biglam/cooper-hewitt-alt-text huggingface dataset:
Sidewall
, 1890–1900
Machine-printed, oil inks

Full width printed in blue, red and yellow with swags and sprays of flowers. Color register marks on left margin and right margin; stock number 137 on right margin.
Orfèvre Grossier, Ouvrages
J.R. Lucotte, French, 1733 – 1784, 1762
Etching and engraving on laid paper
Print

Plate depicting a silversmith's workshop in the upper half of the page, with six male figures working. Different objects from the illustration are labelled with letters. In the lower half of the plate, eight labelled designs for objects made of silver including ewers, shallow bowl, bell, bucket or aspersorium, and an aspergillum used for casting holy water. The plate is titled, numbered, and signed.
Oak and Evergreen
Samuel Colman, American, 1832–1920, 1880–90
Brush and watercolor, white gouache, graphite on cream paper
Drawing

Trees on left half of page. Figures under the trees. Verso: trees, upper left; mountains running horizontally, lower left and upper right; mountains, upside down, lower right.
Donner Lake
Thomas Moran, American, b. Britain, 1837–1926, 1879
Graphite, brush and grey and blue-grey watercolor, white gouache on thin cream paper
Drawing

Vertical view of a lake surrounded by mountains, with snow capped ones in background and a few pines in the foreground. Framing lines in graphite.
Bureau à l'Italienne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a desk with ornament motifs incluing fluting and garlands on the legs, acanthus leaves at the feet, lion heads, encircled rosettes, and, at center, draped bound leaf garland. The plate is signed.
Medallion
, 5th–6th century
Warp; S-spun two ply Z-twist linen. Wefts; S-spun linen, S-spun wools. Technique: slit tapestry with supplementary wrapping.

A nimbate head in the center with radiating vegetative forms.
Fragment
, late 17th–early 18th century
silk, metallic yarns Technique: compound weave

Silk fragment showing design of red and metallic flowers against a blue and white geometric background against a white horizontally ribbed ground.
Trimming
, 19th century
silk Technique: woven

Yellow trimming fragment in a design of zigzag lines.
Sampler
Estefana del Sol, 1810
silk embroidery, linen foundation Technique: double running, counted satin, hem, fishbone and cross stitches on plain weave

Viva F D O VII under a crown with medallion and flags. Surrounded by detached motifs and five borders. Inscription translation: Made by Estefana del Sol in the Royal Palace at Aranjuez. Long live Ferdinando VII King of Spain.
Elevation of a Villa
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Elevation of a Villa.
Cabinet, Console Table and Urns
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Elevation of a table with strait, fluted legs and swags. Two urns decorated with figures. At left, partial view of a console table decorated with rinceaux and bucranium.
Band
, 17th century
linen Technique: bobbin lace, discontinuous tape

Strip of insertion lace in design of concentric circles, each with central rosette.
Design for a Brocade, Fragment
, 1825–1850
Brush and gouache, brush and black paint on oily tracing paper
Drawing

The decoration consists of irregularly disposed flower motifs. A big-sized and two smaller fantastical flower boughs and a calyx palmette are to be brocaded. Monochrome leaf boughs form a background decoration.
Designs for Twelve Earrings
Salvatori, Italian, active 19th century, 1865–70
Graphite on cardboard
Drawing

Two rows of six earrings each. Above, the first third and sixth have escutcheons; the fourth two rams' heads, the fifth ram's head. Below, the first with a tablet inscribed: L V X; the second a snake with a hanging vase and a ram's head below, the third has three drops, with central drop in shape of sun. The fifth has, above, a tablet, semicircle cresting and hanging vase, the sixth has an escutcheon and a hanging vase.
Ceiling Design
Carlo Maria Pozzi, 1708
Engraving on laid paper
Bound print

Design for a ceiling with stucco molding. Each edge has a stucco oval with an ornamental stucco clasp; at the edges are stucco cartouches with mascarons, garlands, shells, and putti. The plate is signed and numbered.
Grand Eiger and Jungfrau from Top of the Rothorn, Lake Brienz, Switzerland
Daniel Huntington, American, 1816–1906, June 14, 1844
Graphite on paper
Drawing

Mountain tops lightly outlined and shaded, labeled above. Verso: Mountain tops and a slope, outlined.
Tabby's Kittens
Arnold Print Works, North Adams, MA, USA, 1892
cotton Technique: printed by engraved roller on plain weave
Textile

Printed panel, entitled "Tabby's Kittens" with front, back and bottom views of four striped kittens, meant to be cut and sewn into stuffed toys. Sewing instructions are printed on the upper left and lower right sides. "Arnold Print Works, North Adams, MA" is printed on the upper right and lower left sides.
Shawl
, ca. 1860
cotton, wool Technique: woven

Long rectangular shawl with a paisley pattern and black in the center. Mark of the maker, indecipherable, is woven in white on the left-hand side of the small black central field.
Bust of Frederica-Albertina, Abbess of Steterburg
Fürstenberg Porcelain Manufactory, German, established 1747, 1770–1775
biscuit, hard paste porcelain, vitreous enamel, gold
bust

Bisque bust of Frederica Albertina, Abbess of Steterburg. On the plinth, a crowned shield with a horse, flanked by putti, one with a raised cup.
Carpet fragment
, ca. 1870
wool, bast fiber Technique: cut pile

Sample of red carpet with small scale diamond lattice enclosing a floral form. The pattern is in light red on a dark red background and entirely in cut pile of one height.
Apollon
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of ornament with elaborate frame and a central scene representing Apollo standing in a landscape on top of a Python. The plate is signed.
Study of a Man Playing a Flute
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a man's head in profile seen from above. He has short hair and is playing a flute. His collar and shoulders are suggested with a few lines. The plate is signed and numbered.
Textile
, 18th century
silk, metallic thread Technique: plain weave with supplementary weft

Small bird-on-bush repeat on a reddish-orange ground. Bird motif in blue, brown, white, green, and yellow. Yellow thread originally wrapped with silver, but now is mostly worn off.
The Destruction of Bel and his Temple
Martin Van Heemskerk, Netherlandish, 1498 - 1574, 1556
Engraving on off-white laid paper
Print

King Nebuchadnezzar watches the destruction of the idol, Bel, and its temple, at the behest of Daniel.
Band
, 18th century
linen and silk Technique: embroidered

Natural color linen worked in red silk with the design reserved in the linen outlined in green silk. Details of decoration in green silk. Main design consists of a fountain flanked by grotesque figures with animal-like heads and holding a cup. Standing behind a strange four-footed beast (stag?) whose horns sprout into a flower. Above is a border of highly stylized plant forms. Piece appears to be a part of a larger embroidery as the guard border below is cut. Stitches outline in green silk closely laid chain stitch for red of background.
Trimming
, 18th century
silk, silver metallic thread, silver strips Technique: woven

Design of stylized heart and leaf forms with scalloped borders forming serpentine bands. In white with silver thread and strips.
Fragment
, late 17th–early 18th century
silk, metallic yarns Technique: damask weave with supplementary weft patterning (brocaded)

Fragment of brocaded silk damask in the 'bizarre' style showing a pink and red ground with florals and irregular scrolls brocaded in metallic yarns and colored silks.
Chasuble fragments
, 1705–15
silk, metallic Technique: 4&1 satin patterrnd by discontinuous supplementary wefts bound by supplementary warp.

Symmetrical design of basket of fruit  surrounded by flowers and birds.
Fragment
, before 1536
wool, cactus-spine, linen Technique: wrapping

On pointed cactus-spine "warps", red, green, brown and buff wool, with some linen, is wound in tapestry, making rough pattern of small triangles.
Drawing
Felice Giani, Italian, 1758–1823, 
Pencil. Pen, ink. Sepia wash. Paper

The couple is seated upon a couch, before a curtain. Gionciotto Malatesta, Husband of Francesca from the right rear drawing his sword. Renaissance costumes, Gothic architecture. The couple have been reading tales of Lancelot and Guinevere.???
Old Beggar Man
, ca. 1800
Brush and opaque watercolor on pin-pricked paper
Pin-prick picture

Early 19th century pin-prick picture after an engraving. The face and hands painted in watercolor.
Wood engraving. Vignette.
, 1800–1830
Engraving and etching

Flower bough against hatched, octagonal background.
Fragment of cutwork
, 17th century
linen Technique: withdrawn element work

Fragment with a design of angular stems with motifs of two conventionalized flowers in a diagonal arrangement, placed alternately, up and down. Design left in reserve with a background of small squares of tightly wrapped threads.
Fragment
, 4th–5th century
wool Technique: slit tapestry weave

Purple band with undyed figures between red areas on either side.
Pleated fan
, 19th century
Silk net leaf with applied metal foil and sequins, celluloid sticks inlaid with sequins; celluloid guards with copper and inlaid with metal foil; mother-of-pearl rivet

Pleated fan with a fine silk net leaf appliquéd with gold-colored metal foil and sequins in chevron pattern; reverse: plain. Celluloid sticks inlaid with sequins. Celluloid guards with copper and inlaid with gold-colored metal foil.
Scherzi di Fantasia
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1757–1762
Etching on laid paper
Print

Titleplate, with owls perching on a stone slab. Second state with numbers and inscription
Fragment
, 19th century
silk, metallic Technique" 4&1 satin plus twill

Rectangle cut on the bias of diagonal leaf branches in green white and silver.
Project for a tabernacle intended to be executed in bronze
, 1575–1600
Pen, brush and bistre on paper
Drawing

Vertical composition of a tabernacle. The dome of an open pavillion is supported by four pairs of corinthian columns. In the interior are four kneeling angels who support a high circular structure. At the foot of the dome are four angels with arms of the Passion above the entablature. The project is not shown in its entirety.
Ceiling, from "Desseins de Plaphons"
Jean Le Pautre, French, 1618–1682, ca. 1650
Etching on paper
Print

A = Jombert 35, 6, without number and with the address: ''le paustre f'' (probably over something eliminated) ''Moncornet excudit''. B = J. 36, 5.
Portrait
J. Carroll Beckwith, American, 1852–1917, ca. 1887
Pastel crayon on grey laid paper
Drawing

Three-quarter length portrait of a female figure seated wearing a blue dress.
Fragment
, 17th century
linen Technique: needle lace

Fragment with a leaf in an openwork design and deeply scalloped edge.
Textile
, mid-18th century
silk Technique: compound satin, brocaded

White satin in a chinoiserie-style design with flowers, parasols, tables, vases, etc. in pink, blue, green and yellow.
Landscape With Two Figures Wading a Stream
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

A man and a woman with a dog wade through a stream, while another man replaces his boots on the grassy bank, right foreground. At right, a road borders a woods.
Doorway, Apartment of Lou
François Chauveau, French, 1613 – 1676, 1710
Engraving Support: thick white wove paper
Print

Vertical format; open doorway showing a series 8*** open and half-open doors beyond; doorway in foreground has overdoor consisting of a central urn gearing*** the monogram of*** Louis XIV; flanked by the wings of a broken pediment.
Man
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Half-length front view of male figure in a cap.
Recto: Caricature sketches; verso: standing nude female
Pietro Montana, b. 1890, ca. 1910
Charcoal on white paper.
Drawing

Vertical rectangle. Recto: Five caricature sketches of male heads; probably classmates and the instructure of the artist. Self- portrait, lower left. Verso: standing female nude studio model seen from the back.
Drawing
Felice Giani, Italian, 1758–1823, 1810-1822
Pencil. Pen, ink. Brush, bistre. Rough greyish paper.

Horizontal Rectangle. Shown sitting with the left arm leaning upon the shield, the right hand holds a spear. At left are symbols of the arts, at right of science.
Medal
Louis Michel Petit, French, 1790 - 1844, 1818
bronze

grands hommes francais
Tile
, mid-18th century
Glazed earthenware, overglaze decoration

Cream-colored clay slightly corrugated on reverse. White glaze, of which traces are shown on reverse. Decorated with figure of a woman in pink skirt, green kerchief and orange jacket, in style of Watteau's pastoral figures.
Wakizashi Sword and Scabbard
, 17th–19th century
Steel, iron, bronze, silk cord
sword and scabbard

Blade of kaku mune shape; suguha yakiba (temper marking); ungrooved; unsigned. Scabbard (Saya) of wood covered with black lacquer with flat inlay like chopped straw (warakuji); mounted with kojiri of iron inlaid with sentoku in design of maple leaf; kurikata of black lacquered wood, gold ?¯-shitodome, horn opening. Green silk sageo. 1 Hilt (tsuka) of wood covered with ''same'' wrapped with black silk braid in hishigata pattern; mounted with fuchi-kashira  in shibuichi inlaid with gold and copper, and gilt (?) menuki. Kozuka: omote, sentokudo; ura, akagane; kin nunome zogan. Design Asazuma.
Chalice cover
, 17th century
silk and silver thread on silk Technique: embroidery

Embroidery is in the design of an ornament formed by eight floral sprays placed around a cross with rays set between the arms.
La Quêteuse de Grand Chemin
John Ingram, British, 18th century, after 1755
Engraving on paper
Print

A barefooted peasant girl stands in a landscape, with a child on her back and another stands beside her, clutching at her garments. She holds a basket of greens in her arms.
View of Twickenham, from the River Thames, from Walter Harrison's History of London
John Cooke, English, acitve 18th c., ca. 1750
Engraving on paper
Print

The view is taken looking across sthe Thames River, with the town of Twickenham (Berkshire) on the opposite bank. A pleasure craft with figures in the foreground. Inscribed below: "View of TWICKENHAM from the river," and at the top: "Engraved for Harrison's History of London, Etc."
Fragment
, 18th–19th century
wool, linen Technique: damask

Very simple and traditional geometric repeat of squares of contrasting warp and weft twill areas in combinations of blues, tan and white.
Band
, 19th century
linen Technique: bobbin lace (late Valenciennes ground)

Valenciennes style lace band worked with a floral design and conventional borders.
Fragments
, 1750–1800
silk, metallic thread Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Design of floral groups and foliage in polychrome silks and silver metal on light rose patterned background. 1896-17-19-b is made up of three fragments sewn together.
Five Women at a Fountain
Felice Giani, Italian, 1758–1823, 1810–25
Pen and black ink, watercolor Paper;
Drawing

Vertical rectangle. Fountain at the corner of a garden wall. Water pours from a mask. A girls fills a vessel with water. Another one in the fore-ground pours water into a bowl for the pigeons to drink. Another girl looking on. Two black framing lines.
Sidewall
, ca. 1850
Green and browns on cream ground

Portion of a design showing vignetted buildings enclosed in a framework of trees and garden structures. Printed in green and browns on cream ground.
Tassel
, 17th century
linen Technique: braided and knotted Label: Braided and knotted linen, wood core

White linen tassel with three balls connected to one another by a braided stem to create a three-tiered base. All three balls are covered with tiny knotted balls.
Textile
A. Henry, French, 1800–1850
cotton Technique: printed by engraved roller on plain weave

The Adoration of the Magi. In red on white.
Sampler
Martha Davis, 1831
silk, wool Technique: embroidered

Sampler has alphabets and numerals along the top edge. Zigzag border with yellow flowers is across the bottom edge. Central inscription with flanking parrots and plants reads: 

Our Father God first gave us life
And still supports our feeble frame
Our youthful voice shall gladly strive
To speak the glories of his name.
He bids us read his holy word
And pray to have our sins forgiven
Then he will guide us in the road
That leads to happiness and Heaven
Martha Davis's work 1831
Tassel
, 17th century
linen, wood Technique: braided Label: Braided and knotted linen, wood core

White linen tassel with two balls (of different sizes) connected into a barbell-shape forming the base. Core is braided over with linen yarns worked in groups of five and six yarns for a basket-weave effect. Around the base protrude small, braided, spherical elements and from the bottom of the base hang five elements resembling the protrusions around the base.
Darning sampler
Elizabeth Writtle, 1802
linen, silk Technique: embroidered on plain weave

Darning sampler with ten darning patterns surrounding a bouquet of darned flowers tied with a ribbon. Colors are tan, green and red.
Le marchand d'Orvietan
Dubern & Cie., ca. 1785
cotton Technique: printed by engraved copper plate on plain weave
Fragment

Figures in rural landscapes and a banner with three fleur de lys. 
In red on white.
Vase
George E. Ohr, American, 1857–1918, ca. 1900
earthenware

Unglazed/bisque pale red/brown clay, manipulated cylindrical form, very thin walls pinched to create a crimped floriform rim, rising from a folded base then twisted just above the base for about an inch then smooth for less than an inch before the higher folds.
Design for Kidney-Shaped Writing Table with Open Compartments
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream tracing paper
Drawing

Kidney-shaped table top with backsplash; rectangular cabinet center rear with 2 upper drawers and a niche below, flanked by 4 small open compartments; raised on 4 straight, fluted, tapering legs with carved tops.
Textile
, 1750–75
cotton Technique: block printed (two purples, two reds) with yellow and blue applied by brush on plain weave

Vertically symmetrical pattern of scrolls and clusters of flowers on a deep purple background.
Darning sampler
, 1824
silk and linen embroidery on linen foundation Technique: embroidered in running and satin stitches on plain weave foundation

Fourteen squares of pattern darning, a square of simulated knitting, two insert patches, one with initials and date, two inset corners, and small squares of decorative stitchery.
Bands
, early 18th century
linen Technique: bobbin lace, discontinuous tape

Border fragments with scrolling vines and angels.
Waves Breaking on Rocks
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Rough sea, wave breaking over rock in right foreground, distant mountains in background.
Frieze
, 1905–1915
Machine-printed paper, mica flakes

Flitter frieze with alternating medium and large foliate medallions, from which suspend pink and purple floral swags. Top has thin green stripe, bottom has a blue stripe and a thin silver mica flaked stripe. Grounding shades from light blue to green. Printed in purples, pinks, greens, yellows, and metallic brown, with outlines in silver mica flakes.
Border
, ca. 1800
silk, metallic thread, metal sequins, glass beads Technique: appliqué on velvet

Border of brown silk velvet heavily appliquéd with symbols associated with Napoleon's campaign in Egypt such as cartouches and composite bird creatures and other animals.
Bandbox lid fragment
, 1830–50
Block-printed paper on pasteboard support

A group of three dogs is following on the heels of a deer. The three dogs and the deer are each on there own landscape plateau. The background is printed with pairs of dots, possibly simulating hoof prints. Printed in shades of blue, white and black on a discolored possibly tan ground. Paper is small oval shape.
Ceiling Paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

Quatrefoil shapes made out of foliate scrolls and flower motifs, connected by scrolls to form a treillage pattern. Flower-like design made out of foliate scrolls in the resulting negative spaces. Ground is cream. Printed in greens, white, and gold mica. 
Printed in selvedge: "Janeway & Co. 549"
Flowers on a Weave
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Seen here are summer flowers and buds strewed among a the tatami mat. This damaged stencil contains torn silk threads and gaping holes.
St. Elizabeth
Israhel van Meckenem, German, ca. 1440 - 1503, before 1500
Engraving on white paper
Print

St. Elizabeth covering a cripple with a mantle. She wears a crown, carries a crown and a third one is on the ground beside her.
"Culture et Arsonnage du Coton" from Diderot's Encyclopedia, Vol. I
Robert Bénard, French, 1734–1772, 1762
Engraving on white paper
Print

Upper register, view of cotton plantation on a shoreline - cotton being picked and processed. Center, man working on a pile of uncombed cotton indoors. Lower register, tools and parts of a cotton plant.
Peonies floating on water
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Blossomed peonies, accompanied by their leaves, float on top of the water. Thin curving lines form a body of water which appears to be circulating in the current. Silk threads have been added to the support of the stencil structure.
Deer hunt
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1590
Black ink on paper
Print

Horizontal rectangle. Two hunters stalk deer from behind a decoy in the guise of a bull. In margin below: "SIC BOUE FICTILIO CONTECTI SULPHURIS ICTU ACCENSI OCCIDUNT PAUIDOS FORMIDINE CERUOS. JOHAN. STRA. INVE."
Frieze
Wilson and Fenimore, 1905–1915
Machine-printed paper

Scrolling foliage on a central burgundy background; red dental work across top and bottom; printed 2 across.
Border
, 1815–35
Block-printed on handmade paper

Wide central band of mixed fruit, including pear, peach, grapes and figs, on vine. A braided rope runs along top edge. Printed in shades of yellow ocher and brown on a gray ground. a) is the beginning of roll - no ground color at end.
Design for a Vase
Jacques Damery, Flemish, 1626 – 1685, 1657
Etching on white laid paper
Print

Vase on a base. Handles made of satyrs; frieze of two women and two satyrs, embracing each other. Background with landscape and architecture.
Plate 1954, Modes de Paris (Paris Fashion), Petit Courrier des Dames, Journal des Modes (Little Ladies' Mail, Fashion Journal)
Samuel and Joseph Fuller, London, England, August 31, 1843
Engraving, hand-colored with brush and watercolor on cream paper
Print

Fashion illustration showing a woman on the right sitting at a table reading a document. She wears a light blue bonnet and a floor-length, cream-colored gown. She sits on a fancy purple and gold stool, facing left slightly, with her back towards the viewer. Another woman stands on the left, with the top portion of her body slightly turned right and her head facing left. She wears a floor-length, light grey gown with numerous buttons along the middle, top, and down the arms of the dress. Her brown curls emerge beneath a white bonnet, tied in a bow underneath her chin. Around her waist she holds a large, yellow shawl with an elaborate paisley pattern in red, blue, green, and white and yellow fringe at the base. The illustration emphasizes the voluminous fabric of the gowns, showing numerous folds and pleats. A tall vase with flowers appears on the table, and a curtain appears in the background on the right.