biglam/cooper-hewitt-alt-text huggingface dataset:
Panel Design of Grotesque Ornaments
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel of grotesque ornamentation featuring chinoiseries, singeries, scrolls, scrolling acanthus leaves, owls, vases, masks, garlands, squirrels, and snails. The plate is lettered "L" but not signed.
Trimming
, 18th century
linen Technique: needle lace, six-sided reworked ground

Serpentine floral pattern.
Clock case
Giuseppe Barberi, Italian, 1746–1809, 1790–1800
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

A circular frame is inscribed into a square; it has on top a base upon which a putto sits carrying a balance, and is supported by two sitting, winged sphinxes, turned outwards. Below is a base. Above at right strokes.
Title Page
Pierre Edme Babel, French, 1720–1775, 1743-1763
Etching on off-white paper
Print

Rocaille cartouche as a fountain, decorated with a river nymph and god, a snake, and a dolphin. The fountain is in the lower foreground, in front of a colonnaded building and lush landscape. The plate is signed and numbered.
Title Page
Pierre Edme Babel, French, 1720–1775, 1743-1763
Etching on off-white paper
Print

Rocaille cartouche placed in front of a pedestal and colonnaded buildings. The plate is signed and numbered.
Hills across a Plain in Mexico
Frederic Edwin Church, American, 1826–1900, January–February 1890
Graphite on light brown wove paper
Drawing

Landscape sketch showing a view of hills across a plain in Mexico. The foreground and middle distance comprise of an extensive plain covered in dead grass that stretches into the background, where a low and rolling range of hills stretches across the horizon. Taller mountains are seen in the extreme distance at far right.
Fragment
, 5th–6th century
Warp; S-spun, Z-twist linen. Wefts; S-spun wools Technique: slit tapestry with supplementary weft wrapping

At bottom , part of a figure.
Study for a kneeling woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on gray wove paper
Drawing

Left, Sketch of a female figure kneeling; Right, Sketch of a grape vine.
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

The scheme is that of horizontal bands below an ovoidal vault, with an ovoidal pole in the center between arches above. Somewhat more than one quarter is shown. A putto is shown in the wedge left from the pointed arch and the ruined painting. In the center is a deepened spherical quadrangle with a seated figure. The band is decorated with an octagonal representation between plant palmettes. Pairs of figures, seated upon the base of the central vault, are suggested for the centers of the long sides, facing the corners of the room.
Design for a Waistcoat
, 1780-1790
Pencil and various gouaches on paper
Drawing

Design for the embroidery at the border of a man's waistcoat. Lilac edges. A waved line runs parallel to the edge of the waistcoat. Boughs, leaves fan blossoms grow from it. A bunch of flowers is shown beneath the pocket; it is flanked by two hanging flowers, the right one being a pansy.
Button
, 1830–48
Brass,silver-plated

Components -a,-b,-d,-e are on card i
Component  -c on card 57
Button showing Gallic cock and words "Liberté. Ordre Public"; right foot riased, left rests on sword pointed to right. Diamond shaped sharacted underneath.
Basket liner
, ca. 1770
Painted tôle

Bowl with straight sides and scalloped rim and chinoiserie decoration.
Design for a Woven Fabric, Fragment
, 1815-1840
White, red, and black gouache on oily tracing paper, mounted
Drawing

Two flower boughs beside a rising undulated flower stem.
Title Page and Frieze Designs
Henri Sallembier, French, ca. 1753 - 1820, 1777
Etching and engraving in red ink on laid paper
Print

Title page and two frieze designs with foliate scrolls, scrolling leaves (rinceaux), rosettes, snakes, putti, fluted vase, and a cartouche. The plate is titled, numbered, dated, and signed.
Design for Three Tomb Monuments
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Upper row, at left: the architectural setting is imilar to 1938-88-1296, the entablature not being indicated. The monument is a variation of 1938-88-1298, left row above. Two putti sit upon the cover of the sarcophagus. A woman sits upon the upper edge of a drapery covering part of the lower part of the pedestal. At right: the architectural setting with the canopy and the scheme of the monument are similar to 1938-88-1292, left. At the front, the sarcophagus is supported by feet. The front of the body is a trapezium containing a relief. Upon the cover sit two figures supporting an escutcheon with a crown. Female allegories are sitting upon steps similar to the design at left. On top, upon a seat similar to 1938-88-1352, sits a crowned woman. Lower row, horizontally. The setting with the canopy is similar to that above, at right. In the center, in front of the entablature, is a cresting motif. The scheme of the monument proper is similar to that above, at left.
Mountains near Mocha, Ecuador
Frederic Edwin Church, American, 1826–1900, June 16, 1857
Graphite, brush and white gouache on brown wove paper
Drawing

Landscape sketch showing a view of rugged mountains and a wide valley near or on the way to the town of Mocha, Ecuador. In the foreground at left, an extremely rugged mountain ridge with several sharp pinnacles descends from upper left to center, where shorter, but similarly rugged mountains are visible. Other mountain ridges are visible in the middle distance and extend to the background, where a tall mountain with a rounded, rolling peak is framed by a white cloud bank, rendered in white gouache.
Ribbon samples
Herman A. Elsberg, American, 1869–1938, 1919
silk, metallic thread Technique: plain compound twill

Samples of wide ribbon with vertical stripes in two colors with a bold geometric design in a third color and gold thread. Component "a" has turquoise and dark pink vertical stripes and a bold geometric design in black and gold.
Fragment
, 1700–1705
silk, metal-wrapped silk-core yarns Technique: 4/1 satin damask weave with discontinuous supplementary weft patterning (brocaded) Label: silk satin damask brocaded with silk and metallic yarns

Pale blue damask brocaded with red silk and silver metallic yarns, in feather-like shapes and floral scrolls in the 'bizarre' style. Both selvages present.
Sampler
Marya Juapuyna Lacunza, 18th or 19th century
linen, silk Technique: embroidery (for pattern only)

Two peacocks facing a tree.  Scene framed by an arch of roses growing from urns.  Narrow double-edge sawtooth band at outer edges to frame the entire scene.  Signed: "LOYZO MARYA JUAPUYNA LACUNZA."  (Made by Maria Juapuyna Lacunza)
Textile
, 1750–1850
silk, metallic thread Technique: plain weave with discontinuous supplementary weft

Square fragment of a brocaded silk with a U-shaped floral garland of roses and carnations; heavy rose blossoms are at the bottom of the wreath. Inside are two birds resting on a stringed musical instrument and a bow and a quiver filled with arrows rests nearby. Garland is surrounded by a more delicate ring of flowers that is entwined with a tasseled cord in the lower corners. Ground is cream-colored with a fine red stripe. In the style of Philippe de la Salle.
Textile
Jean-Baptiste Huët, French, 1745–1811, 1808
cotton Technique: printed by engraved plate on plain weave

Brown and white toile with an imbricated ground has a series of medallions in a variety of shapes, each filled with classically-draped figures, putti, sphinxes, and animals.
Femme du pays de Lassa ou Boutan
Antoine Watteau, French, 1684–1721, 1731
Etching on paper
Print

A seated woman in a garden landscape with a potted plant to the right on a pedestal. Trees and clouds in the background. The plate is signed, titled, and numbered.
Sewing bag
H.E. Verran Company, New York, NY, USA, ca. 1912
linen foundation, silk embroidery and drawstring Technique: embroidered on plain weave

Linen sewing bag embroidered in the Arts and Crafts style. Bag has a front flap which creates an interior pocket. One inch below the top a green silk ribbon is threaded through a casing stitched with green thread. Embroidered in blue, green and dark rose in geometric shapes outlined in black.
LE RENDEZ VOUS
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of a couple in a landscape; the woman sits and leans against a tree, while the man stands above her, one hand outstretched in the direction of the buildings, the other holding his hat. This scene is set within an arabesque frame comprised of reeds, garlands, trophies of musical instruments, scrolling acanthus leaves, and a cartouche. The plate is signed.
Design for a Screen Fan
Martin Engelbrecht, German, 1684–1756, 1730–50
Hand-colored etching on light blue laid paper
Print

Design for a screen fan for Mlle. La Montagne, Watteau's mistress. A woman, presumably Mlle. La Montagne, stands in the center of the design amongst a wooded landscape. The woman wears an elegant dress and cape, as well as a headpiece with feathers. She holds a fan in one hand. The border of the design includes a garland and rocaille motifs.
Studies with figure of Apollo from Raphel's School of Athens
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Three unrelated motifs. At right, Apollo from a niche in the left background of School of Athens, painted by Raphael and his workshop. At center, a base with a supporting caryatid. At left, a herm with an animal head.
L'Abside de Notre Dame de Paris (The Apse of Notre Dame, Paris)
Charles Meryon, French, 1821–1868, 1854
Etching on paper
Print

View of the apse of the Notre Dame cathedral in Paris from the banks of the Seine River. In foreground are small boats, a cart, horses and figures. Beyond are three arches of the Pont-au-Choux. The old Hotel Dieu, at left.
Peep-show, Vue d'Optique Representant les Environs du Marché aux Chevaux de Stetin en Allemagne
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Group of Men in a Boat
Francesco Primaticcio, Italian, 1504–1570, 1600–1630
Graphite, brush and gray wash on paper
Drawing

In the foreground, a group of men in classical garb crowded into a small open boat. Beyond, a man being helped by two others, other figures and the portion of a facade of a Renaissance building.
Sketch of Head of the Madonna
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on cream paper
Drawing

Woman's face turned slightly to the left. Covering over the head tied below.
Costume Design: Diana for a Ballet
, 17th century
Pen and brown ink, brush and brown wash, over black chalk
Drawing

Vertical rectangle. Shown standing, frontally. She carries an arrow in her right hand, and a bow in her left one. She wears a cloak with a tail. A crescent is over her head. "Folliame" is written twice in the right sleeve, and something illegible which has been partially struck out: "o...carna." Written in the sketch: "incoronato" (struck out), and: "...che da folliame".
Sketch of an Angel
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Sketch of the left half of an angel, looking towards the right, over his left shoulder.
shard
, 2nd–3rd century
Earthenware

Two pottery shards
a) Irregular fragment with roughly concentric incitions. Pale buff clay.
b) Irregular fragment of buff clay covered with slip and painted with two parallel lines and cross hatching in dark brown.
The Monument, London
Joseph Pennell, American, active England, 1857–1926, 1903
Etching on paper
Print

Vertical rectangle. The monument is seen in the middle of Cannon Street, dwarfing the surrounding buildings. Telegraph wires bisect the foreground.
Wood engraving. Vignette.
, 1800–1830
Engraving and etching

A harp crossed by a lily bough.
Portrait of Pieter Brueghel the Younger, from the Icones Principum Virorum
Anthony van Dyck, Netherlandish, 1599 – 1641, ca. 1636
Etching on laid paper
Print

A three-quarter length portrait of a man, turned toward the right, looking out at the spectator. The right hand is visible, holding the folds of his mantle. Columns in background. Inscription below: "PETRVS BREUGEL ANTVERPIAE PICTOR RVRALIVM ACTIONEM." At lower left: "Ant. van Dyck fecit acqua forti."
Fragment
, mid-18th century
silk Technique: 5-harness satin damask

Medium-scale design of delicate symmetrical bouquets, each diamond shaped and closely placed so that a trellis shape is created by the negative space of the pattern. Two salmon and yellow striped selvages in warp twill.
Fragments
, 17th century
silk Technique 4&1 satin damask

Interlaced strapwork forming compartments in red.
Design For a Clock, pl. XIV 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 ???
Collar
, 18th century
silk, metallic threads Technique: embroidered

A collar embroidered with metal and colored silk threads showing a stylized lily pattern.
Pillow cover
, 16th–17th century
linen Technique: grid of laid cord with needle lace, reticella style

Small pillow cover backed with linen. The front shows a conventional wheel design and has narrow pointed lace at the edges.
Fragment
, late 17th century
linen Technique: bobbin lace (early Valenciennes ground)

Straight-edged fragment with a Valenciennes ground in a large, solidly massed floral design.
Fringe
, 18th century
silk Technique: plain weave

Blue fringe with a plain weave heading. Trellis band above slightly scalloped skirt threads.
Band
, 19th century
cotton, silk Technique: cross, satin and buttonhole stitch embroidery

Panel of fine cotton embroidered in black silk at one end and sides. Border of conventionalized geometric designs and plant forms above.
Stage Design; Palace Court
Follower of Antonio or Carlo Galli Bibiena, late 17th century
Pen and bistre and sepia on paper
Drawing

Vertical rectangle: view into court under angle through vaulted arcades supported by columns, wall countain on right foreground. Below the drawing 18th century inscription: Bibiena
Design for a painted overdoor
Giacomo Casa, Italian, 1835 – 1887, 1850–75
Pencil, brush, various colors, gold, cardboard
Drawing

Horizontal rectangle. A child sitting in a broken pediment. Mounted with -6954.
page Four from "Cinquième Livre Contenant des Cartouches Inventés par G. M. Oppenort Architecte du Roi et Gravé par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Three cartouches in a sequence. First, batons and snakes. Second: behind it a dog visible (center), a horse (right), and a man (left). Third: a cartouche attached in the center of a chest with convex outline. Inscribed, upper left: "E"; upper right: "4"; lower left" Oppenort inv."; center: "Avec privilege du Roi"; lower right: "Huquier sculp. et ex."
Fragment
, 19th century
silk Technique: plain compound cloth

Brown silk with lattice field pattern with detached floral motifs in turquoise, lavender and red.
Fragment
, 16th century
linen Technique: cutwork

Border fragment with cutwork, embroidered scrolling floral forms and tiny insertions of reticella. Border of tiny buttonholed and picoted points.
Painted decoration of a vaulted room
, 1815–25
Pencil. Pen, ink. Paper;
Drawing

A half of a wall and less than a quarter of the ceiling are shown. The wall painting is to represent a colonnade; an altar stands in the central widest inter-columnar space. A view of an atrium is slightly sketched. For the ceiling are suggested a row of three framed paintings in the lengthwise axis and wedges allowing for a view of the coffered dome of the atrium.
Design for a Chalice, Plan
Flaminio Innocenzi Minozzi, Italian, 1735 – 1817, ca. 1785
Pen and ink with ink and yellow washes on paper
Drawing

Design for a chalice, seen in plan, in a shape of the seventeenth century, with Louis XVI motifs of decoration.
Textile
, ca. 1860
cotton Technique: woodblock printed on plain weave, glazed

Large-scale flowers printed in red, blue, green, purple, and yellow on a tan striped ground.
Fragment
, mid-18th century
silk, metallic thread Technique: plain weave, brocaded

Woven length has a dull pink ground with two serpentine bands of silver thread from which flowering sprays are thrown out in faded pink, yellow, and green.
Two Floral Tailpieces or Fleurons
Jean-Jacques Bachelier, French, 1724 - 1806, 1762
Etching and engraving on laid paper
Print

Fourth plate from the second series of tailpieces and fleurons originally designed for the 1755-1759 four-volume edition of the Fables de La Fontaine. Two fleurons or tailpieces, one above the other, made of flowers, leaves and branches. The plate is numbered and signed.
Chintz fragment
, 1750–1800
cotton Technique: mordants for 2 reds and black applied by pen and brush; madder dyed; blue applied by immersion over resist, (chintz) on plain weave

Fragment of a floral and ribbon design on white.
Fragment
, 7th century
wool, linen Technique: tapestry eave

Square of a Coptic woven textile in dark purple wool and undyed linen. The design shows a water-fowl within a circle and square. Border of quatrefoils, scrolls and  dots. The square has been mounted onto another piece of undyed woven linen.
Textile
, ca. 1800
cotton Technique: block printed using resist then indigo dyed on plain weave

Design of a person in an enormous hat feeding a turkey. Pattern rendered in dots rather than lines.
The Four Continents
, late 18th century
cotton Technique: printed by engraved plate on plain weave
Textile

Four scenes personifying the four continents with the names written underneath; Africa, Asia, Europe, America. In red on white.
Table round
Unknown, ca. 1908
linen, silk Technique: embroidered on plain weave, crocheted border

Light brown table round with scalloped edges has a stylized, spiky floral forms embroidered in shades of pale pink, light green, light brown, off-white, and orange. Crocheted border.
Sidewall
, ca. 1785
Block-printed on joined sheets

Arabesque design. Blue urn holding floral bouquet and wheat shafts. Scrolling foliage above and below. Strung bead pendants. Pairs of doves. Printed in polychrome on white ground. Original document for "Bouquet."
Design for Mahogany and Inlay Sideboard
A.N. Davenport Co., 1900–05
Pen and black ink and graphite on thin cream paper
Drawing

Narrow rectangular sideboard with slightly convex front on narrow straight tapering legs; two drawers in central section, each with single round pull; backsplash; rectangular shelf below cabinetry midway down legs.
Designs for Armchair Covers (Back and Seat)
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for upholstered armchair covers (for the back and seat) featuring floral motifs, festoons of flowers, foliate branches, birds, quiver of arrows, rake, sheets of music, bagpipe, or musette, and scrolling acanthus leaves (rinceaux). Each design is labelled, the plate is numbered and signed.
Le Port de Mer
Petitpierre Freres, ca. 1780
cotton Technique: printed by engraved copper plate on plain weave
Textile

Classical ruins, fishermen with nets and assorted boats in red on white. Condition poor.
Tea Knife with Japanesque Style Pattern Engraved Handle
Wood & Hughes, New York, U.S.A., 1845 – 1899, ca. 1875
silver
knife

Rectangular blade with rounded tip. Waisted join leading to trapezoidal shaped handle. Handle decorated with engraved Japonesque style deocration divided into two sections, with terminal comprising of crane in landscape surrounded by foliage above diagonal dotted and zig zag bands, with foliage pattern on stippled ground below.
Traineau de Jardin fait pour la Reine premiere douairiere d'espagne en 1735, 4th Plate [Garden Sled for Marie-Anne de Neu bourg Queen of Spain], pl. 49 in Oeuvre de Juste-Aurele Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Etching on off- white laid paper
Print

1921-6-212-16-a: Consisting of five designs; three pairs of scissor...;     1921-6-212-16-b: Side view of a garden sleigh, high-backed seat dec...
L'art d'aimer (copy)
Jamet, 1844
cotton Techinque: printed by engraved roller on plain weave
Fragments

Same scenes as 1995-50-146. in red on white.
Scrimshaw
, mid-19th century
Whale tooth, india ink

Whale's tooth incised on one side with clipper ship flying American flag, three small buildings at one side, large 5-pointed and wreathed star overhead; on other side, a tree with red fruit. Tip of tooth decorated with leaf and berry design; base of tooth has cross-hatched band with serrated pattern on edge, each point having a central red dot.
Designs for Pair of Stock Cabinets
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Two identical cabinet designs, one slightly larger: small rectangular cabinet with molded front door panel and molded back and side borders, the latter having oval hole on either side for carrying; raised on 4 straight reeded legs.
Bandbox
, 1830–50
Block-printed paper, pasteboard support

Neutral field, brownish-green trees and ground, pink brick buildings: the first capitol at Albany (?) Top has parrots and tree branches.
Sidewall
, 1830–50
Block-printed, mechanically applied striping, machine made paper

Pastel blue striping, outlined in brighter blue, alternates with reserved stripes of the shiny white satin ground. Block printed tiny flowers in blue with foliage in ochre and brown, over white stripes.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Crocheted brown silk, evenly ornamented with cut steel beads. Two rings of cut steel control a side opening. Fancy drops of cut steel at each end.
Two Scenes at Mont St. Michel and Vitré
Arnold William Brunner, American, 1857–1925, 1883
Graphite on pink paper.
Drawing

Left, courtyard with wall right, two figures look down, center turret. Right, roof tops.
Knife with Porcelain Handle (One of a Pair)
Chantilly Porcelain Manufactory, French, active ca. 1725 - ca. 1789, ca. 1740
soft paste porcelain, vitreous enamel, silver, steel
knife

Saber-shaped blade with drop bolster. Plain silver ferrule with horizontal bands. Pistol-shaped white porcelain handle. Octagonal in section. Floral design in green, blue and brown-red. Silver button at the top of the handle.
Pier tables
William Moore, Irish, d. 1814, ca. 1785
Joined, turned, veneered satinwood inlaid with tulipwood, harewood and other woods

Each (a,b) of demi-lune form, the top inlaid with ribbon-tied floral garlands set into the satinwood, all centered by a fluted demi-lune, that when the tables are put together becomes a patera; the border all surrounded by a contrasting border of rosettes and attenuated anthemia; the skirt inlaid with swags of husks, anthemia, and urns; the tapered quadrangular legs inlaid with husks.
Sidewall
, 1860–80
Stamped gold foil on paper

Floral sprigs or small bouquets in stamped gold foil. Printed on a light gray ground.
Frieze
, 1800–1820
Block-printed paper

Half figure with a female head and torso, morphing into an acanthus foliate base. Directly behind this figure is a pendant ancanthus anthemion, followed by what appears to be another half figure, a mirror image of the prior.  which is the mirror image. These three elements form a pilaster supporting a narrow capital and cable molding. The ground is printed in imitation of geen stone.
Border
, 17th century
linen Technique: grid of laid cords with needle lace (reticella style), edge of bobbin lace in discontinuous tape

Border of  small squares filled with rosettes and edged on one side by Venetian bobbin lace.
Ceiling paper
Howell and Brothers, 1835 – 1900, 1905–1915
Machine-printed paper, liquid mica

Small floral sprigs alternating with single white flower. Printed in green, white and metallic gold on off-white or taupe ground.
Border
, late 17th–early 18th century
linen Technique: bobbin lace, Binche style with Binche ground

Binche-style border showing garland enclosing a crown and the initials "E.P."