biglam/cooper-hewitt-alt-text huggingface dataset:
Vase in the Shape of an Amphora
, ca. 1809
Pen and ink on paper
Drawing

Elevation of an urn with handles springing from masks and terminating in birds.
Popocatépetl, from Cuautlixco, Mexico
Frederic Edwin Church, American, 1826–1900, February 19, 1890
Graphite on tan wove paper
Drawing

Landscape sketch showing a view of the volcano Popocatépetl from the vicinity of Cuautlixco, Mexico. The foreground consists of flat terrain dotted with bushes that leads to a loosely rendered building--likely a church--in the middle distance at center. Behind it, two rugged hills are visible at center and left. In the background, the conical peak of Popocatépetl looms over the scene in outline. Its subsidiary peak, known as "El Fraile" is visible on its left slope.
Button
, 1870–71
Tin plated sheet iron (?), brass shank

A) Convex button with "Mobilisee" in center and "Garde Nationale" around outside. B) Convex button with "Sedentaire" in center and "Garde Nationale" around outside.

On card C
Border
, 19th century
linen Technique: bobbin lace (Valenciennes diamond ground)

Detached ornaments and dots on diamond-shaped mesh; scalloped border.
View of Damascus from the Wadi Barada, Syria, Part Two
Frederic Edwin Church, American, 1826–1900, April–May 1868
Grpahite, brush and white gouache on light green wove paper
Drawing

Landscape sketch showing the second part of a panoramic view of Damascus, Syria, from the bluffs above the Wadi Barada, a narrow river and corresponding valley northwest of the city. This description addresses the entire view, with the first half continuing on 1917-4-158-a. In the foreground, a sharp rocky outcropping is visible at lower right while, at left, the barren slopes of Mount Qasioun descend toward flat terrain that extends to the horizon. Damascus itself is situated on this plain in the middle distance at center--numerous individual spires/minarets are visible in the city that is otherwise articulated as a mass of white buildings, rendered in white gouache. Buildings extend far off to the right. Closer, a grove of trees and multiple buildings are included at lower center right. In the background, a distant, flat horizon extend across the composition, save for a distant mountain at far left.
Design for a Canopy Bed
, ca. 1805
Pen and black ink, brush and watercolor on paper
Drawing

Frame of a canopied tent bed seen in elevation, surmounted by a small dome and cluster of feathers.  Inside and outside views and plan shown.
Frontispiece from Frises, Feuillages et Grotesques (Friezes, Foliage and Grotesques)
Stefano della Bella, Italian, 1610–1664, ca. 1645
Etching on laid paper
Print

Design for a frieze featuring an eagle set within the center of an arabesque, with a fragment of a shield seen to the left, and a woman's face seen in profile to the right.
Muse with the Dramatic Masks
Francesco Bartolozzi, Italian, active England, 1727–1815, 1779
Engraving on paper
Print

An oval (vertical) on a horizontal rectangular stone, painted to show: a muse sitting on rock, at her feet shepherds' pipes and the mask of tragedy under the right foot. She holds the comic mask aloft as cupid, right, tries to reach it, over a lyre. The Dionysiac staff lies across her lap (perhaps Melpomene, the Muse of Tragedy).
Ornamental Vase Design
L.N. Percenet, French, born 1736, 1761
Etching on laid paper
Print

Vase with a scalloped rim. On the neck of the vase is a plaque with imitation writing, at the bottom of which the artist included his signature. The shoulder of the vase has a band of bound laurel leaves. The base of the vase has scalloping and a foot made of twisting gadrooning. The vase is elevated on a stepped platform that extends to the edge of the image. The plate is signed in the center of the image and numbered on the edge of the plate.
Window Balustrade Designs
Jean François Forty, active 1775 – 1790, late 18th century
Etching and engraving on laid paper
Print

Eight designs for ornamental ironwork window balustrades featuring neoclassical motifs, repeating patterns, c-scrolls, fleurons, rosettes, and scrolling leaves (rinceaux). The plate is numbered and signed.
Orfèvre Jouaillier, Metteur en Oeuvre, Brillans
J.R. Lucotte, French, 1733 – 1784, 1762
Etching and engraving on laid paper
Print

Plate with ten designs for jewelry decorated with flowers, ribbons, feathers, and birds. Each object is numbered. The plate is titled, numbered, and signed.
Sampler
Charlot Chadwick, American, 1798
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Spot motifs, including a large bouquet of flowers tied with a ribbon at center, surrounded by two houses, flowers, a butterfly, a crown, and a teapot. On four sides, a stylized strawberry vine border. A verse appears at the top: 

First SPRING advancing with her flowry train
Here SUMMERS hand that spreads the sylvan scene
Then AUTUMN with her yellow harvests crownd
And trembling WINTER close the annual round

Charlot Chadwick 1798
Fragment of a cartoon for cotton printing: Fauchon la Vielleuse
Petitpierre & Compe., (Nantes, France, founded 1770, 1785–95
Graphite, pen and black ink, brush and grey wash, pink wash and white heightening on white paper
Drawing

Two seated women in classical dress attending nude infant lying on the lap of one and suckling from goat held by male peasant. Left, fountain.
Band
, mid- 18th century
linen Technique: bobbin lace, Binche style with Binche ground

Design of curving vine with pomegranates and leaves.
Fragment
, early 18th century
linen Technique: bobbin lace, continuous tape with bars added

Scroll design held with brides.
Flora's Retinue: Rose
Walter Crane, English, 1845–1915, ca. 1891
linen warp, silk weft Technique: 4 & 1 satin damask
Doily

Small square doily, fringed on all sides, with an ivory linen warp and a bronze-colored silk weft. A figure of a woman dressed as a rose with and sitting on the stem of a large rose, with the word ROSE in the upper left, all appearing in ivory on a bronze ground. A set of six, the doilies would have been used on the table as part of a dessert service.
Cartoon for Cotton Printing: Don Quichotte [Don Quixote]
Jean-Jacques Lagrenée the Younger, 1739 – 1821, 1780
Pen and black ink, gray wash, black chalk, squared for transfer on beige laid paper (six sheets joined)
Drawing

Four scenes from the story of "Don Quixote," by Miguel de Cervantes; Don Quixote's combat with a wild boar (lower center); Sampson Carrasco, surnamed Knight of the Mirrors, van- quished by Don Quixote, is ordered to prostrate himself before Duclina del Toboso (left); Dulcina's party (upper center); Don Quixote demon- strating his affection for Dulcina (right). Another version of this design was manufactured c. 1785, by Gorgerat of Nantes (trial proof l898-21-17B). This subject was repeated in 1813 by Hem for Oberkampf.
Textile
Jean-Baptiste Huet, French, 1745 – 1811, 1802
cotton Technique: printed by engraved plate on plain weave

Classical figures and medallions containing classical figures, motifs, and ruins in a landscape arranged in horizontal bands. Diana the Huntress is the most prominent figure.
Ornament, Christmas tree
, 1850–99
Sugar

A flying dove in relief above a branch.
Textile
, 18th century
silk, metallic threads Technique: compound weave with discontinuous supplementary weft patterning (brocaded)

Allover design of flowers brocaded in metal threads on purple silk ground.
Coastal Landscape
Leon Dabo, American, 1868–1960, ca. 1890
Blue crayon on paper
Drawing

A body of water, with gently rising bank at right. A tall, lone tree in the left foreground. Two ships in the distance.
Border
, 17th–18th century
linen Technique: bobbin lace, continuous braid-like

Wide border, linen, bobbin lace, probably Genoese, in small scaled geometric patter and pendants.
strip of brocatelle
, 17th century
silk, linen Technique: lampas; combination of two structures, satin and plain weave

Bands and leaves forming cartouches in green, yellow and white.
Abundance (Design for Lunette, Equitable Building, New York)
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Brush and watercolor, gouache, graphite on paper
Drawing

Project for a painted lunette in the old Equitable Building, New York City. Two women, recumbent, symmetrical to the axis. They hold cornucopias in their arms and support festoons with their hands. "ABVNDANTIA" written on a tablet in the bottom center.
Trimming
, 18th century
silk Technique: cut, uncut and voided velvet

Design in red velvet of leaves alternately placed on a curving stem with berries.
Wood Engraving. Vignette.
, 1800–1830
Engraving and etching

Trophy of classical weapons on a base. Fasces and a paper roll are included.
Adam and Eve
Hans Sebald Beham, German, 1500–1550, 1543
Engraving on laid paper
Print

Vertical rectangle. Adam and Eve are represented standing frontally, the Tree of Life between them. The Tree is shown as Death entwined by the serpent. Adam, left, receives the apple from Eve.
Border
, 18th century
linen Technique: bobbin lace, Binche style with Binche ground

Scroll pattern. Flemish ground, loosely woven.
Via crucis - Station V, Simon of Cyrene Helps Him to Carry the Cross
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, ca. 1749
Etching on cream laid paper
Print

First state
Drawing
Felice Giani, Italian, 1758–1823, About 1810
Pen and brown ink, brown wash over black chalk. Rough paper

Horizontal Rectangle. A variation of the design of -3275. Juno is shown between Jupiter and Hebe and a few more gods are at the left. The eagle is beside Jupiter. Two putti are in the lower left corner.
Fragment
, 16th century
linen Technique: withdrawn element with needle lace (reticella)

Fragment of reticella insertion lace. Serpentine line in a central band topped by a narrow band with small circles and oval diagonals.
Costume Design: A Turk for a Ballet
, 17th century
Pen and brown ink, brush and violet watercolor, over black chalk
Drawing

Vertical rectangle. Shown standing, in three-quarter profile, turned toward right. The left hand rests upon the sword hilt, the lowered right had carries a hurlbat. Written above, in ink: "Vn Turcho".
Ornament, Christmas tree
, 1850–99
Sugar

Yellow handbag.
Design for lion's head
, 1650–75
Pencil, pen, ink. Paper
Drawing

Vertical rectangle. The head is seen in profile, turned toward left. At right is a tube. Dotted lines are in the height of the top and the bottom of the head.
Study of Nude Figure
Francis Augustus Lathrop, American, 1849–1909, 1880–95
Graphite on cream wove paper
Drawing

Three-quarters of the woman's figure is shown and two studies for the left hand. An account, top right. Verso: the left part of the outlined lunette with a very rough sketch of a lying woman shown from the rear; inscribed "Equitable Board Room / Scale 1' - 1' "
Winter
, ca. 1800
Pen and ink, brush and wash on paper
Drawing

An allegorical figure of winter, a seated old man, warms himself by a fire. Nearby a figure blows cold wind.
Fragment
, mid-18th century
linen Technique: bobbin lace

Valenciennes fragment with lower edge missing. Design very fragmentary with a rose in the center. Top border design has curving scrolls and buds. Round mesh.
Via crucis - Station XIV, The Entombment
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, ca. 1749
Etching on cream laid paper
Print

Only state
Fragment
, late 19th century
cotton Technique: printed on velvet

Fragment with a mustard-colored ground showing a pinkish-tan pattern of highly formalized flowers, urns, and vines in vertical stripes.
Sampler
Abigail Freeman, 1697
silk and linen embroidery, linen foundation Techniques: satin, stem, eyelet, cross, montenegrin cross, chain, roumanian, double running, and detached looping stitches on plain weave

Cross borders of floral and geometric patterns, alphabets, name and date.Stitches: double running, satin, cross, eyelet, surface, rococo, chain and stem.
Design for Scribner's Insignia
Homer Wayland Colby, American, 1874–1950, 1908–09
Black ink and watercolor on board
Drawing

Open book on shield, lamp above, enclosed in holly wreath. Torches, left and right. Surmounted by ribbon with open field, intended for date (1908-1909, in graphite, on paper, mounted over area). Oblong field below, intended for name and address of firm (inscribed in graphite, on paper, mounted over area).
Cup and Saucer
Sèvres Porcelain Manufactory, French, established 1756, late 19th century
hard paste porcelain, vitreous enamel, gold
cup and saucer

Small globous cup with elongated simple loop handle. Saucer circular, concave. Cup displays on each side a neo-rocaille cartouche composed of gilded scrolls, enclosing polychrome decoration perhaps of slightly later date.
Sitting room with a carpet of geometric design
McMillen, Inc., 20th century
Brush and gouache on cream wove paper
Maquette

Maquette for sitting room with blue folding chairs at the windows, a couch with floral pattern, side tables and painting; fountain in between two doors.
Kashira
, 1748–50
Gin

-a,b: Fuchi-kashira. Period: About Kwanyen. School: Ishiguro. Surface: Nanako. Workmanship: Iroye, taka-bori, zogan. Tenjo-gane and Shitdodome: Shakudo. Design: Nanten (Nandina domestica) (branches with red berries).
Suite of 7 Ornamental Designs with the Judgement of Paris
Adriaen Collaert, Flemish, ca. 1560 – 1618, ca. 1690
Engravings on laid paper
Album

Series of 6 figures from the episode of the Judgement of Paris. The three contestants for Paris' apple, Juno, Minerva and Venus, are each accompanied by an identifying attribute. Also included in the series are paris, Mercury and a river god. Two prints of the latter are included. Figures are set within a medallion on a dark field (sur fond noir) decorated with intricate grotesques, sometimes relating to the central figure.
Nef pour le Roy., Nef aux armes royales, (1728-1729), 4th Plate
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1742–48
Etching and engraving on off-white laid paper
Print

1921-6-212-25-a: Five designs for open salt cellars, each has asymm...;     1921-6-212-25-b: Nef on base decorated with putti and sea creatures...
Album of Prints from Various Series Published by Jean Mariette
Jacques-François Blondel, French, 1705–1774, 1686-1742
Album

Album of prints published by Jean Mariette, containing the six plates of the Dessins de Cheminée et l'Ambris de Menuiserie pour la décoration des Appartemens par [Jacques-François] Blondel; six plates referred to as the Decoration de Cheminée...by Jacques-François Blondel, published by Mariette; six of the twelves plates of the Nouveaux Desseins de Lambris Inventés par Le Sr. [Nicolas] Pineau, Architecte; a set of six doors, anonymous, published by Mariette; Six plates of the Portes cochères de menuiserie, nouvellement gravée sur des desseins de Mr. Francard; three plates of religious and funerary monuments; and nine plates of iron work from Jean Mariette's L'architecture à la mode.
Plate
W. T. Copeland & Sons, English, 1847 – 1970, ca. 1875–85
Glazed earthenwarewith transfer-printed decoration

Circular form with up-curved lobed rim, the cream colored ground with Japanese-inspired transfer printed decoration in black and tones of brown and yellow showing two fans with scenes of birds and a butterfly among flowering plants and branches; the fans superimposed over a flowering branch, a flowing ribbon encircling the handles.
Sampler
Ann Wood, American, 1794
silk embroidery on linen foundation Technique: embroidered in cross, flame, and eye stitches on plain weave foundation

In the upper third, a female figure with large flower spray and the inscription Ann Wood 1794, flanked by cupids and trees. In the middle, a flowering vine cross border and a verse. In the lower third, scattered motifs of a ships, dogs, bargello work, and flowers. 
The verse reads: 
From my Beginning may th (sic) Almighty Powers Blessings
bestow with never ceasing show o may I be happy
be and always blest of every joy of every wish possessed
May pleny (sic) dissipate all worldly cares And smiling peace
bless my revolving years
This work in hand my friends may keep when my frail 
body is called to sleep to sleep while then we together
do meet again and wake forever
Elevation for a Decorated Cabinet with Shelving for Natural History Books and Objects
Juste-François Boucher, French, 1736 – 1782, ca. 1776–1782
Engraving on wove paper
Print

Designs for interior decorations and furnishings.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Repeating pattern of white rose blossoms contained within auricular diamond shaped border and surrounded by floral nosegays and chains of foliate festoons. Design is printed in khaki, white and light brown on beige ground.
Rain Motif
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

This abstract motif depicts a rainstorm using tiny organic forms.
Justice, Cartoon for Mosaic in Wisconsin State Capitol Rotunda
Kenyon Cox, American, 1856–1919, 1912
Charcoal on tan paper
Drawing

Allegorical figure representing Justice, holding one side of scale in each hand. Roundel outline around figure.
Frieze
Frederick Beck & Co., 1860, ca. 1877–78
embossed paper

Large foliated waved stem band with flowers in shades of brown, pink, lavender and yellow outlined in metallic gold over red flocked background, between bandings of beading and double tongue and leaf with beading on stripe-embossed paper. Printed in selvedge: "Beck & Co. Patent Applied For"
Large Two Tined Serving Fork with Brass Handle
, late 17th century
steel, brass
fork

Two long curving tines, rounded shoulder, elongated facetted neck. Hexagonal, pistol-shaped handle tapered with baluster joint at bolster. Handle facets engraved and punched with foliate scrolls and dots. Hexagonal knop at terminal of handle.
Frieze
Liberty Paper & Bag Co., 1905–1915
Machine-printed paper

Art Nouveau style. Bouquets of three flowers, alternating between large and small bouquets, with stylized acanthus leafs, which intertwine at the bottom to create an undulating line. The background contains a series of floral silhouttes, which play with positive and negative space. Printed in shades of green, beige, and brown.
Band
, 16th–17th century
linen Technique: grid of withdrawn element with needle lace (reticella)

Narrow band with a diamond-shaped flower pattern.
Sidewall
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Medallion stripe design. Printed in shades of blue, white and metallic gold on blue background.
Plate
Léon Parvillée, French, 1830 - 1885, ca. 1870
Enamel-painted, glazed and gilt earthenware

Circular plate with gold colored crosshatched ground deecorated with scene of colorful bird (parrot?) with outstretched wings on tall stalks of purple and yellow followering plants.
Sidewall - sample
, 1906–07
Machine-printed

Large open C-curves gathered in vertical stems at each side of wallpaper. Linen-type background. Printed in celadon green on pale avocado-green background.
Miser's purse
, 18th century
silk, steel Technique: crocheted

Crocheted yellowish-green silk heavily ornamented with cut steel beads in various diamond patterns. Two faceted steel rings control side closure; steel drops at each end.
You See, Sir, Surrender Is Out of the Question
Ludovico Marchetti, Italian, 1853 - 1909, 1891
Graphite, with grey and black washes, with white heightening on white watercolor paper
Drawing

A wounded cavalry officer, on horseback, addresses another. The scene is on a field of battle.
Pillow cover
, 19th century
cotton Technique: stenciled on plain weave

Square of unbleached muslin with bold floral border and central sprigs stenciled in red, blue, green opaque paints.
Bracelet
Maison Marret Baugrand, ca. 1865
Gold, amethyst, leather and silk case

Revival-style bracelet with amethyst-mounted central boss.
Fashion Plate from Le Journal des dames et demoiselles
Jules David, French, 1808 - 1892, c. 1857
Hand-colored engraving on paper
Print

Fashion plate from Le Journal des dames et demoiselles.
Spiral Motif
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, copyrighted 1888
Silver
Matchsafe

Rectangular, curved sides and corners, featuring undulating lines with spiral motif in lower right corner, identical motifs on reverse, spiral is situated on lower left. Lid hinged on side. Striker on bottom.
Proposed Design for the South Wall of the Entrance Hall, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1819–20
Graphite on paper
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. Elevation of a wall, with a mantelpiece in the center, flanked by two doorways. Over the mantelpiece appears the painted representation of a banner on which is shown a cavalry group. Trophies above and on either side are representations of columns and trophies of military connotation, and dragons above. Doorways with carved and painted decoration.
Square
, early 19th century
cotton Technique: block printed

Square printed in small, scattered reddish-pink floral pattern on a white ground. Floral border with two larger bouquets in two opposing corners. Carefully hemmed on all sides.
Design for Wallpaper and Textiles: Flowers and Birds
, 19th century
Brush and gouache on beige paper
Drawing

Branch with clusters of white flowers and foliage, placed diagonally, top towards the right. Toward bottom of branch, two more branches of purple flowers cross and extend beyond white branch on either side. A yellow butterfly flies towards the upper left of the white branch.
Sidewall
, 1905–1915
Machine-printed paper, ungrounded

Speckled all-over with pink, green brown, and light grey blue dots and patches. Ungrounded.
Plate 31, from Neüw Grotteßken Buch (New Grotesque Book)
Christoph Jamnitzer, German, 1563 - 1618, 1610
Engraving on laid paper
Print

Ornamental escutcheon, center, with a scene of a putto embracing a stork-like bird on a cloud bank, with landscape below. At the four corners, fantastic creatuers, two conmposed of bellows and fan.
"Dieppe"
, mid- 19th century
Carved bone, velvet-covered wood, mirrored glass
Mirror

Shield-shaped frame mounted with overlapping plaques of ivory, the arched top with heraldic devices, the bottom overset with fish and a shield, all surrounding an  oval mirror.
Study of landscape, Lauterbrunnen, Switzerland
William Trost Richards, American, 1833–1905, August 1867
Graphite on paper
Drawing

Sketch of a mountain range.
Christ before Caiaphas, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–1511
Woodcut on paper
Print

Caiaphas is seated on a canopied throne at right, facing left. Christ is led before him by soldiers. View of town in background. Monogram of Dürer, lower left.
Textile
, 1400–1550
cotton Technique: embroidered on plain weave

Headcloth, tabby (imitating netting), with embroidery. In shape of square, except for a section on one corner. Pieced. Very open weave resembling netting with large square meshes; in fine what creped cotton. Design: stylized cat heads projecting from long double diagonals embroidered on to the meshes in the same white cotton, with a thicker cotton bunched and knotted here and there to indicate eyes and mouth. Warps and wefts both used double, with one of the wefts in each pair looping itself around each interlacing, then continuing in the same direction as before. This weft-action gives the look of netting.
Fragment
, 18th century
Meidum: linen Technique: block printed on plain weave

Small fragment of heavy hand-woven natural color linen block printed in blue-green. Design of simple flower heads and smaller dots reserved in natural linen color, details in blue-green.
Playing card
, 19th century
Lacquered cardboard

Rectangular card with black back. Front yellow, with bust of richly dressed woman in oval, painted in red, green and gold; spandrels have floral motifs.