biglam/cooper-hewitt-alt-text huggingface dataset:
Border
, 19th century
linen Technique: bobbin lace

Border of openwork leaf motifs with veining in point d'esprit. Square mesh in a similar stitch.
Vestments
, 19th century
wool on wool; lined with glazed linen Technique: embroidered on plain weave

White wool plain cloth ground embroidered in design of floral serpentines with polychrome wools. Lined with glazed pink linen.
Fragment
, ca. 1000
cotton Technique: complementary wefts; plain weave foundation; Three sections: 1) predominantly warp-faced plain weave (plaid), 2) wefts faced plain weave (on grouped warps) 3) complimentary wefts, plain weave, sides: one intact, ends: one has warp selvage

Plain weave with crossing bands of double-faced weft patterning. Brown and white plaid effect crossed at intervals by narrow brown ribbed bands with blue continuous scroll.
Floral field and border
, 1780–1815
White on glazed paper
Drawing

Vertical rectangle. A tight repeat of an undulating stylized branch with scroll shaped leaves with fuzzy edges. To left and right, vertical lines with repeats of small grouped horizontal lines.
Fragment
, 6th century
Warp; S-spun linen. Weft; S-spun linen, S-spun wool Technique: balanced plain weave with slit tapestry.

Monochrome, red wool and undyed linen.  A clavus and a part of neck decoration showing a row of arches over plant motifs. The tapestry area has 2+2 warp groupings with crossing warps
Waistcoat
, late 18th century
silk, metal thread, sequins, pailettes, clear glass Technique: embroidered

Gentleman's waistcoat of white silk grosgrain embroidered in a highly conventionalized delicate floral design, with silver thread, sequins, and bits of clear glass.
Vignette, A Factory
, ca. 1840
Wood engraving on paper
Print

Large factory building with a court flanked by projecting wings. Carts and figures in the foreground.
Project for the Decoration of a Panel
, ca. 1590
Black chalk, pen and ink, brush and light brown and gray watercolors. On verso: Black chalk, pen and ink, bistre on laid paper.
Drawing

Three eschutcheons are in front of a slightly shorter oblong panel. A seated and a standing woman are sketched in the center of the panel which is supposedly made of marble. The lateral escutcheons face eachother, they show winged female half-figures flanking a plant. On verso: The apostle is shown standing de face, his face turned to the right. The left hand is akimbo, the right holds a staff. Gray background.
Drawing
Felice Giani, Italian, 1758–1823, About 1810
Pencil. Pen, ink. Brush, brown water-colors. Paper.

Horizontal Rectangle. The youth approaches from left, followed by a woman probably his mother Clymene. Apollo is shown sitting upon a throne surrounded by Spring, Summer, Autumn, whereas, Winter sits at left.
Plate 3, "Decoration de cheminée pour un grand Apartement"
Jacques-François Blondel, French, 1705–1774, ca. 1727
Engraving on paper
Print

A simple mantelpiece with voluted outline with a rectangular painting above it depicting seated Apollo with an amor. Decoration of scrollwork on upper part of the frame. Paneling flanking fireplace consists of rectangular fields in sequence without any special ornamentation. Below, profiles of molding. Inscribed, upper margin: "Decoration d'une Cheminée sans glace, à l'usage d'une Anti-chambre"; lower right: "Mariette excudit"; lower left: "3".
Textile
, 1800–1830
linen Technique: plain weave with supplementary weft patterning

Length of undyed linen toweling with small overshot pattern. Two cloth selvedges. Narrow hand hem top and bottom in linen thread.
Design for Printed Cotton
Mulhouse, 1790
Pen and ink, brush and watercolor on paper
Drawing

A single design unit consisting of a serpentine pattern of flowers and foliage. Boundaries of design indicated by red framing line.
Pleated fan
, 1870–80
Painted silk leaf, imitation tortoise shell sticks

Painted double taffeta leaf, black on one side and light green on the other. Obverse: scene of a lady in Japanese dress with a parasol against a landscape. Fine and delicate workmanship.  Sticks: imitation tortoise shell.
Phaeton Asks Apollo to Drive the Sun Chariot
Felice Giani, Italian, 1758–1823, 1812
Pen and ink, brush and brown watercolor wash on heavy paper
Drawing

Horizontal rectangle. The lad, accompanied by his mother Clymene, kneels before Apollo and points towards the lect***. Some companions of Apollo sit at right. Below at the left edge is a part of a rough pen outline of the pose of Phaeton, probably belonging to the corresponding lower drawing.
Hanging
, 17th century
silk, metal Technique: embroidered, sequins and couched metal threads on satin weave

Flat hanging; red satin, embroidered in gold and silk with ornamentation by brilliants and sequins. Design: small figure of the Virgin in white, sacred initial on skirt and crown; Virgin's body in white silk stitches; Infant in arms. Rayed background to head. Architectural framework in various couched metals, canopy in relief. Border in couched metal and sequins.
Fragment
, 18th century
wool and silk Technique: piecing, embroidery and couching

Unrelated pieces sewn together so that two yellow guard borders appear on the right and left of a dark green field section which has floral sprays in let-in wools in red and beige shading into pale blue (painted?) blue-green and tan with silk chain-stitch outlines and details in beige, yellow and orange.  Guard borders have a design of alternately up and down turned flower heads in scallops of a winding stem in the same technique. Couched striped silk cords set off guard strip and field except at modern joining.
Tile
, late 18th–early 19th century
Earthenware, glazed, high fire decorated

Seated man in vaguely Chinese garb and with pigtail, holding rope with bird.
Textile
, 1705–07
silk, metallic threads Technique: 8-harness satin with discontinuous supplementary weft patterning (brocaded) bound in 1/3 twill

"Bizarre" style woven length has a large pot or bulb with a tall sprouting stem with four amaryllis-like flowers; from the same pot a hanging plant descends, resembling a date palm. Of a second motif, only the bottom of a conical vase form is visible on component "a." The vertical repeat is completed in component "b." In light blue, green, orange, yellow, and off-white silks on a metallic gold ground.
Table round
Unknown, ca. 1908
linen, cotton, acetate Technique: embroidered on plain weave, machine-made trim

Light brown table round has an embroidered border with a geometric pattern in blue, orange, yellow and olive green. Machine-made border has knotted tassels.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, graphite on paper mounted on tan illustration board
Drawing

Two identical designs, each with a quatrefoil in blue and red on a ground of green vines on blue.
Banner
, mid-19th century
silk, metal threads Technique: appliqué and embroidery on damask

Trumpeter's banner in red damask, embroidered in gold and silver metallic yarns with a England's crest flanked by the lion and unicorn, with gold metallic fringe and large tassels.
Quilt
, ca. 1800
cotton Technique: block printed on plain weave; three reds, blue, yellow, lavender and black

Two triangular pieces cut from what was once two different square quilt centers. Placing one piece on top of the other will give three-quarters of the original pattern.
Carving Knife with Antler Handle and Boar's Head Terminal
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, 1900
steel, antler, silver
knife

Large carving knife with saber-shaped steel blade. Banded silver ferrule, silver collar with blade. Highly decorated relief floral, acorn and oak leaf pattern silver collar wrapping cylindrical antler stem. Capped with silver collar of similar oak and acorn pattern, terminating in boar's head, fit with red glass eyes, and exaggerated snarl.
Textile
, 1750–1800
cotton Technique: block printed using resist, then vat dyed in indigo on plain weave

Pomegranate-like shapes within a frame of arching leaves. Two repeats across width. In blue on white.
Design for Wallpaper or Textile of Daisy-Type Flower with Repeat
Unknown, ca. 1860
Black and white chalk on heavy blue wove paper, squared in graphite
Drawing

Carefully drawn study, in black and white, of daisy-type flower (perhaps rudbekia or coreopsis).  One plant spray placed in upper middle of sheet, with frontal view of flower upper center and profile views of flowers to left and right.  Second flower spray is beneath with flowers placed left and right.  Lightly sketched partial views of flower indicating repeat on upper and lower edges.  Full repeat marked on four sides in ruled graphite lines, with ruled graphite lines also marking centers vertically and horizontally.
Proof for exhibition catalogue, "Jockeys," Kingore Galleries, New York, NY
William Hunt Diederich, American, b. Hungary, 1884–1953, 1920
Offset printing on fabriano cotton wove paper
Book

Left, page layout for text; Right, commercial relief process after linoleum cut print by William Hunt Diederich. The print depicts a stag on top of a mountain in the center surrounded by deer.
Allegorical Figure of "Europe"
Royal Porcelain Manufactory, Berlin, German, established 1763, ca. 1770
hard paste porcelain, vitreous enamel, gold
figure

1960-1-44-a/d: 
50;     1960-1-44-b-1,2: "Europe" standing female figure, wearing erine and...
Coastal Surf, Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, 1850
Oil and graphite on tan wove paper
Drawing

Landscape sketch showing a view of ocean surf crashing on the rocky coast of Mount Desert Island in Maine. In the foreground and middle distance at right, two rugged, rocky outcroppings are rendered in dark brown. White, frothing waves break against these rocks and the beach itself--one wave in particular is about to break at lower left. In the background, a blue, open sky is visible above a flat, oceanic horizon. The lateritious (brick-colored) ground is visible along the upper and lower margins.
Sheets of Studies after Bolognese Monuments
Felice Giani, Italian, 1758–1823, 1811–14
Pen and brown ink, brush and brown wash, black chalk on paper
Drawing

Sheet of studies of sculptures and architectural fragments.  It shows ten fragments of monuments, various in type, some architectural and some decorative.  At top row, to the left, a panel depicting a satyr watching as Venus lifts the bow of Cupid.  It is inscribed: coreggio Bologna.  On the right hand side is a niche with a statue of a man in armor.  Inscribed: Bologna monumento del sei cento.  At the middle portion, first to the left is a decorative panel, oriented vertically, with military details/trophy (helmet, armor, drum).  Next to it, to the right, is a statue of a man in armor, lower parts of the legs missing.  Inscription to the right of the statue: mounumento / sei cento / Bolognese.  Next to the statue, to the right, is a fragment of a spandrel with a relief of a female figure (Genius).  Inscribed within the arched opening: 17 OTTVBRE / XAMBECARI / 1811.  The bottom row consists of five small-scale architectural details. 

Verso: study of the muscles of a man's legs with reference numbers and notations in pen and brown ink
Sidewall
, 1800–1810
Block-printed on handmade paper

Lozenge framework formed of foliate scrolls, with small beaded circular motif at points of intersection, enclosing elliptical paterae. Formerly used as a book cover.
Fragment
, 19th century
linen Technique: bobbin lace made in Lille style with heavy outlining thread

Lille style
Two projects for a portable pulpit for the church in Offida
, 1750–1800
Pen, ink, light green water color and chinese black washes on paper
Drawing

Vertical composition of two altars. The altar on the left is shown from the front and the altar on the right is shown from the side. The left altar is supported by female gaines and has no canopy. The right altar has a canopy with lambrequins and is supported by columns. The altar on the left has the word "Prospette" written between the legs and the altar on the right has the word "Profilo" written between the legs. The bottom of the composition has the inscription: "Prospetto del pulpito por la Chiesa di Offida/Scala di palmi dieci romani." On the reverse, "p[er] / il pulpito."
Border
, ca. 1835
Block-printed paper

Horizontal design, in yellow and green on a blue field. Rosette and foliage scrolls, with bead-and-reel across top, and bead-and-reel and leaf across bottom.
Textile
Nampei, 19th century
silk Technique: painted on plain weave using stenciled resist

Plain gray silk crepe with swallows in black and shades of gray. Over the plain gray ground are strewn fine white lines and occasional groups of colored dots that look like falling flower petals.
Spoon
, mid-19th century
silver
spoon

Pointed oval bowl, partly fluted then twisted stem terminating in acanthus scrolls below the circular crusher terminal.
Sidewall
, ca. 1840
Block-printed paper

Vertical rectangle, giving slightly more than one repeat of paper. Figured medallions, one of seated fiddler with man and woman dancing; in background house with a sign: Good Ale Sold Here. Alternate medallion shows two men at a table with woman pouring ale into the glass of one; in background, house with a sign: Travelers Rest.
Designs for Rocaille Ornament
J. Matthaeus Schmahl, German, active 18th century, mid- 18th century
Etching on off-white laid paper
Print

Rocaille ornament designs of rinceaux, scrolls, and branches, for use in molding, frames. The plate is signed and numbered.
Berceau de treillage pres du labirinthe à Versailles
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Lattice garden pavilion in the gardens at Versailles, featuring three domes, cupola, and planted vase finials. In the center there is an arch with a bench. Statues of figures on plinths on either side of the central arch. The title and publisher are inscribed below in ink.
Village on the Río Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Oil and graphite on off-white paperboard
Drawing

Unfinished landscape sketch showing a view of a village on the Magdalena River in Colombia, and the surrounding terrain. In the foreground, the river's shallow waters and muddy shoreline are rendered only in graphite, encompassing the composition's entire lower half. In the middle distance at center, oil paint articulates a brown shore that leads to a grassy, heavily wooded bank. A thatched hut stands on stilts in a clearing at center, with the roofs of other structures are visible beside it at left. At far left, the wide Magdalena River is visible, rendered in oil. Rolling, lush terrain extends to a distant mountain range in the background, which forms a softly undulating horizon. The sky above is pink or blue as if twilight or dawn.
Panel Design
Bellay, French, active from 1734, ca.1734-49
Etching and engraving: counterproof on laid paper
Print

A counterproof of a print from this series, plate 6 (1921-6-490-15). A design for an ornamental panel featuring rococo and chinoiserie motifs with an ornately decorated frame of leaves, c-scrolls, wings, water, rinceaux, platforms, architectural elements, a canopy, and vases. In the center, a seated man holds a fishing rod within a fantastical landscape surrounded by water and foliage.
Designs for Furniture
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Designs for a turn top table, a mirror, a side table with a flower bouquet, and a tall dresser. The plate is signed and numbered.
Hunting Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Design for a hunting trophy incorporating a horn, bird, deer's head, quiver of arrows, spears, net, axe, festoon of leaves, foliate branches, and flowers. The plate is numbered and signed.
Three Cows on a Road in the Woods
Frederic Edwin Church, American, 1826–1900, 1844–56
Graphite on off-white wove paper
Drawing

Landscape and figure sketch showing a view of three cows on a dirt road in the woods. Possibly a scene witnessed in Catskill, New York or Vermont, it is loosely rendered and includes a rugged mountain range outlined in the background at center. At left and right, groups of deciduous trees with lush canopies cast a dark shadow over the road, which is marked with noticeable cart tracks. Three cows stand in the road at center, the rightmost one looks back at us. 

Verso: Mixed sketches of a table and a loose view of an alligator. Dominating the composition at center and right is a partial elevation of a table. Its leg is shaped like a baluster and the corner of the frame like a bracket. At left and oriented to the left is an indistinct design labeled "alligator." It could be an extremely loose alligator or a three-arched bridge.
Architectural Details and Figure Study
Filippo Marchionni, Italian, 1732–1805, 1760–80
Pen and ink, brush and gray watercolor on laid paper
Drawing

Three upper parts of window cases; view of upper part of a house corner, with a pedestal upon which sits a putto supporting a long vaulted sheet of wood with two tassels at each end. Two lower ends of pillars, each with a mask; a mask; a volute probably for a keystone. Two parts of grotesque decoration with half-figure of a man with two scrolls; a witch with burning torch, which a running woman reaches for. The latter has her right foot upon a support in shape of an enlarged winged ring, which is held by a female half-figure. This is connected by a lying animal with the long branch on whose top is the witch and a snake, at whose head is the left hand of the running woman. The branch ends below in a fantastic fish. Written below: "Del Cav re Filippo Marchionni." The man is below at left. He is seen from the right back and has a stick in his left hand pointing with his raised right arm.
Nouveaux desseins de Balcons
Pierre Edme Babel, French, 1720–1775, 1890–1910
Facsimile of the original etching (photomechanical or lithography)
Print

Three designs for wrought iron or metalwork balcony balustrades featuring scrolling leaves, c-scrolls, s-scrolls, festoons of flowers, vases of flowers, and birds. The plate is titled, with a scale below. This is a late 19th-early 20th-century reproduction from a series first published between 1738-1743.
Study for "Hunting," "The Progress of Civilization: Hunting, Herding, Agriculture" State Capitol, Des Moines, IA
Kenyon Cox, American, 1856–1919, 1905–1906
Graphite on paper
Drawing

Sketch of a male figure reclining with an animal skin tied around his neck.
Button
, 1870–1900
Brass

Circular convex buttons ornamented with a cock with right claw resting on ball and the words "Republique Francaise".
Sketches of Niagara Falls, New York
Frederic Edwin Church, American, 1826–1900, April 1858
Graphite on white wove paper; verso: graphite
drawing

Landscape sketch showing three views of Niagara Falls. Two stacked views of the bulging portion of Horseshoe Falls are shown at left, with the Terrapin Tower included in the uppermost depictions, while, at right, the zig-zagging edge of the American Falls is shown from the northern bank of the falls. 

Verso: Landscape sketch showing a view of the sun setting behind a bank puffy clouds over the Niagara River. At right, a double-masted boat floats on the water's surface at right, and partially travels out of view. In the background, the heavily wooded opposite bank of the river is visible while, above, the sun emanates beams of light into the sky. In the foreground, nearby rocks are shown.
Design for the Elevation of an Altar
, 1550–80
Pen and ink, brush and bistre wash, black chalk on laid paper
Drawing

Vertical rectangle. The mensa of the altar is not shown; elevation is flanked by slit volutes. The central part of the retable consists of a niche with a statue of Christ carrying the Cross. Its lower part is flanked by projecting volutes and by reliefs, the evangelists John, Luke, Matthew, and Mark disposed in two vertical rows. The framing consists of a cross-shaped moulding, for the decoration of which alternative suggestions are made on either side. Scrolls are beside the upper part. A triangular pediment is on top.
Façade d'un Bâtiment de l'ordonnance Corinthien élevé sur un Stilobate
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Façade and profile of a building of the Corinthian order with figurative statues at the bottom level between the arched doorways, and statues of terms above. 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.
Textile
, ca. 1870
silk Technique: moire; embossing; warp-faced plain weave with supplementary warp patterning on the front in plain weave, or 5-harness satin and free floating on the back.

Orange-red ribbed silk moiré, with design of yellow plumes arranged in two vertical columns.
Design for a Buffet
Pierre Cottart, French, ca. 1630 – 1701, ca.1680–1710
Etching and engraving on laid paper
Print

A plan, elevation, and section design for a buffet in the Parisian residence of Mr. Thevenin. To the right is an elevation, view of a wall with a buffet in the center. The buffet consists of tiered shelves over a console table and displays ewers, vases, cups, and a large plate. On the wall there is a large, molded frame for a painting or mirror. The walls on either side of the buffet are marble with wall fountains set into arched niches, made up of shell ornament with water pouring out of mask's mouths into shell-shaped basins below. The fountains and the cornice frieze feature rococo motifs, c-scrolls, s-scrolls, birds, and acanthus leaves. Above each fountain are rectangular plaques depicting vignettes of figures in landscapes, topped with flowers and fruit. To the left, a sectional view of a fountain with water cascading over the first shell-basin and into the circular basin below. And a plan view of the fountain and half of the buffet, with a scale below. The plate is titled, numbered, and signed.
Plan general d’une Maison et d’un Jardin Anglais execute au Raincy par Coutepée Archite.
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

A general plan for a garden and a house in the English style with a small elevation of the house and floor plan to the right with a legend below. The plate is titled, numbered, and signed
Scenes from the Life of the Virgin
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1589 or before
Pen and brown ink, brush and brown wash over black chalk on two spuriously joined sheets of laid paper
Drawing

Recto: Presentation of the Virgin [above left]; Adoration of the Shepherds [below left]; Death of the Virgin [above right]; Adoration of the Magi [below right].
Verso: Presentation of Christ [above left]; Flight into Egypt [below left]; Circumcision of Christ [above right]; Christ Disputing with the Doctors in the Temple [below right].
Seated woman
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Partial study of seated female figure wearing full-length dress. Left side of body and head visible.
Les Portiques d'Athenes
, 1820
Block printed on machine-made paper, applied border
Scenic panel

One of series: "Les Portiques d'Athenes Bay, with volcanic mountain in background, ship and island with houses in middle distance, and woman and fisherman on shore in foreground, with tree. Printed in grisaille, with architectural border in yellow and blue.
Design for an Embroidery or Woven Fabric of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white color on glazed tracing paper
Drawing

Feather lace leaves rise from behind the left side of fantastic sunflowers. Somewhat more than two repeats are shown.
Mt. Lafayette from Oak Hill, Littleton, New Hampshire
Daniel Huntington, American, 1816–1906, September 6, 1879
Graphite on paper
Drawing

Mount Lafayette, center, with its ridges and ravines, shaded. Mountain beyond, at right; ridges below.  Verso: Moose Hillock, dated Sept. 5, 1879, with color notes below.