biglam/cooper-hewitt-alt-text huggingface dataset:
Brisé fan
, late 19th century
Painted wood sticks, silk tassel

Brisé fan of painted, unvarnished wood. Obverse has a design of dancing frogs with blue and white porcelain. Reverse shows bamboo trees with a bird and dragonfly. Beige tassel.
Jewelry and Ornament Designs
Friedrich Jacob Morison, German, active 1693 – 1699, ca. 1700
Engraving on laid paper
Print

Designs for jewelry and ornament including broaches, pendants, earrings, friezes, and hairpieces featuring scrolling leaves, crowns, portrait busts, fleurons, rand rosettes. The plate is signed and numbered.
Four fenders
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Four fenders.
Hunting Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Design for a hunting trophy incorporating a quiver of arrows, horns, birds, festoon of leaves, hunting purse, foliate branches, flowers, and fruit. The plate is numbered and signed.
Fragment
, 19th century
linen Technique: bobbin lace (Lille style with heavy outlining thread)

Fragment of Lille style lace with Lille ground
Textile
, 12th–14th century
silk, linen Technique: embroidery using silk threads on linen plain weave foundation

Tiraz, embroidered horizontal band of palmette motifs in polychrome.
Design for the Decoration of Three Pilaster Strips
Giuseppe Barberi, Italian, 1746–1809, 1789-1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Lattice working symmetrically from a base and ending in a similar oblong on top, forms the lozenges and an oblong in the center. All panels are decorated. Birds are in the lozenges, the figure of a woman between two children, in the central oblong. Center: An ovoid. A candelabrum with the half-figures of two children is in the upper panel. A wreath hands from a festoon in the lower panel. A trophy is below. Right: A candelabrum. The figures of two children, standing upon a base, support an ovoidal medallion which contains the figure of a woman. For painted vertical panels, noble cabinet, Palazzo Altieri.
Silhouette Portrait of a Young Woman
Unknown, English, ca. 1795
Brush and black and gray watercolor on off white laid paper
Silhouette

Portrait of a woman with a head dress of feathers facing left in a painted oval frame decorated with a garland and aknotted bow.
Elevation of Salon Chimney Wall
Pierre-Louis Moreau-Desproux, French, 1727 – 1793, ca. 1780
Pen and black and brown ink, brush and watercolor, white gouache, over black chalk indications on paper, lined
Drawing

Elevation of a wall.  The center of the design is a chimney with a large mirror above. At the base of the mirror, standing on the mantel, are two statues of a child on a cloud, holding a torch.  The mirror is flanked by composite columns with which pilasters on either side of the doorway correspond.  Between the columns and the pilasters are two female statues.  There is a door opening on either side, at the edges of the sheet.   Above the doors, in arched over doors, are reliefs of seated figures among trophies of arms.   An entablature separates this section of the wall from an attic.  In the attic, at the center, two winged statues with trumpets open a curtain.  Decorative panels on either side of this grouping show figures with large oval mirrors/medallions.
Design for Embroidery, Gentleman's Waistcoat Pocket
Mademoiselle Calva, French, active late 18th century, ca. 1785
Brush and gouache, pen and brown ink, graphite on cream laid paper
Drawing

Design for the embroidery of the left bottom part of a man's waistcoat or gilet featuring a pocket. The design features two fantastical peacocks preying for insects, plants, and festoons. Blue flowers and yellow leaves decorate the rectangular pocket flap, and a branch with blue flowers and yellow leaves rises above and to the left of the flap. Design includes buttonholes on the left. Verso: five yellow birds with yellow leaves rising from two of them.
Oval frame
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Framed by crossed flower stems. Above a wreath. Usual background.
Bandbox
, ca. 1830
Block-printed on paper, pasteboard support

Red, green, white and brown on a yellow field. On sides of box, squirrels and trees. On top of box, houses with trees and a border of flowers.
Design for a Cabinet, with Alternate Suggestions
, ca. 1805
Pen and black ink, brush and watercolor on paper
Drawing

A cabinet on legs has an arched central bay surmounted by a coffer-shaped section with finials. The left side shows three shelves with railings. The right side is a half-round closed cabinet. Scale below.
Détails en grand de la Sculpture des Traverses
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Details of the carving of the crossbeams of the armchair represented in 1921-6-279-43. The upper detail represents the carving on the front of the armchair, and includes ornament motifs including wave pattern and bead course. The lower detail represents the carving on the crossbeam of the backrest, featuring fluting, ribbon twist, and bead course. The profile of the carving is visible on the right. The plate is signed and numbered.
Grande Toilette, avec son dessus ouvert
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation and plan for a design for a large dressing table. The table has a central mirror and is decorated with ornament motifs including vases, scrolling acanthus leaves, and crossed torch and quiver with doves on top. Below the table is a plan showing the organization of the drawers. The plate is signed and numbered.
Metalwork Design
Babin, French, ca. 1750, ca. 1780
Etching on paper
Print

Design for ironwork/ metalwork - a lion supporting a blank coat of arms. The plate is numbered and signed.
Six Decorative Studies; Verso, Anatomical Study
Felice Giani, Italian, 1758–1823, 1814–18
Pen and ink, brush and watercolor washes over graphite on laid paper
Drawing

Six decorative studies showing partitions with putti and garlands; allegory of time. Verso: Anatomical study of right arm; frieze of Nereid and Triton.
Ornament Design
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Small ornamental frieze design featuring grotesque motifs, scrolling leave (rinceaux), foliate scrolls, bird, putto, flowers, snake, and a winged faun/ satyr. The plate is signed.
Designs for Two Vertical Panels
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738–45
Engraving on off-white laid paper
Bound print

Folio 3, plate 2 of series 6. Within rectangular framing lines, two rocaille designs for upright decorative panels. Panel at left: at bottom, a grotesque mask surrounded by decorative scrollwork. Above, an urn with two dolphin fountains, herms at either side. At top, two masks, the mouths of which emit fountains of water. Panel at right: at bottom, a grotesque mask surrounded by decorative scrollwork. Above, a fountain design with putti figures and swans. On garlands above, a herm and a satyr; a mask above them.
Façade d'un Bâtiment de l'ordonnance Corinthien avec soubassement ou stilobate
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Façade and profile of a building of the Corinthian order with terms placed between the arched doorways at the bottom. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters) at the bottom of the page. The plate is signed and numbered.
REPRÉSENTATION DE L’ÉDIFACE DE L’HÔTEL DE VILLE DE STRASBOURG, De la Place devant les Hôtel des Batimens adjacens, et des Fêtes Rejoüissances que le Magistrat a donné au Peuple, le 5 Octobre 1744 jour de l’arrivée de Sa Majesté LOUIS XV dans ladite Ville
Johann Martin Weis, French, 1711 - 1751, 1745
Etching and engraving on paper
Print

An evening view of the Strasbourg city hall and its adjacent buildings, illuminated with crowds of people in the streets and visible in the windows. The plate is titled, signed, numbered, and features the Strasbourg coat of arms.
Columbine Blossoms and Buds, Plate 12
, 18th century
Engraving on paper
Print

Columbine blossoms and buds.
Mountain Landscape, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing view over a lush range in the Blue Mountains of Jamaica. Mountain ridges and valleys transition from green in foreground to light purple in background due to atmospheric perspective. Above, a hazy sky is rendered in shades of cream and yellow. Treetops visible in immediate foreground at lower right.
Title Page
François-Thomas Mondon, French, 1709 – 1755, after 1736
Etching on laid paper
Print

Title page from a series of seven designs for trophies, rococo ornament and vignettes. The title is lettered in the center within a cartouche framed by c-scrolls, shell and acanthus motifs, a balustrade, fluting, with a winged putto holding a book, to the right and flags, spears, and a helmet to the left. Above a crowned coat of arms flanked by clouds, a female figure and two lions. The plate is numbered and the address is lettered below.
Edging
, 19th century
cotton Technique: machine made

Two pieces of black cotton lace edging formed by sewing two narrow strips together. Chantilly-style conventionalized floral pattern.
Daniel in the Lion's Den
Pietro Novelli, Italian, 1603 - 1647, ca. 1630–40
Pen and brown ink on paper
Drawing

Vertical rectangle. The Figure of Daniel at left, surrounded by lions, is pleading for divine assistance to rescue him from imminent death. He kneels on a rock and raises his arms above his head in a pleading gesture, looking up to a winged female figure and a male figure holding a basket and flying above. Indications of arched architecture and landscape with trees and bushes.
Soldiers' Uniforms
Victor Vincent Adam, French, 1801 – 1866, 1830–1840
Pen and ink, brush and brown and black wash on paper
Drawing

Six pairs of soldiers in two ranges. Inscribed below each, left to right: "Gendarmerie departmental / Grand Tenue"; "Soldats du Prain de / Equipages"; "Chasseurs d'Alger / Officiers"; "Chasseurs à cheval / grand Tenue"; "Gard-Municipale a cheval / Grand Tenue"; "Officier d'Artillerie / Grand Tenue".
Dyer's record book
Cocheco Print Works, Dover, NH, USA, 1885–86
leather, paper, printed cotton textile samples

Small dark brown leather-bound textile sample book with handwritten formulas for dyestuffs. Contains 189 samples in various designs. Tabbed colors: Buff, Brown, Red, Olive, Blues, Purple, Drab, Stone.
Study of a Seated Woman (Queen Isabella I of Spain)
Raimundo de Madrazo, Spanish, 1841–1920, 
Graphite and black ink on paper
Drawing

Study of Queen Isabella I for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Study of Pink Begonia
Sophia L. Crownfield, American, 1862–1929, early 20th century
Brush and watercolor, gouache on gray paper
Drawing

Vertical sheet depicting a begonia plant with pale pink blossoms and green leaves with touches of red.
Band
, 1700–1750
linen Technique: needlework on sheer plain weave foundation fabric (herringbone stitch on the back for opaque areas; on the front, chain stitch for stems; deflected element work in various patterns using satin and stem stitches plus running and wrapping stitches; edge finished with buttonhole stitch)

Band showing a floral serpentine interspersed by cartouche-like shapes.
Flounce
, 18th century
linen Technique: bobbin lace

Flounce has a simple design of a floral vine of isolated flowers and leaves turning alternately up or down. Narrow border of sprigs, dots, and ovals just below. Several inches of plain hexagonal mesh above.
Cover
, 19th century
linen Technique: needlework on knotted net

Two lengths of linen with an inset border at one end of embroidered knotted netting. Embroidery is a repeating floral unit based on square guard bands of pulled work. Fringed gauze woven band at very end.
Fragments
, early 18th century
silk, metallic thread Technique: damassé (8-harness satin plus plain weave patterned by discontinuous supplementary wefts bound by a supplementary warp in 3/4 twill weave)

Fragments with a mainly red-orange ground, large areas of silver and gold thread, and pink, green, blue, and yellow silk threads have a bizarre-style pattern of flowers and leaves with curving frame-like devices and urns.
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Favrile glass

Pear-shaped body of brownish opaque glass with convex band below lip. Four multicolored marbleized flame-like patterns rising from ochre foot ring to lip.  (Note: Inherent flaw; exploded air bubble at rim of vase).
Flower-Shaped Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1906
Favrile glass
vase

Flat circular base, narrow knobbed stem and flaring "tulip" - type top of opal and amber glass, with green speckles and stripes on base and stem, forming veins of petal-like shape on top.
Sampler
, 19th century
silk embroidery on linen foundation Technique: embroidered on plain weave

Alphabets, numerals, and, at the bottom, a stag and several baskets of flowers.
The Little Fish and the Fisher-Man, Illustration for Aesop's Fables
Victor Wilbour, ca. 1916
Pen and red ink, crayon on white board
Drawing

Fisherman, center, kneeling turned to the right; head in left profile. Tail of boat at right. Another pole left. Fish in water below.
Collar fragment
, 17th–18th century
silk Technique: cut and uncut pile formed by supplementary warps in a satin foundation.

Tan, blue and grey urns and branches on a pale blue background. The shape is that of an ecclesiastic collar.
Design for the letter A of a primer: Ange Gardien (Guardian Angel)
Victor Vincent Adam, French, 1801 – 1866, ca. 1830
Graphite, pen and bistre ink, brush and ink wash, with white heightening on cream paper.
Drawing

Letter A, flanked by intertwining rinceaux, positioned above a landscape. A child in a cradle floating on a stream, watched over by an angel above.
Decoration of the Entrance Hall in Hotel Roquelaure
Jean-Baptiste Le Roux, French, ca. 1677-1746, ca. 1727
Etching on paper
Print

Elevation of the wall with a double door in center. The semi-circular overdoor decorated with hunting trophies. The paneling with decorated bottoms and tops. Decoration consists of slim acanthus volutes, shells, flower-vases. Inscribed, upper margin: "Decoration du côté de la porte d'entrée de la precedent. Antichambre de l'Hotel de Roquelaure"; lower right: "Mariette excu".
Landscape with Windmills
Wenceslaus Hollar, Bohemian (active England),1607–1677, 1650
Etching on paper
Print

In a broad landscape three windmills are seen in the left foreground and middle distance. Peasants and carts in a road in the foreground. Inscribed below, lower left: "Brüghel pinxit." and lower right: "W. Hollar fecit, 1650, Ex. Collectione Arundeliana".
Border
, 19th century
cotton Technique: needle lace with ground of loop & twist with loop & twist return

Commonly called Point de Gaze worked in a design of medallions and rococo bands and ornamental jours, floral bouquets, birds, basket and garden implements.
Fragment
, 17th century
silk Technique: 7&1 satin patterned by complementary wefts

Small animals, plants and birds on a blue background.
Naval Battle Between Greeks and Trojans
Giovanni Battista Scultori, Italian, 1503 - 1575, 1538
Engraving
Print

Horizontal rectangle. An enormous naval encounter takes place between the Trojans and the Greeks. Numerous figures being slain in the foreground.
Dance of the Daughters of Herodias
Israhel van Meckenem, German, ca. 1440 - 1503, ca. 1490
Engraving on white paper
Print

A banquet scene in a palace. In foreground, several couples dancing around musicians standing on a high stand. In background, left: beheading of St. John, the Baptist; right: Herod's family with the head of St. John.
Trimming
, mid-18th century
silk, metallic thread Technique: woven

Design of a ribbed center with saw tooth borders in yellow and metallic thread.
Fragment
, 17th century
silk Technique: cut and uncut, voided supplementary warp pile in a satin foundation (ciselé velvet) Label: Silk cut, uncut velvet in a satin foundation

Incomplete portion of a large scale flower in red.
Fragment
, 17th century
wool Technique: float patterned plain weave

All-over geometrical pattern in rose and grey.
Trimming
, 17th century
silk, metallic thread Technique: woven

Design of stepped diagonal lines. Edges are slightly indented to give scallops.
Textile
, ca. 1830
cotton Technique: copperplate printed

Allover pattern of episodes in a romantic tale set in Egypt and other possible locations. Episodes include depictions of an Egyptian pyramid and sphinx as well as a giraffe and a lion. Other scenes include figures near a port with ships and barrels. Other animals include a bear and a stag.
The Monkey and the Cat, Illustration for Aesop's Fables
Victor Wilbour, ca. 1916
Pen and red ink, crayon on white board
Drawing

Baboon, left, in right profile, with seeds or berries. Cat also in right profile, right, near a fireplace. Door at left.
Wall tile
, 18th century
Tin-enameled earthenware

Square tile with decoration in roundel, in manganese purple, of the Entombment; small floral motifs in spandrels.
Fragment
, 19th century
linen Technique: bobbin lace (Lille-style with heavy outlining thread)

Fragment of Lille style bobbin lace.
Park Lane
Joseph Pennell, American, active England, 1857–1926, 1904
Etching on paper
Print

Vertical rectangle. Row of houses seen in left distance; trees and fence of Hyde Park, right. Figures in middle and far distance.
Fragment
, 17th century
linen Technique: bobbin lace, continuous tape with connecting bars

Band of lace has a wavy, ribbon-like design of symmetrically arranged tulips.
Fragment
, 16th century
linen Technique: Grid of withdrawn element with needle lace, reticella style, plain weave

Linen ground with surface divided into squares. Square of needle lace alternates with square of plain linen. Each needle lace square encloses four spool-like motifs grouped around small central square.
Border
, 19th–early 20th century
linen Technique: bobbin lace, continuous braid-like and needle lace

Needle lace reticella edged in continuous braid like bobbin lace. Fine modern copy of an older type (?).
Study of a Left Foot
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Left foot seen straight on, at left. Verso: a right foot, at left.
Studies of Lions, Plate 4 from "Cahier des Desseins Diverses Animeaux"
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1772
Engraving in crayon manner on paper
Engraving

A lion seen standing from the right, and the head and man of another. Engraver's and designer's names below.
Fragment
, 14th century
silk, metallic Technique: compound satin weave with supplementary weft (brocaded)

Griffins in roundels, with vine leaves and bunches of grapes in a large diamond lattice on faded maroon ground.
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1620-1630
Black chalk, grey, dark brown wash. Paper

Vertical rectangle. The angel, shown from the front, is standing upon a pedestal, the upper part of the body turned slightly towards right. The right hand holds the upper slope, the left one the lower. The backgrounds is washed.
Decorated Capital Letter U
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

Letter U, before Urania, a woman similar to that as -a. The crest of the Sapienza serves as a background.
Sugarbowl and cover
, ca. 1800
pewter

On a wide foot, a bowl with strait sides, decorated with portrait medallions of Caesar Augustus, and laurel garlands. Conical cover with urn finial.
Fragment
, mid-18th century
cotton Technique: block printed on plain weave

Square cream-colored fragment in a design of flowers and leaves in an allover pattern in red, blue, yellow, green, light brown and black. Design reminscent of Indian calico with decorative florishes on the leaves.
Study of Left Foot
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Study of a left foot, from straight on.  Toes shaded with cross-hatching.
Textile
, 17th century
silk Technique: plain compound satin weave with supplementary weft

Symmetrical large scale floral motif derived from the pomegranate brocaded in light blue, yellow and brown on a mauve ground.
Entombment
Hans Sebald Beham, German, 1500–1550, ca. 1535
Woodcut on paper
Print

Interior of a cave, the entrance to which is seen in the background. The body of Christ is seen in the foreground being lifted by two men. Three other figures are shown. Artist's monogram at lower right.
Fragment
, 19th century
linen Technique: machine made

Fragment showing a sprig pattern.
Print
Giovanni Luigi Valesio, Italian, ca. 1583 - 1633, 1619
Paper

Horizontal rectangle. The carriage is driven by two pairs of cattle toward right. A ship and Neptune are displayed on the sea, a tower right King David and angels and the Virgin and Child on clouds over two columns, at the shore.
Fragment
, 18th century
silk Technique: supplementary warp forming cut and uncut raised pile (velvet)

Scrolling branches in green.
Sidewall
, ca. 1860
Block-printed paper

Metallic gold crosses printed at regular intervals, forming diagonal stripes of pattern. Printed on a white ground.
Design for Sideboard of Dark Oak
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Massive rectangular sideboard with conforming platform at bottom; at bottom of central front section, a cut-out space topped by two horizontal drawers with round pulls; cut-out flanked by a single large cupboard with elaborate key plate on each; a small drawer atop each cupboard; shallow shelf raises above top back of sideboard on four fluted columns and has arched cut-out on front edge.