biglam/cooper-hewitt-alt-text huggingface dataset:
A Bed, from series "Cahier de Lits de Diverses Modes"
Matthew Liard, English, ca. 1736–1782, ca. 1760
Engraving on paper
Print

Bed with a canopy which has a flower basket as a crowning figure. Right half shown with upholstery and draperies, left half without.
Sofa
Giuseppe Barberi, Italian, 1746–1809, 1795–1805
Pen and ink, brush and gray wash on blued-white laid paper, lined
Drawing

Elevation of an oval sofa with chimera legs. On either side are Tuscan columns from which fringed drapery hangs, gathered in the center with a bow knot.
Handkerchief
, late 19th century
cotton Technique: plain weave; Z/Z twist

Square handkerchief; Yarn-dyed woven pattern of small blue, white, pink, green, and brown checks.
Fragment
, 17th century
silk and metallic thread Technique: supplementary warp forming cut and uncut pile in a plain weave foundation (velvet)

Stylized leaf forms turning alternately left and right in horizontal rows with small quatrefoil form between them. Pattern in purple cut and uncut pile on tan ground shot through with metal strips.
Balustres et Entrelas d’Appuy à l’Usage des Balustrades et Balcons
Jean-François de Neufforge, Flemish, 1714 – 1791, 1763
Etching and engraving on laid paper
Print

Three balustrades featuring different designs for balusters featuring neoclassical motifs such as capitals, rosettes, fluting, festoons, roundels, leaf ornament, gadrooning, and meander or Greek key motifs. A scale along the bottom. The plate is titled, numbered, and signed.
Fragment
, 17th century
silk Technique: supplementary warp in cut and uncut pile on a satin foundation (velvet)

Swinging branches with pomegranates and tulips in red on yellow. Red cut and uncut velvet design of swinging branches with tulips and foliage, on yellow satin ground. Ciselè voided satin velvet.
Le Feu
Jean Démosthène Dugourc, French, 1749–1825, 1782
Etching and engraving on paper
Print

An allegorical arabesque panel design representing ‘fire' featuring figures in classical dress, flaming torches, incense burners, a dragon, smoke, monkeys, scrolling leaves, fleurons, phoenix, and ribbons. The plate is titled, signed, and numbered.
Plan de la Maison de Ste. James
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

Two architectural floor plans for a house. The plate is titled, signed, and numbered.
Design for the Embroidery of a Horizontal Border, Pattern of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800-1815
Brush and gouache on glazed tracing paper, laid down on paper
Drawing

Fantastical flower bough over five boughs, alternating with a plant spiral and border strips.
Ewer
, 17th–18th century
Gilt and enameled glass

Blue glass vessel with painted gold decoration; long flaring neck and stout globular body; handle of applied glass and long upturned spout; painted green at handle and base of neck.
Mountain Peak with Clouds, Mexico
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite on light green wove paper; verso: graphite
Drawing

Landscape sketch from Mexico showing a view of a sharp mountain peak surrounded by clouds. The peak is visible at center, emerging from a mass of billowing clouds that rise higher than that mountain at right. Scene resembles a volcano eruption. 

Verso: Landscape sketch showing a view from Mexico of an immense and sharp mountain the distance. Foreground and middle distance are comprised of flat terrain, while the mountain dominates the composition at center. Pyramidal in shape, it has a sharp point at its peak and a shorter ridge at right.
Tomb Portrait of Queen Isabella I of Castile
Raimundo de Madrazo, Spanish, 1841–1920, 
Drawing

Drawing after the tomb portrait of Queen Isabella I of Castile, depicted in profile, from the Royal Chapel of Granada. The tomb scuplture was made in 1517 by Domenico Fancelli. Drawing was most likely made in preparation for the portrait of the queen in the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Tassel
, 18th century
silk, metallic thread

Fringed tassel with braided cord - green and white silk plus gold. Slip clasp on cord.
Tiraz fragment
, 10th–12th century
linen, silk Technique: plain weave, slit tapestry with eccentric weft, doublesided

Tiraz fragment of natural linen with three tapestry bands. Two outer bands have a repeat of medallions containing alternately a bird and a rabbit; above and below is Islamic inscription. The central band has a repeating ogee shape with scrolls containing two confronted birds.
Title Page
Pierre Filloeul, French, b. 1696–after 1754, 1734
Etching on laid paper
Print

Title page for a series of prints of heads after A. Watteau. The title and address are lettered within the center of a cartouche decorated with a central mask, garlands, ribbons, scrolling motifs and fleurons.
Vase Design
Charles Dupuis, French, active 1760 – 1791, ca. 1763
Etching on paper
Print

Design for an incense burner in the form of a lidded vase decorated with intertwined snakes, and bucrania (ox skulls). The plate is numbered.
A scene from the Passion of Christ (Christ before Pilate)
Cesare Nebbia, Italian, ca. 1536 - 1614, late 16th century
Drawing

Pontius Pillate - a Scene from Passion of Christ. Christ in upper left corner.???
Fragment
, 17th century
silk Technique: supplementary warp forming pile (velvet); then stamped with pattern then stamped (embossed)

Deep red velvet stamped with a motif of diagonal floral forms , rosettes and fleur-de-lys.
Chasuble back
, late 19th century
silk, gold thread Technique: stem and satin stitch embroidery; lined with plain weave

Chasuble back with embroidery in colored silks and metal thread on gold-colored buratto net in a design of curving stems with conventionalized flowers and leaves. Embroidery is arranged in three panels by two strips of gold trim in a lozenge design. Bordered with silver lace. Lined with pink silk plain cloth.
La Bonne Mere
John Ingram, British, 18th century, after 1755
Engraving on paper
Print

A young barefooted girl is seated in a simple domestic interior, in the act of feeding a child seated on a low box besides her. Another child plays with an apple on the floor.
Storming of the Tuilleries Palace, Paris, 1792
Isidore-Stanislaus-Henri Helman, French, 1743 - 1809, 1793
Engraving on paper
Print

Soldiers of the people, wearing mob-caps storm the Tuilleries Palace, Paris, from the court of the Louvre.
La Critique de L’École des femmes (Critique of The School for Wives), Oeuvres de Molière (Works of Molière), Vol. II
Jean Baptiste Blaise Simonet, French, 1742–1813, 1773
Etching on white paper
Print

Illustration for M. Bret, La Critique de L'École des femmes (Critique of The School for Wives), Oeuvres de Molière (Works of Molière), Vol. II, p. 446. A Marquis sits in a room in front of a screen with three ladies listening to a man (Derante) who stands in front of them. A dog appears in the center foreground, with back turned, and a bird with a long tail sits atop the screen.
Fragment
, 19th century
linen Technique: bobbin lace made in Lille style but without heavy outlining thread

Indistinct pattern in open mesh; details in ''point d'esprit''.
Fragment
, 17th century
silk, metallic Technique: brocaded plain weave

Floral motif facing in alternate rows on red ground.
Head of a Young Man in Left Profile
Stefano della Bella, Italian, 1610–1664, ca. 1645
Etching on paper
Print

The head of a young man is seen in left profile. He wears a large flat hat with a feather, and appears to be in armor with a heavy drapery over his shoulders.
Landscape with trees
François-Nicolas Chifflart, French, 1825 - 1901, ca. 1860
Etching in black ink on white paper
Print

Vertical rectangle. An open space in woods is shown with trees beyond.
Peep-show, Vue de Bayonne de Côté du Port, No. 3
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Textile
, 18th century
medium: silk Technique: plain weaave with supplementary warp floats and discontinuous supplementary weft floats.

Flowers and sprays on pale ground.
Calendar holder
, ca. 1740
fire-gilt bronze

Trophy composed of military attributes.
Pillow cover
, 17th century
wool on linen, silk backing Technique: counted stitch embroidery

Solidly worked multicolored pillow cover with a conventionalized fruit and flower border that encloses a scene from the Parable of the Prodigal Son; scene depicted is the time of his departure from his family with a bag containing his inheritance money.
Study of a Young Bull Lying in a Meadow
Henry Bernard Chalon, English, 1770 - 1849, 1820–1849
Black crayon on grayish cardboard
Drawing

Shown in profile turned toward right, with the head turned to the spectator.
Peep-Show Print, Vedute e Maraviglie di Roterdam
, mid- 18th century
Engraving, brush and wash on paper
Print

Peep-show print.
Fragment
, 16th century
linen Technique: grid of withdrawn element work with needle lace, reticella style

In design of band showing three wheel-like ornaments in two patterns between narrow borders of geometric design.
Bedcover
, mid-19th century
linen, silk, silver metallic thread Technique: embroidered

Bedcover with embroidery in a design of six scenes said to illustrate events in the life of Manuel de Godoy (1767-1851) with surrounding floral motifs. Embroidery in soft shades of green, blue, yellow and cream silk in satin and surface stitches. Cream-colored cotton fringe with a lattice heading and cut skirt on three sides.
Fringe
, 18th century
silk Technique: plain weave

Yellow, orange and white fringe with a plain weave heading. Trellis band and skirt threads arranged to form stripes.
Fragments
, 18th century
silk Technique: plain weave with supplementary wefts

Serpentine vines and floral sprays on white ground.
Wooded Landscape with Two Travellers Resting
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

Two travelers rest along a wooded road. Two dogs and a man on horseback approach from the right middle distance.
Band
, 1600–1650
linen Technique: bobbin lace, discontinuous tape

Border with seven deep rounded points of cream colored bobbin lace. Points frame a double-heading eagle surmounted by a domed crown, and set among flower sprays. Points edged with small scallops with a stylized flower in the center. A horizontal border with a symmetrical arrangement of stylized floral sprays and paired birds is above.
Fragments
, 17th century
silk, bast (?), metallic Technique: combination of two integrated structures, 4&1 satin plus twill

Branches in ogee lattice in blue outline on yellow
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Below, woman's head, looking up toward the left. Above, additional faint sketch of a face.
Textile
, late 18th century
silk Technique: stencil resist (katazome)

Weft-ribbed tabby ground with large roundels of pine, bamboo or plum scattered in ground of continuous curling arabesques, reserved in white on dark greenish-gray ground.
Textile
David Richards, British, ca. 1780
cotton Technique: printed by engraved copper plate on plain weave

Textile fragment printed in brown on cream colored cotton. Incomplete design shows a two men with a medallion framing the profile of George III amid dense foliage; an angel with a lyre and banner that reads: Chorus / The Islands Sing/ We Strike the String". The design covers the right selvage, present.
Cap streamer
, 18th century
linen Technique: bobbin lace, Brussels style

Brussels-style cap streamer in pattern showing naturalistic flowers in compartments.
Mademoiselle de Lavalliere
, ca. 1825
cotton Technique: printed on plain weave
Textile

Four vignettes showing episodes concerning Mademoiselle de La Vallière are printed in red on white.
Orfeo condotto da Bacco, barca del Sig. Nicolo Berardi, from Vessels of the Wedding Celebration of Cosimo de' Medici in 1608, plate 13
Remigio Cantagallina, Italian, ca. 1582–1656, 1608
etching on laid paper
Print

The ship of Orpheus, emphemera from the wedding festivities at the marriage of Cosimo de' Medici and Maria Magdalena of Austria in 1608.
Fragment
, 17th century
linen Technique: supplementary warp forming raised pile in plain weave foundation (velvet)

Allover repeat of flower with two flanking leaves.
Border
, early 18th century
linen Technique: bobbin lace (Binche style)

Bobbin lace border, floral vine; early 18th century Binche
Tile
, late 18th–early 19th century
Earthenware, glazed, high fire decorated

Man in vaguely Chinese garb, walking toward left, holding parasol on twisting stick.
sheath
, ca. 1870–80

One Japanese sword with sheath and fittings
Textile
, late 17th–early 18th century
silk, metallic yarns Technique: warp-faced satin weave with supplementary weft (damask patterning)

Coral colored damask fragment brocaded with blue silk and metallic yarns. Design in the ‘Bizarre' style shows a pattern of a large round pot superimposed on a long diagonal cylinder with elongated leaf shapes. Both selvages present.
Ornament
, 18th century
linen Technique: bobbin lace, discontinuous tape

Fragment showing Christ's resurrection placed in a stylized floral form.
Suittes de Décorations, de six feuilles, a l’usage des Théâtre, Panneaux, Carosses, &c
Maurice Jacques, French, ca. 1712–1784, 1756
Album

An album with a suite of six designs for fantastical landscapes, decorated with rocaille motifs, with classical buildings and architectural features in part ruin.
The Salon in the Montpensier Wing, Palais Royal
Jules Frédéric Bouchet, French, 1799 – 1860, ca. 1831
Brush and watercolor, white gouache, graphite on tan wove paper
Drawing

This view of the long Salon shows a highly polished parquet floor, a symmetrical formal arrangement of neoclassical furniture, and a parade of crystal chandeliers and wall lights. The chimneypiece appears to be decorated with ormolu motifs of the period.
Table runner
Unknown, ca. 1912
linen ground, silk embroidery Technique: stenciled and embroidered on plain weave, crocheted border

Rectangular Arts & Crafts-style embroidered and stenciled table runner has a design of large dark green leaves and two large yellow flowers at both ends. Small yellow sprigs float above the leaves and flowers. Both ends have a crocheted border added.
Design for Trivet, Fighting Horses
William Hunt Diederich, American, b. Hungary, 1884–1953, 1917
Graphite on paper
Drawing

Design for a trivet. Within circular frame, two bucking horses biting each other at the ankle and rear.
Button
, late 18th century
Copper

Four flat circular buttons decorated with fine engraving: A) shows two hearts with ribbon and bow with crossed arrows; B) shows open flower; C) circles and waving lines around twelve petalled flowers. D) interlocking and waving lines around plain center.

On card 47
staircase model
Ugen, French, n.d., late 19th century
cherry (wood)

Double staircase model joining at the top and base with opening at center.
Tea bowl and saucer Tea bowl and saucer
, 18th–mid-19th century

en suite with W
Differentes Figures Chinoises inventées et Dessinées par J. Pillement
Jean-Baptiste Pillement, French, 1728–1808, 1758–74
Print

Album of ornament prints in the rococo style with chinoiserie (in the Chinese style) motifs, figures in fantastical landscapes, after designs by Pillement.
Urn
Olérys-Laugier Factory, France, founded 1738, ca. 1780
Tin-glazed earthenware

One of pair. Floral swag and posy decoration, cartouches with mythical scene of Orpheus playing the lyre to animals in landscapes. Bearded mascaron with faux bail handle in mouth in sculptural relief on sides. Creamy glaze.
Album of Prints: Singeries by Christophe Huet
Christophe Huet, French, 1695 – 1759, 1743
Bound volume of etchings on paper
Book

Bound volume of 22 prints and 1 loose print featuring monkeys in human costume acting out various scenes.
Spoon with Niello Riverscape Scene
"P Ya", 1844
gold plated, silver, niello
spoon

Spoon with round bowl. Gilded interior and niello reverse showing riverscape with buildings framed by scroll work and surrounded by a stippled gilt ground. Part-twisted stem comprises a striated niello band entwined with gilded band. Gilded ball terminal.
Abbey Church of St. Leu d’Esserent. (Oise)
Arnold William Brunner, American, 1857–1925, 1879–80
Graphite on paper
Drawing

Seven sketches of bases, in outline.
Frieze
, 1815–25
Block-printed and flocked on handmade paper

Horizontal bands of Greek ornament, in colors and black flock, at top edge. This top band rests on pilaster capitals. The spaces between the capitals are decorated with foliate forms and pendant ornaments, and a diaper of pale gray bud forms. Gray ground.
Frieze
, 1905–1915
Machine-printed paper

Alternating foliate medallions connected by floral swags. Bottom band of stripes and top band of stripes, beading, egg and dart, and bead and reel patterns. Ground shades from tan to light teal (bottom to top) and is covered with groups of circles connected by vining. Printed in burgundy, tans, beige, teal, brown-green and metallic gold.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Lace-like vertical stripes with floral ornaments, each with two sets of leaves and three stylized flowers. The stripes and ornaments contain beading, scallops, and stripes. Background is a grid of geometric dots (small squares and rectangles) separated by vertical lines. Ground is a grey green. Printed in white, beige, greens, brown, gold mica, white mica, and dark pink. 
Printed in left selvedge: "S. A. Maxwell & Co. 2176 CH"
Lock, hasp, key
, late 16th–mid- 17th century
Iron

Lock in circular form, decorated with pierced vine and foliage pattern around keyhole; hasp attached with bird decoration, and short key with large loop.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, textured, liquid mica

Floral bouquet set within a metallic copper oval, like a cameo, with border of strund beads. A floral swag hangs down from top. The different ovals are connected by more floral swags. Printed on a tan or light yellow ground.
Brisé fan
, late 19th century
Painted ivory sticks, silk ribbon, tortoise shell on guards, rivet set with a stone

Brisé fan. Ivory sticks painted to resemble vernis martin. Obverse: central scene of balloon ascent with cartouches enclosing four smaller scenes of balloon in flight and two portraits. Reverse: balloon over landscape. Rivet is set with a clear faceted stone. Tortoise shell on guards.
Sampler
Sarah Afflick, American, 1796
silk embroidery on cotton foundation Technique: embroidered on plain weave foundation

Three vases are aligned across the bottom, each with very tall, spindly bunches of exotic flowers which rise up and fill the entire ground.  With an inscription at the very top:
Sarah Afflick her Work made in the 7 year of her age

and bottom:
And in the year of our Lord 1796
Cap
, 19th century
linen, wool Technique: satin and stem stitch embroidery on plain weave, bobbin lace

Woman's cap embroidered in characteristic design of open flowers and leaf forms. Lined in cotton.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Small and large lavender and light blue anthemions or acanthus medallions, with scrolls in olive green, on beige ground. All-over polka dot background pattern. Two borders printed across the width.
Border
, 1800–1825
Block-printed and flocked on joined sheets

Wide top band containing an ormolu or gilt bronze medallion. This elaborate medallion alternates with a smaller rosette. Narrow band of similar medallions near bottom edge. Band of gray at bottom. Printed in shades of yellow, ocher and rust-colored flock of yellow ocher ground. a) contains the large medallion and two rosettes; b,c) each contain just one large medallion.

H#218
Sampler
Susan Lavie, 1771
silk embroidery on linen foundation Technique: embroidered in cross and eyelet stitches on plain weave foundation

Alpahabet followed by text "Be you to others kind and true as you'd have others be to you and neither do nor say of men whateer you would not take again" then part of another alphabet, then signature.
Valentine
, 1870–80
Chromolithograph and embossed cut paper
Greeting card

An oval chromolithograph of a girl surprising a boy with a paper frame of gilt, embossed paper.  Inside, inscribed on blue paper is:  "Had I thy wings, oh dove,/High midst the clouds to soar,/ Soon would the strongest cords of love/ Bring me to earth once more."
Waves beneath Dramatic Sky
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

View of ocean out towards horizon, large wave breaking over rock in foreground.
Sketchbook Page: Various Figures
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

In the upper right, a standing nude female, facing frontally. Below, profile of a man's head. In the lower left, sketch of a man, possibly in 17th-century costume, standing near a column with a sword or cane in his right hand.
Ignudo from Sistine Chapel ceiling
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Ignudo (nude figure) between Creation of Adam and Creation of Eve on the ceiling of the Sistine Chapel, painted by Michelangelo. Proper left knee is bent, foot resting on his seat, and proper left arm is extended.
Figure of a "Dancing Indian"
Capodimonte Porcelain Manufactory, Italian, 1743 – 1759, mid- 18th century
hard paste porcelain, marble (plinth)
figure

A dancing Native American in undecorated porcelain. He holds a club in his right hand and a shield in the left, and stands with one foot on a globe. Marble plinth.
Sampler
Eliza Spencer, American, 1823
linen foundation Technique: cross stitch embroidery on plain weave foundation

Unfinished horizontal sampler with three alphabets, one set of numerals and the inscription:

Eliza Spencers Sampler  Aged 11 years  Made at Miss Polly Fowlers School in the year 1823  Children o
Border and sidewall
, 1805–20
Block-printed on handmade paper

a) The upper portions of thickly set trees are seen. Leaves are printed in blue and black. Branches are brown. Pale blue sky above; b) Border containing grisaille palmette and floral motif alternating with bud form against yellow flock field; c) Fragment of end piece of a scenic, bears inscription "24". Found on back of "b".
Textile
, mid-19th century
wool Technique: block printed on 4\1 satin weave

Dark purple length densely patterned with large, brilliantly-colored flowers, foliage and ferns in shades of red, green, brown, and violet.
A Sculptor's Studio
Thure de Thulstrup, American, b. Sweden, 1848 - 1930, ca. 1892
Gouache over traces of graphite on cream wove paper
Drawing

Interior of a sculptor's studio. Sculptor working on a large figure in the background. Man at right examines a small model.
Sidewall
, 1905–1915
Machine-printed paper, ungrounded, liquid mica

All over pattern of scrolling acanthus vines. Printed in shades of tan, brown, and greeon on ungrounded paper that is now tan.
Waistcoat
, ca. 1790
silk embroidery on silk foundation, linen back Technique: embroidered in satin, stem and knot stitches using 22 colors on plain weave foundation

Gentleman's embroidered waistcoat with standing collar, straight hem, pocket welts and covered buttons. Embroidered in multicolored silks in more than twenty colors. Over-all spot pattern of flowers and butterflies on the top half. Leafy branches, flowers and insects such as beetles, caterpillars, butterflies, and dragonflies are on the bottom half.
Fragment
, 16th–17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a plain weave foundation

Dark purplish-brown cut and uncut velvet in stylized leaf pattern against yellow ochre ground.
Study of elm tree
William Trost Richards, American, 1833–1905, October 1856
Graphite on paper
Drawing

Sketch of an elm tree with foliage.