biglam/cooper-hewitt-alt-text huggingface dataset:
Point-paper (mise-en-carte), Design for Woven Silk
Marie-Anne Brenier, French, ca. 1720 – 1780, ca. 1760
Brush and gouache over printed (intaglio) grid, on off white laid paper
Drawing

Pattern of fantastic flowers and leaves painted in blue, blue-green, purple and white with a striped orange background, all painted on a printed grid.
Verso contains hand written information pertaining to the construction and manufacture of the textile. See Curatorial Notes field.
Tassel
, late 16th–early 17th century
linen Technique: braided and knotted

White linen braided cord terminating in a pear-shaped form from which hang six units of braided and knotted threads.
Trimmimg
, 19th century
linen Technique: bobbin lace, peasant style

Band with continuous diamonds and looped fringe edge in blue and natural linen.
Knife with Brass Handle
, early 18th century
steel, brass
knife

Sabre-shaped blade with globular bolster. Tapered cylindrical handle with round top, engraved floral decoration, on top of handle a rozette.  (Initial "A"?)
Center table
F. Barbedienne Foundry, French, 1838 – 1952, 1855–60
Bronze, enamel, gold

Table with Chinese cloisonné enamel top set into an octagonal gilt-metal from which eight bells hang; the bronze base in Chinese style, highlighted with gilding with elephant head feet.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Repeating large and small floral and dot motifs in square shapes made of dot treillace. Ground is mottled light green (originally white). Printed in white mica and gold mica.
Printed in selvedge: "Match here." (with arrow)
Facade of Frederick Crace's Office
Frederick Crace, English, 1779–1859, 1815–22
Graphite on white wove paper
Drawing

Vertical rectangle. Facade of a four story building with one window on each floor, entrance door at right, iron fence at left.
Belt
, probably 19th century
wool Technique: double cloth

Man's pocket-belt with geometrical motifs in tan on red background.
Sketchbook Page: Seated Figure
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Sketch of a seated man with a beard, facing frontally. His right arm seemingly rests on the back of a chair, in which he sits sideways. His left hand rests on his thigh.
Elephant and Castle, Newington
Robert William Smart, British, active 19th c., 1826
Etching and engraving, brush and watercolor on stiff paper
Print

Busy London street corner, seen from opposite the Elephant and Castle Tavern. In the foreground, right, people eating oysters from a wooden tub on the sidewalk. One man holds a sauce bottle. Artists' and publisher's names, title, and date below.
Fork
, ca. 1730–40
glass, steel, gold, brass
fork

Four curved tines, curved shoulders. Spiral-shaped neck, baluster-shaped near the handle. Plain brass ferrule, round in section, of white milk glass with gold Chinoiserie design. A man giving a jug to another man riding a hobby-horse. In the background a landscape with flowers and birds up in the sky.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Below, sketch of a semi-nude sculpture with wings and drapery below waist, kneeling on a pedestal. Above, sketch of figure without wings or pedestal.
The Sudarium (Saints Veronica, Peter, and Paul), from The Little Passion Series
Albrecht Dürer, German, 1471–1528, 1510
Woodcut on paper
Print

Interior with three saints. Saint Veronica displays the Sudarium in the center. Saint Peter, with his keys, stands at left; Saint Paul, leaning on his sword, stands to right. Monogram of Dürer near lower center; date 1510 above, center.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Various sketches of figures and stairs.
Fragment
, 18th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Fragment of tiny sprigs of red cut velvet against a background of uncut loops in the same color.
Sampler
Mary Rook, early 19th century
linen, silk, paper Technique: embroidery (for pattern only)

Circular medallion in the center with pastoral scene (ivory sheep guarded by black dog on a green lawn; man in red and woman in white in front of a tree; and gate with a white house).  Surrounded by floral vines.  Baskets of flowers in each corner.
Grey Cap'd Gull, Plate 29 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

Gray and white gull; red beak, eyes, and legs, on the show of a bay. Title and artists' names below.
Textile
, 19th century
printed

One of seven pages from a printed fabric sample book.
Border
, late 17th century
linen Technique: bobbin lace, Brussels style

Border with floral and foliated sprays in allover pattern.
Spring Farm Work – Grafting
Winslow Homer, American, 1836–1910, April 30, 1870
Wood engraving in black ink on paper
Print

View of a man on a ladder pruning a tree. Lower half of the page.
Frieze
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper

Row of staggered yellow poppies stemming from scroll-like architectural structures filled with thin leafy vines. Bottom has stripes of yellow and green. Grounding is shaded from light pink (top and bottom) to light yellow (middle). The monochrome blue background design alternates between floral bands and groups of thin lines. Top has stripes of green and foliate bands (same as in architectural structure).
Possible inscription in selvedge: ribbon with illegible letters (Standard Papers?)
Border
, 1825–35
Block-printed on handmade paper

Architectural molding with dentils over urns and lion masks printed on white marbleized ground.
Personification of "Metalwork," Study for the Dome of the Manufacturer's Building, World's Columbian Exposition, Chicago, IL
Kenyon Cox, American, 1856–1919, 1891
Brush and watercolor, white gouache, graphite on paper
Drawing

Mural study for pendentive. Female figure in a yellow and orange dress, standing facing slightly right in front of a railing. She holds the hilt of a sword in one hand and the tip in another, bending it.
Sidewall
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper, liquid mica

Individual, stylized tulips (with stem) made of grid and dot (beading) patterns. Background has red and pink grid, dot, and smudge pattern with bands of floral motifs. Ground is dark red. Printed in pinks, reds, gold mica and green mica. Slight water damage. 
Printed in selvedge: "Hobbs. Benton & Heath 194"
"Remember the Maine"
William Schimper & Co., ca. 1898
Brass
Matchsafe

Oblong, rounded corners, with horizontal image of the battleship Maine, above which is inscribed "Remember" and below "The Maine." On reverse is image of the American flag. Lid hinged on left. Striker on bottom.
Border
, 1800–1850
Block-printed on paper

Two borders, possibly a top and bottom border. The wider border contains a blue fabric draped over a rod, separated by urns on pedestals.  The narrower border only contains the draped fabric.

H# 424
Border
, 1850–80
Roller printed on machine-made paper

Fragment of machine printed.  Very narrow floral border on maroon ground.
ewer
Grieksche A [de] (the Greek A Factory), Delft, Netherlands, founded 1658, 1686–1701
Tin-glazed earthenware

Eight-sided, flattened, inverted pear-shaped body on raised foot, looped handle, slender neck, everted spout with leaf-shaped flanges at sides; painted in underglaze blue on white with dark outlines (trek) on body with dragons bordered by lambrequins, leaf border base, flowers neck, spots handle.
Textile
, ca. 1840
cotton Technique: printed by engraved roller: mordant for purple

Straight repeat of three offset scenes framed by an ivy vine filling the full width of fabric. Each scene illustrates children in a field. Fabric does not seem to be wide enough for the pattern.
Sidewall
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper, liquid mica

Repeating design of medallions in diagonal stripe format, with framework of acanthus scrolls, center wreath containing floral motif like fleur de lis, floral swag at bottom of medallion. Printed in copper, green, tan and brown on tan background patterned with diagonal rows of petite medallions.
Design for a Creamer
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Design for a creamer with a straight spout and rhomboid finial; body is decorated with stylized wheat stalk pattern.
Skeins of yarn
Deerfield Society of Blue and White Needlework, Deerfield, Massachusetts, USA, 1896–1926, ca. 1910
linen, cotton

Eight skeins of yarn in various shades of pink. Yarn purchased from a Scottish supplier and dyed by members of the Society.
Trimming
, 17th century
metallic, silk Technique: bobbin lace, metallic

Scalloped edging lace has fan-shaped scallops alternating with checkered triangles. In gold thread wound on silk with flat silver thread in the scallops.
Embroidered picture
, early 19th century
hair embroidery on silk foundation Technique: embroidered in satin, running and stem stitches on plain weave foundation

A three-quarter frontal portrait of a man in a large hat with a cloak draped around his shoulders, "Sr. Pr. Pl. Rubens", embroidered all in black.
Study of a Woman
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a young woman seen from behind. Her head is turned to the left and her face is seen in profile. She wears a cap in her hair tied with a ribbon. The back of her dress has stripes or pleats within the fabric. The plate is signed and numbered.
The Aeneas Group from the Conflagration in the Borgo
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and sepia wash over traces of graphite on off white laid paper
Drawing

Aeneas carries his father Anchises, on his back, and leads his son Ascanius, by the hand.
Le Parc du Chateau
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1783
cotton Technique: plate printed on plain weave foundation
Valance

Several pieces of fabric sewn together for a valance; two selvedge to selvedge widths and two partial widths on the front; four smaller pieces on the back. Bottom edge of valance is shaped with three different sizes of scallops. Design of well-dressed people and peasants in outdoor setting all looking outward and upward. In red on white ground.
Fille du Royaume d’Ava
Antoine Watteau, French, 1684–1721, 1731
Etching on paper
Print

A standing woman in a landscape holding a parasol across her shoulder. Water to the left with buildings and trees in the background. The plate is signed, titled, and numbered.
La Demande en Marriage
Petitpierre Freres, ca. 1795
cotton Technique: printed by engraved copper plate on plain weave foundation
Textile

Series of scenes involving couples in amorous pleasures in pastoral settings. One scene shows a man kneeling before a woman while two seated older men (presumably the two fathers) watch. This is the scenes which gives the fabric its title. Another scene shows a gentleman looking off into the distance with a telescope while his page dallies with a seated woman. In red on white.
Piano Bench and Taboret, Henry J. Allen Residence, Wichita, KA
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on cream tracing paper
Drawing

Furniture pieces shown in perspective at right and left. At left, is piano bench draped with cloth next to vase and books.  At right, taboret, also adorned with cloth runner and potted bonsai tree.
Textile
, 1750–1800
silk, metal thread Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Blue taffeta with deeply curving serpentines in warp of the ground fabric. Between serpentines, in horizontal rows, figure of a man playing a clarinet, alternating with a bird on a slender branch. Alternate horizontal rows have sprays of flowers. Design brocaded in silver metal thread with outlines in red silk brocade.
Fragment
, late 18th century
silk, metal thread Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Pale blue-green silk grosgrain with broad ribbon-like serpentine brocaded in silver and gold frisee, ivory and tan silks. Large floral sprays in polychrome silks and metal spring. Ship, with floral sprays tied to mast, in curve of serpentine.
Thanksgiving in Camp
Winslow Homer, American, 1836–1910, November 29, 1862
Wood engraving in black ink on paper
Print

Soldier having a Thanksgiving meal in camp.  Signs for the sutler (merchant) in the background advertise herrings, cider, and pies.
Sketch of Female Figure with a Dove
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Reclining woman in drapery, holding her left arm to a bird, above.
Ceiling, from "Plafonds Modernes"
Jean Le Pautre, French, 1618–1682, ca. 1650
Etching on paper
Print

A: = Jombert 38, 2, without number and with the address: ''le Blond avec Priuilege.'' B = J. 38, 4, as A. C = J. 38, 5, as A.
Collar
, 19th century
silk, metallic yarns on silk Technique: embroidered with couching stitches on satin weave

Cream colored silk collar affixed with thirteen green silk "cloud" pendants, each with eight petals. Embroidered with polychrome silk and couched gold showing flowers and butterflies.
Sample end of cap streamer
, 19th century
linen Technique: bobbin lace, Mechlin style

Sample end of a cap streamer with a Louis XVI design. Openwork border edged with a meandering vine motif.
Textile
, 8th - 10th century
linen, wool Technique: plain weave with discontinuous wefts (tapestry) with slits, dovetails, eccentric wefts, and wrapping. On warps of weft-faced plain weave fabric.

Tapestry-woven circular medallion in ivory and red wool on the warps of a weft-faced plain weave ivory wool fabric. A small roundel with a man mounted on a horse is surrounded by four figures, one on each of the four axes, in lobed frames which break into the outer border. The spaces between the four figures are filled with small figures and red circles. The outer border is made up of small red circles alternating with small blossoms.
Vignette, Baptism
, ca. 1845
Wood engraving on paper
Print

Three persons are present besides the baby. The priest and the choir boy.
Swatches
, late 19th century
silk Technique: woven

Ninety-four samples of printed silk fabrics.
Head and shoulders of a w
, ca. 1775
Engraving, heightened with color
Print

Oval. Head and shoulders of a woman on a large hat with ostrich plumes.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed

Ground printed in grey, by molette, in minute all-over disapered pattern; clusters of white moss roses, red raspberries and foliage connected by slender meandering vine, are printed over the molette ground.
Scarf pin with dog portrait
, ca. 1865
Gold, painted mother-of-pearl, glass
Tie pin

Pair of tie-pins: naturalistically modelled and colored dog portraits under hemispherical segment of glass, backed with mother-of-pearl, and framed with slight beaded moulding surrounded by solid gold frame facetted in triangular and diamond shapes.
Cranes at Duisburg
Joseph Pennell, American, active England, 1857–1926, 1910
Etching in black ink on laid paper
Print

Port scene with large cranes. Railroad freight cars at left, and stacks beyond.
Fragment
, 16th century
linen Technique: bobbin lace (continuous, braid like)

Insertion with geometric design. Central square with sixteen raised knobs. Other motifs radiate from square in groups of four.
Pleated fan
, late 19th century
Painted paper leaf; bamboo sticks, silk cord-wrapped bamboo guard, silk tassel

Pleated fan. Paper leaf painted pink with design of floral and leaf pattern in black, white and blue. Reverse: plain. Unpainted bamboo sticks. Guards decorated with  double cord to form diamond pattern. Silk tassel.
Fragment
, 17th century
silk, metallic thread Technique: cut and uncut supplementary warp pile in a twill foundation (velvet)

Large-scale symmetrical repeat of palmette head with big curly leaf rising on either side from its base. In crimson cut and uncut velvet on white warp twill ground with silver foil weft threads run through it.
Petit Impiger Ortus
Abraham Genoels, Flemish, 1640 - 1723, ca. 1680
Engraving on white laid paper
Print

First plate in a suite bearing the title, on a banner hung from a fork. Below, within a wreath of laurel, cattails, fountain water and nets, is the picture of a formal garden with a high fountain in the center and birds above
Side chair
, ca. 1780
Mahogany

Shield-shaped back.  The vase shaped openwork vertical splat consists of five curved vertical slats-- the center one is carved with foliage at the base; the branches into three ostrich feathers.  Splats on both sides curving outwards meet those on the outside in two rosettes, from which swags of drapery hang.  The front legs are moulded and slightly tapered.  Front seat rail is serpentine and side rails are bowed slightly.  There is a drop in seat covered in silk solid cut stamped cloth velvet.
Tassel
, 18th century
silk, metal threads, wooden core, linen

Skirt of pink silk threads supporting pink tassels partly covered with gold threads. These support pink silk tassels covered at the top with pink silk fringe and pink and gold threads in chevron pattern. Head, a small vase shape above the ball, is covered with gold thread. Cord is braided yellow silk and gold threads.
Fragment
, 16th–17th century
silk Technique: supplementary warp forming raised pile (velvet); embossed.

Lattice framing four-petaled flowers on red velvet. Wide yellow selvage.
The Crystal Palace, London
Joseph Pennell, American, active England, 1857–1926, 1903
Etching in brown ink on paper
Print

The view is taken from one of the terraces of the garden, with the Palace façade seen receding into the distance from left to right.
Title Page from "Toisieme Livre Contenant Des Frises ou Paneaux en Longueur Inventés Par G. M. Oppenort Architecte du Roi et Gravés par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

The title, in the upper part of the page; below it on a pedestal two putti embracing. All framed by a delicate design of tendrils, volutes, and masks. Inscribed in center: "title; upper left: "C"; upper right: "1"; along lower margin: "A Paris chez Huquier vis-à-vis le grand Chatelet".
Figural Letter, Capital N from a Story of Louis XIV of France
, ca. 1700
Etching with engraving on paper
Print

Shown against a representation of camp liffe. A town is besieged in the distance. Moulded frame.
Cover
, 16th century
linen Technique: cutwork with needle fillings and embroidery, bobbin lace

Cover with a detached arrangement of square designs of cutwork connected with white embroidered lines forming a trellis pattern. Squares framed in white embroidered design in spear-shaped patterns. Edging of pointed bobbin lace.
Head of a Man
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown-grey paper
Drawing

Man with a mustache, looking up to the left.
Lulling and Soothing the Mind into a Quietude
Frank Vincent DuMond, American, 1865–1951, 1903
Oil on canvas on board
Drawing

A man and a woman standing at left, looking to the right. Leaves and shrubbery around and overhead. Water or an open space beyond, center.
Fragment
, 17th century
linen Technique: bobbin lace, discontinuous tape

Symmetrical ribbon-like carnation design.
Bracelet
Honore Severin Bourdoncle, French, 1823 - 1893, ca. 1860
Aluminum, gold, brass

Cuff-type bracelet of five hinged, aluminum sections embellished with brass and gold; the large central section showing two winged cherubs amidst ribbons, garlands and scrollwork, floating above an oval cartouche containing an open-work gold panel with the scrolling, intertwined initials 'MJ' or 'MJC'; the central section flanked by smaller sections of strapwork and scrolls, the section on the left showing a bird and snake, the one on the right with a lizard and snake; the two outer sections of strapwork and scrolls, with attached catch and housing; the hinges, catch and housing of gold.
Design for Round Table "A"
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Round molded table top raised on flaring molded rectangular support standing on molded base terminating in four molded and easved winged animal-paw feet.
Border
, 1820–50
Block-printed

Eight swatches of wallpaper borders. Motifs include architectural molding, rope twist, Rococo Revival.
Fragments
, 1775–85
linen warp, cotton weft Technique: block printed on plain weave

Large flowers on curving stems with chinoiserie figures. Black, two reds, lavender/grey and blue.
Fragments
, ca. 1835
silk, metallic Technique: woven

Polychrome design of broken branches with large fruits and flowers.
Square
, late 19th century
cotton Technique: plain weave

Light tan ground with narrow border stripes of blue, rose, green, purple, brown and white.
Drawing Studies with Woman's Face and Man Reclining, and Right Hand with Forearm
Giovanni Francesco Barbieri (called Guercino), Italian, 1591 – 1666, late 17th century
Charcoal and white heightening on rough grey paper
Drawing

A woman's head, with a right had to her forehead, is depicted in the top right corner.  Below, a  male figure, depicted  from the torso upward, with ample drapery, has his right hand in a similar position; verso: a right hand, depicted with part of a forearm, leans upon something but points of index and third fingers are not shown.
Imaginary Landscape with View of a Lake
Frederic Edwin Church, American, 1826–1900, 1870–75
Pen and dark brown ink on off-white laid paper
Drawing

Landscape sketch showing a view of a landscape with a lake and a tall tree. A grassy shoreline extends across the immediate foreground along the lower margin. At center right, a tall deciduous tree grows out of another grassy bank, visible in the middle distance across rippling water. Trees and bushes frame the view at left and right while other foliage extends into the background. The sky above is largely clear and open.
Design for a Book Cover: Dragons and Cherry Blossoms
Alice Cordelia Morse, American, 1863–1961, ca. 1896
Brush and gold gouache on paper
Drawing

Gold text in upper right: DRAGONS / AND / CHERRY / BLOSSOMS; and flower, on peach colored ground.
Galerie métallique des grands hommes français (Great Men of France)
Raymond Gayrard, French, 1777 - 1858, 1817
Cast bronze
Medal

Bust of Pierre Abelard (1079-1142).
Steeple of a sepulchral chapel
Giuseppe Barberi, Italian, 1746–1809, 1796
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Rising from the uppermost part of the roof. Below is a story like an open square pavilion with lamps at the corners of the dado and figures at the upper corners. The second story is a similar pavilion of smaller diameter and without lamps and figures. On top is a sepulchral obelisk, with putti above the sarcophagi. Colored background.
Molding and Window Designs and Sections
Jean Mariette, French, 1660–1742, late 17th–mid- 18th century
Etching and engraving on laid paper
Print

Molding designs with section and plan views of doors, window shutters, and hinges.  The details are lettered with a legend in the center left and right, with a scale below. The plate is titled, numbered, and signed with the publisher's address.
Design for an Arabesque Motif
Etienne de Lavallée-Poussin, French, 1735–1802, 1770
Pen and brown ink with ink wash, graphite on paper
Drawing

The motif consists of three Fates shown either seated or standing on shelves supported from a central core, and attended by putti.
Military Trophy after Polidoro da Caravaggio
Polidoro da Caravaggio, Italian, 1499 - 1543, 1775–1800
Pencil, pen, brush and sepia, brown ink on paper
Drawing

Horizontal rectangle showing a design for a military trophy. At center, a helmet in the antique style with a feathered lion crest. Below are two large shields and clusters of spears. At right, a quiver of arrows.
Sailing Boats
Winslow Homer, American, 1836–1910, 1895–96
Charcoal on paper
Drawing

Horizontal view of two small fishermens' sailing boats, in the nearer boat fishermen are drawing in a line.