biglam/cooper-hewitt-alt-text huggingface dataset:
C'est un fils, Monsieur!, Plate 17 from "Monument du Costume"
Pierre-Charles Baquoy, French, 1759 - 1829, 1776
Engraving on paper
Print

A young man, seated at his desk in his study, throws up his arms in joy as a lady, followed by a nurse-maid with a child in her arms, brings the news to the new father.
The Resurrection
Gaspar Huberti, 1630 - 1724, ca. 1690-1700
Engraving on paper
Print

The resurrected Christ appears to a group of soldiers. He issues from the mouth of a cave, staff in hand.
Textile
, 17th century
silk Technique: 5-harness satin damask

Vertical panel of mauve damask patterned in a small-scale allover design of a trellis with diamond-shaped intersections that are filled with groups of wavy lines. Marking the intersection of the trellis are small curving stylized leaf forms.
Holy Family with St. John
Bauvais, active late 17th c. to early 18th c., ca. 1730-1750
Engraving on paper
Print

The Madonna is seated with the Child. Beside her St. and a lamb. At the left, St. John Baptist kisses the infant Jesus.
Fragment
, 16th–17th century
linen Technique: needle lace

Fragment in the shape of a tiny blossom with leaves.
Sketch of a Female Nude
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Woman reclining back to the left, her head supported on one elbow.
Rainy Night, Charing Cross Shops
Joseph Pennell, American, active England, 1857–1926, 1903
Etching on paper
Print

Charing Cross shops seen from outside on a rainy day. The scene is dark, and the only light comes from inside the shops and spills out onto the street through the windows to reveal passing figures walking with umbrellas and riding in carriages.
Church Sanctuary, probabl
, 1692
Pen and brown ink, brown wash, black chalk Support: white laid paper
Drawing

Vertical format. The right half is shown, the plan is rectangular. The alter upon which stands a high tabernacle, shaped like a building stands at the back wall. In the wall, at right, is a door, closed by a curtain and leading to the sacristy, statue of a sitting bishop is used as an overdoor. Very rich plastic decoration.
The Wedding at Cana
Paolo Veronese, Italian, 1528 - 1588, 1625-1650
Engraving on paper
Print

The scene show two terraces, separated by a balustrade and bordered by classical architecture. In the foreground, Christ sits at table with the Virgin Mary and numerous otherfigures.
Fragment
, 17th century
linen Technique: bobbin lace (Binche style with Binche ground)

Binche-style fragment with a large-scale floral design. Cinq trous ground.
Maze Motif
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Interlaced maze pattern resembles the key fret motif. Tiny little lines are carved out to look like sashiko needlework among the maze design. Silk threads have been added to support the stencil structure.
Trimming
, 16th century
silk, silver metallic thread Technique: woven

Design of open flowers and leaf scroll.
Fragment
, 17th century
silk Technique: 4&1 satin damask

Branches and flying birds. Part of selvage at left side.
Drawing
Felice Giani, Italian, 1758–1823, About 1810
Pen and brown ink with traces of graphite on cream laid paper

Collatinus and the other warriors enter the room from right. Incretia is seated among her maidens and before bed; she stretches her left arm out The room is lighted by a high standing lamp with four flames.
Drawing
, late 17th century
Graphite, black chalk, pen and ink, brush and wash on heavy blue paper

Horizontal rectangle. One of the mermaids is shown from the back seemingly terrified by the water her companion pours upon her from a shell. This one is shown in profile, turned toward left. The Child looks on. The lateral framing outlines are sketched.
The Grip, Serang
Joseph Pennell, American, active England, 1857–1926, 1910
Etching in black ink on paper
Print

Modern steel plant, showing great cranes in the middle distance. Smoke belches from stacks in the distance, across a river.
Fragment
, 16th century
linen Technique: grid of withdrawn element with needle lace (reticella)

A geometric design based on the square. Zigzag formed by spacing of closely worked squares.
Textile
, 600–900
wool, linen Technique: plain weave with discontinuous wefts (eccentric tapestry)

Roundel filled with a plump goose-like bird with back-turned head. In blue-green, yellow-green, tan, and golden yellow wools and natural linen. Remains of undyed linen cloth originally surrounding the roundel.
Drawing
Felice Giani, Italian, 1758–1823, About 1790
Pen and brown ink, brush and brown wash on cream laid paper

Obverse: a) Running down into the prison King Acrisius tears Danae by her hair. She is lying on the floor aided by her son Perseus. Reverse, b) vertically: a rising row of leaves of a moulding. Some lines are drawn over the writing: ''l Giove in pioga d'oro / 2 Perseo libera (a)ndromeda/Perseo Taglia la testa a medusa / l Cerro?*** di Diana / 2 Diana endimione / 3 Diana nel bagno cnga'' (? Congia??***) ''Ateone in cervo / 4 Diana insegna a tirar l'arco alle sve*** conpagne???
Embroidery Design: Man's
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Gouache, over graphite on white laid paper
Drawing

Vertical rectangle: rectangular bottom corner; seven oblong button holes, arched border along the edges; a plant grow from the right part of a pierced stone railing from which a fringed cloth and pearl chain festoons hang. Four flower garlands hang from the wedges of the festoons;
Print
Giovanni Luigi Valesio, Italian, ca. 1583 - 1633, 1619
Paper

Horizontal rectangle. The carriage is drawn by seven pairs of horses,disguised as strays, toward left. It displays the Annunciation, four saints, patrons of a town, and the Pope, with a sword shown before him, victorious over the seven-headed beast.
Broken Column, Parthenon
Lockwood de Forest, American, 1850–1932, 1869
Brush and oil paint, graphite on paperboard
Painting

Broken column sections scattered on grass in foreground with hills in the distance.
Trimming fragment
, late 19th century
silk, wool, cotton Technique: woven with raised pile

Red scrolls on yellow background.
Cartouche decoré d'une fontaine en piramide
Pierre Edme Babel, French, 1720–1775, 1743-1763
Engraving on off-white laid paper
Print

Rocaille cartouche in fron of a fountain in the shape of a pyramid. Water spills from mascarons, vases, and a dolphin. The plate is signed and numbered.
Fragment
, ca. 1700
silk, metallic yarns Technique: damask weave with supplementary weft patterning (brocaded)

Fragment of brocaded silk damask in the ‘Bizarre' style. Pink and silver ground with details brocaded in shades of blue showing abstracted florals with long tendrils, and a smoking censer.
Band
, 19th century
linen Technique: needle lace with ground of loop and twist with twist return

Lace border in an eighteenth-century design of curving stems with flowers and leaves.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, watercolor on paper mounted on tan illustration board
Drawing

Design with tripartite panels, all containing vines with blue flowers on yellow ground; at center, circular frame with green wreath.
Textile
, ca. 1850
cotton Technique: roller printed on plain weave

Winged cherubs, feathers and flowers in red and pink.
Jug
W. Ridgway & Company, Hanley and Shelton, Staffordshire, England, active ca. 1830 - 1854, 1840
Glazed stoneware

A highly decorative blue jug with detail on the body, spout and handle. The center depicts a knight riding a horse in an outdoor scene.
Picture frame
Tiffany & Company, American, established 1853, 1900–10
gilded metal, glass

Of upright rectangular form, the gilded metal surface cut in the grapevine pattern overlaid on a panel of pearly-hued Favrile glass; oval well in center for picture, clear glass oval panel inset in well.  Rigid, hinged gilt-wire support on reverse.
Turkish scenes
, ca. 1840
cotton Technique: printed by engraved roller on plain weave
Textile

Two scenes illustrating a Turkish theme, each containing three people. The scenes are set within a lattice of exotic foliage.
Textile
, 1820
cotton Technique: printed by engraved roller on plain weave

Humorous scenes based on "Dr. Syntax's Tour" in red on white.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-ct: Aesthetic-style all-over pattern of large fanciful...
Sidewall
, ca. 1880
Machine-printed on paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-cl: Aesthetic style design containing two vertical pat...
Textile
, ca. 1790
cotton Technique: copperplate printed on plain weave

Long panel of heavy off-white cotton printed in blue with a rustic scene of fields, villagers dancing, trees and a stream with buildings on either side. Trimmed by narrow blue printed braid of dark cotton. Long repeat.
Page of Text, Printed on Recto and Verso
Marie F. Lattré, French, active eighteenth century, 1751
Engraving on laid paper
Bound print

Page of text with elaborate border decoration, printed on recto and verso. The recto continues the description of the temporary hall erected at the Place du Carrousel (symbolic of Summer) as part of the festivities held on February 23, 1745, in honor of the wedding of Louis Dauphin and Maria Teresa of Spain, and then begins the description of the temporary hall set up in the Place de l'Estrapade (symbolic of Winter). The verso continues and completes the description of the "Winter" hall.
Album of Architectural Interior Wall Elevations, Plans, and Door Designs
Jean Mariette, French, 1660–1742, 1686–1740
Print

An album of door designs, architectural interior wall elevations, and plans published by Jean Mariette and Nicolas Langlois from different print series. Some of the architectural plans and elevations name architects and the owners of the Parisian houses depicted.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-aj: Aesthetic style design with dense all-over pattern...;     1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...
Sidewall
, ca. 1770
Block-printed on handmade paper

Wider band of rose and floral motifs alternating with narrower band of ribbon or lace design. Original document for "Nosegay", floral stripe. Printed in pink, white and varnished green on a gray ground.
Sidewall
, ca. 1880
Machine-printed paper

Pattern repeated in off-set vertical columns; two motifs repeated vertically; one a large bunch of foliage with two ears of wheat and a large flower; one a small stylized motif; vertical band between each column consisting of a repeated arrow-like symmetrical motif composed of abstract elements, highly stylized leaves, and cobweb; this motif somewhat reminiscent of Dresser in its treatment of leaves; color scheme of gray with metallic gold highlighting on pale grey ground.
Border corner
, 1850–60
Block-printed on machine-made paper

Corner for a wallpaper border. Serves for occasions when borders are used to outline panels or dados. Blue and white ribbon with corner rosette, on white ground.
Border
, mid-18th century
Technique: bobbin lace

Bobbin lace double edge joined, symmetrical floral; mid-18th  century Valenciennes Fond
Sidewall
Thomas Strahan & Co., Manufactory, 1900–1920
Machine-printed

Landscape paper with a view of a clearing containing architectural structures as seen through a grove of trees.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

A realistically rendered vine of pink roses meanders horizontally across the panel. The bottom of the panel is bordered by a stripe of alternating spheres and curvilinear dashes. This pattern is printed in shades of green, yellow, pink, white and tan on a beige background.
View of Bloomsbury Square
Robert Pollard, English, 1755 - 1838, 1787
Engraving and aquatint on paper
Print

Grass lawn to the left; street at right and foreground. A maid driving cows, center; people walking, and an empty carriage, left. Title, artist's and publishers' names, date, and dedication below.
Textile
, 11th–12th century
silk, metallic thread Technique: plain and twill weave, reversible

Wedge-shaped fragment of dark green with pattern in dark yellow-gold. Horizontal band at bottom in cream-color, light red and tan. Design has a small-scale pattern of eight-pointed star framing petals, alternating with rosette in a circle. Narrow green line about band. Pattern in band of small confronted lions and Kufic script.
Cliffs and Ocean in Sunlight
William Trost Richards, American, 1833–1905, late 19th century
Graphite on paper, lined
Album page

Extremely rough, energetic sketch of cliffs on right with sun breaking through clouds.
Salesman's sample
, late 18th century
silk Technique: embroidered

Plum-colored silk embroidered with a bird on a flowering branch.
A Slave Auction in the South, from Harper's Weekly, July 13, 1861, p. 442.
Theodore Russell Davis, American, 1840 - 1894, July 13, 1861
Wood engraving in black ink on newsprint paper
Print

Horizontal outdoor scene with a raised platform at center with a group of African-Americans standing on it and facing the spectator.  The auctioneer is standing on the right of the platform, while number of men stand to the right and left in front.
Rocky Coast and Distant Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Waves crashing against rocks in right foreground. Second rocky outcropping in left middle ground. Cliffs across horizon in distance.
Sidewall
, 1870–85
Block-printed paper

Chinoiserie design. a) features a white crane on a platform. Leaf clusters having the appearance of maple and oak and butterflies. Printed on a brown ground; b) contains 2 ornate bamboo frames, each with an Asian woman. In the alternating corners are white lilies and foliage. Printed on a deep burgundy ground.
Textile
, 13th–14th century
silk Technique: compound plain weave

Fragment with green warp and yellow weft in a design of pairs of falcon-like birds and smaller birds in double ogival frame. Arrangement has the smaller birds betweens the ogives framing larger birds. Stylized tree form between birds. Ogives ornamented with zigzag.
Pleated fan and case
, late 19th century
Linen lace leaf, pierced mother-of-pearl sticks with applied gold foil, pearl buttons at rivet

Leaf of cream-colored Milanese lace. Pierced mother-of-pearl sticks with designs of flowering vine in applied gold foil of three colors and silver. Pearl buttons at rivet.
Figure of the "Immaculate Virgin" ("Immaculata") on Pedestal
Fulda Pottery and Porcelain Manufactory, German, 1764 - 1789, 1770–1780
hard paste porcelain, vitreous enamel, gold
figure and pedestal

Figure of the Virgin of the immaculate conception (a) treading on a serpent,     standing on a globe inscribed with the names of the four continents; figure wears gold-flowered gown and purple mantle with blue diapered lining. 
Scrolled pedestal (b).
Sketchbook Page: Notes on Isis
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Notes about the Ancient Egyptian goddess Isis on Recto and Verso.
Sketchbook Page: Man in Profile
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Young man with bow tie shown in left profile.
Sampler
Luisa Dias, 19th century
silk embroidery on linen foundation Technique: embroidered in cross, satin, stem, and buttonhole stitches, with withdrawn element work with needle made fillings, on plain weave foundation

Bands of whitework and withdrawn element work at top, with floral borders and geometric fills in polychrome silks.
Edging
, late 18th century
Technique: bobbin lace

Edge of bobbin lace, bracketed blossom; late 18th  century, Buckinghamshire.
Textile
, late 17th century
wool Technique: tapestry weave

Oval fragment representing "Asia" shows a seated man in a turban and loose robe. Behind him is blue fringed tent panel and two camels. He carries a scepter and a sword rests near his feet. In shades of red, blue, brown and off-white. Probably a detail from a table cover.
Trimming
, late 17th–early 18th century
metallic strips wrapped around linen core Technique: bobbin lace

Border with a design of garlands.
Border
, 17th century
linen, silk, metallic thread Technique: embroidered

Border fragment showing a procession of chariots.
Cowboy and Lasso
Shreve & Co., founded 1852, ca. 1900
Gold
Matchsafe

Oblong, curved sides and corners, featuring raised decoration of bust of cowboy in profile surrounded by long, intertwined lasso; he has mustache, hat with chin strap, long scarf knotted at front, lasso is looped five times beneath, one long, attenuated loop above, one strand of rope extends around to reverse side of matchsafe, incised monogram R.G.P. Jr. on reverse. Lid hinged on side. Striker in recessed groove on bottom.
Textile
, 18th century
bast fiber Technique: resist patterning on plain weave

Textile with pattern of blue resist on ivory showing an ogee lattice enclosing small rosettes and diamonds. Resist medium probably applied by block printing.
Band
, 18th century
linen Technique: needle lace with ground of loop and twist with twist return

Band with a design of a basket filled floral sprays and other motifs.
Sketchbook Page: Two Nude Female Figures
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketches of two nude female figures.The figure at left stands, with left arm outstretched.  The figure at right bends over, with right hand near left ear and left knee bent.
Band
, 16th century
linen, silk, metal-wrapped silk, metal coils Technique: satin stitch embroidery for silk; couching stitch for metal-wrapped silk

Narrow border of linen embroidered in gold with a pattern of confronted lions on either side of a plant.
Vase
Emile Gallé, French, 1846 - 1904, late 19th–early 20th century
Glass

Tall vase with wide base and flared mouth; red amber flowers on yellow background.
Valentine Greeting
, ca. 1850
Lithograph, embossed paper on embossed paper
Greeting Card

In the center, a vignette showing a marriage ceremony. Below, two cupids hold a ribbon inscribed: "Come, lip to lip, in love's embrace / In me a faithful spirit trace / A life of love that will not die / Secure in its own constancy".
Textile
, late 18th century
cotton Technique: block printed on plain weave

Fragment of printed fabric: this section having a group of flowers with roses predominating on the left side and a standing classical female figure on the right. The woman holds an apple (?) in her out-stretched right hand and an olive branch in her right arm. Morning glory vines tie the motifs together.
Sampler
, 18th century
silk embroidery on linen foundation Technique: embroidered in rococo (Queen) and cross stitches on plain weave foundation

"Spot" sampler of assorted geometric and floral motifs.
Textile
, 18th century
silk Technique: warp printed

Small cream-colored fragment with a chin
Study of Michelangelo's "Night"
Kenyon Cox, American, 1856–1919, 1879
Charcoal and graphite on cream laid paper
Drawing

Study of a marble sculpture of a nude female figure.  The figure is seated, facing towards the left, and leaning back towards the right. Her forehead rests on her right hand, and her right elbow rest on her left knee, which is bent.
Japonesque Style Pattern Number 5 Frunit Knife
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, ca. 1880
gold plated, silver
knife

Knife in the form of a Japanese sword; rectangular handle with mottled surface, one side decorated with scene of a soldier in armor with sword running through cherry blossoms; other side depicts bamboo trees, leaves, birds in flight atop basketweave patterned ground, set within thin border. Flat, curved blade with blunt tip, engraved with stylized foliate decoration. Some small areas of gold plate throughout surface of handle.
Crochet Hook from Traveling Dressing Case
Asprey & Son Co., London, England, 1872 - 1879, 1875
mother-of-pearl, steel, brass
crochet hook

Knife-hooked tool with mother-of-pearl handle.
Border
, 1835–1900
Block-printed on paper

Border of twisted pattern in orange on dark ground.

H# 619
Ceiling paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, liquid mica

Foliate vining grid with four-stem clover joints and two different floral wreath insets. Cream ground. Printed in pink, green, white and white liquid mica. Printed in selvedge: "Janeway & Co." Pattern number "761"
Ceiling paper and sidewall
, 1860–90
Machine-printed

Two sidewall layers removed from kitchen fireplace wall.
Border
, 17th century
linen Technique: withdrawn element work with needle-made fillings and embroidery plus macramé

Wide border of openwork edged at one side with a macramé border with deep triangular pendants.
Frieze
J.J.L. and Co., 1905–1915
Machine-printed paper

On light gray ground, beige and light brown flowers in allover pattern in two registers.
The Morning Walk – Young Ladies' School Promenading the Avenue
Winslow Homer, American, 1836–1910, March 28, 1868
Wood engraving in black ink on paper
Print

Young ladies out for a walk with their teacher.
Nine of Diamonds
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Nine of Diamonds playing card from a pack of transformation playing cards. Vertically, a figural scene in outline depicting a parade of various figures. At left, a row of people: a woman carrying an ax, a male figure with sword, a gentleman in a flowered hat, and a masked figure blowing a horn. At right, a figure dressed as a sea king, a child blowing a trumpet riding a costumed bull, and a male dressed as a devil with a fake nose and pitchfork. Red diamonds integrated into the scene.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Overall speckled with white, green, and red dots and blotches. Light green ground. Printed in green, white and red.
Collar
, 17th century
linen Technique: bobbin lace with needle ground

Collar with a needlework edge and binding. Scrolling vine and flower pattern connected by brides with wheel-like shapes.
Fragment
, 400–600
s-spun wool Technique: tapestry weave, embroidered

Corner fragment of a textile with tapestry weave. Triangle of undyed linen with advancing key motif and thick red border.  At edge, stylized figures with raised arms. Bands of natural colored embroidery.
Textile
, 1750–1800
cotton Technique: mordants for 2 reds, purple and black applied by pen and brush; madder dyed; blue and yellow added by brush; chintz on plain weave

Lace-like bands and floral stripes.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Large, scrolling, acanthus inspired swirls with a simplistic landscape background. A small swag of leaves runs across the top. A series of framed rectangles run across the bottom. Printed in gold, cream, white, brown, black, and shades of green.
Sampler
, mid-17th century
linen embroidery on linen foundation Technique: embroidered in double running, overcasting, buttonhole over a cord, satin, hemstitching, and eyelet stitches on plain weave foundation

Bands of pattern in white.
Border
, 1750–65
linen Technique: bobbin lace, Brussels style

Border showing floral sprays with oval forms.
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Four-lobed floral motif enclosed in a quatrefoil, alternates with a round floral motif within a foliate wreath. Printed in blue, green, and brown on off-white ground.
Various Symbols Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Within the greater abstract stream motif are pine leaves and family crests. Each crest shows a different symbol. Silk threads are added to support the stencil structure.