biglam/cooper-hewitt-alt-text huggingface dataset:
Frame
Giuseppe Barberi, Italian, 1746–1809, ca. 1796
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Inner frame similar to 1938-88-1906. Above it stands a tripod in front of a wreath. Beside hang trophies from bowknots, the left one with a pair of scales, fasces and a military flail, the right one with musical instruments and colors. In the center below is a prelate's escutcheon, with the ribbons of the trophies fastened to it; beside are branches. Framing molding. Dark background.
A la gloire de Louis XVI
Gorgerat Frères et Cie., Nantes, France, 1783–1815, 1789
cotton Technique: printed by engraved copper plate on plain weave foundation. Component "b" is embellished with embroidery in satin stitch (woman's cap and fleur de lys) and stem stitch (netlike covering over globe).
Textile

Design of four framed allegorical scenes, separated by swags, floral garlands and cornucopias. Red on white.
Textile
, 18th–19th century
linen Technique: supplementary looped wefts in plain weave foundation

One panel from a bedcover. Pattern produced by widely spaced heavy loops. In the center is a panel with geometric shapes flanking the cross and both ends are patterned by a diagonal arrangement of small diamonds. One selvage remains.
Candleholder and cover
, 1800
pear wood, turned

The candlestand is formed of a circular base (a), candle socket (b), and candle cover (c). The base is circular and hollow to hold matches, fitted at one side with a turned baluster-profile handle. The underside of the base is recessed and applied with a granite or glass paper to provide a striking surface for friction matches. The interior of the base is threaded to fit the threading on the candle socket which is turned with a flanged grip. The exterior of the nozzle is threaded to fit the threading on the candle cover. The cover is formed of a turned cylinder with a central molded band, and tapers toward an articulated turned finial.
Catalogue for the Karasz Exhibition, Hanfstaengl Galleries, New York, NY
Ilonka Karasz, American, born Hungary, 1896–1981, 1920
Lithograph on cardstock
Print

Tri-fold booklet with printed black text throughout. One large reproduction of a linoleum cut print featuring a female nude standing underneath a curving leafy tree, her arms bent upwards, a robe draped over her right arm. Printed details contain the dates and title of the exhibition and titles of the included prints.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Green/yellow warp and red and gold color wefts.
Femme du pays des Laos
Antoine Watteau, French, 1684–1721, 1731
Etching on paper
Print

A standing woman in a landscape holding a large parasol. Trees and mountains in the background. The plate is signed, titled, and numbered.
LE PRINTEMPS
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of a young couple sitting in a landscape; the young man leans against the young woman, plucking a flower. The scene is surrounded by ornamentation, including leaves, wreaths, a portrait medallion, birds, scrolls, and cartouches. The plate is signed.
Talegrepat ou Religieuse du Pégov
Antoine Watteau, French, 1684–1721, 1731
Etching on paper
Print

A kneeling woman in a landscape holding a fan in her right hand. Trees in the background. The plate is signed, titled, and numbered.
LA TERRE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of arabesque ornamentation with a central vignette of apple pickers; a man in a tree drops down an apple into a woman's apron, while three children around her pick up apples off the ground. The scene is framed by ornamental reeds, garlands, scrolls, baskets of flowers, and a radiating cartouche at the bottom. The plate is signed.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Bright pink ground with white and light green floral strips.
Design for a Mass-Operational House Designed by Hector Guimard, Construction for Support Covering
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the construction of the covering of the supports.
Fragment, floral
, late 18th century
wood, gilded

Flower.
Textile
, 18th century
silk Technique: discontinuous supplementary weft patterning (brocaded)

Length of brocaded with with large bouquets of pale pink roses with green foliage on an ivory ground.
Fragments
, 17th century
silk, metallic thread Technique: cut pile velvet

Fragments with arabesques and pomegranates.
Costume Design: Valor and Music for a Ballet
, ca. 1720
Lead pencil, pen and ink on paper
Drawing

Vertical rectangle. A bearded man wearing a skirt is shown frontally. He raises with his right hand a mace similar to that in object 1942-3-5. A lion skin hangs around his shoulders. Written in the lower part of the right sleeve and of the skirt: "Biancho," in the bodice above the waist: "Follia morta," in two bands of its lower part respectively: "Giallo," and "Rosso." On top: "La sigra Angiolina Valors Musicha."
Cap
, late 18th century
linen Technique: bobbin lace applique on needle lace ground (applied lace)

Lace ground with applied motifs in the design of cupids and floral sprays.
Studies of Wings
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Pen and ink on tracing paper
Drawing

Above, right, an angelic figure with a man's head and arm, and wings. Below, a bird with raised wings. Lower left, study of a wing.
Seated Figures
John La Farge, American, 1835–1910, October 1890
Graphite on paper
Drawing

Leaf from a sketchbook. Above, two seated figures, with indication of "Sea" in the background. Below, seated figure with "Sea" in the background.
Peep-show, Vüe Perspective de la Ville de Cadiz du Cote du Port
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Fragment
, possibly 6th–7th century
silk Technique: 2 + 1 (Z) samit

Diamond lattic formed by small squares framing crescents and lozenges. Remains of selvedge at right side.
Pulpit
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper
Drawing

A window-like, wall-mounted pulpit is supported by brackets (connected by a swag) decorated with cherubim. Above brackets, acanthus-decorated bases support corinthian pilasters holding a simple entablature, under which are
Candy dish
, 19th century
glass

Cut glass candy dish with handle
Fragment
, 16th–17th century
silk Technique; woven (velvet) and printed

Velvet fabric printed with a small quatrefoil design with a floral motif.
Elevation of a Wall with Alternative Suggestions
Nicolas Pineau, French, 1684-1754, 1730
Pen and ink, red crayon, graphite on paper
drawing

At left, decoration over a moulded frame. A suggestion of a netted panel with festoons and a mask in an escutcheon is invalidated and replaced by the suggestion of a higher top of the frame topped by an escutcheon with a mask and two alternative designs for a panel. Left center, a door with an over door showing a medallion witha female head in a panel. The right half of the top of moulded frame and a netted panel in the corner and rear of the decoration of the folding door. A vertical panel with a bird in an escutcheon. At right, a frame is topped by birds and a panel with a trophy of attributes of Cupid.
Virgin and Child with Parrot
Hans Sebald Beham, German, 1500–1550, 1549
Engraving on off-white laid paper
Print

Vertical rectangle. The Virgin is seated, facing the spectator, her heard turned to the left. Her right arm supports the standing child and a parrot sits on her right hand. In her left hand is an apple. At upper right appears the word: ''S. MARIA.''
Textile
, 1825–35
cotton Technique: roller (mule) printed on plain weave

Section from a curtain of brown ground glazed chintz, with design of flowers etc. arranged in perpendicular curving vine, printed in yellow, blue, red, brown. !!! Rather coarse overprinting, probably by block, background possibly roller-printed. One selvage pieced in length.
Chasuble front (unmade-up)
, 18th century
silk Technique: plain weave with supplementary warp floats and discontinuous supplementary weft floats.

Floral sprigs within vertical stripes on white ground.
Cooper Union Museum Lace Study Card
Cooper Union Museum, 17th century
linen Technique: bobbin lace
Fragment

Fragment with an open, meandering pattern of scrolling, ribbon-like lines and straight edges.
Beaded fringe
, ca. 1880
jet beads, linen

Trimming with heading in a diamond pattern. Worked on a narrow braid of black twill on brown cotton.
Sketch of Woman with Arms Crossed
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Woman looking up and to the left, arms crossed over her chest. Verso: lines in black crayon.
Fragment
, 17th century
silk, linen (?), metallic

Lattice pattern in red and yellow.
Textile
, 18th century
silk, linen, metallic thread Technique: cut and uncut supplementary warp pile (velvet) on metallic ground

Large massive single symmetrical repeat of a bouquet rising from a large inverted heart-shape made from flowering branches and arabesques with some dotted scale filling. In pinks, blue, greens, mauve on a ground originally bright yellow but now faded to tan in most areas.
Male Nude with One Foot on a Step
Daniel Huntington, American, 1816–1906, 1858
Graphite Support: green wove paper
Drawing

Vertical rectangle. He stands turned toward the left, his right foot on a step, his right arm on his thigh, his left hand holding a pole at right.
Printing block
, late 19th century
wood, metal

Square wood block for printing handkerchiefs. Set with design in metal of rosettes and arches.
Fragment
, 1750–1800
silk Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

White ground with large serpentine branch from which spring sprays of realistically drawn flowers, acorns and foliage, brocaded in polychrome silks.
The Banqueting Hall, Whitehall, London
Ernest Clifford Peixotto, American, 1869–1940, 1899
Pen and ink on illustration board
Drawing

A broad avenue with the Hall, left, and the clock tower of Westminster Palace in the distance. Horse-drawn buses and hansom cabs.
Ammon Begs the King to Summon his Sister Thamar
Martin Van Heemskerk, Netherlandish, 1498 - 1574, 1559
Engraving on off-white laid paper
Print

Ammon, in bed, begs the King to summon his sister Thamar.
Illustration to the following passage in the Book of Samuel: Thamar, Samuel, I, Chap. 13
Plate
Joseph Théodore Deck, French, 1823 - 1891, ca. 1885
earthenware

High foot, wide edge. White field, decorated in centre with bust of woman, in profile facing left, in 16th century headdress, against black; dark blue area, with four Eastern-style cusped points, about centre medallion. Violet foliate band about edge of plate, interrupted by four trefoil medallions enclosing putti.
Square
, 1892–93
silk Technique: jacquard woven

Red silk souvenir square from Chicago's Columbian Exposition has a design of buildings and a large pool of water in light grey.
Fragments
, 16th–17th century
silk, metallic Technique: woven velvet

Gold background with all-over repeat of imbricated tear-drop or scale motif in red velvet. The pieces are shaped as if they were once part of a chausable.
Tape
, mid-19th century
silk Technique: plain weave

White tape or seam binding on a flat wooden spool.
Fragment
, 16th–17th century
silk, metallic Technique: supplementary warp forming cut and uncut raised pile on plaineweave (velvet) with supplementary wefts.

Interlacing strapwork forming compartments which have a fleur-de-lys motif or an acorn motif. . In blue on gold ground. Right selvage present.
Border
, 19th century
linen Technique: needle lace with ground of loop and twist with loop and twist return

Lace, commonly called Point de Gaza, with a border of flowers and floral ornament.
Cartouche decoré
Pierre Edme Babel, French, 1720–1775, 1743-1763
Etching on off-white laid paper
Print

Rocaille cartouche in front of a pyramid and a statue of an allegorical female figure. In front of the cartouche are atributes of war, including arrows, body armor, and flags. The plate is signed and numbered.
Bandbox
, ca. 1830
Block-printed paper, pasteboard support

Blue field, printed in pink, white, green and brown. On box, shepherd with cows and sheep; on cover, three figures in Turkish costume, in framework of drapery.
Ribbon
, 19th century
silk

No catalogue card exists.
Button
, 19th century
Steel

1931-59-251-a: Flat buttons ornamented near edge with ring of dot...
Chair backs
, early 19th century
wool Technique: printed (stamped) by heated roller on wool velvet (plain weave with wool supplementary warp)

Pair of chair backs with a stamped design of a floral bouquet on a field of twisted shapes. Design is in relief above the flattened background.
Border
, 1820–50
Block-printed and flocked

A group of ten border samples mounted on a board. The designs include rope twist, ribbon and rod, vine and rod, and fancy gimp, among others.
Album of Ornamental Hunting Trophy Designs
Christophe Huet, French, 1695 – 1759, 1741
Album

Album containing a series of six ornamnetal hunting trophy desings by Huet.
A Tomb Monument
Gilles-Marie Oppenord, French, 1672–1742, 1692–99
Pen and brown ink with brown and gray washes on laid paper
Album page

Vertical rectangle. 

Recto: A tomb monument within a niche consisting of a male bust on a high base flanked by putti holding draperies. below, a sarcophagus flanked by eagles with a garland suspended between them, possibly inspired by the tomb of Cardinal Priuli in S. Marco, Rome. 

Verso: Joseph leads Mary, holding the Christ Child, followed by the ass and two putti. A vertical line divides the scene from a standing Madonna and Child. 

One sheet of paper drawn on recto and verso, mounted onto an album page with window cutout to see verso.
Sampler
, 19th century
glass beads, cotton Technique: embroidery with beads

Unfinished beadwork sampler with five patterns: two floral borders, one stylized and one naturalistic; two confronted birds; a wreath with the initial M; and an agnus dei.
Border
, early 19th century
linen Technique: bobbin and needle lace (appliqué on bobbin ground)

Border of bobbin fond with appliqué floral sprays and semé de larmes. Fond: Droschel with needle lace appliqué.
The Irrigating Ditch, Illustration for The Century Magazine (XXXVIII, No. 2, June 1889, p. 299)
Mary A. Hallock Foote, American, 1847–1938, 1889
Wood-engraving in black ink on paper
Print

Woman stands in foreground, holding an infant in her arms. The irrigation ditch is seen in front of her. Farmer in distance at work.
Portrait of Admiral Egbert Meesz Kortenaer
Abraham Blooteling, Dutch, 1640–1690, 1665
Engraving on paper
Print

Man with right hand on hip, left hand holding an eyepiece, standing behind two cannons; harbor with ships in background.
Sketchbook Page: Historic Portrait No. 9 (Self-Portrait)
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Self-portrait of the artist, unhappy.
Shimada, Travelers Crossing the Oigawa, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print (ukiyo-e) on mulberry paper (washi)
Print

Here is a scene of travelers making their way from the east bank of the Oi River to the west bank. During heavy rains, travelers would have to wait until the river subsided. The hotels on either side would become very crowded. Once the water went down they could cross the river themselves or hire watermen to carry them or porters to float them across on a raft.
Band
, late 18th century
Technique: bobbin lace

Edge of bobbin lace, leaf pendant edge; late 18th century Buckinghamshire.
Padlock and key
, 17th century
Steel

(a) Padlock in the shape of a footed urn with stepped levels, and arced shackle, with two unidentifiable marks.
Portrait of Unidentified Man
Richard Dighton, British, 1795–1880, 1870–80
Pen and ink with watercolor
Drawing

Vertical rectangle. A portly man wearing face whiskers is seen full-length standing in left profile, his left had thrust behind his coat tails.
Frieze
Keystone Wall-Paper Company, 1905–1915
Machine-printed paper, liquid mica

Floral bouquets, feather scrolls, and floral vining. Bottom has floral trellis inside a continuous wave-like shape, underneath which is a horizontal beading pattern and stripes. Top has stripes and horizontal beading pattern, with floral scroll vining underneath. Ground shades from beige-green to white to beige. 
Printed in selvedge: Keystone 1652     1
Choppy Ocean and Clouds
William Trost Richards, American, 1833–1905, ca. 1900
Graphite on white wove paper, lined
Album page

1953-179-85-17: Hatched sketch of flat ocean beneath billowing clo...;     1953-179-85-18: Ocean with choppy waves below sky with sun shining...
Ceiling paper
, 1905–1915
Machine-printed paper, ungrounded, liquid mica

Quatrefoil motifs linked together by lacy, dotted lattice pattern, forming grid or trellis design. Printed in tan, white, and metallic gold on light colored ground.
Sidewall
, 1775–85
Block-printed on handmade paper

Arabesque, with, at top center, a faun's head supporting a basin with grasses and a fountain rising from it. From the faun is suspended a net which hangs above a putto with fishing rod. Printed in blues and reds on pale blue ground.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Grouping of three tulips alternating with single tulip. Printed in shades of brown, green, and tan on tan ground.
Sidewall
, ca. 1885
Fiber composition, tung oil, embossed

Imitation leather. Vertical rectangle. Approximately twenty emblems of different shapes arranged at random. Several of the motifs occur twice with their direction changed. Geometrical, foliate and mask designs are included. Painted black.
Sidewall
M.H. Birge & Sons Co., 1834, 1908–10
Embossed paper, hand-rubbed oil finish

Imitation leather. Textured green paper imitating embossed leather. Darker brown pigment rubbed into crevices.
Frieze
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1900–1915
Machine-printed on paper, applied mica flakes

Foliate bandings, shield-like ornaments in shades of blue, metallic silver and gold, outlined in mica-like gold. Frieze shades from light blue at bottom to light salmon color to tan at top. Flitter frieze
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Small fleur de lis enclosed within a wreath composed of stylized scroling foliage. Four quatrefoil shapes surround the wreath. Printed on a tan ground.
Card case
, early–mid-17th century
silk, gold-colored foil-wrapped around silk core thread Technique: stranded knitting

Small rectangular purse with triangular flap. Green background with repeating pattern of diamond-shaped blossoms in metallic yarns. Same pattern on both sides.
Figure on pedestal
, 19th century
Terracotta

A resting figure fanning itself sitting upon a tall column. The figure has pulled back dark hair and is wearing a robe.
Sidewall
, ca. 1880
Machine-printed

Aesthetic-style design, all-over floral and foliette pattern, printed in pink, blue, tan and white, with fine gold outline. Groups of flowers coming out of basket-like containers. Printed on embossed ground.
Sketch of Sea with Boats
William Trost Richards, American, 1833–1905, late 19th century
Graphite on cream-colored paper, mounted
Album page

1953-179-85-39: View of two tall cliffs at right with water splshi...;     1953-179-85-40: Sketch of ocean breaking on beach with ships on ho...;     1953-179-85-41: Sea with boats on horizon at center and right.50
Sidewall
, ca. 1800
Block-printed on handmade paper

The squares which are formed by orange vertical and horizontal lines contain diamonds which in turn contain wreaths centered with floral sprigs. Gray and white hatching contribute toward a third dimensional effect. Printed in gray, orange, black and white on pale blue ground. A horizontal rectangle.
Study of foliage
William Trost Richards, American, 1833–1905, ca. 1860
Graphite on paper
Drawing

Sketch of foliage growing near water.
Ceiling paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, textured, liquid mica

Quatrefoils of acanthus surrounding stylized floral motifs.  Gold, bronze, liquid mica, pink, and green on a cream ground.  Pattern  number893.
Border
, 1820–60
Block-printed on joined sheets

Printed in one color, capitol with scrolling volutes, attached to leaf banding. printed in deep red on white ground. Mounted on tan card stock.
Fashion Plate from Le Moniteur de la Mode
J. Bonnard, French, active 19th c., 1885
Engraving, brush and watercolor on paper
Print

Two women in a field; a lake beyond. One, right, with a palette and brushes at an easel. Artists' and publisher's names and date below. Description on verso.
Sidewall
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

On green ground, treillage composed of C-scrolls in green and burgundy, with anthemion motifs made up of scrolls in white with background in burgundy anchors.
Frieze
E.S., 1890–1910
Machine-printed

Large-scale medallions, on lattice-like base, alternating with much smaller medallions. Acanthus scrolls connect the elements. Printed in green, brown, pink and white on taupe ground.
Josiah with Jechoniah in his arms, ancestors of Christ from the Sistine Chapel ceiling by Michelangelo
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Seated male figure identified as Josiah with a child, Jechonial on his lap. The figure extends his left arm and opens his hand, and looks over his right shoulder. The child faces the same direction and puts its left hand on the figure's right shoulder.
Band
, 17th century
silk on linen Technique: deflected element work using cross and over-casting stitches

Band with a design of an angular curving vine bearing fruit and leaves. Pattern in reserve on a background in red silk. Fragment from a larger pieces. Upper edge finished with different color silk.
Ceiling paper
, 1905–1915
Machine-printed paper

Widely spaced scrolling acanthus motif, altnerating large and small. Printed in blue, green, and white on tan or off-white ground.
Christ and the Magdalen
John C. Wolf, 1890–1900
Graphite on tan paper
Drawing

Christ standing on right coming towards a woman seated (Magdalen) on a platform; surrounded by suggested architecture.
Textile
, mid- 18th century
silk on silk Technique: embroidered on taffeta

Fragment of silk embroidered with silk showing design of leaves, flower swags and lattice forming a vertical framework that encloses and man with dog. Large floral blooms, extend to the right, into unembroidered area.
Sampler
Judith Clarke, English, 1706
silk embroidery on linen foundation Technique: embroidered in chain, button hole, running, knot, couching, cross, eyelet, stem and whipped chain stitches on plain weave foundation

Top half: five alphabets followed by monograms.  Bottom half: picture, Chinese gentleman and child with trees and flowering plants, signature and date.
Chimneypiece, from Diverse Maniere d'adornare i cammini
Giovanni Battista Piranesi, Italian, 1720–1778, 1769
Etching on paper
Bound print

The image depicts a chimneypiece with four young men decorating the andirons. These men have lion paws for legs, holding garlands in one hand and a coin in the other. Behind them, a symmetrical image of a plant formation with satyrs, birds, and laurel, among other symbols. The jambs are identical and are composed of Egyptian figures in profile flanking a cross with hieroglyphs topped with a seated sphinx with its wings around a medallion depicting military symbols. The mantel depicts a cartouche with winged deities holding a vase, all bordered by vines, above a garland made up of faces.
Design for Textile
Seiffert and Co., ca. 1860
Brush and gouache on pre-printed squared paper
Drawing

A pattern for a corner design, composed of flowers and leaves within a frame.