biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a vase with two handles, decorated with leaves, snakes, gadroon ornament and a frieze. The plate is signed and numbered.
Virgin and Child with Saints
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1635–50
Pen and brown ink on paper
Drawing

Figure of the Virgin Mary is shown seated on a cloud at upper center, holding the Christ child. She is crowned by two angels. Saints stand at either side, and Lucifer is being overcome at lower left.
Pleated fan
, 19th century
Painted vellum leaf, carved and pierced ivory sticks

Pleated fan with painted vellum leaf. On the obverse are three scenes set in two diamonds on either side of an oval center medallion, each framed with a painted ribbon, on a striped gray ground with flowers. On the left, buildings bordering the water. In the center, a man, woman and boy walking beside a river carrying bundles. On the right, a boat in a harbor. On the reverse, two birds on a branch. Ivory sticks carved with Chinoiserie flowers.
Veüe de la Cour des Fonteines et du Jardin de l’Estang à Fonteine-Bleau
Israel Silvestre, French, 1621 – 1691, 1660–1703
Etching on laid paper
Print

View of the gardens at Fontainebleau with a fountain, balustrades, parterre planting, and a statue on a plinth in the center. Buildings on the sides and trees in the background. In the foreground, figures, and dogs. The plate is titled and signed.
Arabesque Design
François Voisin, French, active 18th century, 1788
Etching and aquatint on laid paper
Print

Arabesque ornament design with neoclassical motifs. A large vase decorated with scrolling acanthus leaves, a festoon of beads and flowers held by winged terminal figures, with birds and putti. Foliage and corn springing from the vase. The putti at the foot of the vase transform into two swans perched onto a platform decorated with scrolling rococo motifs and fluting. Below the base, scrolling acanthus leaves, fleurons, beading and rosettes. The plate is signed and numbered.
Spoon
Louis-Emile Lecornet, 19th century
gold plated, silver
spoon

Pointer oval bowl, gilded, flaring panelled stem with baluster and scroll terminal and lozenge-shaped crusher.
Design for a Decorative Vase
, 1775–1800
Graphite, pen and ink, brush and sepia on paper
Drawing

Vase decorated with curls and waves and dragon as spout topped with kneeling man.
Design for a Stomacher
, 1725–50
Brush and brown, black ink, gouache, graphite on cream laid paper
Drawing

Design in overall shape of an elongated triangle pointing downward. Three bows hang from one another along a central axis. At center of each bow is a sphere encircled by smaller ones. Interspersed throughout are red balls. A large green sphere crowns the design, while a large green ovoid, surrounded by smaller spheres, is at bottom.
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Below are steps. Above are stands, between two vases with flames, a round base, having above mouldings a frieze with a row of figures. Above it stands a pedestal, whose base is elongated by the projecting bases for two standing figures, a variation of 1938-88-1289, as is the entire pedestal and the group on top. The inscription is in the panel of the lower part, and the round part has festoons, no flutes.
Rank badge
, mid- 19th century
silk and metallic embroidery on silk foundation Technique: embroidered with split, stem, and couching stitches on satin weave

Rank badge for a civil official of the fifth rank. Embroidered silk and metallic yarns showing a silver pheasant facing a sun disk, on a ground of clouds and surrounded by auspicious symbols. Diagonal lines at bottom and meandering key border.
Elevation du dehors de la Sepulture des Rois de Valois à St. Denis
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural exterior elevation of a domed rotunda mausoleum for the Valois kings. Three levels tiered featuring arches, columns, niches, a frieze, cupola, and balusters. A scale below. The plate is titled.
Button
, 19th century

Button showing shield with arms of the City of Paris; crowned; legend: Police Municipale.

On card J
APOLLON
Claude Gillot, French, 1673–1722, 1729–37
Etching on laid paper
Bound print

Plate of arabesques with the figure of Apollo at the center under a baldachin. The plate is not signed or numbered.
Print
Etching and engraving on laid paper

Elevation of a large organ. The organ pipes are spaced between and within nine columns, on top of which are statues of vases with fire and plants, angels blowing horns, and a medallion with a cross flanked by two horses. On the level of the balustrade are five columns with winged putti on top. The print has been cut at the top and bottom of the plate.
Niagara River Gorge, New York
Frederic Edwin Church, American, 1826–1900, probably 1856
Graphite and white gouache on tan wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the rapids of the Niagara River Gorge. Dominating the composition at center, the waves and roiling surf are bounded at left and right by steep, tree-covered river banks, which are also visible in the background.

Verso: Quick, loose sketch of Niagara Falls viewed from the Canadian side with the American Falls at left, Goat Island at center, and Horseshoe Falls at right with Terrapin Tower predominantly visible.
Studies of Hands and Putti with an Escutcheon
, 1580-1590
Red chalk, pen and ink, brush and gray watercolor wash. On verso: Pen and ink, brush and gray watercolor wash on laid paper.
Drawing

At top, a right hand shown from the inside. At center, two standing putti hold an escutcheon. At the bottom, a left hand, pending, shown from the back and from the thumb. On verso: at top, a relief with four men busied with the cross. A group of three men is at the right and a man and a ride are at the left. At the bottom, a bear shown in profile turned toward the left.
Sepulchral Monument Design
D. Antoine Pierretz, French, active 1647, 1647-55
Etching on laid paper
Print

A design for a sepulchral (funerary) monument in the form of a classical temple façade with fluted pilasters supporting an arched pediment topped with sculpted angles, festoons of leaves, a cartouche, and a cross finial. An urn/ vase with a flaming heart sits within a niche between the pilasters. A scale below. The plate is numbered.
Madonna and Child and St. John, Study after Francia; Madonna and Child with St. John, Study after Dossi; Madonna and Child with St. John, Bishop Saint, St. Appolonia; Madonna and Child in Niche, Study after Sculpture by Salvator Mundy
Felice Giani, Italian, 1758–1823, 1821–22
Pen and ink, brush and brown wash, over black chalk on heavy wove white paper
Drawing

Upper left drawing of Madonna with standing Child, St.John at lower left, pointing to the Child. Upper right drawing of Madonna with standing Child who reaches to St.John in lower right. Lower left drawing of Madonna with sleeping Child, St.John sitting at lower right, bishop Saint leaning in from left, and female with bared breasts at right. Lower right drawing of standing Madonna holding Child, in niche, probably after sculpture (inscription has been cut away).
Design for Two Chests of Drawers
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Designs for a three-drawer commode decorated with ornament motifs including palmettes and mascarons, and a corner table with vases engraved on the side and one on top. The plate is signed and numbered.
Sidewall
, 1870–1900
Block-printed on continuous paper

All-over dense pattern of foliage and stylized flowers. Printed in blue on lighter blue-green ground. This was the beginning of the roll, as along top edge, there is a space with no block printing, just the ground color.
Sidewall
, 1810–20
Block-printed and flocked on handmade paper

Vertical rectangle. Major field with diaper of short horizontal lines. Vertical edging at right and left of small repeating flowers in lavender with green leaves in flock. At far left, a vertical band of dark red flock down center of which run two adjoining cable moldings.
Illustration for Alexander Pope's "Rape of the Lock". vol.1, p. 141
Alexander Pope, 1825 - 1830
Copper
engraving plate

Vertical rectangle. A seated lady reads a letter, and fondles a dog, while she is being watched by a serving woman and a winged sprite. The couplet in reference is "I was then, Belinda, if report say true, Thy eyes first open'd on a billet-doux."
Sidewall
, 1840–60
Block-printed

Scrollwork enframing landscape with stag and mountains, printed in grisaille on gray ground.
Hemp Leaf and Well-cover Motifs
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Hemp leaf (asanoha) is a popular motif for babies because it is believed to bestow a healthy and long life. Triangles ward off evil and signify strength and beauty. This design is used in holy rituals and other various ways. Alternating blocks contain a well-covering motif. Silk threads have been added to support the stencil structure. Alternating blocks contain a well-covering motif. Silk threads have been added to support the stencil structure.
Sidewall
Potter Wall Paper Mills, 1905–1915
Machine-printed paper, liquid mica

Pattern of bouquets of roses on stems, interlaced with foliate scrolls containing lattice work. Printed in red, yellow, green, white mica, and metallic gold on tan ground.
Frieze
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper

A repeating design of large styized trees with three flower heads, interspersed by smaller complementary trees with a single flower head. Upon a ground with an overlay of an intricate design and stylized fleur-de-lis between complementary borders.
Textile
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1785
cotton Technique: copperplate printed

Rural scenes illustrating the four seasons.
Sidewall
, 1830–50
Block-printed, machine-made paper, distemper colors

Fragment of scrollwork stripe, white satin ground
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, ca. 1757–1769
soft paste porcelain, vitreous enamel
plate

Scalloped circular form with brown and aqua foliate scroll.  Foliage includes a peach, a carrot, cucumbers, tomatoes and berries.
Fragment
, 16th–17th century
linen Technique: needlework on gauze weave

Fragment of a fringed border with white embroidery on reddish-brown gauze.
Towel end
, 18th–19th century
cotton, silk, silver gilt foil on silk core Technique: embroidered on plain weave

Towel end made up of three pieces of loosely woven fine cloth with a deep band of embroidery of stylized allover floral design in silver-gilt thread and silk embroidery in shades of green, pink, blue, and red using outline and related filling stitches. Double guard strip in metallic satin stitch across lower part. Edging of gold bobbin lace. Narrow undyed silk cloth selvages.
Sidewall ?
, 1800–1850
Block-printed

Four very small fragments. There is very little pigment remaining on any of these pieces. -b) has the appearance of a gray imitation stone design
Wall pocket
, 17th century
silk, metal Technique: embroidered

Wall pocket with three pockets, in red silk velvet embroidered in gold and silver threads in heavy symmetrical floral designs. Pockets outlined with narrow silver lace, and whole edged with same.
Border
, 1780–90
Block-printed on handmade paper

Narrow border with fruit and floral center band with gold anthemia bands running along either edge.
Lexington Minuteman
, 1775–99
Block-printed on handmade paper
Sidewall

Beside an Indian maiden, representing America, a patriot tramples British laws underfoot and extends the declarations of July 4, 1776, to Britannia, who weeps over a pedestal containing an urn, or a tomb.  The whole is contained within a curtained arch. Printed in black, white and gray on a light colorless ground.
Pleated fan
, 1720–30
Linen bobbin lace leaf, pierced, carved and incised ivory sticks

Pleated fan of Brussels-style bobbin lace with scene of figures in a landscape. Pierced, carved and incised ivory sticks and guards.
Neo-Egyptian Motifs
Watrous Manufacturing Company, ca. 1900
Silver
Matchsafe

Rectangular, rounded corners, with relief decoration on lid of winged scarabs, stylized lotus blossoms, and other Egyptian motifs on body; plain reserve of irregular hexagonal shape, monogram incised in reverse reserve. Lid hinged on side. Striker on bottom.
Pleated fan
, mid- 19th century
Painted silk leaf, carved and pierced mother-of-pearl sticks with applied gold foil, chenille tassel, pin set with a faceted stone

Pleated fan, Painted white satin leaf. Obverse: scattered flowers, grasses and cherry blossoms. Carved and pierced mother-of-pearl sticks applied with gold foil. White chenille tassel. Pin is set with a faceted stone.
Border
, late 18th century
cotton Technique: madder colors block printed, yellow and blue applied by brush, plain weave foundation

Horizontal border of plants growing in a dimensional landscape. Spaces between plants filled with a fine twiggy branch on a black background.
Fork
, ca. 1690
steel, brass, mother-of-pearl

Two long tines, chiseled at the joint. Baluster-shaped neck, small flaring handle with rounded top. Brass mounts and band along the sides engraved with decorative pattern. Three brass rivets on each side of the handle. Front and back of handle carved mother-of-pearl.
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

Interior of a colonnaded atrium with oculus, with stairs leading below. It is decorated with classical reliefs and sculpture. Angels on clouds float above architecture.
Sidewall
, 1905–1915
Machine-printed paper

Bands of vertical lines and horizontal dashes alternate with bands of vertical stylized tulips (with stems) that are made up of horizontal dashes and beading. The bands with tulips have grids made up of horizontal dashes, dots, and waving scrolls. Background of vermiculation and dots. Ground is light blue. Printed in white, blue, gold mica, tan, and grey.
Frieze
, 1905–1915
Machine-printed paper

On gradient green and cream ground, pink roses and white vines with green leaves. Two borders printed across the width.
Imitation leather
, ca. 1885
Fiber composition impregnated with tung oil, embossed and painted

Repeating design made up of adjoining small triangles, some filled in with solid color, the others ornamented with small geometrical figures and flower designs. Dark brown and gray on yellowish ground.
Textile
, 1850–1900
cotton Technique: e-gasuri (warp and weft ikat) on plain weave

Narrow vertical panel with a design of a palace or temple in weft ikat alternating with a star-shaped form in warp and weft ikat.
Textile
, 18th century
linen, wool Technique: crewel embroidery on plain weave

Band of crewel embroidery with fantastical foliage and flowers in blue, green and red wools on an ivory ground.
Carpet fragment
, 1680–90
linen, wool Technique: supplementary warp-cut pile in a plain weave foundation (velvet)

Fragment of a formal pattern with brackets and floral forms in dark orange, brownish-black and ivory on a pale green background. The entire surface is cut pile of wool with some linen.
Mov.Thon ou pastre Chinois
Antoine Watteau, French, 1684–1721, 1731
Etching on paper
Print

A seated man in a landscape playing a flute or wind instrument, wearing a hat. Trees and clouds in the background. The plate is signed, titled, and numbered.
Pleated fan and box
Alouïse van de Voord, ca. 1880
Silk leaf, painted with gouache and backed with silk satin, tortoise shell sticks, silk tassel

Pleated fan with black silk leaf. Obverse: scene of a fairy and three cupids surrounded by gauze-like drapery. Reverse: plain. Sticks and guards are plain tortoise shell. Plain metal pin with black silk and fancy tassel.
Sketches for a Passion
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Sketches of a religious scene around central figure with arms outstretched, with angels above and apostles below.
Fragment
, 17th century
silk, metallic Technique: woven

Diagonal bands of floral motifs.
Bag with pen and ink drawing
, 1810
cotton Technique: plain weave with pen and ink drawing

Off-white bag with a very fine pen and ink drawing. On one side a putti writing on a slate: "souvenir." On the other, a scroll inscribed "Eloise to Lucy, Aug 22, 1810." These are bordered by minutely drawn garlands. Bag is wedge-shaped and hemmed at the top for passage of a drawstring.
Bag
, 1100–1420
cotton, wool Technique: knotted net

Small bag of open knotted net in cotton, filled with skeins of colored wools for weaving.
Musical Trophies
, 1800–1825
Graphite, pen and ink on paper
Drawing

Vertical rectangle showing designs for musical trophies: various instruments bound with ribbons and encircled by laurel wreaths.
Sample
Manchester Print Works, American, 1855–1860
cotton Technique: printed

Square sample of heavy cotton printed with a design of a bird and foliage in shades of red, green, blue and gray.
Fragment
, 1750–1800
silk Technique: compound weave with discontinuous supplementary weft (brocaded)

Fragment has a design of serpentine slender rose stem on self-patterned white ground.
A Bay with Ships
Lodewijk Gilles Haccou, Dutch, 1792 - 1830, 1810–1825
Brush and watercolor on paper
Drawing

Horizontal rectangle. The coast line is in the left middle plane and in the left foreground. A boat and a sailing ship are in the foreground, other ships are in the background. Five men are in the boat, another stands in front of it. Framing line, except above.
Textile
, 18th century
cotton Technique: printed by engraved copper plate on plain weave

Vignettes representing different hunting scenes, plant forms and trees. Printed in red on off white.
Fragments
, 18th century
medium: silk, metallic Technique: woven

Symmetrical floral pattern in silver and white.
Design For a Clock, pl. XIII 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 ???
Suite of Cavalry Officers: General of the Army
Georg Philip Rugendas, German, 1666–1742, ca. 1730
Mezzotint engraving in dark brown ink on paper
Print

A mounted general in full armor and peruque charges toward the left, a baton in his right hand, arm out-stretched. Cavalry and footsoldiers in the background.
L’Hiver
François Marie Isidore Queverdo, 1748 - 1797, 1788
Etching and engraving on paper
Print

Design for a narrow vertical panel representing winter, featuring arabesque motifs, embracing nude figures under a canopy, a man, cat, and putti warming their hands by a fire, a crocodile, mascarons (masks), festoons of fruit, torches, festoons of fruit, branches, scrolling leaves, rosettes, snakes, and ostrich feathers. The plate is signed, numbered, titled, and dated.
L'Odorat (Smell) from the series Les Cinq Senses (The Five Senses)
François Boucher, French, 1703–1770, 1720–1770
Etching and engraving on paper
Print

Allegorical scene depicting the sense of smell. An ornately robed woman stands at center, above a pot with steam or smoke billowing out. Two smaller figures surround her. One bends down to present a pot with flowers, and the other holds a parasol of leaves above the central figure's head. Architectural and floral elements surround.
Fragment
, 17th century
linen Technique: bobbin lace (continuous tape with connections)

Fragment with a symmetrical, fine, wavy, and ribbon-like design.
Design for pendant
, 1725–50
Pen, brush, sepia, grey, red water colors. Paper
Drawing

Horizontal rectangle. Above is a knot formed by a ribbon, with three rows of diamonds. Below: hanging diamonds. Red diamonds in secondary places.
Textile
, 19th century
silk Technique: tied resist patterning in weft (ikat) on plain weave; discontinuous supplementary weft patterning (brocaded)

Long and narrow textile, probably a breast cloth (kemben), in red with green, purple, orange, and yellow. Borders fringed and heavily brocaded. Center design shows diamond-shaped lattice pattern with brocaded geometric florals.
The Stock Exchange
Joseph Pennell, American, active England, 1857–1926, 1904
Etching on paper
Print

Vertical rectangle. The deep canyon of Wall Street, New York, forms the center of the composition. The Stock Exchange is at the right. Great crowds in the street.
Fragment
, 18th century
linen Technique: bobbin lace, Mechlin style

Louis XV pattern.
Design for an Enframement
Homer Wayland Colby, American, 1874–1950, ca. 1910
Pen and ink on illustration board
Drawing

An enframement for a text. A symmetrical design composed of Gothic elements.
Fragment
, early 19th century
cotton Technique: block printed on plain weave

Small rectangular fragment in off-white with a trailing vine, morning glory and rose in red, blue, purple and black.
Panel
, ca. 1880
Glass

Light green. A regularly disposed pattern of intertwined blackberry fruit, leaves, and stems.
Pembroke Castle
Ernest Clifford Peixotto, American, 1869–1940, 1899
Pen and ink on illustration board
Drawing

View of a large fortified castle, somewhat ruined, seen from across the moat.
Fragment
, 1700–1720
silk, metallic yarns Technique: satin damask with discontinuous supplementary weft patterning (brocaded)

Woven silk with vertical columns of elaborately curving scrolls in gold and silver metallic brocade with pink flowers on a blue damask background.
An Altar Over a Crypt
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper
Drawing

An altar, raised over a crypt entrance, and reached by a flight of steps, at right (a similar flight has been omitted on left). The altar is in the form of an aedicula, with attached Corinthian columns and pilasters supporting a simple entablature with a triangular pediment. On pediment is dove at center of an aureole with rays; the base of the altar is flanked by two pedestals with sculpted figures, the one at left representing Faith. On the face of the altar a skull and palms.
Textile
, ca. 1770
silk on cotton Techinque: embroidered on plain weave muslin

White cotton muslin flounce embroidered in silks with chain stitch. Repeat of large group of roses alternating with tiny pansy or violet. Bottom scalloped with maroon.
Fragment
, 1750–1800
silk Technique: plain weave patterned by supplementary warp floats and discontinuous supplementary weft floats

Zig-zag floral bands on pink and white striped background.
Frame
, 1625–50
Poplar wood, carved and gilded

1937-73-4: Oval. Centered with vertical rectangular opening w...;     n-a-2176: Carved foliate C-scrolls surrounding a rectangular...
Fragments
, 14th century
silk, metallic Technique: two integrated textile structures; 2/1 twill patterned by plain weave

Couchant dog in gold on background of green.
Fragment
, 17th century
silk Technique: plain weave with discontinuous supplementary wefts (brocaded)

Cream-colored ribbed ground brocaded with polychrome detached floral sprays and birds on branches. Colors are blue, red, green, light blue, and pink.
Caritas, Design for a Stained Glass Window
Francis Augustus Lathrop, American, 1849–1909, ca. 1890
Brush and watercolor, white gouache, graphite on tracing paper
Drawing

Tall, vertical composition with top arched. Center, female figure standing, turned slightly to the right, with a child in her left arm and a basket in her right. Foliage left and right. Cross in a large rosette, above. Caritas written on base, above two panels with flowers.
Ornaments
, ca. 1890
silk and metal threads, glass beads

(a) Ornament of three scrolls formed of glass beads and outlined with cord. 
(b) Ornamental ring with pendants formed of glass beads and silk and metal cord