biglam/cooper-hewitt-alt-text huggingface dataset:
Fragment
, 300–900
linen, wool Technique: plain weave with discontinuous wefts (tapestry)

Fragment with continuous overlapping leaf pattern in natural wool, blue, red and purple
Hunting Trophy
Christophe Huet, French, 1695 – 1759, 1741
Etching and engraving on laid paper
Print

Fourth plate from a series of six designs for hunting trophies. A hanging trophy featuring dead birds, a deer, and foliate branches from tied ribbons. The plate is signed and numbered.
Feux de Cheminée dans le Gout modern
Clément Pierre Marillier, French, 1740 – 1808, 1763
Etching and engraving on paper
Print

Designs for four andirons (or firedogs) featuring putti, scrolling leaves (rinceaux), c-scrolls, chains, foliate branches, an eagle, flames, and a flaming vase with a snake and swags of leaves. The plate is titled.
Developpement de plusieurs Portiques, Cabinets, Allées et Palißades de verdures à l'usage des Jardins
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Designs for garden gates and pathways out of greenery. The plate is signed and numbered.
Cape
, ca. 1830
cotton Technique: printed on plain weave

Short, square-cut double shoulder cape in brown and white. Design is a geometric and higly stylized floral pattern.
L’HOSPITAL DE LA SALPESTRIERE
Gabriel Perelle, French, 1604–1677, 1668–1703
Etching on laid paper
Print

View of a domed building in Paris seen from a distance with the river in the foreground with boats and barges. Figures, horseman, and horse drawn carriages beyond. The plate is signed and titled with a description.
Cattle, Steers
Samuel Colman, American, 1832–1920, 1875–80
Graphite, brush and gouache on cream-colored paper.
Drawing

Vertical view with a black and white steer, standing, shown from the head at top right; a brown one, walking shown obliquely and horizontally at top left; and a grazing brown one shown obliquely at center left.
Title Page
François Boucher, French, 1703–1770, 1758–63
Etching and engraving on laid paper
Print

Title page for a series of designs of putti by F. Boucher. The title is lettered in the center, over a piece of fabric which is being held up by four winged putti. The background is shaded. The address is lettered below.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Grotesque ornamentation within a divided frame that features strapwork, medallions, and rosettes. At the center of the composition is a mythologically-themed medallion of a woman riding dolphins, set in an architectural niche. The composition also features a fountain, anguipèdes, terms, a trident wielding putto, birds, reeds, shells, and dolphins. The plate is signed and given the letter "B."
Judith with the Head of Holofernes
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1587 – 1605
Recto: pen and brown ink, brush and brown wash, with opaque white watercolor on laid paper Verso: pen and brown ink
Drawing

Recto: Judith stands at center, facing left. She holds the head of Holofernes in her left hand and raises her sword in her right. Her servant, kneeling in the foreground at left, holds out a sack to take the head. Holofernes's corpse is visible in the background at right.
Verso: Oval composition, wreath-like, contained within a rectangular frame. Figures identified as gods fill the oval form, with Jupiter and an eagle at upper center.
VUË PERSPECTIVE DE L'INTERIEURE D'UNE DES SALLES DE LA PLACE DE LOUIS LE GRAND, VUE DE L'ENTRÉE DU SALLON.
Jean François Blondel, French, 1681–1756, 1751
Engraving on laid paper
Bound print

Interior view of one of the halls set up in the Place Louis le Grand (now Place Vendôme) for the celebrations in honor of the marriage of Louis Dauphin and Maria Teresa of Spain given on February 23-26, 1745. On either side of the entry are stepped terraces; the top level is reserved seating, and the two other tiers support the food for the feast. The hall is filled with revelers eating, drinking, and dancing, as well as individuals sitting near the food who seem impoverished.
Lunette with St. Peter and St.Paul with St. Matthew and the Prophet Isaiah, Study after Sebastiano del Piombo
Felice Giani, Italian, 1758–1823, 1821–22
Pen and ink, brush and brown wash, over black chalk on white wove paper
Drawing

Upper left, the Virgin, with arms extended, born heavenwards through clouds by eight angels and cherubim. Upper right, Virgin born heavenwards, supported by four winged putti, with another angel at upper left. Lower left, two putti, one seated, and other kneeling, holding sprays of flowers. Lower right, two kneeling women, embracing.
Street Scene
Constantin Guys, French, 1802 – 1892, 1858–60
Pen and brown ink, brush and watercolor over graphite on tan wove paper
Drawing

Vertical rectangle. A cocotte in a gray dress with a light green straw bonnet.  Female figure wears burgundy apron and shoes, and a rust-colored and black plaid shawl.  Both hands are thrust in her apron pockets.  Background, two men standing before the door of a cafe or hotel.
Design for Two Friezes
Piat Joseph Sauvage, French, 1744 - 1818, 1785-1790
Pen and ink, brush and sepia washes
Drawing

Center, framed oblong showing in the center a crowned medallion with a lily plant flanked by dolphins upon which girls are seated supporting festoons together with dancing ones. The bottom frieze depicts girls carrying a garland beside a plant.
Castle in the Mountains
, 1810–1830
Red crayon on paper
Drawing

Several houses among which are two circular ones, are situated behind a wall. A road leads to the gate in the wall. Mountainous country.
Schooner with Three Dories
Winslow Homer, American, 1836–1910, 1880
Graphite, brush and gouache on light-brown paper
Drawing

Horiztonal view of a schooner with three dories.
Face du grand corps de Logis du Chasteau de Richelieu du costé du Parterre
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the formal garden façade of the chateau of Richelieu with its parterre planting and central basin with fountain / jet of water. Figures throughout the garden, along the paths. Landscape visible in the background with more gardens / parkland and figures. The plate is titled and signed.
Design for an Embroidered Vertical Border
, 1780–1800
Graphite, brush and gouache on paper
Drawing

Similar scheme is 1920-36-30, but for the inner lateral strip which is replaced by a garland sloping around the bottom of the bunches.
Ornament Design
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

An arabesque ornament design featuring an eagle with a snake in its talons, with clouds, foliate branches, festoon of flowers, rectangular cartouche with cornucopia and roundel profile portrait, below, foliate scrolls, and scrolling leaves (rinceaux). The plate is numbered.
Three Heads of Women, One Asleep
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1637
Etching on laid paper
Print

Three heads of women: above, left, woman asleep, her head resting on her hand; right, woman, facing left, the head in three-quarters view.
Stage Design, Temples on Riverside
Giovanni Battista Piranesi, Italian, 1720–1778, early 19th century
Pen and ink, brush and sepia wash, graphite on paper
Drawing

Horizontal rectangle. Group of temple buildings with porticoes on river side. Unfinished.
The Triumph of Bacchus and Ceres
Felice Giani, Italian, 1758–1823, 1812
Pen and brown ink, brush and brown wash on light brown laid paper
Drawing

Pageant directed toward right. In right background, temple shown with curtains in intercolumns.
Frieze
, 1905–1915
Machine-printed paper, liquid mica

On gray-white gradient ground, alternating anthemion motifs printed in brown, white, dark green, and dark burgundy. Rinceaux, flowers, scrolls, and heart shapes.
Knife
, late 17th–18th century
steel, glass beads, thread

Sabre-shaped blade with globular bolster. Tubular-tapered handle covered beadwork in multi-colored spiral-floral bands on a white ground.
Academic Study of a Male Nude
Giuseppe Longhi, Italian, 1766–1831, 1790–1830
Black and white chalk on buff-colored paper; verso: black chalk
Drawing

A young male nude is seen standing, facing frontally. He is supporting himself with his right arm on a block behind him, and his left arm is raised before his face. His left leg is raised on a step. Verso: outline of the same figure in an identical pose.
Sidewall
M.H. Birge & Sons Co., 1834, 1902
Machine-printed paper

Large, suspended purple flowers on green trellis, printed on light yellow ground.
Shawl
, 1830–1850
wool Technique: twill tapestry weave, pieced Label: wool twill tapestry, pieced together

Shawl with large-scale leaves. Center in light green with repeated almond shapes in pairs surrounded by floral elements. Center enframed by four outer borders of varying widths. Predominantly red and green.
Paper Sample
, 19th century
Coated paper
Drawing

Paper sample in yellow.
Vase
Redlich and Co., 1895 – 1946, ca. 1900
silver
vase

Tall, thin stem with applied foliage, opening as a flowerhead, on circular base
Woman's surcoat
, late 19th century
silk Technique: tapestry weave (kesi) Label: silk tapestry weave (kesi)

A  robe of dark blue silk with a deep wave border at the bottom and sleeve hems. Tapestry-woven design of eight large circular medallions showing five white cranes with red crests and blue cloud bands. Lined with light blue silk.
Rabbit hunt
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1595
Engraving on paper
Print

Horizontal rectangle. The dogs hunt and trap the rabbits, left, brining their kill tot he horsemen behind the tree, at right. On a rock, left center: "Ioan. Stradanus invent. / Theodorus Galle Sculp." At lower right: "Phls. Galle excud." Below: "CALLIDUS EFFOSSIS LATITARE CUNICLULUS..."
Dish with lid and stand
, ca. 1800–10
Glass

Circular waisted bowl has wide rim to hold cover. Diamond cutting edges rim and surrounds body dome of cover, and finial. Cover has flat, radial cutting on underside with flat steps on top. Radial cutting on bottom of bowl, and on stand with scalloped edge.
Three Carriages
Richter, German, active 19th c., 1837
Engraving on paper
Print

Above, a phaeton, open. Center, cap-phaeton, with a folded hood; below, a partially closed carriage - "Postkutsche". The names below each; artist's name, lower left.
Seated putto
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Seated putto
Trimming
, 1800–1850
wool, linen, silk Technique: stamped

Fragment from curtain (rings still at top) of warm red, hard-surfaced wool, stamped in barely visible design of large all-over floral motifs. Bordered along one side by woven linen-and-silk strip in wreath and anthemioh design, also red.
Embroidery Design of Two Commedia dell'Arte Figures
Santo Vallardi, Milan & Paris, 1820–50
Brush and gouache on pre-printed squared laid paper
Drawing

Left, above, violet footed vase with bouquet of pink and orange flowers; below, one of the zanni, or clowns or Harlequin, wearing a costume of red, yellow, blue and green; he holds a puppet. Right, above, tan vase with pink blossoms; below, one of the zanni, wearing black mask and costume in green, red, and yellow; he holds a club, wears a large hat, and stands in a comical pose.
Jar and cover
, ca. 1820–30
glass

Ovoid jar and cover on plain, short stem and square pedestal base all overs step cutting cover has notch for spoon. Mushroom finial with radial cutting.
Caudebec
Arnold William Brunner, American, 1857–1925, 1883
Graphite and white heightening on light blue-brown paper
Drawing

Upper sections of a half-timbered house and part of a church. Birds flying above, upper right.
Sampler
, 1786
wool on linen Technique: cross and satin stitches on plain weave foundation. Counted stitches.

Two alphabets and a set of numerals, a row of crowns identified K, Q, P, D, and E.  "Gra---m--er wrought this in the 12 year of her age 1786."  Assorted trees and animals at the bottom.
Figure from Last Judgment
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Figure to the immediate left of Mary in The Last Judgment by Michelangelo
Purse
, 1820–50
silk, metal Technique: beaded crochet

Very small round crocheted silk bag with gilt beads. Set in a gold rim with a lid, ornamented in relief of c-curves which opened shows star-shaped cover over shallow cavity.
Study for "Venus"
Elihu Vedder, American, 1836 – 1923, ca. 1885
Black crayon, white chalk, on tan paper
Drawing

Bust-length nude figure of a girl, facing  the spectator. Her arms are upraised, in the act of arranging her hair. Signed and inscribed in pencil, lower right: "E. Vedder study / for Venus (ceiling detail)."

(refers to Collis P. Huntington ceiling, commissioned Aug. 1892, finished by Sept 1893, now at Yale)
Matchsafe in the form of a Cicada
, late 19th century
plated metal
matchsafe

In the form of a cicada, with bulging eyes on head, large veined wings, and ribbed body. Reverse features underside of insect, textured belly probably intended as striker. Head serves as lid, hinged on reverse (underside) allowing it to open by flipping back.
Fragment
, 19th century
silk on linen Technique: embroidered

Fragment showing a stylized, symmetrical vine in red silk on a natural ground with red and white fringe.
Ceiling paper
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper, liquid mica

All-over grid pattern with short lines of liquid mica printed around edge of squares.
Textile
, 18th century
cotton, linen, wool Technique: relief printed on plain weave with chain stitch quilting

Valance fragment in white cotton with a printed design of fantastical flower sprays, serrated leaves and blossoms showing influence of Pillement. Colors are red, blue, and light purple. Quilted using intersecting diagonals to create diamond shapes. Interlined with wool.
Sidewall - sample
, 1906–07
Machine-printed

Small clusters of grapes with leaves on vine growing around a lattice or trellis. Printed in shades of red and green on a yellow background.
Band
, 17th–early 18th century
silk, metallic yarns Technique: twill weave

Narrow band showing repeating pattern of flowers and birds.
Purse
, 1830–60
silk, steel Technique: beaded crochet

Crocheted red silk purse with cut steel beads, fitted with steel bars at top and steel ring to close; steel pendant at bottom.
Reclining Woman
, ca. 1760
earthenware, wood
sculpture

Reclining woman with flowing dress, holding bucket from which water is flowing. Crackled yellow glaze. Modern carved wooden base made to fit figure.
Head covering
, 19th century
linen, wool Technique: embroidered

Head covering of natural colored heavy linen constructed in two pieces and trimmed at the bottom with a wide border of crochet. Top is embroidered with a geometric design in black, orange, blue and green. The bottom has a different geoemtric design in orange, black, blue, green and red.
Architectural Details from Church in Brookline
Arnold William Brunner, American, 1857–1925, 1878
Graphite on light brown paper
Drawing

Left, buttress and small tower; center and right, gable and niches.
Frieze
S.A. Maxwell & Co., 1905–1915
Machine-printed paper

Printed two across. Stylized foliate medallions, alternating large and small, printed in metallic gold. Beading across top with broken band of squares and foliage along bottom edge. Printed on tan ground.
Accessories
, 19th century
cotton Technique: needle knotting called Tenerife

Set of lace accessories consisting of a headscarf, two different collars and a pair of cuffs worked in black and white thread. The stretched threads forming the circles are white; the knotted interlacing threads are black.
Border
, 1815–35
Block printed and flocked on paper

Repeating motif of stylized acanthus scrolls taking shape of cornucopia. Each pair of acanthus contains a palmette of anthemia motif. A band of foliate rope runs along bottom edge. Printed in grisaille and black  with green flock.

H# 320
Border
, 1835–1900
Block-printed on paper

Fragment.  Green stripe on black.

H# 527
Fashion Plate from Le Monde Elégant
, 1871
Wood engraving, brush and watercolor on paper
Print

Three women indoors. Left, in brown skirt and blue and black jacket. Center, in black with white lace. Right, in violet with crimson piping. Title and date below.
Box
Julien Quévanne, 1750–56
Gold, diamonds, rubies

Tooled gold, cubic shape, chamfered corners.  Hinged lid with helmeted bust on cloud-like background surrounded by three flying cherubs bearing diamond and ruby studded garlands; T-square, palette, brushes, drawing at base of bust.  Each side of box decorated with rayed head; trophies on each chamfered corner.
Dark Ocean with Rocks and Prominent Cumulus Clouds
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

View of ocean with waves hitting rocks in left foreground. In center of sky, large, prominent cumulus cloud. Miscellaneous pen strokes in margins to left, right and above image.
"Scientific American"
Enos Richardson & Company, ca. 1890
Silver, enamel
Matchsafe

In the form of a rolled and wrapped copy of Scientific American, front of the wrapper enameled with a New York, 1896 postmark and a blue one cent stamp, the reverse enameled with 3 red dots to simulate sealing wax. Wrapper inscribed "Mr. Fred Smyth, 15 West 46th St." Lid (left end of rolled paper) hinged on long, bottom edge. Both left and right ends, where paper appears to be coiled in a roll, likely also intended as strikers.
Sidewall
, 1840–60
Block-printed on machine-made paper

Vertical stripes framed by cartouches.
Textile
, 17th century
silk Technique: 5-harness satin damask

Large-scale symmetrical fantastic flower-and-fruit design. Narrow plain cloth selvages with heavy warps.
Horse Race, Siena, Italy
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1885
Brush and watercolor, graphite on paper
Drawing

A horse race in Siena, Italy.  The city in the background, the horses winding down a path in the foreground.
Vinaigrette
, 1810–11
Parcel-gilt silver

Rectangular box with hinged cover; top and bottom has stipple-engraved basketwork pattern, with wreath in center of top. Inside gilt, with flower-engraved and pierced second cover hinged to short side.
Frieze
, 1905–1915
Machine-printed paper

Ogival medallion within foliate wreath, foliate swags below.  Upper background contains petite foliate wreaths tied with bow knot.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper

Overall interlacing scrolling acanthus-like motif. Gold, brown, grey, and white on a pale yellow ground. Pattern number 628.
Spoon with Blue and Pink Foral Enamel Handle
, ca. 1600–1700
brass, enamel
spoon

Oval bowl, decorated on back; slightly curved neck. Enameled handle, floral pattern in white, pink and black on light blue ground. Brass mounts along the sides of handle.
Shawl
, late 18th–early 19th century
cotton, silk, metallic thread Technique: embroidered

Long narrow shawl of cream colored cotton embroidered at the ends and along the sides in colored silks and paillettes in a leaf and bow-knot design. Scalloped ends of netting woven from the warp ends. Narrow lace edge with narrow band of paillettes at joins.
Frieze
F. E. James Co., New York, New York, 1905–1915
Machine-printed paper, liquid mica

On light pink ground, in two registers, row of scroll motifs in light blue with white laurel-like plant forms.
Sidewall
Arthur Sanderson & Sons, Ltd., London, founded 1860, 1840s
Block-printed paper

Twisting ivy leaves, branches and tendrils in all-over pattern. Five shades of green, beige, on glazed white ground.
Border
Bromley Hall, Middlesex, England, 1712–1763, ca. 1760
cotton Technique: printed by engraved plate on plain weave

Horizontal border of white cotton printed in red. Broken scroll design of Rococo character forming uneven frames for flower clusters.
Study of Begonia
Sophia L. Crownfield, American, 1862–1929, early 20th century
Pen and ink, brush and gouache, graphite on tracing paper
Drawing

Vertical sheet depicting a begonia plant, including details of a leaf, with graphite used for shading and light touches of green gouache on the stalks, as well as pale pink on the blossoms.
Disposition d'un Taffetas Faconne Deux Lats
Théodore Bon, French, n.d., ca. 1860
paper, silk, leather
Master weaver's thesis book

Book covered in green leather with a flap to securely close. Inside covers have marbled paper. Contains eighty pages giving weave analysis, diagrams, mises-en-carte and samples. In envelope inside the front cover, three pages of weave diagrams.
Quilt
, 18th–early 19th century
cotton Technique: printed by engraved roller on plain weave; running stitches throuhg three layers

Quilt one side of which is large piece of early 19th century relief-printed fabric with an all-over pattern of small rosette in red on a yellow background in a half-drop repeat. The opposite face is a piecing of three painted fabric fragments: 1) 18th century intaglio print in red with large scale pattern of peacocks in a tree, still life with musical instruments, a scarf in the branch of a tree; 2) 18th century intaglio print with landscape scenes including a procession; 3) 18th century relief print in red with a domestic scene of children dancing and playing instruments with adults in a garden. Pieces of yellow 2/2 twill fabric used on the piece side as part of the border.
Fragment
, 19th century
silk Technique: 8-harness satin weave with weft floar patterning and discontinuous supplementary weft patterning (brocaded)

Silk fragment showing design of ivory curving ribbon wrapped around a bouquet of flowers on a deep red background. A flowering branch connects the two ribbons side by side.
Textile
, ca. 1770
linen warp, cotton weft Technique: block printed on plain weave

Red and white textile in a diamond lattice pattern created by rococo frames and flowers. Inside the larger frame is a farming scene with two figures carrying tools while the smaller frame holds a harbor scene of buildings and small boats.
Candlestick and socket
, late 18th–early 19th century
wood, turned

The base of the candleholder is formed as an deep saucer, with a central shaft threaded to accept the turned, vase-shaped nozzle for the candle.
Designs for Ornament and Roundels
Pierre Bourdon, French, ca. 1656 – 1708 after, after 1703
Etching and engraving on paper
Print

An ornament print featuring roundels and an oval decorated with grotesque motifs (intertwining scrolling leaves, foliage, human and animal forms), with mascarons (masks), rosettes, fleurons, cartouches, and strapwork. The plate is signed and numbered.
Living Room Davenport, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on cream tracing paper
Drawing

Front and side elevation of a davenport. Front elevation on left, side elevation on right, inscribed underneath.
Dyer's record book
Old Pacific Print Works, Lawrence, MA, USA, 1861–74
Label: board covers, pen and ink on paper pages, cotton samples

Notebook with handwritten formulas for dyestuffs to be used for printing textiles. Book contains 269 samples in various designs such as flowers, dots, stripes, squares, and circles.
Chef de piece
Weber Pere et fils, after 1810, ca. 1850
cotton Technique: block printed on plain weave with blocks for red, pink, brown, black, blue and yellow

Polychrome massed floral sprays. There are seven floral sprays in each minimum unit.
Drawing
Felice Giani, Italian, 1758–1823, About 1795
Pen and brown ink over traces of graphite on cream laid paper

Alexander standing in the center extends both arms toward the posing girl. The king speaks to the painter, who is seated at left.
Panel
, 7th century
silk, linen Technique: satin stitch embroidery on plain weave; S-spun linen, untwisted silk

Small vertical panel showing a small haloed figure with short hair, beardless face, spread hands, and two pairs of wings drooping around the body. One pair encloses the halo and cross at the top. Pale green wings, pale gold halo, cream ground outlined in pale gold. Black outlines and details for facial features.