biglam/cooper-hewitt-alt-text huggingface dataset:
Bodice fragment
, ca. 1775
silk, linen Technique: embroidered with chain stitch on satin weave

Bodice back with a repair at the upper right shoulder. Pale green silk satin is embroidered in colored silks in design of sprays of flowers and wheat projecting sideways from the center back. Borders of conventionalized flowers with dots and rings ru down either side of center back seam. Bodice is lined with linen.
Drapery Study of Sleeve
Daniel Huntington, American, 1816–1906, December 1, 1845
Graphite, black crayon on cream wove paper
Drawing

Study of left sleeve and part of a cowl. Verso: Light sketch of a boy's head.
Study for "The Atlantic Cable Projectors"
Daniel Huntington, American, 1816–1906, 1894
Graphite, white chalk on blue wove paper
Drawing

Center, a booted foot. Right, a right hand holding drapery. Verso: A booted foot.
Pendant
, 19th century
Silver, paste diamonds

Figure of dove inside a silver heart, surrounded by paste diamonds.
Decorative Studies; Verso: Anatomical Studies
Felice Giani, Italian, 1758–1823, 1814–18
Pen and ink, brush and watercolor washes over graphite on laid paper
Drawing

Six studies of grotesque decoritve motifs for partitions and ceilings. Verso: two anatomical studies of knee and thigh in profile.
Landscape Sketch, Jamaica
Frederic Edwin Church, American, 1826–1900, May 1865
Graphite on gray wove paper
Drawing

Landscape sketch showing a view of clouds over a plain bounded by mountains in Jamaica. In the foreground, a loosely sketched hill gives way to a flat plain in the middle distance, which is partially enshrouded by the rolling clouds above. The plain extends to the background, where it meets a mountain range at left. In the upper left corner, a floating sketch of a hat or woven basket is visible.
Stage Design: Walled Courtyard with View of a Garden
Andrea Pozzo, Italian, 1642–1709, 1699–1700
Pen and brown, red ink, watercolor on paper
Drawing

Horizontal rectangle showing a paved courtyard decorated with Tuscan columns, roundels and  and sculpture niches, with a view onto a garden through central arch
Designs for Gun Parts and Ornament
Thobie Tourneur, Le Thuraine, French, active ca. 1630 – ca. 1690, 1660
Engraving on laid paper
Print

Designs for gun parts (flint lock and ornament) decorated with grotesque ornaments, mascarons (masks), putti, fruit, scrolling leaves (rinceaux), rosettes, and fleurons. The plate is numbered and signed.
Fender
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Fender.
Vase of Flowers
Charles Bance, French, active 1793 - 1823, ca. 1810
Stipple engraving on paper
Print

Urn containing daisies and other flowers.
Sampler
, 17th century
linen Technique: cut and drawnwork on plain weave

Thirteen cross borders in cut and drawnwork; central portion is not embroidered.
Study for "The Reverend Thomas Stockton," San Francisco Museum of Fine Arts, San Francisco, CA
Thomas Sully, 1783 – 1872, 1843
Brush and oil paint on paperboard
Drawing

Three-quarter length portrait of a male figure, seated, turned to the left. The subject is seated in front of a reading table, his right hand resting on an open book.
Sash
, early 19th century
silk Technique: printed on satin weave

Sash ornamented in three places with medallions and other neo-classical flourishes. In center, three medallions show cherubs, children at play, and angels holding a foliate picture frame containing a portrait of a gentleman in profile. At the sides are medallions showing a child musician with scrolls, medallions and trophées. Finished at ends with fringe, and hooks and ties to fasten.
Elévation d'une porte avec son profil
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation and profile of a doorway. The doorframe is decorated with ornament motifs including a hemicycle overdoor and acanthus leaves. The plate is signed.
Handkerchief
, 19th century
cotton Technique: Twill weave; Z/Z twist

Handkerchief in a coarsely woven; Yarn-dyed woven pattern of pink, white, blue, yellow, and green checks. Fringed on all four sides.
Fragment
, 17th century
silk, metallic thread Technique: cut and uncut, voided supplementary warp pile in a plain weave foundation (ciselé velvet)

Stylized floral and leaf forms in dark green cut and uncut pile on yellow ground shot through with metal strips.
Decorative Panel Design
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Design for a decorative panel featuring arabesque and floral motifs including festoons of flowers, acanthus leaves (rinceaux), draped textiles, fruit, fleurons, and a medallion in the upper center with a male figure wearing a clock, with two animals in a landscape, and a building or house in the background. The plate is numbered.
Fortitude and Winged Genius
Felice Giani, Italian, 1758–1823, 1810–20
Pen and brown ink, brush and brown wash, over traces of black chalk on white wove paper
Sketchbook folio

On verso: three studies after monumental funeral, after antique.
Artist's Brook, Hoit Sketching, Mosquitoes Biting Furiously
Daniel Huntington, American, 1816–1906, 1852–62
Graphite on grey-green paper
Drawing

Grassy bank at right with artist sketching under a tree. Stream with wooden bridge, center, and tree at left.
Mount
, ca. 1740
Gilt bronze

Cherub with wreath
Design for Elevation of an Altar Retable
Gilles-Marie Oppenord, French, 1672–1742, ca. 1700
Pen and ink, black chalk on paper
Drawing

Recto: The left half is shown. Two paintings in a vertical row are suggested for the central part, which is topped by the royal French crown. the lateral part is obliquely disposed. A twisted column stands free at the inside beside two statutes of St. John the Evangelist and St. Luke, both seated. A flying angel lifts the curtain over them which hangs downward from a lambrequin showin fleur-de-lys. Volutes form the top, two angels with palm boughs being suggested affixed to them. Verso: sketches of a similar altar in black chalk.
Galerie métallique des grands hommes français (Great Men of France)
François Augustine Cannois, French, 1787 - 1859, 1819
Cast bronze
Medal

Bust of Pierre Bayle (1647-1706).
Design for Majolica Pitcher
, 18th century
Black chalk, pen and black-brown ink, brush and sepia, blue wash on paper
Drawing

At left, handle in shape of bird's head, foliated. Scrolls and a mask form the foot. Satyrs, maenads, and children make up the body. Young Bacchus, leaning on shoulder, raises a shell with his left hand.
Cartouche Designs
Alexis-Nicolas Pérignon, French, 1726 – 1782, 1759
Etching on laid paper
Print

Two designs for rococo cartouches. The one above features, c-scroll, s-scroll, shell, gadrooning, diaper pattern, masks, festoons of leaves, and acanthus leaf motifs, flanked by a lion on either side and topped with a vase of foliage. The one below is framed by palm leaves and features, shell, mask, and festoon motifs. Both set onto plinths. The plate is signed and dated.
La Perspective de L'Eglise nostre Dame
François Lefebvre, French, active 1631–1676, 1650-1665
Engraving on laid paper
Print

Plate divided in two. The top half features a portrait medallion at center surrounded by a wreath of foliage. The bottom portion of the plate features a view of the church of Notre Dame with surrounding buildings and figures.
VEÜE GENERALE DE CHANTILLY du côté des Jardins
Adam Perelle, French, 1638 – 1695, 1680–1703
Etching on laid paper
Print

Bird's eye view of the chateau of Chantilly with its gardens, fountains, basins, sailboats, and surrounding landscape. Figures within the grounds and animals in the foreground. The plate is titled.
Bras de Cheminée a trois Branche
Clément Pierre Marillier, French, 1740 – 1808, 1763
Etching and engraving on paper
Print

Design for a wall light (wall sconce) with three lights (candles) featuring two putti, one with a fish tail, a trident, and reeds. The plate is titled.
Designs for Firearms Ornament and Fittings
Claude Simonin, French, ca. 1635 – 1721, 1705
Engraving on laid paper
Print

Plate nine from a pattern book with designs for firearm fittings and ornament featuring grotesque motifs, soldiers in battle, sphynx, putto and a ram, fantastical creatures, commedia dell'arte character, probably after Jacques Callot's Balli di Sfessania (Nancy, ca. 1622), foliate scrolls, scrolling leaves (rinceaux), fleurons, and rosettes. The plate is numbered and signed.
Design no. 12 for an Embroidered Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1780–1790
Graphite, brush and gouache on two pieces of paper pasted together horizontally
Drawing

Fantastical curved plants, facing each other symmetrically. Two shells, with water pouring from them, are included in the left design, one shell in the right one. Appliqués of spherical triangles and of segments in rose silk with emrboidered motifs, are alternately suggested in the intervals. Horizontal strips on top and at the bottom; coral rinceaux in the main one at the bottom. Written at left: "No 12 S. R.". Paper margin at right: "cation chamois / ainsi que Le capilaire que se renferme ainsi que / La partie du haut on et Les sujets principaux en seront plus Saillants".
Suitte des groupes d'Enfants
François de Cuvilliés the younger, German, 1731 - 1777, 1770
Etching and engraving on off-white laid paper
Print

Right plate of sheet printed with two plates. Depicts two putto, one with bat wings, and the other with his hands over an altar flame. The plate is signed and numbered.
Sidewall
, 1770–80
Block printed on handmade paper

Roll of paper printed in a repeating design of flowers and foliage in the style of Pillement. Roll formed of joined sheets.
Design for a sedan chair
, ca. 1780
Pen and ink, brush and watercolor (yellow, brown, red, gray), black chalk on paper.
Drawing

A variation of 1900-1-12 with a straight upper rim and with moldings framing the panels.  The three of them are decorated with garlands laying over two lion masks each.
Gregory, Illustration for Harper's New Monthly Magazine (LXVIII, No. CCCCIII, December 1883, p. 17)
Frederick Stuart Church, American, 1842–1924, December 1883
Etching in black ink on paper
Ephemera

Left, figure dressed in robe, possibly a saint, bending down to face figure to the right; right, profile of figure in rags sitting with shepherd staff looking over and extending arms to man in robe. Light shines behind the figure to the right, vegetation in the background.
Design for an Earring
, mid- 19th century
Pen and black ink, brush and gray watercolor on paper
Drawing

Jewelry design for an earring. Above an ovoid with diamonds around the middle. In the center a knot of lambrequins (decorative drapery) and ribbons with a disk in the middle. Hanging, three pavilions without base. Bevelled corners.
Frieze
, 1890–1900
Machine-printed

Floral border motif, large scale flower with large petals in pastel chrome yellow and sage green, very delicate shades on ivory field. Flowers and leaves outlined in gilt. A basket weave pattern at top and bottom with gilt bands on either side. This design to be used as a border.
J.J Balechou célèbre graveur
J. Arnavon, French, active 18th century, ca. 1785-89
Engraving on laid paper
Print

Portrait in bust-length of the French engraver J.J. Balechou, within an oval frame, decorated with a ribbon above and a blank plaque below. Balechou wears a partially unbuttoned white shirt under a dark jacket, with powdered wig on his head. Proof before lettering.
Landscape View
, 1750–1825
Pen and ink, brush and wash on paper
Drawing

Landscape. Building partially concealed by trees. Statue of sphinx.
Repeating Pattern Designs for Borders
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching on laid paper
Print

Six horizontal designs for ornamental borders. The designs include repeating patterns of leaves, fleurons, stars, butterflies, roundels, strapwork floral diaper, beads, s-scrolls, palmettes, and lamb's tongue. The plate is numbered and signed.
Motif for Decorative Design
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite and black crayon on paper
Drawing

A woman with outstretched arms and two crouching persons are surrounded by a circular shape. Above the woman is written XI and XII, likely marking the hours on a clock face.
Two Doorcases
Carlo Marchionni, Italian, 1702–1786, 1750–75
Graphite, pen and black ink, brush and gray watercolor on laid paper
Drawing

In the upper right corner is the left part of an entablature with a parapet from which a ram horn springs, with a blossom hanging like a tassel from its point. At left is the upper left part of a door frame. Above the entablature is a parapet behind which a woman and man stand. Below, at right is the upper left part of a door frame with the entablature above it. The door has an over door with a triangular pediment, with a head and festoons in front. In the upper left corner are accounts.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including pedestals, cartouches, balustrades, niches, and geometric designs. The left side of the upper plate functions as the title page. Both plates are numbered, neither are signed.
Three Studies of a Head with Diadem and Braided Hair, after Raphael
Felice Giani, Italian, 1758–1823, 1810–20
Pen and brown ink, brush and brown wash over traces of black chalk on white laid paper
Sketchbook folio

Three female heads with two upper ones in three quarter view and looking right; lower head in full profile to right. All feature braided hair wound around their heads, and arranged in a kind of diadem.
Le Bon Exemple
Johann Kaspar Heilmann, German, 1718 - 1760, 1876
Mezzotint on paper
Print

After a painting. Three quarter length portrait of a seated girl in three-quarter profile facing left. The girl is sewing on a piece of material. At left a small table; drapery behind it. Room-panelling seen in background.
Sidewall
Imperial Wallcoverings Inc., American, founded 1901, 1870–80
Machine printed on paper

Designed to give the effect of tapestry in a conventionalized pattern of a stiff, upright chrysanthemum of green petals outlined in red and flecked with gold dots flanked by sprays of leaves in same coloring. An artichoke in olive green is at the back. It is a symmetrical design. Stamped over all is a fine wire mesh design. Printed on selvedge: "752-Imperial Wall-Paper Co., Sandy Hill, N.J."
Border
, 1795–1805
Block printed on handmade paper

Horizontal rectangle. Border paper, with design of palmette and leaf scrolls alternately set between S-scrolls with wide shafts.
Design for a Woven Fabric
, 1830–1850
Traced lines, brush and gouache on paper
Drawing

Striped design. At left is a vertical row of small flowers of which two repeats are shown, alternating with bunches of roses of which one repeat is shown. At right is a light blue black edged strip, flanked by two narrow ones, upon which bunches of flowers are staggered in alternate horizontal rows. The bunches upon the lateral strips are to be connected at the outsides by leaf bough festoons, beside which small rose boughs are shown.
Elevation of an Entablature
Luigi Righetti, Italian, 1780 - 1819, ca. 1800
Pen and ink, brush and watercolor on paper
Drawing

Composed of several mouldings, two of which show garlands. Two leaf rows; one is to be flanked, the other decorated with intertwined ribbons, with rosettes.
Designs for Folding Doors or Panels
Henri Sallembier, French, ca. 1753 - 1820, ca. 1780
Etching on off-white laid paper
Print

Designs for panels with grotesque ornamentation, trophies, cornucopia, vases, and, at right, an exoticized figure in "American" costume. The plate is signed and numbered.
Two Chair Designs
Jean-Charles Delafosse, French, 1734 – 1789, 1849–66
Etching on paper
Print

Two designs for upholstered chairs with carved frames. The chair to the left is either a bidet or a bath. The chair to the right is an armchair with an oval back. The chairs feature festoons of flowers and laurel leaves, rosettes, scrolling leaves, doves, ribbons, and laurel leaf molding. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Armchair
, ca. 1805
wood (beech), painted and gilded

Curved and sloping armrests; top and lower seat rails include an oval caned medallion with a central oval panel painted en grisaille with a woman and child.  Curved arms are received by stumps extended vertically to straight, tapered, turned front legs.  Seat caned, burgundy colored caning.  Gilded and toned decoration of conventionalized flowers and leaves, and bandings, on black ground.
Village and Mountains in Mexico
Frederic Edwin Church, American, 1826–1900, January–February 1890
Graphite on off-white wove paper
Drawing

Landscape sketch showing a view of a village in the mountainous landscape of Mexico. In the foreground, two figures with hats are shown walking together at lower right. In the middle distance at center, a group of buildings indicates a small village. In the middle of the village, the facade of a large structure--likely a church--is visible. A rugged mountain range with multiple sharp peaks looms over the scene as it extends across the horizon in the background.
Musée Cluny
F. Berkeley Smith, American, 1868–1931, ca. 1900
Graphite and black pastel on paper
Drawing

Drawing of the exterior of the Musée de Cluny, Paris, with courtyard and tower, at left, and trees, at right.
Sketchbook Page: Portrait
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Contours of neck and head lightly sketched, with more shading on face.
Band
, 16th–17th century
linen Technique: grid of withdrawn element with needle lace, reticella style

Panel with a row of geometric shapes.
Border
, 1875–1906
Block-printed

Wallpaper roll.
Printed three across, large daisy-like flowers, with foliage, with small pink flowers, on orange ground.
Five of Spades
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Five of Spades playing card from a pack of transformation playing cards. Male juggler figure depicted in outline, shown in profile facing left. He wears a jester's hat and balances a group of objects, all of which incorporate the spade symbol. In his left hand, he balances a ceramic vase on a long pole. From his head, another vase is balanced on a shorter pole, the spades forming the bodies of each vase. From his feet, he balances two swords, the spades forming his boots and the hilts of the weapons. At center, another sword is balanced with its tip pointed down, the spade again composing the hilt.
Textile Design: A Grasshopper
, 1800–30
Red chalk, graphite, and pen and red ink on cream paper
Drawing

A large grasshopper seen from the left side. Design pricked for transfer.
Bedcover
, 18th century
linen, silk Technique: satin and stem stitch embroidery

Large bedcover of cream-colored linen embroidered in light yellow, yellow-green, blue, rose and white silk. The design is laid out in a central panel with a narrow border at the edge. Central panel has a design in natural scale of symmetrically arranged curving vines ending with flower heads, carnations, tulips, and lilies with occasional birds in the foliage. Borders have a vine pattern.
Fichu
, 1836–40
silk Technique: compound weave, printed by engraved roller

Fichu with piping and ruffled edge, in ivory silk printed with loosely drawn flowering vine in purples and greens.
The New Year – 1869
Winslow Homer, American, 1836–1910, January 9, 1869
Wood engraving in black ink on paper
Print

The New Year is represented by a small boy on a tricycle riding through a hoop, held by a woman. At right, Father Time takes the old year away in a wheel barrow.
Sketchbook Page: Man's Head in Profile
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of the head of a bearded man, seen in left profile.
Bedcover (colcha)
, 17th century
silk, cotton batting Technique: trapunto quilting

Coverlet with a deep red vertical central panel with a large crowned eagle in center, filling of foliage and hippocamps (horses of the sea). Warriors on foot and on horseback in arcs at each side of the lower edge. Broad guilloche border. Deep outer border of green with lobed medallion enclosing a double-headed eagle in each corner. Reversible.
Fragments
, late 18th century
silk, metallic thread Technique: cut supplementary warp pile (velvet) in a twill foundation

Three fragments of "velours miniatures" showing two rows of multicolored figures that swing from a garland, play the flute and pick flowers. Ground is off-white and shot with silver threads.
Status cloth
, late 19th century
raffia Technique: plain weave, pieced and embroidered with buttonhole and pile stitches Label: Raffia plain weave, pieced and embroidered with buttonhole and pile stitches

Four pieces of woven raffia seamed together down the long sides with buttonhole stitch to form a rectangular panel. Each piece is patterned with irregular geometric forms in tan and dark brown raffia pile with reddish-brown outlining stitch.
Tray mounted in frame
Maria Longworth Nichols, American, 1849–1932, 1909
Copper, semi-precious stones

A rectangle textured copper tray with the impression of a fish and two small crabs framed in wood with handles on opposite sides.
Decoration
, mid-18th century
Oak

carved decoration
Dado
, 1870–80
Machine-printed on continuous paper

Dado with inset panels. Wide and narrow panels with molded and scrolled edges alternating, tan on pink ground. Bead molding above, line-decorated molding below.
Frieze
, 1905–1915
Machine-printed paper

Printed two borders across the width, a scalloped blue fringe border and festooned garland of pink roses run across the the top and bottom edges of this panel, and mirror each other across a central divider of thick, greenish-yellow lines with pink nosegay and blue ribbon borders. This design is printed in shades of blue, green, pink and white on a beige ground.
Tray, from a Lemonade Set
Royal Worcester, English, established 1751, 1879
porcelain, vitreous enamel, gold
tray

Trilobed dish decorated with auspicious symbols and bamboo. Gilt pattern at inner edge.
Sidewall
, ca. 1860
Block printed on continuous paper

Ribbon-tied foliate oval medallions enclosing landscape view of thistle and watery terrain, printed in grisaille, on green ground, with gold highlights.
Stage Design: Act II, for the Chushingura
Ando Hiroshige, Japanese, 1797–1858, 1836
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Horizontal format. A stage set shows the interior of a house, with the figure of a samurai and kneeling woman. In the right middle distance, a woman kneels behind a painted screen. Garden with two figures on a porch, left background. Title, upper right. Border composed of motifs of actors' seals (tomo-e crests).
Border
, 1815–35
Block-printed on joined sheets

The primary design consists of an acanthus rinceau punctuated by daffodil-like flowers and interspersed with clusters of small conventional flowers and maple leaves. Beneath this band, a narrow foliate edging alternates rosettes with acanthus-derived motifs.
Palette-Shaped Butter Dish
Meriden Silver Plate Company, Meriden, Connecticut, 1869–1898, ca. 1880
silver plated, metal, gold
butter dish

Golden butter dish in the shape of an artist's palette with brushes with silver trim. The palette has an incised design with three butterflies on a plant sprig. The basin includes an open fan, flowers, fish, stars and stripes and a double-ringed border.
Sidewall
, ca. 1805
Block-printed, handmade paper

Incomplete repeat of acanthus rinceau in grisaille on gray ground.
Cushion
, 17th century
silk, metal, linen Technique: embroidered

Small flat rectangular cushion of red velvet embroidered in flat gold, gold thread and sequins with silks and metal tassels at the corners. Pattern of a coronet at center supported by and flanked by stylized foliage. Narrow border of S-curves.
Figures from Last Judgment
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Group of figures from left side of The Last Judgment by Michelangelo