biglam/cooper-hewitt-alt-text huggingface dataset:
A Winged Victory Riding a Chariot; A Winged Victory Crowning a River God, Reno; two roundels
Felice Giani, Italian, 1758–1823, ca. 1805
Pen and black ink, graphite on paper
Drawing

A victory riding upon a chariot toward right. A triangular pylon is shown in the right background. Bottom: a flying female genius holds a wreath over a stream god. Both designs are framed by squares with sides divided into 6 parts each in graphite. Graphite marks; captions: Reno [a river, formerly tributary of the Po]; fame della guerre
Design for a Necklace
, ca. 1770–80
Pen and sepia ink, brush and gray watercolor on paper
Drawing

Jewelry design for a necklace with a horizontal band at top and an attached curving band below. The bands made of interlaced chain consisting of a scroll of ribbons and a garland with rosettes of leaves at the joining of the two parts; additional rosettes evenly spaced throughout. Hanging from the center of the horizontal band's largest rosette is a knotted ribbon that holds a drop. Hanging from the center of the curving band's central rosette is a teardrop-shaped shell, composed of ribbons with diamonds or pearls.
Different Profiles of Crimps and Complaints
André-Jacob Roubo, French, 1739–1791, 1770
Engraving on paper
Print

Different Profiles of Crimps and Complaints
Pocket book
, 19th century
silk and metal embroidery on silk foundation Technique: embroidered in chain, stem and running stitches on satin

Case covered in white satin embroidered with flowers and fruit in colored silks, lined with pink silk, with pink ribbon and metal button fastner.
Study: A right arm holding a stick
Ercole Graziani, 1688 - 1765, 1700–1750
Black crayon on gray paper
Drawing

Horizontal composition of a right arm with a stick held in hand.
Altar Dedicated to a Virgin Martyr [St. Lucy?]
Unknown, Italian, early 19th century
Pen and black ink, brush and watercolor, over black chalk; ruled border in pen and black ink, pink wash on thick paper, joined at center
Drawing

Design for an altar.  The sepulcher has the shape of the front of a late classical sarcophagus, the center part of which consists mostly of an opening which is closed by a grating formed by half-circles. Laterally are reliefs.  At left, the condemnation of the Virgin by the praetor; at right her abduction. In the base in an inscription of which only part of the words are intelligible. They are in the second line: "VIRGINI ET MARTIRI...ANNO ETATIS SVAE IXX...Behind are three large steps, the uppermost serves as a base for the tabernacle, and two kneeling angels beside it who support burning candelabra, through standing. The tabernacle has the shape of a temple front, with Christ rising in a glory, from the door. Two candelabra with burning flames standing laterally in front of the altar. 

Scale: at bottom, in pen and black ink
LE REPOS GRACIEUX
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of two figures in elegant costume sitting in a landscape with a dog. The scene is framed by ornament including branches, scalloped shell pattern, scrolls, vines, and a cartouche. The plate is signed.
Fragment
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1783–89
Meedium: cotton Technique: printed by engraved plate on plain weave; marks are block printed

Only a fragment of the design is visible; a woman leaning forward and the heads of a man and a woman in front of her.
Design for a Trophy
Antoine Watteau, French, 1684–1721, ca. 1735
Etching on laid paper
Print

Design for an ornamental trophy hanging from a tied ribbon. The trophy incorporates an armillary sphere, palette, paint brushes, rulers, measuring devices, caliper, and paper. The plate is signed and numbered.
Perspective and Plan for Gale House, Oak Park, IL
Frank Lloyd Wright, American, 1867–1959, 1910
Lithograph on paper
Print

Perspective view of house at top, plus two plan views at left and right, below.
Mise-en-carte for Textile, No. 7242
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1920
Brush and gouache, graphite on pre-printed graph paper
Drawing

Stylized floral design with birds.
Louis XVI restaurateur de la liberté
Jean-Baptiste Huet, French, 1745 – 1811, 1790–1791
cotton Technique: copperplate printed on plain weave
Textile

Textile printed with red on white showing one repeat of a design showing Louis XVI as the "restaurateur de la liberté ".
Design for Woodblock Textile Print
, ca. 1790
Pen and ink, brush and yellow, green, reddish-brown watercolor on bluish-gray paper
Drawing

Pink and yellow tulips on yellow stems, with reddish leaves intermingled with fantastic stylized yellow cornflowers and seed pods in pairs, in an all-over meander.
Purse
, 1800–1850
steel Technique: interlinking

Purse is vertical rectangle with fringe and attached shell-like shape at bottom.
Fragment
, 18th century
silk, metallic yarns Technique: damask weave with supplementary weft patterning (brocaded)

Fragment of white silk damask showing floral diaper pattern, with supplementary weft patterning (brocade) in polychrome silk and metallic yarns showing symmetrical design of pomegranates, florals and scrolls.
Textile
, 1700–1750
cotton Technique: relief printed

Printed panel in red, blue, yellow, green (blue with yellow) and shades of brown showing a large, curving tree trunk with two perching long-tailed birds. The one above leans down to pluck a grasshopper from a lower branch. The one below reaches up toward another grasshopper. Various flowers and fruits spring from branches.
Sketch for an Angel
Francis Augustus Lathrop, American, 1849–1909, 1880–95
Graphite on tracing paper
Drawing

Winged figure blowing a trumpet, which he supports with his extended right arm. The upper part of the body is shown. Rough sketch for a head at the bottom.
Design for a Chalice
, 1825–1850
Pen and ink, brush and wash on paper
Drawing

Design for a chalice. Upon a low base are the fore parts of the symbols of the Evangelists. The eagle, lion and bull can be seen. Each has four wings; the upper wings support the cup. This is decorated in its lower part with a laurel wreath around which a branch is wound, from which hangs a vine leaf.
Sampler
, early 19th century
silk embroidery on linen foundation Technique: embroidered

Wreath and bands of alphabets and numerals within a floral border. Probably unfinished.
La Ville de Richelieu en Poictou
, ca. 1675
Engraving on paper
Print

Aerial perspective view of Richelieu.
Frieze, from the set, "Ornemens à la Mode"
Jacques Androuet Du Cerceau the Elder, French, ca. 1515 - after 1584, ca. 1650
Engraving on laid paper
Print

After Eustache le Sueur (1617-1655). Three freizes; top: with a pedestal and a circular frame; center: with two female halffigures flanked by an urn in an ovoidal frame; bottom: with a female mask. Bottom: "Peint par le Sueur, Gravé par du Cerceau," and the Langlois address, "rue St. Jacques a la Victoire."
Fragment
, 18th century
silk Technique: compound weave with supplementary weft

Fragment of horizontally ribbed, self-patterned with curving checkered leaves and brocaded with typical Louis XV trimming sprays of flowers in greens, blues, mauves, pinks, white and yellow.
The Happy Satyr with His Family, plate 10 from the Scherzi di Fantasia
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

First state, before the number. At right, a seated satyr, with a bugle and panpipes. Above, at right, an owl seated on the top of a pole. At left, a seated female satyr turns to a seated satyr child.
Passengers on Train to Rome
Francis Augustus Lathrop, American, 1849–1909, ca. 1883
Graphite on paper
Drawing

Above, man in a reclining position, resting his head on his hand. Lower right, bust of another man asleep in his seat, arms folded.
Seat covers
, ca. 1700
cotton, silk Technique: chain stitch embroidery on compound twill weave

Matching chair seat covers of fine undyed fancy cloth with tiny allover diamond diaper pattern. Hand seamed down the center and embroidered in fine multicolored silk with medium-scale varied flowering sprays that are highly detailed. Design is symmetrical around a central conventionalized pool with blade-like leaves and rows of drooping buds rising behind it and foliage extending down from it. Export style embroidery.
Drawing
, 1660–80
Pencil. Pen, ink. Brush, bistre, white heightening. Paper;

Vertical rectangle. At left stands Atlas and supports the heavy entablature. At right stands St. Thomas Aquinas in a niche. Both figures stand upon elaborated pedestals. below the scale, pencil. At the reverse is St. Thomas traced with pencil, his right hand with a pen being slightly raised. Two bucrania are sketched, pencil. In the upper right corner accounting. The writer was not familiar with multiplying ten times.
Sketch for an Unused Scene for a Cartoon for Cotton Printing: La Vie de Bélisaire
B. M. Lebert, 1759–1836, ca. 1820
Pen and ink with gray wash on paper
Drawing

Sketch for one island for a cartoon for cotton printing, showing a blind soldier, staff in hand, holding a young boy on his left arm, while another soldier, nearby, expresses anguish. (Probably an unused island for a Belisarius subject; island shows the blind Belisarius being recognized by one of his soldiers.)
Flounce
, 18th–19th century
linen Technique: needle lace

Scarf made of Argentan lace  has a design of delicate floral vines with attached sprays on a twisted mesh ground.
Décoration du bal paré donné par le roy le XXIV février M.D.CCXLV à l’occasion du Mariage de Louis Dauphin de France, avec Marie Thérèse Infante d’Espagne, Versailles
Charles-Nicolas Cochin the elder, French, 1688–1754, 1756
Etching and engraving on laid paper
Bound print

Interior view inside the theater at Versailles, decorated for the presentation of a ballet performed to celebrate the marriage of Louis Dauphin of France to Marie Thérèse of Spain. Highly decorated interior space with high painted ceilings, from which hang many ornate chandeliers. Dancers and actors occupy the floor at center, surrounded by crowds of figures on all sides. Elaborate niches at the sides and rear of the space with large sculptures, large windows in between. At the center foreground, royal subjects seated upon thrones, viewed from behind, facing the performers. Composition is elaborately framed with a Greek key motif, a winged escutcheon at upper center with figural groups and putti surrounding. At lower center, coat of arms of France and Spain; putti hold draped banners at either side which contain the plate text.
Textile
, 19th century
cotton Technique: relief printed on plain weave and glazed

Flower sprays and acanthus scrolls rendered in a very decorative way. Birds sitting on acanthus leaves. Printed in green, blue, red, and brown on a tan ground.
Pair of Cups and Saucers
Spode Ceramic Works, English, established 1776, late 18th–early 19th century
porcelain (possibly bone china), vitreous enamel
cups and saucers

1953-17-126-a,b: Flaring cup with straight sides. Narrow, circular ...
Album of Prints: Livre de Vases of François Boucher
François Boucher, French, 1703–1770, 1738-1777
Album

Album containing the twelve prints of the Livre de Vases by François Boucher. The title page is printed in red ink (sanguine); plates 2-12 are printed in black ink.
Design for Kidney-Shaped Writing Table with Pear-Shaped Feet
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Kidney-shaped writing table with single horizontal drawer with 2 round pulls flanked by 4 convex side drawers with pair of round pulls on each; raised on 4 fluted, tapering legs with molded and carved tops terminating.
Recueil de decorations intérieures comprenant tout ce qui a rapport a l'ornement
Charles Percier, French, 1764–1838, 1812
Etching on cream wove paper
Book, Print

Book by Charles Percier and Pierre-François-Léonard Fontaine, "Recueil de decorations intérieures comprenant tout ce qui a rapport a l'ornement" (1801-12).
Album of Altar and Cartouche Designs
Juan Dolívar, Spanish, active in France, 1641–1692, ca. 1690
Album

Album containing two series of designs by Juan Dolivar; a series of ecclesiastical altar designs and a series of ornamental cartouche designs.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, ungrounded

Nautilus-like scrolls linked together with meandering foliage. Circular wreath at alternating intersections. Printed on ungrounded paper.
Textile
, 18th century
bast fiber warp, cotton weft Technique: resist patterning on plain weave

Textile with pattern of blue resist on ivory showing floral forms, one above the other, in a half drop pattern. Selvedge on one side. Narrow red strip of fabric sewn onto selvage.
Ceiling paper
F. E. James Co., New York, New York, 1905–1915
Machine-printed paper, liquid mica

On tan-gray textured ground, C-scrolls in white in square shape linked to each other with clusters of brown flowers and green leaves.
Border
, 1835–1900
Block-printed on paper

Black border with two gold lines.
Two Small Studies of Sea with Cliffs on Left
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Above: choppy sea with two layers of cliffs on left stretching to center; Below: choppy sea with two layers of cliffs on left.
Purse
, mid-18th century
silk and metal thread embroidery with gilt spangles on silk foundation Technique: embroidered in stem, satin, knot and couching stitches with attached coils of gilt foil and gilt spangles on plain weave foundation

Small shield-shaped purse embroidered in colored silks and metal threads. On one side, a shepherdess and sheep, and on the other a shepherd with a dog, each embroidered in colored silks against a couched silver ground. Figures largely in knot stitch.  Border of gold embroidery with spangles. Clasp of silver or steel, with spring.
Fragment
, 17th century
linen Technique: bobbin made continuous tape with net added

Meadnering vine
Design for a Painted Porcelain Plate, Les Fromages (Cheeses) for the Service des Objets de Dessert (Dessert Service)
Jean Charles Develly, French, 1783 - 1849, 1819–20
Pen and brown, black ink, brush and brown, black wash, white gouache, red crayon, graphite on tan paper mounted on blue-gray paper
Drawing

Design for a painted porcelain plate, rondel. Scene in a cheese shop showing the figure of a proprietress, right, standing in front of a counter.  She lifts a glass dome uncovering a piece of cheese which she prepares to cut with a knife that is attached to her apron by a chain.  She appears to have caught two children, to the left, stealing bread.  Behind the counter are three shelves holding wheels or balls of cheese.  On the counter, behind the woman, is a scale.  A cat, left middleground, is eating some cheese; a bird in a cage is suspended from above.  In the left rear, a view of an outside market with clients crowded under umbrella-covered stalls.
Scent bottle
, ca. 1750
Agate, gold

Bottle composed of agate in gold cagework decorated with shells and plant forms.
Fragment
, 15th century
silk on linen Technique: embroidered

Fragment of a narrow band with pairs of confronted birds between trees in blue on natural linen.
Border
, 1840–60
Block-printed and flocked with gilt on machine-made paper

An intertwined cable of a ribbon and foliage against a deep red flocked background. The bottom edging consists of a bead and reel molding. Printed in gold, metallic gold, maroon flocking, blues, brown and gray.

H# 88
Plate, butter
, early 19th century
Tin-glazed earthenware

Marli sponged with cobalt blue. Center painted with red rose and green leaves.
Ceiling paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, liquid mica

Trellis design ceiling paper with open square cells with alternating decoration of either a single, stylized four-petal blossom in the center or a diamond shape with a small quatrefoil in its center and one quatrefoil in each corner. Pattern is rendered in stencil-like detail, and printed in gold, gray and blue on khaki ground.
Border
, 1820
Block-printed on handmade paper

Orange and green acanthus leaves twist around a horizontal orange rod. Printed on gray glazed ground.
Valentine Greeting
, ca. 1875
Chromolithograph, gold paint on isenglass on embossed paper
Greeting Card

A tulip, under whose blossom is an eight-line poem, "The Lover's Sign," printed in gold on isenglass.
Sampler
, 19th century
cotton Technique: embroidered in withdrawn element work with needlemade fillings and deflected element work using overcasting on plain weave foundation

Bands of open work pattern, all in white.
Ceiling paper
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper, liquid mica

Pointed quatrefoil motif with green center enclosed within larger rounded quatrefoil motif composed of foliage swags. Printed in metallic gold, green, and deep red on a light tan ground.
Sampler
, 1764
silk embroidery on linen foundation Technique: embroidered in cross, back, satin, and eyelet stitches on plain weave foundation

Seven alphabets with stylized bouquet and prominent initials (D H) at bottom.
Knife with Mother-of-Pearl and Wood Handle
, 18th century
steel, silver, wood, mother-of-pearl, brass
knife

Straight lower edge, upper edge tapering towards the point. Wooden handle, octagonal in section, inlaid with mother-of-pearl floral and geometric decoration and brass thread borders. Silver ferrule and mount engraved on top.
Design for a State Coach or a Sedan Chair
Daniel Marot, French, active in the Netherlands and England, 1661–1752, before 1695
Pen and black ink, brush and gray wash and red, sepia and yellow watercolor, graphite on off-white laid paper
Drawing

Side panel decoration of coach or chair showing the allegorical figure of Peace seated in an elaborate enframement. Below, the arms of Holland.
Frieze
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper

Alternating large and small foliate medallions enclosing anthemion.  Smaller medallions link foliate swags.  Tan vertical stripes appear till mid paper.  Brown, green, yellow and tan stripes on bottom.  Printed in green, tan, yellow, brown and white on textured simulated background.
Ceiling paper
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1905–1915
Machine-printed paper, liquid mica

Rondelles of scrolling acanthus leaves, with center of six floral motifs. Printed in blue, white, and metallic gold on off-white ground.
Textile
, late 18th century
silk Technique: taffeta

Short panel of pale yellow taffeta brocaded in a multicolored pattern of stripes, rose vines, and small flower clusters.
Study of Landscape, Hudson River, NY
William Stanley Haseltine, American, 1835–1900, ca. 1854
Graphite on paper
Drawing

Sketch of a river with a house and farmland along the river bank.
Ferdinandes Magalanes Lusitanus, plate 4 from "Americae Retectio"
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1580s
Engraving on off white laid paper
Print

A navigator (Magellan) sits on the prow of the ship, facing left in profile. Sea monsters are visible in the waters at left and right. At right a figure is seated on a rock and forces an arrow down his throat.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Drapery swags suspended from architectural molding with ribbon bow knots, roses lie on the top edges of the drapery. Above the center of each drapery swag is a rope or cable tied in a bow knot, which swags alternately to the drapery. Printed in tan, beige, pink, white and green on light ground. Two borders printed across the width.
Pair of suspenders
, late 19th century
cotton, linen, glass Technique: knitted, beaded

Pair of men's suspenders. Knitted coarse cotton with glass beads showing geometric patterns, houses. military medals and florals. Lined with linen.
Sidewall
, 1906–08
Machine-printed on paper

Sidewall sample with varieties of flowers and fruit, including grapes and pears, growing from scrolling acanthus leaves. Printed on speckled tan ground.
Ocean Breaking on Shore with Rocks
William Trost Richards, American, 1833–1905, late 19th century
Brush and watercolor, white gouache and graphite on white wove paper, laid down
Album page

Ocean view with waves breaking on shore.
Elongated Steel Carving Knife
, mid-16th century
steel
knife

Long narrow pointed blade of triangular section. Diamond section handle, terminating in floral knop of three segments.
Forest
Arnold William Brunner, American, 1857–1925, 1891
Brush and watercolor on grey-green paper
Drawing

A group of tall trees in the foreground, with thick foliage indicated in the distance.
Little Nimrod
James Joseph Tissot, French, 1836 – 1902, 1886
Mezzotint on paper
Print

Outdoor scene, with children at play in the foreground. A boy, on a hobby-horse, wears a paper hat and sheathes his toy sword while three others lie on the ground on either side. Two of the children are covered by animal skins. At upper left, a woman sits beneath a tree, sewing. Trees in background.
Harlech Castle, North Wales
Thomas Moran, American, b. Britain, 1837–1926, 1882
Etching and aquatint in black ink on paper
Print

Medieval castle silhouetted against the sky in the background, with a stone wall at right.
Border
, late 16th–early 17th century
linen Technique: bobbin lace, continuous braid-like

Narrow band in a design of open, abstract flowers and leaves with a large hanging triangular pendant of floral sprays.
Textile
, 18th century
wool; linen Technique: crewel wool embroidery on plain weave

Wool plain weave, embroidered in large scale polychrome floral design. Chain, stem, satin, knot stitches.
Frontispiece for Book 4, in Eight books of Ornament
William Delacour, French, 1741 – 1767, 1741–47
Engravings on white laid paper, bound in half-calf and marbled boards
Bound volume

1962-126-1: First book (dedicated to Lord Middlesex): title pa...;     1962-126-1-1: First book (dedicated to Lord Middlesex): title pa...
Cup and cover
, 19th century
Porcelain

Overglaze and underglaze decoration in colors of American flag, eagels, head of Liberty with decorative borders of orange, gold, and black.
Nightcap
, 18th century
silk, metallic (metal-wrapped silk-core yarn) Technique: embroidered in satin and stem stitches on plain weave foundation Label: silk embroidered in metallic yarns in satin and stem stitches

Tall man's cap of brilliant yellow silk embroidered with floral vines in silver metallic yarns. Lower edge turns up in the bicorne style.
Serene View of Ocean and Beach
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

View from beach of waves breaking on shore.
Ceiling paper
Lewis Chase Wall Paper Company, Bristol, Pennsylvania, USA, 1905–1915
Machine-printed paper

Large stylized four-petal flowers connected by vining and scrolls. Background is a dotted hexagonal grid. Ground is a cream/light yellow. Printed in yellow, greens, reds, tan, and black. 
Printed in selvedge: "Chase Print 602"
Band
, early 18th century
linen Technique: needle lace with ground of loop and twist with twist return

A band of elaborate flowers and leaves.
Section of the Long Side of Entrance Hall at Syon House, Middlesex, in Works in Architecture of Robert and James Adam, Vol. II, 2nd Edition
Robert Adam, British, 1728–1792, 1822
Etching on cream laid paper
Bound print

A section of a hall in Greco-Roman style with statues, medallions, and windows.
Sidewall
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper, textured, liquid mica

Floral bouquet in medallion. Medallions are connected by swags. Printed in metallic gold and grisaille on a ribbon-stripe or moire blue-gray background.
Border
, 17th century
linen Technique: punto in aria needle lace

Fragment of a border with tabs in the form of plants.
Sidewall - fragment
, 1850–1900
Machine-printed

Fragment of irregular outline. All-over pattern of small-scale sprigwork, suggestive of floral sprays.