biglam/cooper-hewitt-alt-text huggingface dataset:
Fragment
, 19th century
silk Technique: woven

Light brown fragment with horizontal rows filled with flower heads and leaves in pale muted tones of blue, orange and green.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Crocheted white silk ornamented with gold beads in all-over checkerboard pattern.  Two gold rings with foliate decoration control side opening; fancy gold drops at each end.
Edging
, early 18th century
Technique: bobbin lace

Bobbin lace sample joined, floral forms; early 18th century Pottikant Flemish
Fragment
, 16th–17th century
silk, metallic thread (?) Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Fragment of cut and uncut blue-green velvet in an open lattice pattern with rosettes on a yellow ground.
Sidewall
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Thick, vertical green bands with large red and gold foliate medallions and small floral medallions. Bands are bordered by bands of monochrome floral and foliate motifs that create a lace or ribbon-like pattern. Between these green bands is the background design with small floral medallions. Background is small, horizontal dot and dash patterns over which is a layer of vermiculation. Printed in green, dark red, metallic gold and cream on light blue-green ground. Printed in right selvedge: "C&W" pattern number "450".
Sampler
, late 19th century
silk and cotton embroidery on linen foundation Technique: embroidered in eyelet, cross, tent, satin, and back stitches on plain weave foundation

Spot sampler with cattered floral, geometric, and religious motifs.  Floral initial J, other initials L, P, J, S, D.
Sidewall
, 1920
Machine-printed

Large blossoms in pink and mustard and smaller blue flowers and mustard colored flowers. A bird in flight and another one perched on a branch. Birds are pink and blue with yellow beaks. On white ground.
Sidewall
, 1815–30
Marbleized

Marbleized with white veining and pale blue spatter on dark red ground.
Gloves
, 18th century
silk, metallic yarns, spangles Technique: knitted, sewn, and embroidered Label: knitted silk, embroidered with metallic yarns and spangles

Pair of red Cardinal's gloves with cuffs embroidered in gold metallic yarns and flat gold disks in a vine design with grape clusters. Sacred monogram, IHS, in rayed disk, embroidered in gold on back of each glove. Sewn inside one glove, a handwritten label: "Cardinal's gloves - real gold embroidery. Bought in Rome, 1897."
Carpet fragment
, ca. 1832
worsted wool, jute Technique: uncut warp loops on compound cloth ground

Length of "Tapestry Brussels" carpeting with rich, large-scale floral and leaf pattern with very long repeat, in shades of red, pink, blue, green, mauve, brown, grey, and beige in blurred impressionistic style.
Spring Festival
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This brilliant street scene of Edo is decorated with a blooming cherry blossom. Celebrating all around the base of the tree is a parade of people dressed in traditional clothing. All the storefronts are open with their signs and lit with lanterns.
Porte-Cochère (Doors) Design
Nicolas Guérard, French, ca.1648 – 1719, ca. 1715
Etching and engraving on paper
Print

Design for a set of double doors with an arched overdoor panel. The doors and overdoor panel feature carved paneling, trophies with flaming torches, quivers of arrows, and bows, c-scrolls, shells, gadrooning, flowers, scrolling leaves (rinceaux), and fleurons. The plate is numbered.
Column Drum, Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 14-25, 1869
Graphite on tan laid paper
Drawing

Field sketch showing the drum of a fluted column, likely on the Acropolis in Athens. Loosely and hastily rendered, the ground below the column fragment is vaguely discernable. It's vertical, fluted striations, however, are clearly distinct, shown partially in shadow. The sketch is situated in the leaf's upper left corner, while the remainder is blank.
View from Venetian Lagoon
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on paper
Drawing

Gonodolas are depicted in the foreground with an island and steeple on the horizon.
Design for a Sword Hilt
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, ca. 1750
Pen and bistre, ink, brush and grey wash, graphite on cream laid paper, lined
Drawing

The guard enriched with diamonds on grip, pommel, guard, quillion and ricosso which has the shape of a balaster. Guard, quillion and pas d'arc are formed by leaves which are held together by garlands.
Canal, Holland
Robert Frederick Blum, American, 1857–1903, 1880–1883
Pen and ink, graphite on laid paper
Drawing

Sketch of buildings and boats along a canal.
Flintlock riffle
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Two sketches of a flintlock riffle with detail of metalwork along curved handle.
Design for a Vase
, 19th century
Pen and ink, brush and wash on paper
Drawing

Vertical rectangle showing a footed vase with bucraneum.
Design for the Embroidery of a Man's Waistcoat of the Fabrique de St. Ruf
Fabrique de Saint Ruf, Lyon, France, 1780–1790
Graphite, brush and gouache on paper
Drawing

A flower festoon, suspended from two bow-knots thorugh which peacock feathers are stuck, decorates the part under the pocket. This shows a bunch of fruits in a festoon and boughs.
Textile
, 18th century
cotton Technique: printed on plain weave

Garden scene with a man and a woman standing in the center. He is holding a branch of grape vine in his left had and in the other, a bunch of grapes. A boy stands with a hat in his hand and a cane. Two dogs on the other side. In the background, a fence, trees, shrubs and a waterfall. Printed in brown on a white ground.
Coupe du Salon du Trefle sur toute la longeur des Appartements.
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Cross section of the pavilion revealing an elaborately decorated interior with rocaille ornamentation, chinoiseries paintings, and floral and geometric wall panels. At the bottom of the plate is a scale bar of "6 Toises."
Two Putti
François Boucher, French, 1703–1770, 1775–84
Etching on laid paper
Print

Two winged putti in the clouds together. The one to the left is leaning forward holding onto a ball or circular object. The other leans over him with his right arm. The plate is signed.
Figure for a Pincushion (One of a Pair)
, late 19th century
hard paste porcelain, vitreous enamel, gold
figure

Half figure intended to be made into a pin cushion, representing a woman shown to the waist with flange having three holes to which a skirt may be attached. The woman wears a tight fitting bodice with long sleeves, low square neck; ribbon scarf tied around neck; large hat (dress and hat are white with gilt trimming); a rose in each hand.
Design for a Fountain used by Paolo Emilio Barberi (1777-?) as Competition Entry in the 1795 Concorso Clementino, Rome (Accademia di San Luca)
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Below are two high pedestals, the water pouring from the centers of the sides of the upper into basins in front of those of the under; upon the upper rises a column with a sphere on top; beside it sit obliquely two women, the left one with a circle, the right one with a hammer (?); they are connected by a festoon; the circular basin seems to be surrounded by a bar supported by voluminous posts; in front is a road with two groups, one consisting of a rider and a man, the other of two men with a dog; in the lower left corner are ruined parts of a classical building.
Study for "Education," "The Progress of Civilization: The Forge, Commerce, and Education," State Capitol, Des Moines, IA
Kenyon Cox, American, 1856–1919, 1905–1906
Graphite on paper
Drawing

Sketch of a young male figure standing. The paper is squared for transferring the image.
Gate Design
Pierre Edme Babel, French, 1720–1775, 1890–1910
Facsimile of the original etching (photomechanical or lithography)
Print

A design for a wrought iron or metalwork gate featuring cartouches, swans, scrolling leaves, fleurons, shells, palm leaves, crown, flowers, and vases. This is a late 19th-early 20th-century reproduction.
Elevation of an Interior Wall with Chimneypiece
Jean-Charles Delafosse, French, 1734 – 1789, 1770–80
Pen and black ink, brush and yellow, rose and grey wash
Drawing

A looking glass is in the over mantel. Putti form bases of candelabra on mantle shelf. Flanking mantle are two women carrying baskets on their heads, medallions above, defined by fluted pilasters. In niches on either side are putti playing in shell-shaped fountains.
Design for Architectural Moldings
, 1775–1825
Black chalk, pen and ink, brush and brown watercolor on paper
Drawing

Horizontal rectangle showing design for architectural moldings. At left, hanging bell flowers; at right, the shaft of a fasces.
Gateway of a villa
Giuseppe Barberi, Italian, 1746–1809, 1792–1794
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The gateway is a convex semi-circle consisting of an entablature and five railed gates supported by four gaines and bordered laterally by two pylons as passages. Upon a pedestal, above them, is a statue. Beside are convex parts of the wall. The villa and trees are sketched. Below is the plan with the dimensions and a calculation.
Wooded Stream Bank
Frederic Edwin Church, American, 1826–1900, 1860–80
Graphite and oxidized white gouache on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a wooded bank by a stream, likely in or near Hudson, New York. Along the lower margin at left, the pebbles and flowing water of a stream are briefly visible in front of a grass bank with several partially rendered trees--notably, an oak at right. A steep bank is partially shown at far right.

Verso: Landscape sketch showing a view looking northeast from the Catskill Mountain House near Catskill, New York. In the foreground, the heavily wooded slope of North Mountain descends steeply at left, flattens out in the middle, and descends again at right. The view beyond reveals the rolling Hudson River Valley with several banks of puffy and wispy clouds intermingling overhead.
Coastal Evergreen and Lighthouse, Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, July 1850
Graphite and white crayon on tan wove paper
Drawing

Mixed sketches around Mt. Desert Island, Maine, showing a view of a coast evergreen tree and a lighthouse. Rendered in great detail at right, the evergreen curves upwards as it grows out of a patch of grass on a rocky shoreline. The tree conveys a sense of age and weight. At upper left and oriented to the left, a tall, conical lighthouse is shown beside a gabled keeper's house with two chimneys.
Console Table Design
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Elevation of three-legged hemicycle console table set with a tall vase with a curved handle, a large, covered jar with acanthus leaf ornamentation, a wide, covered bowl, and an incense burner on a plate. The legs have a foliate pattern that is capped with a leaf motif. The half-circle table-top is ornamented with rinceaux patterns, swags and an architectural entablature motif. The plan view of the table is indicated directly under the elevation. Below the plan is a scale bar of three French feet ("Echelle de 3 Pieds"). The plate is signed but the print has been trimmed and the numbering is no longer visible. Another version of the plate, however, indicates it is number E4 in the series.
Border
, 17th or early 18th century
linen Technique: needle lace

Venetian Rose point. Design similar to 1939-66-3 of scrolls with delicate palmettes and roselike forms.
Design for a Painted Frieze
, ca. 1790
Graphite, brush and gray watercolor, Chinese black on paper
Drawing

Rinceaux with circular medallions at the ends of the spirals; two are shown. They contain landscapes, each with two figures. Festoons and tassels hang from the lower parts of the rinceaux. Reverse: satyrs in hilly landscape. Four Satyrs and a Satyr boy blow musical instruments, two Satyr girls dance. Framing mouldings on top and bottom are shown in B.
Caractere d'une Porte Dorique à Guichet
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design for a door decorated according to the principles of the Doric order, and with helmets, lion heads, monograms, lamb tongue, ribbon twist, radiating heads as ornament. The plate is signed and numbered.
Handle
, ca. 1745

1909-25-13-a: Rectangular brass lock box overlaid with chiselled...;     1909-25-13-c: scroll design50
Project for a Ceiling Frieze
, mid- 17th century
Pen and brown ink, brush and brown wash, white heightening on off-white laid paper
Drawing

Trapezoid. At left is the right half of an escutcheon with a dolphin. At right is a winged putto in front of a trophy of weapons.
Design for a Waistcoat
, 1780-1790
Pencil and various gouaches on paper
Drawing

Design for the embroidery of the left bottom part of a man's waistcoat. Lilac edges. Boughs decorate the flap of the pocket. A kind of a fantastical sunflower is shown between flower boughs beneath the pocket. Boughs rise from the oblique edge of the waistcoat.
Sepulchral Monument of the Last Three Stuarts
, 1788–1793
Pencil, pen, wash, Chinese ink
Drawing

A sarcophagus stands on top of a sepulchral chamber. James sites on a chair upon the sarcophagus, Henry is seated in front of its left hand corner. Two mourning genii hold the coat-of-arms in a crowned wreath, at the front of the sarcophagus. The setting is similar to 1901-39-2509 with framing lines.
Facade of Santa Cecilia in Bologna; Architectural Studies
Felice Giani, Italian, 1758–1823, 1811–14
Pen and brown ink, brush with brown wash over traces of graphite on cream laid paper
Drawing

Facade of Santa Cecilia in Bologna; four studies of capitals; sepulchra; three pilasters; Verso: geometrical figures in plane and solid.
Stage Designs: Detail of Gothic Interior
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Some columns supporting huge vaults in crypt-like building.
Demies Commodes à la moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for two small dressers. The left dresser has two small top drawers and a longer bottom drawer. It is carved with ornament motifs including a rosette surrounded by crossed leaves, ribbon twist, and acanthus leaves on the legs. The right dresser has three drawers framed by lamb tongue, guilloche inset with flowers, rosettes, and fluted squared legs. The plate is signed.
Study: Three left hands
, 1725–1775
Black crayon and white heightening on grey paper
Drawing

Vertical composition of three left hands. A) Two left hands shown upright from the outside with erected thumbs. The beginning of a woman's forearm is shown at the bottom left. B) Other side: A left hand shown from the outside with spread fingers.
Wagon Train in Camp
Winslow Homer, American, 1836–1910, 1864
Graphite on paper
Drawing

Horizontal view of a wagon train with mules unhitched.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel design filled with symmetrical, grotesque ornaments of mythological theme. At the center, Venus reclines on a shell fountain and under a baldachin, holding the bow of Cupid who stretches toward it. Below the fountain is a grotesque figure blowing a horn clutching the reigns of two horses. On either side above the baldachin are winged putti with eagles. Within the ornamental frame are rondels with winged putti. The plate is signed.
Developpement d'une Porte Corinthienne
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design for a door decorated according to the principles of the Corinthian order, and with guilloche, lamb tongue, pinecones, medallions, and rosettes as ornament. The plate is signed and numbered.
Musicians in a Landscape
Jean-Baptiste Pillement, French, 1728–1808, 1773
Etching on laid paper
Print

Plate from a series of chinoiserie scenes with figures in a landscape. A vignette with a group of musicians in a landscape surrounded by trees, rocks, and foliage. A man sits playing bells which are hanging from a canopied tiered structure with three children to his right. One of the boys holds a stick to play the bells. Two men stand to the left, one holding a horn, they lean against another canopied structure with a hanging embroidered textile. A mandolin lays on the ground in the foreground. The plate is signed and dated.
Military Ornament Design
Jean-Bernard Turreau, French, 1672 - 1731, 1716
Etching on laid paper
Print

Ornament design featuring military motifs and putti, with palm leaves, helmets, dragons, decapitated head, spears, banners, flags, lion, armor, quiver of arrows, shields, on a base with a lidded vase to the right, decorated with a mascaron (mask) and figures. The plate is signed.
Design for Waistcoast
, ca. 1780
Pencil, watercolor, and gouache on paper
Drawing

Design for the embroidered decoration of the lower left portion of a man's waistcoat. Polychrome floral motif on edge of garment; floral motifs drawn in pencil on flap of pocket.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, after 1745
Pen and ink, brush and wash on off-white laid paper
Drawing

Within rectangular framing lines, a rocille cartouche with mask and urn at top, the title text inscribed within.
Bandbox
, 1831–44
Block-printed on paper, pasteboard support

Yellow field, with ground design of foliage scrolls in white; medallion scene, repeated, of two figures in a boat, with trees.
Design for a Silk Brocade, Fragment
, 1825–1850
Brush and gouache on oily tracing paper
Drawing

A part of a rising rinceau with one spiral showing on top, a leaf with another in its center. Flowers are shown in the right wedges.
Designs After Architecture
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 terms, fountains, pediments, and cartouches. Both plates are numbered, neither are signed.
Design for a Woven Fabric, Fragment
, 1815-1840
Gouache on oily tracing paper, mounted
Drawing

A slope of a zig-zag thread is fastened to a leaf bough shaped like an ovoid. A plant is inside the slope, some of its parts carrying the thread. Irregularly shaped at left bottom.
Standing Cup with Cover, from "Novum opus cratero graphicum..."
Matthias Zündt, German, 1498 - 1572, 1551
Etching on laid paper
Print

Elements of grotesque ornamentation, scrollwork, plated work, masks, trophies and other motifs appear in the decoration.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1779–90
Etching on paper
Print

Six designs for trophies incorporating flowers, festoons of flowers and leaves, foliate branches, a mask, flaming torch, horns, caduceus, wheat, potted plant, cushion, vase, turban, basket of fruit, helmet, shield, and a banner. The plate is numbered.
Fragment
, 17th century
silk Technique: 4&1 harness satin with supplelementary wefts

Detached sprigs, birds, and lions rampant in yellow, green, white, and pink on a maroon ground.
Stage Design: a Town Square
, early 19th century
Graphite, pen and ink on paper
Drawing

Sketches for a view of a town square with enclosing arcade. At center, an obelisk. One view in ink at bottom. Sketches in graphite in reverse at top.
Elevation geometrale d'un des projets de l'autel de St. Leu de Paris (Design for the Altar of St. Leu of Paris), plate 103, in Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Engraving on white laid paper
Print

Stairs lead up to altar which has six candlesticks flanking a cross; above, in symmetrical form, angels gaze up and down; behind altar a niche decorated with putti. Cupola with clerestory and pairs of putti between windows.
Design for a Candlestick
Michelangelo Buonarroti, Italian, 1475–1564, 1520–30
Black chalk, brush and brown wash, incised lines and compass points on cream laid paper, lined
Drawing

A candlestick, in elevation, resting on upper and lower pedestals.  The lower pedestal, supported by lion's feet, is flanked by terminal, winged, caryatid cherubim (or seraphim) perching on curling volutes; in between is a central panel depicting a scene of sacrifice (a figure with arms outstretched is between two standing figures flanking a bull (?) splayed on the altar).  Between the lion's paws at the base (on the lowest rectangular block), there is a scalloped lunette with an urn at its center, from which hang paired festoons.  At the top of the lowest pedestal, the wings of the addorsed cherubim terminate in a frontal, bald-headed mask with fin-like jowls. These cherubim support the stepped, base molding (scored with a stylus) of the upper pedestal which is flanked by two ram heads, with garlands hanging from their mouths, above two animal masks. Two cinerary urns in niches decorate the upper pedestal's central panel.  Atop the two-tiered pedestals, the  upper candlestick shaft consists of a vase surmounted by an urn and another upper section.  A baluster crowns the shaft.  Faintly sketched are six branches (three on either side of the upper shaft) to suggest an overall seven-branched candlestick design. At the lower right, two plan sketches with numbers ("8" and "5") indicating, probably, the size of the marble block needed to carve the corresponding sections of the candelabrum (as Sir Timothy Clifford has called it); the numbers correspond to others on the more finished drawing.  Some believe the design might have been intended to be realized in metal.
Bandbox and lid
, ca. 1830
Block-printed on handmade paper, pasteboard support

Railway carriage; coach drawn by horses; background of tavern or inn. Red and green on yellow field. Cover: a medallion in same coloring of grape leaves and lace effect in border.
Porcelain Plaque for an Item of Furniture
Sèvres Porcelain Manufactory, French, established 1756, 1766
soft paste porcelain, vitreous enamel, gold
plaque

Rectangular plaque decorated with central clusters of rose and anemones, and serpentine sprays of roses, anemones and morning glories, foliage.
CHAPELLE DE LA COMMUNION DE ST. JEAN EN GREVE
Jacques-François Blondel, French, 1705–1774, 1713-1774
Engraving on laid paper
Print

Design for an altar in a communion chapel decorated with a kneeling angel and putti, a crucifix, scrolls, and candelabra.
Fragments
, 18th century
silk Technique: plain weave patterned by supplementary warp floats and discontinuous supplementary weft floats

Delicate floral sprays festooned with pearl and leafy garlands on ribbed red ground.
Tile
, 1475–1500
Glazed earthenware

White, black, green and brown glaze, applied by the cuerda seca technique. Geometrical design. Hispano-Moresque style.
Fragment
, 19th century
silk Technique: supplementary warp forming cut and uncut raised pile in plain weave foundation

Trellis pattern with starts in red.
Birth of the Virgin
Luca Giordano, Italian, 1634 - 1705, 1650–75
Pen and brown ink, black chalk on laid cream paper, lined
Drawing

The virgin is seated on a raised platform in the center. She is holding baby Christ in her arms. Several figures attend to the Virgin, including a woman who kneels before her and washes the new mother's feet in a basin. Another woman is bringing the Virgin a basket of goods, which she carries on top of her head.
Title Page
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

Title page with a seated woman pointing to an oval screen held by the figure of Apollo and a putto, another putto to the left. A formal garden in the background with carved friezes and statues and vases on plinths. The scene is framed by leaf and ribbon molding and a draped curtain. The title is lettered below.