biglam/cooper-hewitt-alt-text huggingface dataset:
Trophée d’Amour
Pierre Ranson, French, 1736–1786, 1773
Etching on paper
Print

Design for two rectangular decorative panels, a larger one in the center and a narrow one to the right. The panels feature rococo ornament and motifs including a border of scrolling acanthus leaves (rinceaux), fleurons, c-scrolls, flowers, arrows, and festoons of flowers, with a central love trophy incorporating flaming hearts, birds, flowers, quiver of arrows, and a target with a heart. The plate is titled, numbered, dated, and signed.
Man
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of make figure standing and wearing a turban.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray, green watercolor on paper
Drawing

Jewelry design for an earring. The scheme is similar to 1938-88-818, but the shape of the palmette is stressed by omitting the fourth band. Green diamonds at the center of the disk, rosette and drop. Slightly bevelled corners at upper right and lower left.
Design for Cartouche Evoking the Chase
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

Cartouche decorated with elements of the chase: a hunting horn, two arrows (lower left), a bow, and a net.
Brooch
, ca. 1830–40
Enameled gold set with pearls, braided hair under glass cover

Small rectangle brooch with scalloped edges, a row of pearls, and a woven brown hair center.
Tasso
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Pen and ink, brush and wash on dark brown paper
Drawing

An oval bust portrait of a bearded man with a laurel wreath. Seen in three-quarter profile. Framed rectangularly and seemingly placed on a tablet.
PLAN DU JARDIN POTAGER DU ROY, A VERSAILLES
Adam Perelle, French, 1638 – 1695, ca. 1683–1703
Etching on laid paper
Print

Plan view (from above) of the Kitchen Garden at Versailles with a round basin and fountain in the center. An explanation of the garden is lettered along the left margin. And a legend, detailing each numbered section of the garden is lettered along the right margin. A scale below. The plate is titled and signed.
Trimming
, 18th century
Colored silks on white in uncut voided velvet weave.

Design of shields with coats of arms under a crown, alternately placed and separated by rosettes of flowers and leaves.  Colors: brown, yellow, and green on white.
Design for Ceiling Decoration, a Barrel Vault
Giuseppe Barberi, Italian, 1746–1809, 1790–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

A variation of the scheme of -1539. The left corner is clearly shown. The figures of two women stand in front of the support of a sphere, below a festoon, in the arch between the panel, in the intervals of the painted arches. Above them are oblongs with rinceaux. The upper part is decorated with octagonal representations. They are separated by bands. Children, holding a shell with a mask, are seated upon the oblongs with rinceaux.
Title Page
Etienne de Lavallée, French, 1735 – 1802, 1788
Etching and aquatint on laid paper
Print

Title page for a series of arabesque ornament designs featuring neoclassical motifs. The title is lettered in the upper center with a vertical design below featuring vases, terminal figures, the head of Apollo, festoons of flowers, fruit, and leaves, scrolling acanthus leaves, rosettes, and fleurons. The plate is signed.
Mounted Bedouin Guide, Palestine or Syria
Frederic Edwin Church, American, 1826–1900, February 1868
Graphite on white wove paper; verso: graphite
Drawing

Figures study of one of Church's Bedouin guides riding a camel during the artist's expedition to Petra. Viewed obliquely, this guide wears a headdress and draped clothing and wields a long spear. In the upper left corner, a sketch of a seated figure wrapped in draped clothing is visible.

Verso: Mixed studies from Church's expedition to Petra, showing four views of women wearing jilbābs (or full-body robes like hijabs), at center and upper left, a standing egret at center left, two sketches of a camel's head--showing obliquely and in profile in lower left--and finally, a loosely-rendered landscape study of an encampment in distant hills, visible along right margin and oppositely oriented.
Rank badge (buzi)
, Ming dynasty 1368–1644
silk, gilded paper Technique: plain weave with discontinuous wefts (tapestry) Label: Silk and metallic tapestry (k'ossu)

Most of a Ming dynasty First Rank square showing a pair of cranes with spread wings arched across a gold sky filled with brightly colored attenuated cloud streamers. Birds are white with gray and black lower wing feathers and throats, vermillion crests, and beak, feet and eye details in black and pale green. Cloud bands are white with shades of blue, pale green, yellow and vermillion on a gold metallic ground.
Salome given the Head of John the Baptist [left]; Salome offers the Head of John the Baptist to her Parents [right]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1595 or before
Recto: pen and brown ink, brush and brown wash over black chalk on laid paper. Verso: pen and brown ink on laid paper.
Drawing

Recto, left: Interior view of King Herod's banquet hall. In the foreground the executioner places the head of St. John on a charger held by Salome; his headless body lies at her feet.  
Recto, right: Similar banquet scene as recto, left. In the background at upper right Salome is seen giving the head of St. John to her parents.  
Verso: Figure of a dead man, identified as the Sienese outlaw Alfonso Piccolomini, shown hanging from a noose around his neck. His eyes are covered with a blindfold, and his hands are tied behind his back. An enlarged detail of his head and shoulders appears at upper right. Italian inscription below identifies the subject and date.
Design for an Embroidered or Woven Horizontal Border
, 1815-1840
Brush and gouache on oily tracing paper, mounted
Drawing

Alternating plants of two different designs but having identical calyxes connected by a leaf and three seeds and a chain supported by and suspended from, respectively, the point of the largest leaf of the calyx. Scrolls and beads form a border at the bottom; two motifs are shown.
Fragment
, 17th century
silk Technique: cut pile (velvet)

Rectangular fragment of solid dark green velvet.
Brooch
, ca. 1850–60
Hair (human), gold, silver, metal

Oval brooch with center of woven bundles of brown hair enclosed behind glass. Framed with openwork gilded scrolls. Reverse with flat silver panel with plain silver oval. Simple pin with catch closure.
Embroidered picture
, early 19th century
silk embroidery on silk foundation Technique: embroidered in stem, speckling and running stitches on plain weave foundation

Rural landscape with a pond, buildings, animals and a shepherdess, in black silk on a white ground.
Fringe
, 17th century
silk Technique: woven

Yellow fringe with a plain weave heading and skirt threads.
Lamp
, 17th century
Steel

Old wrought steel oil lamp on tripod stand with ring foot
a) single wick Betty lamp with cut-out bird on nail hinged cover. Handle bent forward, its hole holding a modern 8-shaped chain link, hooked into hanging staple. b) Tripod stand on ring base, with pointed oval tray on top.
Fragment
, 16th century
linen, black glass beads for eyes Technique: grid of withdrawn element with needle lace, reticella style

Triangular piece of reticella with a central human figure with tiny black glass beads for eyes.
Fragments
, 17th century
silk, linen Technique: woven

Oval cartouches containing pomegranites in yellow and dull pink.
Fragment
, 17th century
linen Technique: bobbin lace (continuous tape)

Fragment of a closely-worked, wavy, ribbon-like floral design.
Design For a Clock, pl. XVII from "Recueil d'Ouvrages Curieux de Mathematique et de Mecanique, ou Description du Cabinet"
Gaspard Grollier de Seviere II, French, 1677 - 1745, 1719
Engraving on paper
Print

Design for a clock ???
Portrait of Guillemus de Berges, Bishop of Antwerp
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, wearing a moustache and chin-whiskers; he is shown bareheaded. Below, his escutcheon and motto, and inscription.
Godfrey de Bouillon, after Giulio Romano and Raphael Sanzio
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and ink, brush and sepia wash over traces of graphite on laid paper
Drawing

A part of the door is shown at left.
Textile
, 17th–mid-18th century
silk Technique: damask with twill (?)

Stylized symmetrical repeat of floral palmette in continuous ogival framework of flowers and leaves in white on a green twill ground. Two striped green and yellow selvages.
La Crêmiére
John Ingram, British, 18th century, after 1755
Engraving on paper
Print

A young barefooted girl serves cream in mugs to two children from a covered wicker tray on a low pedestal. An open door, left.
Cover
, 17th century
linen Technique: withdrawn element; bobbin lace

White cover with a wide reticella border worked with three rows of stars at each end. Narrow border in the same design at the sides. Deep pointed bobbin lace at the ends and and narrower bobbin lace eding at the sides.
Fragment
, early 18th century
silk, metallic yarns Technique: satin weave with supplementary weft patterning (brocaded)

Fragment of brocaded silk showing large-scale design of scrolling acanthus-like leaves in gold and silver, and smaller-scale flowers in polychrome silks on a deep green satin weave ground. The pattern is so closely related arranged that only small areas of ground fabric are left uncovered. Left selvage present.
Fragment
, 16th century
linen Technique: grid of withdrawn element with needle lace (reticella)

Fragment with rows of squares with diamond shapes in the center.
Fringe
, 16th century
silk Technique: plain weave

Pink and brown fringe with a band in a trellis pattern above silk threads.
Fragment
, 19th century
silk, metallics Technique: woven

Striped fabric in dark green, gold, and silver.
Lincoln's Inn Fields
Joseph Pennell, American, active England, 1857–1926, 1905
Etching in black ink on paper
Print

Lawn with three trees in the foreground and buildings in the background.
Fragments of tiraz
, 14th century
silk, metallics Technique: woven

Bands with design of script.
The Weather Peasant: "Es ist kalt Weter"
Hans Sebald Beham, German, 1500–1550, 1542
Engraving on laid paper
print

Vertical rectangle. A peasant woman is represented turned to the left, in profile. She holds a rake in her left hand, and in the other some turnips.
Sketch for "Night"
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Black crayon on paper
Drawing

Probably after the model. Nude female torso from behind, showing back and parts of arms.  The arms are raised, and the head is turned to the left.
Cover
, 1875–1900
wood

Kidney-shaped, Fun-dame ground with relief design (Taka-makie) of tree bearing camellias of grey metal fun-dame with red stamens on knoll with Kiri-kane at waters edge. Long-tailed flying bird in upper right. Interior and underside of bottom section: Nashi-ji.
Vignette
, 1840s
Glyphograph on paper
glyphograph

Wrapped merchandise and an anchor lie before a palm tree standing at the edge of a river. Sailing ship in the left distance. A town in the right distance. Thre bordering lines. Bevelled corners.
Fragment
, 1700–1750
silk, metallic Technique: compound satin weave with discontinuous supplementary weft (brocaded)

Patterned rose ground with polychrome floral design in silks and silver metallic
Sash
, 19th century
wool Technique: diagonal interlacing (one set of elements)

Long sash in chevon pattern, known as 'ceinture flêche'.
Brillion Collection
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, mica flakes
Frieze

Flitter frieze containing swags of roses hung from vine-entwined ribbons with daisy chains linking the swags to large ribbon bows. Stripes at the edges. Printed in shades of pink, shades of green, tan and gold mica flakes on a background that shades from a medium pinkish-brown to a lighter shade.
A la Pucelle d'Orleans
Richards, ca. 1820
Technique: printed by engraved roller
Textile

Four scenes of events in the life of Joan of Arc.  In the largest scene, Joan carries a banner that reads, 'Ihesus, Maria'.  There is a shield on the battlement that says in English "God save the King Harry."
Recueil Elémentaire d'Architecture
Jean-François de Neufforge, Flemish, 1714–1791, 1763–1765
Bound engravings on paper
Book

Interior designs and decorations.
PREMIER LIVRE DE NOUVEAUX DESSEINS, DE SERRURERIES. Inventé et gravé Par Babel
Pierre Edme Babel, French, 1720–1775, 1890–1910
Album

An album with designs for wrought iron or metalwork balustrades, grilles, and gates. This is a late 19th-early 20th-century reproduction from a series first published between 1738-1743, by Pierre Edme Babel.
Suitte des Groupes d'Enfants
Michael Hartwagner, German, d. 1775, 1770
Etching and engraving on off-white laid paper
Print

Right plate of sheet printed with two plates. Depicts a statue on a low pedestal with two putti and a fox. One putto has wings and is borne upon a cloud; the other has a military helmet and stands with one foot on the head of a vanquished individual with "Turkish" features. The plate is signed and numbered.
Allegorical Figure of "Africa"
Royal Porcelain Manufactory, Berlin, German, established 1763, ca. 1770
hard paste porcelain, vitreous enamel, gold
figure

1960-1-44-c: " Africa" standing male figure, black, wearing tun...;     1960-1-44-e: a) "Asia" standing female figure, wearing turban a...;     1960-1-44-f: a) "Asia" standing female figure, wearing turban a...
Textile
, ca. 1840
cotton Technique: printed by engraved copper plate on plain weave

Scenes illustrating a story (possibly Lohengrin) in shades of purple.
The Teatotal Destruction of Sir John Barleycorn
, early 19th century
cotton Technique: printed on plain weave
Broadside

Picture full of people and captions set up like a cartoon within a diamond border. In brown on white.

"May it please your Majesty of the Moon we are the Half Holyday Coves come to ask you advice upon the matter"
"Upon my word young men I can't advise you as our SYSTEM does not admit of HOLYDAYS"
"The VOLCANIC Tea Pot Company beg to inform the public that they have contracted for a regular supply of water hissing hot from the Volcano of Cotopaxi in South America strongly recommed by the Faculty also readymade Tea from China direct every morning & evening.
Even now Gentlemen they are importing Water from abroad having impoverished the Springs emptied the Rivers & drained every Ditch in the Kingdom. I therefor beseech you to consider what you are about or you will distress the Labouror, impoverish the Husbandman & Ruin the Country."
"Going at (pound sign) 2-0-0 if no advance  Really Gentlemen 8 Beautiful Dray Horses for (pound sign) 2-0-0 that originally cost (pound sign) 95-0-0 each Going go-ing Bless my life Sam show the Animals up their Hides alone are woth the money"
"By the powers and ye'll empty the Fish pond at this rate my darlings"
"RECREATION for the MILLION"
"To BANKERS & LAWYERS CLERKS LINEN DRAPERS ASSISTANTS and YOUNG MEN in WAREHOUSES
THE SKYHIGH COMPANY'S AEROSCOPIC BROOMS INVENTED BY FATHER MATHEW will commence flying on & after the 4 of November to various parts of the Globe every Friday and Saturday afternoon during the Season returning in time for business every Monday morning"
"I'm afraid this here stuff don't agree with me hexactly"
"Never mind what that chap says he's a Brewers Horse doesn't thou see he's paid for running down teetotalers"
"Odd Sniggers Mon ta'll fettle some on us a this road ta careless rascot see whot aw get im me mouth fro that bucket"
"NOTICE THIS PUMP will be closed tomorrow as the well is empty"
"By Gum but this is a pratty stuff to give a christian body Tummus"
"May it please your Majesty we Frogs and Fishes in Council assembled humbly crave your Royal Attention to the hopeless condition wea are reduced to by a person named Father Mathew  who not content with drinking water himself had indiced your Majesty's Subjects to do the same until at length they have made such upon our natural element which is water that unless your Majesty interpose we shall be Teetotally Exterminated"
"My ete what a treat them teetotal coves must have had last night look'ee here Oh CRIKEY"
"LAWKS Mother Jenkins CAT whots bin missing this six weeks"
"If my Old Oman get to know of this here it'll make her mortal ill for she was a saying as she took sixteen cups of it"
Design after Paintings by Raphael and Paintings in Bologna by Albani, Francia, Parmigianino; Monument Verso: Anatomical Study
Felice Giani, Italian, 1758–1823, 1811–14
Graphite, pen and ink, brush and sepia, watercolor washes on laid paper
Drawing

Double sided sheet from sketchbook. Recto, sheet divided into six rectangles, each showing unique scene. Top left rectangle, Isaiah shown between two angels, inscription on tablet between angles: ISAIA 1811. Also inscription below rectangle: Raffaello Roma. Top right rectangle, Diana and Actaeon with inscription below: Albani Bologna.  Middle rectangle, families of Virgin and Elizabeth. Inscription below: Francia Bologna. Bottom right rectangle, Virgin teaches child to read. Inscription below: Parmigianino Bologna. Bottom middle rectangle, Adonis starting hunt. Inscribed below: Parmigianino Bologna. At left top corner, "141" and at left bottom corner "78". Verso, three anatomical studies of arms, indicating muscles and bones. Three caricature heads in profile.
Design for Round Adjustable Dining Table on Octagonal Base
A.N. Davenport Co., 1900–05
Pen and black ink, graphite on thin cream paper
Drawing

Round molded top with dividing stretcher running across center suggested in graphite, raised on fluted columnar support with molded double band around bottom, sitting atop octagonal base terminating in 4 splayed legs with brass feet on casters.
Entrance Hall, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1815–20
Brush and watercolor, pen and ink on paper
Drawing

Elevation of a wall, with a painted decoration giving the illusion of window openings with a cloudy sky beyond them. A dado of lattice work, with sky behind it, is indicated at left. Upper section of wall with painted decoration. Section of ceiling, with painted sky, is shown above.
Calm Shoreline with Very Distant Boats
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Beach in right foreground with waves rolling onto shore. On horizon at left and center, outlines of very distant boats.
Design for a Plate
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and gold gouache, pen and black ink, graphite on cream paper
Drawing

Design for a plate with blue and gold border, dentils with arabesques and roses on scrolls and small hanging banners.
Darning sampler (unfinished)
, 1866
wool, cotton Technique: embroidered in running and cross stitches onplain weave foundation

Ten darning patches.
Fork with Porcelain Handle (Paired with Knife)
, ca. 1755–1780
steel, silver; porcelain, vitreous enamel
fork

Three curved tines, waisted shoulder, and baluster-shaped neck. Banded silver ferrule. Pistol-shaped white porcelain handle, decorated with raised scrollwork and floral sprays on front and back in yellow, blue, red, green, pink and purple. Small silver cap at the end of the handle.
Floor tile
, 14th century
Red earthenware, inlaid with pipe clay

Square tile of red clay, stamped and inlaid with pipe clay in shape of double-headed.  Right edge missing. Four circular pits on back.
Study after "At Icart Point, Guernsey"
William Trost Richards, American, 1833–1905, 1900
Brush and watercolor, graphite on paper
Drawing

View of a rolling sea in the foreground with steep cliffs in the background.
Scarf sample
, mid-19th century
silk Technique: printed on plain weave

Quarter of a printed scarf in magenta, pink, cream-color, and black. Field of scattered flowers and border showing bunch of flowers on large leaf.
Frieze
, 1875–1900
Machine-printed

Tan background with white and beige iris design outlined in gold.
Study of Bending Nude Figure
Louis Schaettle, American, 1867–1917, ca. 1900
Graphite on light brown paper
Drawing

Full figure of bending female nude on right side of page; small sketch of the same pose with figure draped, upper left; lower left, portion of bending nude in same pose.
George Lambart's Book Plate
A.M. Ireland, 1794
Etching on paper
Print

The bookplate depicts the coat-of-arms of George Lambart with the inscription of the name below it.
Fashion Plate from The Englishwoman's Domestic Magazine
A. Bodin, French, active 19th c., 1873
Engraving, brush and watercolor on paper
Print

Left, woman in blue, fur-trimmed suit and cape. Center, a girl in brown and white. Right, a woman in green dress and violet coat. Bookstalls in back of them. Title and artists' names below.
Sampler
Hetty Lees, American, 1799
silk embroidery on linen foundation Technique: embroidered in rococo, satin and cross stitches on plain weave foundation

Sampler with two scenes, a verse and inscription, and a stylized acorn border on four sides. The upper scene shows a house, another small building with a fence, a large branching tree and a smaller fruit tree, with birds. A single alphabet and set of numerals at the very top. The lower register shows three green trees side by side, with smaller trees in the spaces between. The two scenes are separated by the following lines: 
Fragrant the rose is but it fades in time
the violet sweet but quickly past its prime
while lilies hang their heads and soon decay
and whither snow in minutes melt away
such and so with'ring are our early joys
which time or sickness speedily destroys

Hetty Lees Her Work Done in the Tenth Year of Her Age July the 17 1799
Fragment
, 1750–1800
silk Technique: 5-harness satin damask

Damask lining for components a/c.
Flounce
, late 17th century
Technique: bobbin lace

Flounce, curving floral vine; late 17th century Flemish.
Etui Fork with Green-stained Ivory and Mother-of-Pearl Handle
, ca. 1790
green-stained ivory, pewter, steel, mother-of-pearl
Etui fork

1985-103-133-a: Leaf-shaped knife (a) with straight sides. Flat re...;     1985-103-133-b: Three flat tines, flat baluster-shaped neck. Recta...
Bracelet
, 1850–70
engraved raised sheet gold, cabochon emerald, rose-cut cut diamonds

Cabochon emerald set into center and surrounded by bands set with diamonds, the links engraved with foliagein reserves. The bracelet in fitted box covered with velvet and with gold leaf crown impressed into textile.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Multi-colored pansey-like flowers, green leaves on bamboo branches.  Lined graphite border.
Ladle with Shell-Shaped Bowl
, 1760–1780
silver plated, copper
ladle

Bowl in shell form, with round bosses on alternate flutes and scalloped rim, attached to handle with ribbed shell mount on reverse side. Long narrow handle with feathered edge, widening to rounded terminal. Reverse side of handle plain surface with center rib at terminal.
Plate XLV from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Machien for lifting ore up a mine shaft. A frame over top holding pulleys and chain. Chain winds around axel turned by man sitting in cart on the ore. Cut-away of men at work below. Description in Latin on verso of 1949-152-242.
Sidewall - sample
, 1906–08
Machine-printed

All-over vining floral design. Large-scale flower set within foliage that forms a dimaond trellis pattern. Printed in green on pale green mica background.
Ceiling paper
Ithaca Wall-Paper Mills, Ithaca Wall-Paper Mills, inc. 1900-1907, 1905–1915
Machine-printed paper

All-over pattern of green flowers with brown foliage. Printed in greens, browns and cream on yellow ground. Printed in selvedge: "Ithaca Wall Paper Mills" and illegible pattern number.