biglam/cooper-hewitt-alt-text huggingface dataset:
The Grasshopper and the Ant
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

From upper left to center to lower center a trail of grasshoppers doing various activities. Upper right, profile of grasshopper reading and walking, with top hat on head. Upper center, profile of grasshopper sitting at desk writing, turned to look and figure behind him. Upper left, profile of grasshopper bending at the waist with top hat in hand, upset expression, with antennas down. Center left, grasshopper eating watermelon. Lower left, grasshopper waving cornhusk in hand. Lower center, profile of grasshopper laying down, head by pumpkin, drinking. Short story on grasshopper.
Church Gate Design
Caillouet, French, mid-18th century, 1775–87
Engraving and etching on paper
Print

A design for a wrought-iron church gate with two large double doors topped with a triangular pediment decorated with three angels and rays of light. The doors and rails are decorated with geometric and scrolling bands, beads, scrolling leaves, foliate branches, and rosettes. The plate is signed and numbered.
The Angel Appearing to Joseph
Richard Dighton, British, 1795–1880, ca. 1780–1805
Engracing in brown ink on paper
Print

Joseph asleep on steps or marble blocks at the right. Behind him the angel speaks and points to a thrid figure. At the left, a woman is on her knees at prayer, facing the right. A building beyond, far left.
Sampler
Ruth Bolerworth, 1766
silk and metal thread embroidery, wool foundation Technique: cross, tent, satin and stem stitches on plain weave

Alphabets, crowns and verse.  Top: Cross borders with trees, flowers, insects, and fruit.  Bottom: Scene of the Flight into Egypt with motifs and signature "Elizabeth Bolerworth, aged 15 years."
Study for a standing child, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon, graphite on tracing paper
Drawing

A young figure standing.
Two Knives
Francesco Salviati, Italian, 1510 – 1563, ca. 1640
Engraving on off-white laid paper
Print

Both knives with heavily ornamented handles. At left, carving knife with hook-tipped blade has handle decorated with figure of bound Marsyas with his hands above his head as bearded man kneels between his legs and grasps his genitals. At right, broad-blade servivng knife with rounded blunt tip; handle displays Apollo's griffin above two bare-breasted female figures with a bearded man (perhaps Olympus) at their feet.
Mt. Parnassus and a Flock of Sheep, Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 14-25, 1869
Graphite and white gouache on gray-green wove paper; verso: graphite and white gouache
Drawing

Landscape sketch showing a view, at center, of the snow-capped Mt. Parnassus in the distance and the moutain range to which it belongs. At right, the vertical, almost columnar form of the Philopappos Monument is visible. In the lower portion of the composition, another view of a snow-capped mountain range is visible. At upper left, a sketch of a shepherd leading a flock of twelve sheep is included. 

Verso: Landscape sketch showing a view of rugged hills in the middle distance and taller, snow-capped mountains in the background. At center left, the vertical, columnar form of the Philopappos Monument  is visible atop a rocky prominence. At extreme left, the snow-capped Mt. Parnassus is shown.
Watch chain
, mid-19th century
Hair, gold

Watch chain made of two strands of human hair (brown) worked in different designs; gold mountings at either end and in center.
Standing Chinese Man with Two Birdcages, Plate 5 from "Cahier de Figures Chinoises"
Jean-Jacques Avril the Elder, French, 1744 - 1831, 1773
Engraving on paper
Print

A Chinese man stands in a garden setting holding a birdcage in his right hand, and in his left, a pole from which hands another cage.
Trees on a Slope
Frederic Edwin Church, American, 1826–1900, 1862
Graphite on tan wove paper
Drawing

Landscape sketch showing a view of a grove of trees growing on a slope. At center, three prominent conifer trees are shown with branches predominantly growing on the right sides of their thick trunks. At left and right, on a slope descending to the right, several other trees are rendered in less detail.
Cap streamers
, 18th century
linen Technique: needle lace

Needle lace with a design of twisting vines and grapes. Commonly called "Point d'Argentan."
Sidewall
, 1855–65
Machine-printed paper

Piece of irregular shape giving full repeat. Simulation of rusticated mansonry or ashlar block printed in light brown, dark brown and white, with marbleized effect on rough light grey paper.
Arabesque Ornament Designs
Claude Gillot, French, 1673–1722, 1749–61
Etching on laid paper
Print

Tenth plate from a series of bifurcated arabesque/ grotesque panel designs with a different design on the left and right side of the plate. The ornament features architectural elements, festoons of flowers, birds, swan, putto, a lantern, herms, fleurons, rinceaux, c-scrolls, vases and baskets of flowers, drapery, steps, fluting, rosettes, bat wing and trellis patterns. The plate is numbered and signed.
Mountains and Ridges, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Graphite on gray wove paper; verso: graphite
Drawing

Landscape sketch showing an elevated view of rugged mountains in Jamaica that extend to a distant horizon. In the foreground, a nearby hill at left descends towards the center, where it meets another, shorter prominence at right. Tall, jagged mountains stretch from the middle distance to the horizon, positioned near the composition's upper margin.

Verso: Partial landscape sketch of a palm tree and part of a sunset, hastily drawn. Scene appears to be cutoff at right, and is likely part of a panorama.
Birdcage
, 1750–1800
Tin-glazed earthenware, metal wire, metal
birdcage

Glazed earthenware frame (a), rectangular with arched top and simple short square feet; vertical metal wires set into frame.  White ground with blue glaze decoration of geometrical designs along ceramic cross posts and corners; bottom section comprising panels decorated with landscapes, including boating scene on front panel, ice skaters on rear panel.  Removeable ceramic drawer (b), with central metal knob, slides into lower right corner of cage.
Designs for Two Vases and a Clock Case
Henri Sallembier, French, ca. 1753 - 1820, 1777
Etching on laid paper
Print

Designs for two vases and a clock case featuring neoclassical motifs including, laurel leaves, fluting, gadrooning, olive leaves, fruit, grapes and grapevines, figures, cartouche, a frieze of military motifs, scrolling leaves (rinceaux), and a fluted column. The plate is numbered and signed.
Church Procession
Fortunato Duranti, Italian, 1787 - 1863, ca. 1820
Graphite, pen and ink on paper
Drawing

On a pedestal, right, the full-length figure of the Virgin, supporting the Child on her left hand, facing left in profile. A procession of figures, a few wearing haloes, approach from the left. Perspective view of church and dome in background.
Tile
, 17th century
Earthenware

1907-36-1: Tile decorated with brown and blue floral motif, b...;     1907-36-2: Tile decorated with brown and blue floral motif, b...
Interior Wall Elevation with a Console Table
Pierre Ranson, French, 1736–1786, 1777-79
Etching and engraving on laid paper
Print

A design for an interior wall featuring ornately painted panels and a console table in the center with a large mirror above. The panels feature festoons of flowers and leaves, scrolling acanthus leaves, and military trophies including armor, shields, palm leaves, spears with flags, horns, swords, clubs, and helmets. The dado panels include laurel leaf crowns, bows, and arrows, and festoons of leaves. On the console table, an armillary sphere, and a globe. The plate is numbered.
Arabesque Designs
Etienne de Lavallée, French, 1735 – 1802, 1788
Etching and aquatint on laid paper
Print

Two vertical arabesque ornament designs side by side featuring birds, foliage, fleurons, leaves, scrolling foliage, wheat, flowers, a basket of fruit, bow and arrow, flaming torch, a female figure, vase, winged putto, and an oval roundel with figures. The plate is numbered and signed.
Trimming
, 19th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Yellow and blue trimming fragment in a design of alternating blue and yellow squares in cut and uncut velvet.
Panel Design with a Landscape in a Roundel
Jean Le Pautre, French, 1618–1682, ca. 1651
Etching on laid paper
Print

Panel design with a landscape in a roundel in the center surrounded by male and female figures, putti, mascaron (mask), festoons of fruit and leaves, scrolling leaves, and acanthus leaves. The landscape is a coastal scene with large rocks, waves, clouds, and two figures. The whole is framed with carved repeat pattern moldings. The two sides of the panel feature different designs and frames.
Band fragment
, 4th–5th century
S-spun undyed linen weft, S-spun undyed wool warp and weft Technique: slit tapestry weave

Narrow band fragment in dark brown and natural linen shows a procession of animals moving left to right. The animals, which alternate between a long-bodied spotted animal and a more compact animal with long ears and a tail, are enclosed by a double guard border. Outside this border is a scrolling wave pattern.
Cartouche Design
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Design for a cartouche framed by putti, a lion, palm leaves, mascaron (mask), shells, ribbons, helmet, and shield. The cartouche is on a base with two vases, and decorated with a smaller cartouche, scrolling leaves (rinceaux), fleurons, shell, and festoons of leaves. The plate is signed.
A Rose Bough
Frederic Edwin Church, American, 1826–1900, 1860–70
Brush and oil, graphite on thin tan paperboard
Drawing

Botanical sketch showing an isolated view of a rose bough. Situated at center, the petals of the pink rose blossom are individually rendered, while the interior of the blossom appears to glow, as if light has traveled through its semi-transparent petals. Its stem, filled with multiple green leaves, twists off to the left. The artist's gray-green ground is visible behind the rose.
Fragment
Favre Petitpierre, France, 1802–1818, ca. 1825
cotton Technique: printed on plain weave

Fragment showing a pastoral scene with two girls with two sheep as a young man with a bundle tied to a stick walks away from them. In red on white ground.
Les bergers Ecossais
Favre Petitpierre, France, 1802–1818, ca. 1815
cotton front, linen back, with cotton wadding between Technique: printed by engraved copper plate on plain weave
Valance

Valance (cut edge at left)  made of pieces printed fabric and quilted.
Some pieces also mounted on the back. 
Front faded, back less so.
Scenes of Scottish peasant life.
Border
, 18th century
linen Technique: bobbin lace, Mechlin style

Lace border has an alternating repeat of a four-lobed cartouche and a curling scroll enclosing a floral spray. Lower border has flower heads and leaves while upper section has small floral sprigs and dots scattered over the mesh.
Textile
, late 18th century
cotton Technique: printed by engraved roller on plain weave

All-over repeat of pastoral amorous scenes in red: lovers half reclining in wheat field (she holding a horn) surprised by a man holding a sickle; lovers seated next to a fountain mutually playing a flute; two women in a garden (one clutching the other) being watched by a man behind a huge urn; boy playing bagpipe among geese; cupid fishing for eels; woman writing in a garden watched by Cupid. Straight repeat.
Hanging
, 18th century
silk, metallic thread Technique: split, satin, stem and couching stitches on 5-harness satin

Fragment from a hanging embroidered in multicolored silk and metallic thread on an orange ground. The design shows a European coat of arms set in a curving flowering vine with birds.
Lace pattern
, ca. 1905
cotton Technique: plain weave fabric printed with pattern for machine made tape lace

Square printed lace pattern for premade tape lace. Printed in black on fadded pink.
Sampler
Maria Manula Lobe y Cantabrana, 1801
silk on linen Technique: embroidered on plain weave

Embroidered sampler showing pattern of flowering plants, a tree, bowl of flowers, crowned double-headed eagle crest, a crossed floral form surrounded by birds, flowers and keys. Outer borders are geometric of varying widths. Pink ribbon attached to outer edge with bow in each corner.
Fragment
, 18th century
silk, metallic thread Technique: woven

Fragment of a continuous symmetrical pattern of a palmette with leafy forms and flowers. Primarily cream-colored with tarnished gold metallic thread and grey and pale orange silk.
Plate
John Sutton, English, active 1668 – 1707, 1691
silver
plate

Pair of William and Mary Silver plates London 1691 by John Sutton
Designs for Ornament, Case Cover, Roundels, and Watch Keys
Pierre Bourdon, French, ca. 1656 – 1708 after, 1703
Etching and engraving on paper
Print

An ornament print featuring roundels, a case cover (possibly a snuffbox), bands, and watch keys with grotesque motifs (intertwining scrolling leaves, foliage, human, and animal forms), with strapwork, cartouches, fleurons, mascarons (masks), birds, and flowers. The plate is signed and numbered.
Les Vendages
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1770–84
cotton Technique: printed by engraved plate on plain weave
Valance

Valance  made of one complete width and three incomplete widths of the pattern. 
Design of grape gatherers, dancers, an inn, a bewigged gentleman in a swing and another bewigged gentleman holding a bottle and lying under a tree.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1785
linen warp, cotton weft Technique: block printed on plain weave foundation

Fragment of printed cotton with an all-over design of intertwining branches with large, exotic flowers and pairs of birds; background is filled with fine red vine. In blue, green, yellow, and several shades of purple, red and pink on an off-white ground.
KOUANE TSAÏ ou Jardinier Chinois
Antoine Watteau, French, 1684–1721, 1731
Etching on laid paper
Print

From a series of twelve prints, a Chinese man seated in a landscape holding a cylindrical basket with foliage and fruit at his feet. The plate is titled, signed, and numbered.
Saints Peter and Paul over the Vatican
Minardi Tommaso, Italian, 1787 - 1871, 1800–1850
Graphite, pen and ink, brush and wash on paper
Drawing

Saints Peter and Paul standing on clouds over an arch, under which the Vatican with Saint Peters Basilica is shown. Framing pencil line.
Textiles
, 17th century
silk Technique: damask

Silk damask textile in cream and gray-green showing tightly arranged florals with large and small fleur-de-lys.
Textile
, 18th century
silk Technique: satin weave with discontinuous supplementary weft patterning (brocaded)

Silk brocade with a symmetrical design of intertwined flowering vines, one with very prominent horizontal striping.
Fringe
, 17th century
silk Technique: woven

Red fringe with a plain-woven heading and a skirt of red silk threads.
Textile
, 19th century
cotton Technique: printed by engraved roller on plain weave

Fragment, cotton printed in shades of brown; background of curving stems and flowers and feathery leaves in darker browns; parts reserved in white.
Fragment
, 14th century
silk

Design of swooping birds and monstrous animals. Textile originally had color but has now been dyed black (dark brown).
Drawing
, About 1785
Pencil. Various gouache colors. White. Paper;

Vertical rectangle. A rose grows from the top edge of the oblong pocket. The field beneath the pocket and the intervals between the buttonholes are decorated with small scale flower boughs. Violet edges.
Textile
, 16th–early 17th century
silk Technique: plain weave with supplementary weft (?)

Red plain weave center brocaded in a detached flower design in gold, green, and white silks. Pattern arranged in horizontal rows. Trimmed with a wide band of gray-green silk twill stamped in a diagonal design and brocaded in a small flower pattern in white, rose and green silks. At corners, square insertion of red silk brocaded in small cone design in gold. Trimmed with pink and green piping and lined with pink taffeta.
Band
, 17th century
linen Technique: bobbin made continuous tape with net added

Band of bobbin lace, loosely worked pattern of scrolls and  floral motifs.
Design for the Decoration of the ceiling of a chapel
Ferdinando Galli Bibiena, 1657 – 1743, 1725–1740
Black chalk, pen and ink, watercolor washes on paper.
Drawing

About two-thirds are shown. The Rising of Christ is shown in the center, facing the left short side. Its frame is held by flying angels before the skylight of a simulated barrel vault which is supported by brackets. Three semi-circular arches are at the long sides. Shown through them are Gethsemane the flagellation, the mocking of Christ. In the wedges over the arches are escutcheons with a trophy of the hammer, tongs, and crown of thorns and Pelicans respectively. At the short sides are couped pediments with crouching angels and, in the centers, escutcheons with the three nails. Over the brackets are escutcheons with angels holding the ladder and the column respectively. Acanthus scrolls in the schemes of monograms are on top and at the bottom of the skylight. The entablature is at the bottom.
Tailpiece
Homer Wayland Colby, American, 1874–1950, ca. 1910
Pen and ink on illustration board
Drawing

A symmetrical design composed of a central panel of decoration flanked by lighted candles and cusped openings. Interlacing bands below.
Trimming
, 18th century
linen Technique: deflected element work

Cream-colored linen trimming for a dress in a scrolling vine and flower design in a variety of stitches.
Fragment
, mid-18th century
silk Technique: plain compound weave with supplementary weft patterning (brocaded)

Rose-colored ground with wide horizontal ribbing formed by extra silk warp. Incomplete design of lace serpentines with floral bouquets and ermine. Pattern uses chenille, floss, and boucle yarns.
Shawl
, late 19th century
silk Technique: embroidered

Silk shawl with fringe embroidered in same color.
Sample
, late 19th century
silk Technique: plain weave

Striped black and purple ribbed silk fragment.
Sketch of Nude Figure
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on cream wove paper
Drawing

Cut down. Sketch of nude figure reclining to the right, arms over head. Right leg extended, left leg bent up at the knee. Verso: section of architectural motif.
Senses of Smell and Hearing
Paul Scarron, French, 1610 - 1660, mid- 17th century
Brush and tempera on linen
Drawing

Panel of natural colored linen plain cloth painted in polychrome tempera showing two scenes from a series depicting the five senses. At left, figures of a seated man and woman are offered a flower to smell by a putto. At right, a woman playing an organ or dulcimer and a man playing a lute, a figure of a putto singing and reading from a songbook. Inscription above the scene reads "AUDITUS." A vase of flowers separates the two scenes. At bottom, lines from some of Paul Scarron's poems in French and Latin.
Embossed wool
, 16th–17th century
wool Technique: embossed (stamped) plain weave

Plant forms with large flowers. In off-white.
Shawl
, ca. 1860
silk Technique: bobbin lace, Chantilly style

Triangular black silk lace shawl with scalloped edge with design of broad ribbon crossed at regular intervals by narrow leaf. Central floral motif.
Bag face for a chuspa
, late 19th century
wool, cotton Technique: warp-faced plain weave with supplementary warp patterning

Carrying bag made from warp-faced plain weave in alternating stripes. Broad stripes of brown and gray flanking a central stripe with geometric pattern in red and white with two superimposed pencil stripes in pink and blue, green and yellow. Groups of pencil-stripes at outer edges. Wool warp, white cotton weft. Center stripe has paired white cotton warps in ground, pattern warp of dark red wool. Tubular embroidered wool edging. Pair of tassels in colored wools in each of four corners.
Cross-section of the domed central part of a palace
Matthäus Daniel Pöppelmann, 1662 - 1736, ca. 1715
Pen and black ink, with gray and rose watercolors on paper
Drawing

Vertical rectangle. A two-storied structure, showing the vaulted entranceway on the ground level and the Kaisersaal rising two stories, above, breaking the roof-line with a low dome on a high drum, pierced by windows. Scale given at sides. Ink framing lines.
Fragment
, 18th century
linen Technique: needle lace

Fragment of Argentan with buttonholed hexagonal mesh and a row of minute rosettes in relief.
Drawing
Felice Giani, Italian, 1758–1823, About 1813
pen and brown ink, brush and brown wash over traces of graphite on cream laid paper

Top a) Ceres crowned [with a civic crown] stands in a chariot which is drawn by two lions. A man whips the lions, one of which is crouching. The chariot is followed and preceded by harvest figures, putti included. The procession winds toward right, where a priest stands behind an altar. The upper part of a temple is in the central rear; Bottom, b) the scheme is the same as above. Bacchus as a young man is seated in his chariot. A flying female genius holds a wreath over his head. Bacchic people are his companions. The temple stands in the right rear.
Study for a Mural or Panel
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Figures under a tree, center. Figure with a spear, right. Additional figures standing at left and seated on right. Eagle, lower right.  Mathematical equations with fractions, above and below.
Design for monument of Pope Clement XII
Carlo Marchionni, Italian, 1702–1786, 1735
Grapite, brush and gray watercolor on laid paper
Drawing

Vertical rectangle. A niche. Upon a high base the Pope sitting on a throne, a small angel bringing him a script.
Fragment
, 17th century
silk Technique: cut and uncut, voided supplementary warp pile (velvet) in a plain weave foundation

Fragment has a design of stylized plant forms within a diamond grid. All in green.
The Dog and the Wolf, Illustration for Aesop's Fables
Victor Wilbour, ca. 1916
Pen and red ink, crayon on white board
Drawing

Wall, with leash fastened to it. Dog and wolf center, facing each other in profile. Trees right.
Fragment
, 16th century
silk Technique: supplementary warp forming cut and uncut raised pile in plain weave (velvet)

Trellis pattern in green, white and natural.
Album of Prints: Various Chinese Figures by François Boucher
François Boucher, French, 1703–1770, 1738-1745
Album

Album of prints containing eleven etchings of various Chinese figures in landscapes (chinoiseries) designed and engraved by François Boucher. Plate two of the series is missing. A similar series of prints is described by Guilmard (169.43), although Guilmard indicates that that series is engraved by Huquier.
Album of Prints: Designs for Portes Cochères
Nicolas Guérard, French, ca.1648 – 1719, late 17th–early 18th century
Album

Album of prints containing a variety of designs for portes-cochères.
Zoetrope Strip, Dog Catching Ball
, ca. 1860
Lithograph on paper
Print

Strip with printed cartoon featuring a dog catching a ball while perched on his hind legs. When viewed in a circular, perforated tin zoetrope, illusion of animation creates a moving picture.
staircase model
, mid–late 19th century
oak

Double-revolution staircase model with curved double staircase with baluster railings, joining on a central landing from which a reverse single staircase rises at right angles, leading to a balcony.
Button
, 1750–99
Silk uncut voided cloth velvet over bone forms

1939-57-29-a: From originally a set of seventeen buttons, of thr...