 1719 – 1864, ca. 1790–1810
hard paste porcelain, vitreous enamel, gold
cup and saucer

Vienna coffee can / cup and saucer
Textile
, 1750–1800
cotton Technique: block printed resist, indigo dyed plain weave

Narrow and thin floral stripes; in white on blue.
Sampler
, 1824
silk, linen Technique: embroidery on plain weave

Long form with broad flower and scroll border.  Inside border, geometric pattern bands, a scriptural verse in Spanish, and in the center, a medallion with a painted image of the madonna and child, with an urn of flowers on either side.
Textile
, ca. 1830
cotton Technique: printed by engraved roller on plain weave

Bacchanalian scenes showing Dionysius (Bacchus) and Ariadne riding  in a chariot drawn by panthers and goats in the center surrounded various scenes associated with the legend of Dionysius. In red on white.
Pitcher
Boston and Sandwich Glass Company, Sandwich, Massachusetts, USA, active 1824–1888, ca. 1875–85
Blown and applied glass

Of clear "ice" or "overshot" glass, the rough-surfaced ovoid body tapering to slender neck flaring to mouth pinched to form wide spout; handle formed of spiral-textured rod looped around neck, twisted and attached to body below oval opening of indented well (for ice or other cooling agent).
Dish
, 1875–1900
Glass

Circular form of cranberry-colored crackle overshot or ice glass glass; broad flat rim.
Album of Prints: Ornament Designs by Various Artists Including Briceau, Lefebvre, Laget, Durant, Badollet, and Vauquier
Briceau, French, 16..–17.., 1650-1734
Album

Album of ornament prints, mostly by or for goldsmiths, designed by various artists including Briceau, François Lefebvre, Laget, Jean Louis Durant, Abraham Badollet, and Jacques Vauquier.
Border
, 1810–20
Block-printed on handmade paper

Large-scale acanthus and dentae. Printed in grisaille with pink background on gray ground.
Scenes from the War of Greek Independence
, 1825–1830
cotton Technique: printed by engraved roller on plain weave.
Fragment

Five scenes, captioned in French, from the War of Greek Independence (1821-1829). Condition very poor. In purple on white.
Drinking glass
, 1904
Glass

Clear tapering cylindrical form with pressed decoration of rocail scrollwork surrounding four scenes from the 1904  Louisiana Purchase Exposition: the Palace of Machinery, the Cascade Gardens, the Louisiana Purchase Monument and St. Louis Union Station.  Radiating star on underside of base.
Sidewall - sample
, 1906–07
Machine-printed

Five inch stripe, vertical, with lines in its center and heraldic-type motifs . Two laurel branches are placed between the motifs. A weave-like texture fills the background. Printed in brown, green, terra cotta, beige and gold.
Knife
, ca. 1660–90
ivory, silver, steel, iron, enamel

Sabre-shaped blade, rounded bolster, plain silver ferrule. Tapered ivory handle, stained red and green and inlaid with floral designs in silverwire. Plain silver cap with rounded top.
Dish
Jennens & Bettridge, 1816–1864, ca. 1850–64
paper [papier-mâché], enamel, gilding, varnish

Rococo revival
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1875–1920
Machine-printed

Stylized floral in metallic gold, silver, green tan over cream ground on textured paper
Design for a Block-printed Cotton Handkerchief
, ca. 1801
Gouache
Drawing

Boy flying a kite, wearing a pink suit and a hat with two feathers.  Seascape with small islands and boats in background.
Printed Textile Design
Louis-Albert DuBois, Swiss, 1752–1818, ca. 1801
Brush and gouache, graphite on white laid paper
Drawing

Left corner border of flowers in pink and blue against black background patterned with ten double ovals, four single flowers in white upper field.
Mixing glass
, ca. 1785–1800
Glass

Goblet-shaped, with straight, slightly flaring sides, on a spool stem with central knop, thick flat circular foot, a pouring spout at lip; cut with vertical flutes bottom of sides, above that a band engraved with "CORK CORPORATION" and fine diamonds; ground pontil mark bottom.
Borders
, 1815–30
Block-printed

Twelve narrow borders composed of black, continuous wave design on dark-red marbleized ground.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on cream wove paper
Drawing

Pink, purple and yellow tulips, blue spikey flowers with white centers on black and rust patterned ground.
Seal
, 19th century
Glass, silver

Seal: squirrel in box; crystal cylinder with silver ring
Frieze
, 1820–30
Block-printed on joined sheets

Ground of dark olive green. Colonade of stylized doric columns, fluted, in black and pale yellow, with acanthus and other classic revival ornament on architrave. In each open space between columns, tall, draped classical urn on support of pink swags fringed with yellow.
Hanging
, 19th century
cotton, silk, mirrors Technique: embroidered

Heavy rust red cotton heavily embroidered in multi-colored silks and mirrors. Many patterned borders run parallel to the central area which is worked in small detached geometric motifs. Panel consists of two pieces stitched together.
Britannia
Mills & Co./Hartford, 1793, 1794–99
Block printed on handmade paper
Sidewall

a) Corinthian columns support alternatively large and small arches. An urn on pedestal beneath each of smaller arches. In larger arches: Concave colonade of doric columns topped by statue of Britannia, facing right holding spear, resting on shield. Apparently a copy of 1970-26-2; in the printing, the pattern was reversed; b,c) Stamped in an oval on verso: -b2X "___lls & Co./HARTFORD".
Design for the Making of a Man's Needle Lace Collar
, ca. 1660
Pen and black ink on parchment paper, lined
Drawing

1962-50-28: A deep, squared man's collar in Venetian-style nee...;     1991-42-1-a: Design for needle lace collar with intricate plant...
Title page, "Rerum et Urbis Mstelodamensiu Historia..."
Wenzel Jamnitzer, German, 1508–1585, 1568
Engraving on laid paper
Print

Title page for RERUM ET URBIS / MSTELODAMENSIU / HISTORIA…, surrounded by different symbols and genies, coats of arms with two lions, soldiers, etc.
Carpet fragment
, 1670–1680
linen, wool Technique: supplementary warp-cut pile in a plain weave foundation (velvet)

Fragment patterned by stripes with isolated flowers on backgrounds alternating dark blue and dark orange. Each stripe is separated from the other by a narrow floral vine guard stripe in green and dark orange. The entire surface is cut pile of wool with some linen.
Border
, 1820–50
Block printed on paper

Acanthus rinceau containing floral motif in center. This wider band runs between two narrower bands of architectural molding. Printed in grisaille on gray ground.
Ceiling paper
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper

Grid or trellis pattern
Pleated fan
, 1880–89
Painted cotton leaf, painted wood sticks, gilded wood guard, gilt metal bail

Pleated fan. Painted cotton leaf showing floral motifs and butterfly. Painted wood sticks. Gilding on guards. Gilt metal bail.
"Vues d'Italie" [Bay of Naples]
Dufour et Leroy, 1815–20
Block-printed
Scenic

In sepia tones. Elaborate fountain with obalisque, tall ships in a harbor, many figures carrying on business in the foreground.
Mussel Shell
, late 19th century
Plated brass
Matchsafe

In the shape of a mussel shell, narrower end flips open, hinged on underside. Striker on underside.
Design for Wool Work
Hertz and Wegener, ca. 1866
Brush and gouache on pre-printed squared paper
Drawing

A design on squared paper, of a border of stylized acanthus leaves in shades of green against a background of three bands of red, shaded from vermilion to maroon.
Band
, 16th century
silk and linen (?) Technique:

Narrow band with repeating pattern of confronted lions at a fountain and a crenelated tower. In faded red on a cream-colored ground.
borders
, ca. 1860
Machine-printed paper, flocked

Four equal dark tan flocked strips are separated by narrow white, dark brown and gilt lines.
The Montesian Design
, 1875–1900
Block-printed
Sidewall

Neo-classic design with beaded festoons, urns, birds, peacocks, squirrels, garlands, acanthus and bowknots. Printed in white on dusty pink ground paper.
Borders
, 1815–25
Block-printed on handmade paper

Wide strips of bamboo alternating with two thin strips. Two complete border widths running vertically, beneath which, portion of a third runs horizontally. In each border shading of strips changes direction. Stalks are brownish-cream color. Printed on pale blue ground.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Multi-colored floral pattern on white ground, line graphite border.
Oil lamp
, 1st century BC
earthenware

Handled lamp with depressed center, spade-shaped spout joined to body with pair of volutes. Marks on base: an impressed foot and a strigil in relief.
Fragment
, 19th century
silk on cotton Technique: embroidered on drawnwork

Fragment showing a diamond lattice containing geometric flowers in multicolored silk on a drawnwork ground.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, liquid mica

Lilac-like flower perched atop scrolls, band of bell flowers below. Printed on tan ground.