biglam/cooper-hewitt-alt-text huggingface dataset:
Book cover
, 1700–1750
silk, metal thread, paper Technique: embroidered on satin weave

Embroidered satin book cover of red satin decorated with embroidery in silks, metal threads and paillettes. The front cover has a shield surmounted by a Cardinal's hat. The shield has a tree with confronted animals (lions?) on either side and is topped with a crown. Foliage and a broken fret in metal threads and paillettes frame the shield. The back cover has a central design of two ovals with the left framing the initials: CAR. The right has St. Martin on horseback about to cut his throat for a half-naked beggar. These figures are worked in colored silks and metal thread. The ovals are surmounted by a coronet in gold and colored silks. Same border decoration as the front. Lined with printed end paper in a floral design of red, yellow and brown.
Les Anamorphoses (Anamorphosis), Puss in Boots
Walter Frères, Paris, France, ca. 1865
Hand-colored lithograph on paper
Optical toy

On cream ground, a curving and distorted representation of a cat wearing gray boots, likely the character of Puss in Boots. He holds a red and gray feathered hat in his right hand, carries a red bag, and wears a blue cape with yellow trim. Some indication of grass below his feet. At bottom center, a pink circle with a concentric black circle outlined within, indicating the placement of the cylindrical mirror for viewing. Rectangular framing line.
Table cover
, late 16th–early 17th century
linen lace on silk Technique: grid of laid cords with needle lace (reticella style); edge of punto in aria

Large reddish-pink table cover with a deeply scalloped lace within the edges of the silk.
The Manora-Poppy
, ca. 1900
Machine-printed on ungrounded paper
Sidewall

Art nouveau design containing large-scale poppies with foliage and pods. Printed in deep ocher-green on ocher paper.
"Mammy, Mammy!" He Screamed in Mortal Terror
Ernest Thompson Seton, American, 1860–1946, 1898
Wood engraving in black ink on white paper
Print

Trial proof for illustration. A baby rabbit fleeing from a coiled snake about to spring, in long grass.
Ornamental woodwork detail
Félix Duban, French, 1797 - 1870, 1833
Brush, pen, watercolor, possibly gouache, black ink wash Support: off-white paper mounted on off-white laid paper
Drawing

Design for a cornice and a column.  Right: Design in graphite for a fluted column with a capital of broadly-shaped, stylized petals pointed downwards.  The column is surmounted by an elongated bell-shaped form, which in turn supports a smaller spherical form, upon which rests a conical form.  Left: Section of a brown colored cornice displayed at a leftward sloping angle.  The top band of the cornice is punctuated with silver roundels and the lower cornice is cut out with cusped arches, which are interspersed with small gold rimmed roundels.  The arches are edged with gold coloring.  Two thin, green-black lines extend vertically from the cornice, indicating the wall below.
Fantasy Composed of Heads and a Sculpted Urn
Donato Creti, Italian, 1671–1749, ca. 1730
Pen and ink on paper.
Drawing

Eleven heads, of varied figures, and an urn decorated with sculpted garlands and handles composed of satyrs and snakes.
Valance
, 1840s
wool, cotton Technique: satin weave, knotted

Woven yellow cotton valance with a double layer of lambrequins. Cream and rust colored passimentre trim.
Cast from Villa Albani
Arnold William Brunner, American, 1857–1925, 1879
Graphite and white heightening on grey paper
Drawing

Drawing of relief panel, lower section - acanthus leaf at bottom, scrolls above, with rosettes.
Figure
, 1850–1900
metal, enamel gilt, brass, lead

Enameled and gilt metal figurine of bald-pated man holding brass decanter and wine glass. Enameled costume: royal blue jacket with tan belt, blue waistcoat with red buttons, green breeches, white stockings, black shoes. Threaded pin for support on base of left foot.
Sidewall
, 1908–10
Block-printed paper, embossed, hand-rubbed oil finish

Imitation leather. Four brown and green stripes with stylized decoration on brown glazed crackled ground. Resembles painted leather.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Small clusters of white flowers, blue and tan leaves, overlapping ring motifs on brown ground.
Valance
, 18th century
silk, linen Technique: applique

Valance with triangular tabs. Applied ivory ribbon with flowers trims all of the tabs and the top of the valance. Each tab has an egg-shaped appliqué which contains a single brocaded chinoiserie figure. Applied pink linear trim. The entire piece is lined and backed with coarse linen.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

A repeating design of elaborate arabesques silhouetted in a darker color with a "halo" of a scrolling acanthus design upon a ground that is dark at the base, and light above the design. Very elaborate, but monochromatic. Printed in white, cream, beige, taupe and pale yellow.
Fork
, ca. 1700–1800
ivory, silver, steel

Four tines, slightly curved. Sloping shoulders, baluster-shaped neck. Plain silver ferrule, octagonal in section. Carved ivory handle: a woman in costume wearing a hat (German?), holding an instrument (hurdy-gurdy) under one arm, the other arm resting on the back. The head of the woman is moveable.
Sidewall
, 1875–99
Block-printed paper, embossed

Imitation leather. Embossed symmetricaly arranged floral (sunflowers), fruit (grapes), and foliate (acanthus) design; printed in slate gray, beige. Similar to Morris Sunflower pattern.
Edging
, mid-18th century
Technique: bobbin lace

Bobbin lace double edge, symmetrical floral; mid-18th century Valenciennes Fond
Plate in Nouveaux livres de peintures de salles et d’escaliers (New Books on Paintings for Rooms and Stairs)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Painted ceiling in trompe l'oeil, depicting two figures on clouds in the sky, surrounded by putti. This section is flanked by two sections that are decorated with roundels between two cartouches depicting putti.
Textile
Schwartz-Huguenin, 1851–63
cotton Technique: printed by engraved roller on plain weave; glazed

Two pieces with same ground, different floral pattern. A) Ground green in striped effect, broad band, narrower white and pale green, probably by "molette." Flower clusters in violet printed over ground. B) Same ground, smaller flower clusters in violet. Glazed.
Window shade
, 1880–1900
Block-printed

Band of stylized floral motifs, with two motifs alternating, near bottom edge. Printed in black and gold with mica flake highlights, on mauve background. Band of ornament above and pendants below. Printed on gray fabric support.
Tassel
, 17th century
linen Technique: braided and knotted

Small linen tassel, braided and knotted. Round center ball solidly covered with tiny knottings. Single loop.
Design for Wallpaper and Textiles: Flowers and Butterflies
, 19th century
Brush and gouache on cream paper
Drawing

Branch with white blossoms and foliage in a reverse "c" shape, with grasses behind it. Two yellow butterflies fly to the left of the branch, one gray, brown and orange flies above it at the top of the page.
Two Studies of Gothic Architecture
Arnold William Brunner, American, 1857–1925, 1879
Graphite and white heightening on grey paper
Drawing

Left, early French gothic moulding. Right, a crocket capital from St. Chapelle, carvings of curled leaves.
Window shade
, 1880–1900
Split bamboo, silk fabric and thread, paint

Red/orange flowers growing on stem at bottom. Smaller yellow flowers on branch in center section. Greek key along right side and bottom edge.
Miser's purse
, early 19th century
silk, steel Technique: embroidered netting

Cream colored silk miser's purse with designs of flowers in cut steel beads.  Tassels are made from cut steel loops.  Single ring of steel, grooved ornament to fasten purse.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Group of three daisy-like flowers in urn, with vining tendrils hanging down, alternating with shorter urns containing five daisy-like flowers. Printed in gold and brown on horizontally-striped ground.
Sketchbook Page: Figures
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

At left, two standing figures in period costume, gesturing theatrically. At right, female figure with a lace collar and sleeves, rotated 90 degrees.
Textile
, ca. 1855
silk Technique: warp printed and moired

Alternating stripes of ivory and brown faille with moire finish. The wide ivory bands have warp-printed flowers in soft blue, yellow and pink. The narrower brown bands contain a warp fringe.
Abstract Hexagons
, early 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Multiple wisps of lines carved out form abstract hexagons. The three-pronged shape represents the pattern of a tortoiseshell, which represents longevity and good fortune. It was also popular on Samurai armor.
Sidewall - sample
, 1906–07
Machine-printed

Vertical stirpes 2 3/4 inches wide and 3 1/2 spaced in the center of the stripe runs a garland of leaves. The background is filled with a weave-like texture. Printed in dark green, brown, tan, black and gold mica.
Robe
, 19th century
cotton Technique: supplementary weft pile (velveteen); lining printed by engraved roller; facings tied resist patterning in warp (ikat)

Red and white striped velveteen robe with a full skirt pleated into a narrow waist and deep set sleeves narrowing to the wrist. Edged with black cotton twill that is machine stitched in light blue and white. Lined with printed cotton with stripes and polka dots in red, green and yellow. Facings of silk warp ikat.
Distribution du Plan de la Retraitte
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1770
Engraving and etching on paper
Print

An architectural plan for a garden building with a legend and scale. The plan is flanked by cartouches surrounded by putti, allegorical and royal motifs with the royal coat of arms, portrait, and cypher. The plate is titled, signed, dated, and numbered.
Border
, 1830–50
Block printed and flocked on machine-made paper.

Passementerie border in imitation of fancy gimp. Upper and lower arches with central band. Printed in pink on white ground. Printed two across.

H#46
Study of a Tree on a Hillside
Samuel Colman, American, 1832–1920, ca. 1890
Brush and watercolor, pen and brown ink, graphite on paper
Drawing

Study of a tree on a hillside. Thick trunk with dense, relatively short branches and bushy clumps of green leaves.
Edging
, 17th century
metal-wrapped silk and flat metal strips Technique: bobbin lace

Edging of metallic lace with one scalloped edge formed by fan-shaped and semi-circular sections.
Design for an Embroidery or Woven Fabric of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1810
Graphite, brush and blue and white gouache on glazed tracing paper, laid down on paper
Drawing

The column as in 1920-36-325 rises between roses from a pierced rock through which part of it is shown. Beehives stand in the bottom corner. A coat of arms is sketched in the shield. A crayon "R K," on the base. Garlands with disks in the corners and in the center of the sides form an oblong frame.
Birch Trees in Autumn, Vermont
Frederic Edwin Church, American, 1826–1900, October 1865
Oil on bright green paperboard
Drawing

Landscape and botanical sketch showing a view of two birch trees in the woods of Vermont during Autumn. Visible just beyond a bush's red and yellow leaves at lower right, the trunks of these twin white-barked trees are rendered in great detail as they extend out of view. Shadows of the bush's leaves and one of the tree's branches are deftly rendered upon their white bark. In the background, a mass of green and orange undergrowth forms a busy screen of vegetation, while patches of blue sky peak through the branches along the upper margin.
The Mountains of Lebanon and Architecture Sketches, Burak, Syria
Frederic Edwin Church, American, 1826–1900, April 27 and 28, 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape and architectural sketches showing a distant view of the mountains of Lebanon across a plain with ruins in the foreground at left, in the upper portion of the composition, and four sketches of stone buildings in the lower portion. Two structures are shown drying fuel on their roofs.

Verso: Architectural sketches showing details of ancient ruins near the towns of Burak and Al-Masmiyah in Syria. At left, the lintel of a stone doorway in Burak is visible. At right at oppositely oriented, the contour of a column base and a stone block with four lines of carved inscriptions in Greek are shown.
Stage Design, Prison Interior
, early 18th century
Pen and ink on laid paper
Drawing

Horizontal rectangle. High vaulted prison hall, stairs leading from left side toward right side upward, lantern in background to left.
Box
, early–mid-18th century
Gold horn box-technique

Round gold box, the lid of horn with pierced decoration of Leda and the Swan; pointed border. Base of horn, dragon fly mark, heavy hinge.
Four Border Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Four designs for borders, stacked vertically on the plate. From top to bottom, the borders are in the forms of: scrolling acanthus leaves and branches of leaves and flowers; a bead course in the center of the band surrounded by scrolling vines and acanthus leaves; a guilloche of flowers and leaves with rosettes in their center; a ribbon twist around a dowel, with the ribbon comprised of scanthus leaves, small leaves, and a band of carved leaf detail. The plate is signed and numbered.
La Veue des Cascades de Versailles et d’une partie du Château
Adam Perelle, French, 1638 – 1695, 1670–1703
Etching on laid paper
Print

View of a fountain within the formal gardens at Versailles. The fountain within a circular basin features sculptural group of dolphins and putti on swans or long-necked birds. A path beyond framed by rows of smaller fountains and potted plants with bosquets (groves) on either side. Another large fountain and basin in the background with a view of the palace beyond. Figures (courtiers) throughout the grounds. The plate is titled and signed.
Sampler
, 1809
silk embroidery on linen foundation Technique: satin, cross, back, stem, four-sided, chain, eyelet, running, and wrapped cross stitches; withdrawn element work with needle lace fillings

Detached motifs in a central square with radiating borders.
Design for the decoration of the façade of St. Peter's, Rome, for the Canonization of Giuseppe da Capertino and Jeanne-Françoise de Chantal
Carlo Marchionni, Italian, 1702–1786, July 16, 1767
Graphite, brush and gray watercolor on laid paper
Drawing

Crest: a curved architectural frieze with six princely escutcheons. Above the coat of arms of Pope Clement XIII (1758-69) supported by angels; rays emanate from it. In background, a curtain which a flying angel is lifting. Squaring indicates its execution in painting. On verso: three construction lines, in graphite.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design with draped, standing, female figures holding a garland around a plinth on which sits a large vase with scrolls.
The South Dome, Yosemite
Thomas Moran, American, b. Britain, 1837–1926, 1904
Brush and white gouache, graphite on blue paper
Drawing

View of a mountain range and a valley crossed by a stream.
Button
, 1801–50
Nickel, brass

Circular, slightly convex button with ornament showing a shield with heraldic devices, eagle and lion supporters, a crown above and below, ribbon with "Aquila non capit Muscas". Brass back and shank. On reverse: "C T paris". "Perfectionne" on belt with buckle.

On card E
Mount
, early 19th century
Brass, copper

Irregular polygon. Fan-shaped plate with three repoussé putti.
Foundering Icebergs near Battle Harbour, Canada
Frederic Edwin Church, American, 1826–1900, July 7 and 9, 1859
Graphite and white gouache on light green wove paper
Drawing

Seascape sketch showing views of three distinct icebergs from different perpectives and in different stages of disintegration, near the town of Battle Harbour in St. Lewis Bay, Canada. Along the upper portion, three drawings of a roughly triangular iceberg show the berg from different perspectives, spinning in the water to the right as the sketches proceed from left to right. At center left, four sequential sketches of a calving and disintegrating iceberg are organized into two columns: at upper left, the iceberg prior to calving; at lower left, the process of calving; at upper right, the iceberg and its fragments just moments after calving; and at lower right, the same iceberg sometime later, devoid of its smaller fragments. At lower center and lower right, two sketches of a single, craggy iceberg record its movement after an avalanche or calving event. At lower center, the iceberg's tall, sharp peak is positioned at right and descends to a rugged lower section; at lower right, the same iceberg faces the opposite direction, with its tall, jagged peak at left.
Soffit and Vase Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Four square soffit and two vase designs. The soffit on the upper left of the plate is labeled "la Tragédie" and has a trophy with two staffs and a hat in the center, surrounded by a wreath of oak leaves and acorns. The soffit on the lower left is labeled "Jupiter" below, with a winged flaming pillar in the center, and arrows and thunderbolts behind. The soffit on the upper right is labeled "Junon" and has two peacock feathers and beads in the center. The lower right soffit is labeled "L'hymen" and has a flaming torch in its center with arrows and a wreath of flowers. The two vases are in the center of the plate. The upper vase has a tall, thin neck with flowers emerging from the mouth and satyr heads on the side. The lower vase is lidded, has a pinecone finial, and two satyr heads holding garlands of flowers in its mouth. The plate is signed and numbered, but the top lettering is not visible in the binding.
Portrait of a Boy and a Swaddled Child
, late 17th century
Pencil and red crayon on paper
Drawing

Vertical rectangle. The bust of a boy looking down, his head turned to his right shoulder. Beneath him, a swaddled baby looks upward, its body springing from the left corner, the lower part of its body not being shown.
Ornamental Vase Design
François Boucher, French, 1703–1770, ca. 1738
Etching in red ink on cream laid paper
Bound print

Lidded vase with finial. Three putti support the vase on their backs. The vase is decorated with fluting; at the shoulder of the vase are three lion's masks with rings in their mouths, connected by festoon drapery. The plate is printed in red ink (sanguine). The plate is signed and numbered.
Tsuba
, 17th century
Iron

This iron tsuba is shinmaru gata (a true circle) in shape, and is crafted with sukashi (openwork) with a positive design showing Omodaka plants and a bird. At the center is a nakago-ana, an opening through which the sword passes. Surrounding this is the seppadai, a flat oval area that has a migaki ji (smooth) surface finish. On either side are ryo-hitsu, openings for the kozuka (utility knife) and the kogai (skewer tool). At right is sashi ura, the side which faces the blade, whose opening takes the negative form of a moon. Opposite is the sashi omote side, which faces the sword hilt. Its tri-lobed opening is of the suhama type, and symbolically represents the coastline of Horai, the holy island of the Immortals. The rim of the tsuba is round, or maru-mimi.
Saint Luke in a Niche
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580 – 1605
Recto: pen and brown ink, brush and brown and black washes over black chalk, with corrections by the artist in white opaque paint on laid paper Verso: pen and brown ink over black chalk on laid paper
Drawing

Recto: St. Luke stands in a niche, holding a pen to an open book. A bull crouches behind his feet. The left lower part of the saint's mantle shows evidence of an earlier design, later corrected. 

Verso: A bull runs towards the left with a rider attempting to mount his back. Various inscriptions.
Set of Trophies, from "Trophey a l'Antique"
Jean Le Pautre, French, 1618–1682, 1680
Etching on paper
Print

Shows two designs; bordering line. Left: suspended from a mask. Weapons. Two puttos. Right: Panoply with two puttos.
Border
, ca. 1860
Block printed and flocked on paper

Border strip, with serpentine streamer of flowers and foliage between rocaille strips. Printed in blue, gray, green, brown and yellow with brown flock.
Sidewall
, 1775–85
Block-printed on handmade paper

Vertical rectangle composed of three joined sheets giving one and one-half repeats of drop-repeating design, which repeats twice in one width. Vertical twisted cable, entwined with floral sprays, flanked by alternating large and small clusters of roses.
Project: A Hand Bell
, 1800–1850
Pen, sepia, red-brown watercolor on brown-grey paper
Drawing

Vertical rectangle. The handle consists of birds with woman heads, with scrolls below, rows of blossoms, and leaves above. The main field of the body is decorated with two kneeling angels supporting an oval representation of the Virgin with the Child, above it is a cherub. Below the representation is a tablet with "S.D.G." Below is a band with "DOMINI M D L X X I I."
Design for the Embroidery of a Man's Waistcoat
, 1780–1790
Brush and watercolor on paper
Drawing

Lower left section of a waistcoat. Flowers and leaves along the border. Two single sprays of flowers forming a symmetrical motif.
Pleated fan
, ca. 1730
Painted and gilded parchment leaf, carved and pierced ivory sticks, mother-of-pearl washer

Pleated fan with painted and gilded parchment leaf. Sticks of carved and pierced ivory fretted on edge to form pattern. Mother-of-pearl washer at the rivet.
Project for a Vase
, 1750–1775
Black chalk, pen and ink, brush and wash on paper
Drawing

Elevation of a vase. Bottom is loved with acanthus leaves. Top decorated with a satyr's mask and festoons. Scrolling handle at right and entwined snakes at left. Plants emerging from top. Small snail visible. Double framing line and wash in background.
Arabesque Designs
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1788
Etching and aquatint on laid paper
Print

Two vertical arabesque ornament designs with neoclassical motifs featuring scrolling acanthus leaves, rosettes, wheat, foliate branches, festoons of flowers and leaves, dragons, birds, winged female terminal figures, vases, satyrs, winged putto, squirrels, miniatures with classical figures and putti, and a sphynx. The plate is numbered and signed.
River God, plate from a suite of 6 ornamental designs with the Judgement of Paris
, ca. 1690
Engraving on laid paper
Print

River god with rushes in his hair reclines on a bank. Beside him is a crane and a vessel from which water and fish flow. The figure is set within a medallion on a dark field (sur fond noir) decorated with intricate grotesques.
Vuë du même Sallon par le bout des Sophites (View of the Same Salon), plate 86, in Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1695–1750
Engraving on white laid paper
Print

1921-6-212-44-a: Salon decoration includes putti, C-curves; trompe ...;     1921-6-212-44-b: Upper design shows two table legs, covered in feat...
Design for Embroidered Waistcoat, pattern 1819 of the Fabrique de St. Ruf, "Gilet" design
Mademoiselle Montalent, ca. 1785
Graphite, pen and ink, brush and gouache on white laid paper
Drawing

A plant grows from the bottom edge, the left side boughs of which branch into the intervals between the button holes. Part of it is covered by an oblong stone trough from which plants grow and a flower festoons hangs. A laurel garland is beneath the trough. Traced flower boughs are shown in the field over it.