biglam/cooper-hewitt-alt-text huggingface dataset:
LE BERCEAU
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of arabesque ornamentation framing a central vignette of a lush landscape with women, satyrs, and baby satyrs; at the right, one satyr advances on an unyielding woman. On either side, putto spill water from vases. The scene is framed by drapery and garlands. The plate is signed.
Design for a Cipher (Interlaced Letters)
Charles-Germain de Saint-Aubin, French, 1721–1786, 1766
Etching on paper
Print

Design for the crowned letters B and possibly L, interlaced and comprised of branches of leaves and flowers. The plate is signed and numbered.
Fragment
, 6th–8th century
wool Technique: plain weave with discontinuous wefts (tapestry)

Fragment of a tapestry-woven band in purple and undyed wool. Two bands of rinceaux, each leaf containing a purple dot, flanking a roughly recognizable seater figure. At one edge the remnants of a border of small purple crosses against an undyed ground.
Fragment
, 18th century
linen Technique: bobbin made continuous tape with net added

Scrolling tape pattern with pomegranate motif.
Stage Design: Town Archit
Bibiena Family, 1657, ca. 1740
Pen and brown ink, gray wash, ruled border in pen and brown Support: white laid paper, laid down
Drawing

Horizontal format: Little circular building, columns supporting dome, sculptures on pedestal in the middle. Obelisk on the left, buildings on the right and in background
Abraham's Sacrifice
Lucas van Leyden, Netherlandish, ca. 1494–1533, 1517–18
Woodcut on off-white laid paper
Print

Vertical rectangle. Abraham moves toward the right, his left hand on the bridle of his donkey. He is accompanied by his young son Isaac, who carries the wood and fire for the sacrifice.
Fragment
, 17th century
linen Technique: needle lace

Fragment of a tiny cone-shaped bud and stem.
Hercules and Dejanira, from a series of the Loves of the Gods
Jacob Matham, Netherlandish, 1571–1631, ca. 1597
Engraving on laid paper
Print

Vertical rectangle. Hercules, shown nude, sits on a small hillock, and holds Deianira in his arms. In the background, amidst rocky crags, Hercules is seen pursuing the centaur Nessus, who is carrying off Deiandira on its back.
Watch
, 19th century
gold, enamel

Gold watch, with black enamel decoration and enamel plaque on back. Turkish numerals on face.
Ornament
John Edwards, 1784
Aquatint
Print

#7 of a set. A circular medallion with an urn is surrounded by floral motifs. Flower baskets are suspended from brackets on top and at the bottom, and flower branches from agricultural tools laterally. Right top corner: No. 7. Two framing lines. Bottom margin: J. Edwards Del. et sculpt; Pub,d as the Art Directs June 1784
Sample
, 1815–20
silk, metallic thread Technique: twill weave with supplementary weft

Sample of material woven for the Russian church. Gold ground with symmetrical design of central group of roses surrounded by serpentines of horns of plenty, wheat, roses and other flowers. Design brocaded in rose, green, and purple silk; purple and rose chenille; gold and silver.
Textile
, 1700–1750
silk Technique: compound satin weave

Foreground design of heavy, large-scale branches with fruit and flowers while the background has small-scale chateaus. Predominantly in shades of green, orange and off-white.
Fragments
, 13th century
silk Technique: plain weave with floats

Striped fabric with a small geometric figure produced by floats.
The Mansion House, London
Benjamin Cole, British, active ca. 1748 - 1775, died 1783, ca. 1745
Engraving on paper
Print

Principal elevation of the Mansion House, official residence of the Lord Mayor of London. Inscribed lower right marging: "B. Cole Sculps."; below: "The MANSION HOUSE for the Reception of the LORD MAYOR of the CITY of LONDON for the time Being."
Competitive Design for a Private Garage.
James M. Scheiner, b. 1891, 1911
Pen and India ink, with grey-brown water-color (mounted)
Drawing

Vertical rectangle. Elevation shows an arched door flanked by side doors with lights over them. Single upper floor has three windows with curved iron railings. Below: "COMPETITIVE DESIGN FOR A / PRIVATE GARAGE / Cooper Union 1911 -- Scale 1 inch equals 4 feet - J. M. Scheiner." Ink framing lines.
Christ on the Globe
Hans Sebald Beham, German, 1500–1550, 1546
Engraving on laid paper
print

Vertical rectangle. The Saviour stands on the terrestrial globe, within a mandorla. He holds his banner in his left hand and with his right gives the benediction. Cherubim and clouds surround him; the dove of the Holy Spirit above him. At lower left tablet with date ''1546.''
Washington on the Bridge at Trenton on His Way To Be Inagurated, 1789
Thomas Kelley, 1795 - 1841, ca. 1820-1840
Steel engraving on paper
Print

Women and children strew flowers before Washington and his escort, mounted on horseback crossing the Delaware river at Trenton, the bridge being decked as a bower.
Fragment
, 17th century
silk, metallic Technique: two integrated structures, 7&1 satin plus plain weave with supplementary weft floats

Scrolls, birds and vines.
Fragment
, 6th–7th century
wool, linen Technique: plain woven linen inwoven with wool slit tapestry Label: wool slit tapestry in linen foundation

Coptic tapestry medallion of very fine weave with blue and tan figures on a red ground. Two confronted horsemen flank a tree; they wear a green and blue tunic, respectively, and carry swords and shields rimmed with pearl bands and their cloaks stream out behind them. Above the horsemen, a pair of horizontal branches terminating in heart-shaped leaves support a pair of confronted animals, heads reversed. A human head in the field under each horseman. The inner border contains vegetal motifs, including heart-shaped flowers and trefoils. Inner and outer degraded "pearl" borders.
Design for Sideboard on Six Legs with Three Drawers
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Sideboard with front visually divided into three sections by vertical fluted and turned columnar pieces; convex central section contains three drawers, each with two round pulls and a key hole at its center; low backsplash at back of top.
Sampler and baptismal record
Elisabeth Peach, 1773
silk, wool Technique: embroidered

Deep floral borders surround a lengthy inscription. Just below inscription, spot motifs of stags, dogs, trees, and flowers. Baptismal papers on the reverse at time of purchase, in separate frame at present. 

O come loud anthem let us ring
Loud thanks to our almighty king
For we our voices high should raise
When our salvations rock we praise
Into his presence let us haste
To thank him for his favors past
To him address in joyful songs
The praise that to his name belongs
Praise him for all the mighty acts
Which he on our behalf has done
His kindness this return exacts
With which our Praise should equal run

Elisabeth Peach Aged 10
DESCRIPTION DES FÊTES DONNÉES PAR LA VILLE DE STRASBOURG Pour la Convalescence du Roi : à l’arrivée et pendant le séjour de Sa Majesté en cette Ville.
Johann Martin Weis, French, 1711 - 1751, 1745
Etching and engraving on paper
Print

Ninth page (recto) of the engraved text describing the festivities, within a rocaille border, topped with a cartouche and with the city of Strasbourg's coat of arms on the bottom. Tenth page (verso) of the engraved text, within a rocaille border, topped with a cartouche and the city of Strasbourg's coat of arms on the bottom. Tenth page (verso) of the engraved text, within a rocaille border, topped with the French Royal interlaced L's, within a cartouche. Two roundels on either side frame landscapes. The city of Strasbourg's coat of arms on the bottom.
VIeme Cahier de Cartouches Dessinés par P.P. Choffard.
Pierre-Philippe Choffard, French, 1730–1809, 1775–86
Album

An album of cartouche designs with nautical themes, after P.P Choffard.
Pynson Wilmot Bennitt's Room, Trinity College, Oxford
Arthur Frederick Payne, English, 1857
Brush and watercolor, white gouache, graphite on paper
Drawing

The gentleman's study in this view is dominated by a large rectangular table covered by a wine-colored cloth. The desk in the far right corner is placed at a window to catch the light. A stag's head is mounted on the wall between the windows, while elk horns, pictures and a book shelf hang on the wall to the right. Blue tufted furniture, a patterned carpet and vases of flowers, all omnipresent elements of the Victorian period, are featured here.
Fragment
, late 17th century
silk on linen Technique: embroidery in stem and back stitches on plain weave

Curving stem bearing exotic flowers and two long tailed birds. The embroidery is done over an drawn outline which is visible.
Title Page
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Title page and designs for upholstered armchair covers (for the back and seat) featuring floral motifs, baskets of flowers, festoons, and crowns of flowers, and scrolling acanthus leaves (rinceaux). Each design is labelled, the plate is titled, numbered, and signed.
Album of Tailpiece Designs
Louis-Joseph Mondhare, French, 1734–1799, 1759–80
Album

Album of tailpiece designs, from two series of prints, featuring vignettes with putti or children, rococo ornament, chinoiserie and turquerie style motifs, and trophies of arms and armor.
Fragment
, 10th century
silk warp, cotton weft Technique: block printed on plain weave

Red black and gold were printed with small stamps in an allover repeating pattern on this very fragile example.
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

Staggered floral medallions with floral bouquet insets and scale-like design (pinecones), connected by scrolls and floral vining. Ground is dark pink. Printed in dark green, reds, white, tan, light pink, and white mica.
Printed in right selvedge: "411"
Plaid Floral
, 1820
Block-printed
Sidewall - fragment

Two motifs of rose flowers with arsenic green leaves alternating on unpainted ground. Separating them are bands of gray with leaf and scroll motifs, edged by green lines.
Knife with Earthenware Handle
, ca. 1735
steel, silver, earthenware
knife

Straight sided blade with rounded ends. Plain silver ferrule. Pistol-shapedhandle, earthenware, white ground with floral sprays in blue, yellow, greenand purple. Small metal cap at the end of the handle.
Fragment
, late 18th century
cotton Technique: block printed on plain weave; yellow and blue applied by brush (no green)

Fine flowering vine of blue, red, and yellow on a dark purple background.
Border
, 19th century
silk Technique: needle lace, Chantilly style

Black Chantilly-style border in a dot and leaf design.
The Prodigal Son
Albrecht Dürer, German, 1471–1528, ca. 1496
Engraving on laid paper
Print

The prodigal son as a swineherd. He is seen in profile, facing right, and represented praying on his knees, his hands clasped together. Before him a group of pigs are eating from a trough. Houses in background.
Tea Caddy
, 1875–1900
earthenware, tin-glaze
tea caddy

Rectangular body with champfered corners; straight-sided circular neck, flat-topped cover; painted in underglaze blue on white on 2 sides with fig-ures, on the shorter sides with reserves of sailboats on floral pattern background, floral band around top body; cover painted with floral motifs.
St. Francis Borgia (de Borja) from St. Peter's colonnade
Vincenzo Mariotti, ca. 1759–70
Red chalk on paper
Drawing

Drawing after statue by Vicenzo Mariotti of St. Francis Borgia (de Borja) on the North Colonnade of St. Peter's. He wears a surplice and holds a cup aloft. He raises his right hand to his chest.
Sidewall
, 1880–1900
Machine-printed paper

On green grass-patterned ground, alternating stripe consisting of reflective gold bellflower motif, horizontal reflective bronze rectangles and reflective gold stripes; dark green and green pin stripes alternate with lighter gold and bronze stripes between primary stripes.
Title Page, Vasses de la Maison Royalle de L'oo Nouvellement (Vessels of the Royal House of L'oo)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

A monument decorated with garlands, foliage, and masks is mounted on a platform and topped with a bust of a man. Over the monument hangs drapery; two figures can be seen next to it, behind which is a rounded colonnade.
Design for Flowered Fabric or Wallpaper
, 1880–90
Brush and blue and grey gouache, graphite on wove paper
Drawing

Branch of roses above lilacs at left, bunches of violets at right.
Thanksgiving Day – The Dance
Winslow Homer, American, 1836–1910, November 27, 1858
Wood engraving in black ink on paper
Print

Adults and children dancing in the parlor. Lower half of the page.
Plank bridge over an Iris Pond
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Stylized iris motifs on a horizontally striped background with four horizontally placed chevrons across the stencil
Butter plate
, mid- 19th century
Molded tin-glazed earthenware, transfer-printed decoration, overglaze decoration

Marli decorated with relief flowers, painted in overglaze colors between red lines. In center, sepia transfer print of child Diogenes in barrel.
Fashion Plate from Le Monde Elégant
, 1873
Engraving, brush and watercolor on paper
Print

Three women in gowns on a porch. All in white; one at left with green and black trim, center with pink, right with blue and yellow. Title and date below.
Cover
, 18th or 19th century
silk on linen? Technique: embroidery and openwork

Embroidered cover or "marriage cloth" with a geometric and floral border in multicolored silks and needle lace insertions (reticella).
Border
, early 18th century
muslin Technique: deflected element work (drawnwork and embroidery)

Border with a dense pattern of ribbons, bows and cartouche forms.
Skirt panel
, late 18th century
silk Technique: supplementary warp pile (velvet), cut and uncut

Skirt panel in all black with a pattern in cut and uncut pile. Narrow decorated vertical stripes on ground scattered with tiny sprigs. Deep hem decoration of symmetrical scenes of fishing figures on either side of a stream swirling under a double-arched bridge alternating with dueling figures in front of allée of obelisks. Portico topped by coronet and with unidentified initials "LL" in background. Wide pink and yellow striped satin selvages.
Border
, 1835–60
Block-printed and flocked on machine made paper

Molded bead edgings bracket a wide central design of rococo cartouches with plain diamond diaper centers connected by chains which have a quatrefoil as their center link. Printed in brick-red flocking, grays, white and greens over a pink base coat.

H# 188
Album Cover Design for Le Zodiaque Travesti (The Farcical Zodiac)
Jean Charles Develly, French, 1783 - 1849, 1824
Pen and brown ink on cream laid paper
Document

Title in two lines, upper center on cream page.
Ceiling paper
Howell and Brothers, 1835 – 1900, 1905–1915
Machine-printed paper, liquid mica

On tan ground, staggered stemmed purple, white and gold flowers.
Decorative panel
, 1865
Block-printed on machine-made paper, varnished

On a tan, wood-grained glossy ground is printed a single large design of an urn supported by scrolled arms with griffin feet and containing stylized lily-like flowers and leaves. Printed in tan and yellow.
Interior View, New Theater, Philadelphia
W. Ralph, active 1794–1808, 1794
Engraving on paper
Print

Horizontal rectangle. View of the inside of the New Theater in Philadelphia, looking toward the stage and boxes.
Man's coat
, 1750–1800
silk velvet, metal thread Technique: embroidered

Man's coat of light brown and white vertically striped velvet with small lattice design in green and pink; embroidered with silver, sequins and foil strips. Flowering vines and curving sprays with stars decorate the center front, pockets and pleats in the back.
Miser's purse
, 1820–40
silk, metal Technique: netting

Netted white silk ornamented evenly with gold beads in small cone pattern. Two hexagonal gold rings engraved with floral and scroll motifs, control a side opening.  Long tassels of gold beads at each end.
Flounce
, 18th century
linen Technique: needle lace

Wide flounce of cream-colored lace in a symmetrical design. A vase with flowers and foliage alternates with a large bud (pomegranate?) surrounded by a floral wreath.
Running female figure
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Running female figure. One foot and both arms are raised, obscuring the face.
Ribbon
, early 19th century
silk Technique: woven

Empire-style ribbon fragment has light blue borders with a wavy line pattern. Central portion is white with a curling sprig pattern in dark yellow.
A Stairway
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1885
Brush and watercolor, graphite on paper
Drawing

View up a stairway, mounting to the right. House beyond, with terra cotta roof tiles.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Geometric pattern formed by curving lines. Squares with rounded corners overlap, with a larger circle surrounded by four smaller circles at the points of intersection.
Ten of Diamonds
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Ten of Diamonds playing card from a pack of transformation playing cards. Vertically, a figural scene shown in outline depicting many soldiers in various states of fighting or marching. Most clutch muskets or swords, and the figures present a variety of military costumes. At lower left, a soldier beats a drum. A man near him sleeps, clutching a spear. Wooden cart at lower left corner.
Design for a Ewer
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold, brown gouache, graphite on cream paper
Drawing

Ewer with squared gold handle; rim decorated with trellis-like design with small blue flowers and green leaves; neck decorated with more elaborate design of looped frames containing pink flower and green leaves; in between are brown flowers. Body decorated with hanging lavender plants that cover the whole body of ewer.
Sidewall
, ca. 1850
Machine-printed with hand painting

1965-59-1-a/h: Lozenge pattern on light brown background, diamond...;     1965-59-3: Herring-bone pattern in two closely related shades...;     1965-59-4-a,b: Narrow border running horizontally across bottom o...
Small Spoon with Fluted Ivory Handle
Joseph Willmore, 1829
ivory, silver
spoon

Oval shaped bowl, with shell shaped decoration on reverse side at join of bowl and neck. Baluster shaped neck, meeting banded ferrule at join of ivory handle. Rectangular, tapering, ivory handle. On both obverse and reverse, carved with central reeded panel, with perpendicular reeding on sides. Horizontal banded section breaking stem from terminal. terminating in tiered radiating diagonal reeding fanning out to corners of terminal.
Fragment
, 18th century
wool on linen Technique: embroidered on twill weave

Small strip, twill woven white linen, embroidered in green-blue and brown wools. Trellis pattern in brown, with two selvages where material is seamed.
Plate 2 of the Recueil d' ouvrages curieux de mathématique et de mécanique...
Gaspard Grollier de Seviere II, French, 1677 - 1745, 1732
Engraving on white laid paper
Print

Three mechanical objects, numbered 4, 5, and 6. The base of figure 4 is similar in design to figure 2 of Plate 1. The object, a solid ball inside a pierced one, is similar to one in figure 3, Plate 1. Figure 5 looks as if it may be fitted inside figure 6. Both are cylindrical in shape, figure 6 with a round bulge space at the bottom. These devices are pointed like tops; figure 4 looks as if it were meant to spin in some manner.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

Landscape frieze in the Mission style. View of mountains and lake seen through a foliate swag framework, with large-scale flower joining the swags. Printed two across.
Bedcover
, mid-19th century
cotton Technique: running stitch and double running stitch on plain weave; plain weave backing; inner layer of wadding

White-on-white bedcover with a wide border on four sides patterned by twisting ribbons and flowers. Center circular medallion with eight radiating points. The spaces between the points are filled with pairs of doves. The outer edge of the medallion is completed by a curving vine. The full medallion fills the entire field.
Set for a Christmas Crèche (Nativity)
Leonardo Scaglia, French, active Italy, 1640 – 1650, ca. 1750
Pen and brown ink on cream paper
Drawing

Design for a Christmas creche.  A courtyard with a building and a tree on the left and a building with a thatched roof on right.  In the center the Virgin and Child.
Plate 8, Design for Gentleman's Costume, Journal des Luxus und der Moden (Journal of Luxury and Fashions), Vol. 2, No. 3
Georg Melchior Kraus, German, 1737–1806, 1787
Engraving, hand-colored with brush and watercolor on cream paper
Print

Engraved, hand-colored fashion plate featuring a full-length figure of a man, facing left in profile. He wears a greyish-brown coat and a matching hat, along with a white cravat and breeches. A waistcoat with a green and white pattern is underneath his coat. He carries a long thin walking stick in his left hand. Appeared in Journal des Luxus und der Moden (The Journal of Luxury and Fashions), Vol. 2, No. 3, March 1787, after p. 96. The text in the journal refers to him as "Pariser Elegant aus dem Palais Royal" (Elegant Parisian from the Palais Royal).
Fragment
, 16th century
silk Technique: supplementary warp pile (velvet)

Slightly less than one unit of a straight repeat of a hunting scene with man on horse aiming arrow at deer, standing man with bow having shot a fox, leopard, rabbit and bushes. Colors: Light green pattern on off white background.
Fragment
, 17th century
linen Technique: needlework on hand knotted net

Fragment of a border with a curving vine and flower pattern.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Overall pattern of individual white flowers of different sizes. Ground is cream. Printed in white mica and two gold micas.
Ceiling paper
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper, liquid mica

Staggered pattern of floral sprays with prominent crescent-shaped branch of leaves are placed on the diagonal and connected to each other by a faint pattern of scrollwork. Design is printed in beige over a tan ground.
Fragment
, early 17th century
silk Technique: cut supplementary warp pile (velvet) in a woven foundation

Fragment of cut dark green velvet pile in a stylized symmetrically placed repeated floral and foliated motif against a red ground.
Design for a Fan
Anna M. de Pool, 1894
Pencil, watercolor, and gold on paper. Red seal.
Drawing

Horizontal rectangle. A stylized scroll pattern composed of leaves and grapes. The border has a formal leaf design, in gold.
Design for a Teapot
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and gouache, graphite on cream paper
Drawing

Design for a footed teapot or coffee pot with long spout and looped handle that reaches the bottom of the body which is bulbous. Body is decorated with small pink, orange and blue flowers with green leaves; details are in green, such as the rims, handle, finial, and base.
Fragments
, 17th century
silk, metallic thread Technique: appliqué

Four fragments of an embroidered band have stylized leaves and rosettes within yellow borders. Yellow and white appliqué on red velvet.
Waistcoat panel
, early 18th century
linen Technique: embroidered

Waistcoat front panel and pocket flap of cream-colored linen have an elaborate embroidered pattern of flower sprays and details of punched work down the front and across the bottom.
A Stag Among Trees
, 1850–1875
Silhouette of white paper, cut out, on black paper mount
Silhouette

A stag among trees.
Pitcher
Holdcroft, ca. 1870–80
Molded and glazed earthenware

Tall picture with oval section. Molded exterior to resemble tree trunk with prunus branch and blossoms. Glazed pale blue interior and exterior. Handle in the form of a gnarled branch.