biglam/cooper-hewitt-alt-text huggingface dataset:
Ornamental Vase Design
François Boucher, French, 1703–1770, ca. 1738
Etching in red ink on cream laid paper
Bound print

Vase with a sacrificial lamb (pascal lamb) at top, and the head and wings of putto at either side. At front, a plaque in the form of an escutcheon with a figural scene featuring a bishop and supplicant. In the background, a frieze carved in relief near bottom. Above, an open sky with sunlight radiating beyond the lamb's body between groups of clouds. The plate is printed in red ink (sanguine). The plate is signed and numbered.
Two capitals of columns, with alternative suggestions
Filippo Marchionni, Italian, 1732–1805, 1780–1800
Pen and black ink, brush and gray watercolor, graphite on off-white laid paper
Drawing

At left: with a swan, at right: with a volute and a cherub; at right, with the half figure of a fantastic fish. In the center a head with a festoon at left, a palm branch at right. rinceaux, at left with a panel. Broken columns below.
Lake Hallstatt, Austria
Frederic Edwin Church, American, 1826–1900, August 8, 1868
Graphite on light green wove paper
Drawing

Landscape sketch showing a view of Lake Hallstatt in Austria, looking south from its northern shore. The nearby, gravelly shore is visible in the foreground at lower center, while the lake's surface extends into the middle distance, where a spit of land with two buildings interjects into the lake at center. At right, sheer, nearly vertical mountainsides with wooded ridges plunge into the lake, while in the background, another rugged mountain range hems-in the lake at left. In the extreme distance at center, the sharp summits of the mountain known as Krippenstein peeks over nearby ridges.
Button
, 19th century
Brass

Button showing coat of arms: heraldic devices surrounded by a band with "Honi soit qui mal y pense", lion and unicorn supporters, crown above and below, ribbon with "Treu und fest." Brass back and shank. On reverse, "Firmin and Son 153 Strand, London."

On card C
Towel
, 19th century
bast fiber, cotton Technique: plain weave with supplementary weft

At each end of the rectangular bast fiber diamond-twill towel, a blue cotton band with griffons alternating with a symmetrical geometric tree. The band is bordered at top and bottom by the repeated words "Perugia" alternately in mirror image. Warp fringe at end about 10.2cm or 4" long.
Textile
, 1840s
Technique: printed

Rual scenes: cure with villagers, return from the hunt, courtship, gardening, children playing in red on white. Height of repeat: 24 1/2 '' Design is incomplete in the width. Structure/ Technique: Plain weave. Printed by engraved roller.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1775–85
cotton Technique: plain weave foundation. block-printed; Bronze, yellow and blue applied by brush

Branching flowers on a white backgound.
Flora's Retinue: Pink
Walter Crane, English, 1845–1915, ca. 1891
linen warp, silk weft Technique: 4&1 satin damask
Doily

Small square doily, fringed on all sides, with an ivory linen warp and a bright pink silk weft. A figure of a woman dressed as a pink and sitting on the stem of a large pink, with the word PINK in the upper left corner, all appearing in ivory on a pink ground. A set of six, the doilies would have been used on the table as part of a dessert service.
The Serenade
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

Two boys play the mandolin, two more listen in poses similar to those of the one leaning against a stone and the seated one plate 6, loc. cit. The girl listens from a Romanesque twin window. Mountainous landscape.
Ornament, Christmas tree
, 1850–99
Dough

Lamb-like animal, standing on green grass, in relief.
Architectural Ornaments t
, ca. 1750
Pen and gray ink, yellow, lavender, gray wash, black chalk, ruled border in pen and gray i Support: white laid paper
Drawing

Left center: An ovoidal medallion is formed by two laurel boughs from which a lambrequin festoon is suspended. Two crouching swans are on top, holding another lambrequin festoon. At right: the right half of a ceiling ornament, the right half of a niche and the left half of the framing panel decorated in the scheme of a pedestal are shown. (RB '45)
Peep-show, Vue d'un Superbe Pallais de Rome
Giovanni Battista Piranesi, Italian, 1720–1778, ca. 1750
Engraving in ink and washes of water-color on paper, mounted on scrapbook page
Print

Peep-show print
Fragment: Sawamura Sojuro drawing his sword
Utagawa Kuninao, Japanese, 1793 – 1854, 1820–25
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Vertical rectangle. Standing male actor in tragic mask, facing left, and clutching the hilt of his sword with his right hand. Inscriptions, upper and lower right.
Vignette, The Virgin
, ca. 1845
Wood engraving on paper
Print

Half-figure; praying, turned to left.
Textile
, 1750–1800
silk, metallic Technique: woven

Pattern of leaves facing in alternate directions.
Fragment
, 16th–17th century
silk Technique: 5-harness satin damask

Medium-scale allover pattern of decorated palmettes in ogival framework of checkered bands clasped by crowns.
Fragment
, 18th century
linen Technique: bobbin lace

Fragment of Binche lace with symmetrical floral design. "Fond de neige" ground.
Textile
, 18th century
cotton Technique: mordant painted and resist-dyed (chintz) on plain weave

Pattern of a diamond grid with flowers at the interstices of the grid.

Panel of thin, glazed, cream-colored cotton, painted in shades of red, blue, green, violet and drab; outlines and leaf veins and stems in gold. Pattern is a symmetrical plan in diamond shape, of delicate, intertwined grasses, joined, at points, with clusters of flowers and foliage; small flower sprays in diamond shaped field.

A lattice plan is developed in bands, composed of fine groups of little sheaves of grain, painted in fine lines of dark blue and red, with blue tips, and in gold, crossing o form a diamond shaped ground.  At points of meeting of the gilded bands, there are flower clusters in various colors, and gold.  Three different patterns of flowers occur at these points; alternate clusters have dark green leaves curving down and crossing under the gilded bands. Within the diamond shapes are small detached leaf designs. The fresh and the gold adds much to the effect.
The pattern suggests the plan of eighteenth-century French embroideries.
St. Anthony Reading
Albrecht Dürer, German, 1471–1528, 1519
Engraving on off-white laid paper
Print

Horizontal rectangle. St. Anthony writing, is seen seated on a grassy bank, right, turned to the left. In the background, a fortified tower.
chest of drawers
, 18th century
wood

Sheraton satinwood bow front chest of drawers, three deep drawers.
King Francis I of France
Marie-Jeanne-Françoise-Suzanne Champion de Cernel, French, 1753 - 1834, 1790
Aquatint on paper
Print

Ovoidal bust portrait.
Fringe
, 19th century
silver foil on a silk core Technique: woven

Silver fringe with a plain-woven heading and a skirt of looped and twisted threads.
Weaver's draft book
, 1805
leather, vellum, paper

Small, oblong book covered in decorated end papers with vellum corners and back and remains of leather tabs to tie. Contains weaving graphs in colors of red and black and charts. Simple geometric designs.
Three Designs for Decorative Paneling
François Marie Isidore Queverdo, 1748 - 1797, 1788
Etching and engraving on paper
Print

Three designs for decorative paneling featuring arabesque motifs, scrolling leaves, fruit, flowers, a fountain, vases, vignettes with figures, shells, dolphins, mermaids, festoons of leaves and flowers, musical instruments, putti, a portrait bust, palette, and paint brushes. The upper two panels are labelled and represent music and painting, with allegorical and mythological figures, and attributes. The lower panel features fountains, vases, and shells. The plate is signed, numbered, titled, and dated.
Polifemo e Palemonio argonauti condotti da Cerere, from Vessels of the Argonauts for the wedding celebration of Cosimo de' Medici in 1608, plate 4
Remigio Cantagallina, Italian, ca. 1582–1656, 1608
Etching on laid paper
Print

The ship of Poliphemus and Palaemon. Emphemera from the wedding festivities at the marriage of Cosimo de' Medici and Maria Magdalena of Austria in 1608.
Band
, late 19th–early 20th century
cotton Technique: needle lace, ground of loop and twist with twist return (Burano)

Part of a border from with a design of a scrolling stem with leaves, flowers and fillings.
Rank badge
, 19th century
satin, silk, metal thread, coral beads Technique: embroidery (couching stitch) on satin weave

Mandarin Square (P'u-Tzu) for military official of the second rank. Lion on a rock surrounded by wave and cloud forms and symbols, worked in couching. Sun is made of small coral beads. Narrow border of Chinese character alternating with bat motif.
Cartouche representant des sujets d'eau.
Pierre Edme Babel, French, 1720–1775, 1743-1763
Engraving on off-white laid paper
Print

Rocaille cartouche in the form of a fountain with water spilling from the vase of a river nymph, a dolphin, sea serpents, and scrolls. There is also an architectural fountain in the background. The plate is signed and numbered.
Escutcheon
, ca. 1825
Gilt copper

Oval cartouche flanked by bunches of grapes.
Sidewall
, 1840–60
Machine-printed and hand painted

Pattern in two closely related shades of greenish-blue. Overall configuration of continuous diamond shapes, with crosshatching and dots in fill areas bordering diamonds. Within diamonds scallop-edged shapes with stylized trefoil foliate devices in centers. Overpainted, single pink and red rose with green foliage, apparently for centers of screen panels.
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 of arched window with separate panels, all framed by green-yellow and red; two vertical panels identical designs of nautilus pattern in blue and pink, overlapping rows of green-yellow and pink mandorlas, with blue C-scrolls below. Upper circular panels contains 4-lobed flower in burgundy, blue, and green with bird at center.
Textile
, 1795–1805
cotton Technique: block printed on plain weave

Stripe of a vase/basket of flowers resting on a framed scnes of a house. with curling ribbons defining the edges of the stripe. In red on white.
Textile
, 1800–1850
Printed by engraved roller on cotton plain weave,

Four scenes, captioned in French, showing different kinds of hunting on a background of scrolls. in brown on white.
Design for a Monument to a Cardinal
Unknown, Roman, after 1720
Pen and brown ink, brush and brown wash over black chalk on cream laid paper
Drawing

Standing figure of an ecclesiastic, possibly a cardinal or other official of the Church, holding a cross and palm frond. Figure is placed on an ovoid pedestal decorated with swags. 
Inscriprion with date below.
Sidewall
, ca. 1880
Machine printed on embossed paper

Aesthetic style design. Dense pattern with sprouting groups of flowers and leaves; four different roughly diamond-shaped motifs repeat in off-set columns; each motif has unique flowers and leaves marked out in black outlining with red and grey hatching; dark green ground, vertically ribbed paper.
Nina, ou la folle d'Amour
François Gorgerat, ca. 1790
cotton Technique: printed by engraved copper plate on plain weave
Textile

Isolated scenes with people in eighteenth century dress and a castle.
Design inspired by a musical comedy by Dalayrac (1753-1809) created in Paris in 1786. In red on white.
Design for a Dining Table "C" of Mahogany
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Rectangular molded top with dividing stretcher running across center raised on fluted columnar support sitting atop molded  base terminating in scroll-like feet decorated with floral rosettes.
Portrait
, 1867
silk Technique: brocaded jacquard woven

Childhood portrait bust of Napoléon Eugène Louis Jean Joseph Bonaparte (1856-1879), son of Napoleon III and his Empress consort Eugénie de Montijo. A crowned eagle bearing green laurel branches hovers above him. Beneath him are red, green, gold and black symbolic standards and heraldry along with oak and laurel branches. Centered in gold scrolling forms is the year 1867, enclosed in an oval with hanging pendants. Below is a red swag decorated with the French Legion of Honour medal.
Border
, 1850–1900
Block printed and flocked paper

Printed architectural molding with gild edge bands at top and bottom edges, brown flocked center band. 

H# 177 (B)
H# 179 (A)
H# 180 (C)
H# 181 (D)
Sampler
, 1782
silk embroidery on linen foundation Technique: embroidered in cross and back stitches on plain weave foundation

Vertical sampler with horizontal bands of pattern: a large fruit tree at the top; crucifixion in the center; alphabets and small geometric pattern bands at the bottom.
Sidewall
, 1880–1900
Machine-printed on ingrain paper

Green flowers and vines. Printed on green ingrain paper.
Knife
Baiiof, ca. 1672
steel, silver (?)

Blade has straight-sided upper edge; lower edge tapering up towards to the point. Cast hollow handle of silver (?), seamed, in form of St. George slaying the dragon. Base of handle engraved: "Baiiof c.s 1672..."
Design for a Painted Porcelain Plate, Les Biscuits (Cookies) for the Service des Objets de Dessert (Dessert Service)
Jean Charles Develly, French, 1783 - 1849, 1819–20
Pen and brown ink, brush and brown wash, white gouache, graphite on cream laid paper, circular border in pen and brown ink
Drawing

Design for a painted porcelain plate, rondel. Scene in a pastry shop.  A figure of a woman (perhaps shop owner) holding a molded cake, stands to the right of a column with shelves, left middleground, displaying cakes and cookies of many varieties.  A well-dressed female client viewed from behind, center foreground, gives a cookie to a child held by a servant while a boy, right foreground, is preparing to eat a cake resting on a counter. Another little boy, left foreground, steals a lady finger from a basket on a low table. The roof of a house and trees appear through the open door, right background.  A graphite sketch of a woman or man holding a fancy cake in lower right margin.
Ship-Building, Gloucester Harbor, from Harper's Weekly, October 11, 1873, p. 900
Winslow Homer, American, 1836–1910, 1873
Wood engraving in black ink on newsprint paper
Print

Horizontal view with a  ship under construction in the background and a group of five boys, with two holding models of sailboats and three boys with two baskets, in the background. One boy is gathering shells in a basket.
Textile
, early 19th century
cotton Technique: relief printed

Loosely-woven gray ground with minute clusters of white dots in groups of three, and minute brown egg-shaped dots in groups of two. Block printed in small detached leaf pattern in green (blue with yellow) which is veined in brown. This leaf pattern about one inch long is in a diagonal and horizontal arrangement, but in random position.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Sketches of four rounded shapes.
Border
, ca. 1850
Block-printed paper, gilt, flocked

Rinceau of light pink flocked leaves whose stems enclose gilt, buff and brown eye-like shapes. Bead and reel design forms lower border.
"Palmettes de Couronnement des orchestres"
Félix Duban, French, 1797 - 1870, 1833
Watercolor, pen and black/brown ink, graphite Support: off-white paper mounted on off-white laid paper
Drawing

Two different designs of red palmettes with black accents running across the page, one row facing up and the other pointing down.  Written in graphite, between the two rows of the designs, is "Palmettes de couronnement des orchestres du grand carre, aux Champs-elysees"
Wall Elevation with Marbled Niche
Frederick Crace, English, 1779–1859, 1815–22
Pen and black ink, brush and watercolor on off-white wove paper
Drawing

Horizontal composition illustrating the elevation of an interior wall with a yellow and green marble niche with a large simple rectangular mirror.
Fragment
, 16th–17th century
silk Technique: cut and uncut supplementary warp (velvet) in a plain weave foundation

Fragment of cut and uncut dark blue velvet in a pattern of leaf forms that alternately face up and down. Leaves are enclosed in a lattice framework.
Sampler
Ann Coleman, English, 1774
silk embroidery on wool foundation Technique: embroidered in cross, satin, eyelet, tent, and half cross stitches on plain weave foundation

Within a curving floral border, two angels holding a crown over a heart with text "the faithful heart shall ever crowned be."  Then isolated floral and animal motifs including Adam and Eve.
Winter at Sea – Taking in Sail off the Coast
Winslow Homer, American, 1836–1910, January 16, 1869
Wood engraving in black ink on paper
Print

Men taking in the sail of a ship in the snow.
Oliver Cromwell
Thomas Johnson, 1900
Etching in dark brown ink on cream-colored paper
Print

Half-length portrait of Oliver Cromwell (1599-1658), seated, facing half-right, his head turned frontally. He holds his gloves in his left hand.
Mt. Chocorua from Tamworth, New Hampshire
James Henry Moser, Canadian, 1854–1913, October 1895
Graphite, black crayon on paper
Drawing

Mount Chocorua seen from across a small lake.
Sugar Bowl with Battle Scenes (Bataillen-Malerei)
Royal Porcelain Manufactory, Berlin, German, established 1763, 1870–1900
hard paste porcelain, vitreous enamel, gold
sugar bowl

Curved bowl, slightly compressed in lower parts. Domed cover with pine-cone knob. Decorations show soldiers on campaign. Neuzierat style.
Fragments of skirt
, 1850–99
silk, cotton Technique: warp printed

Two sections of a skirt, shaped and gored on white ribbed ground; warp pattern in pale rose, brown and pink festoons and small flower clusters.  Trimmed with flounces of white net with eyelet embroidery, gathered by a large bow of russet color ribbon.
Sketchbook Page: Portrait of a Young Man
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Tall, vertical portrait of a young man in a dark coat, head tilted toward the left.  Possibly a self-portrait.
Bowl
, 1st century A.D.
Mold-pressed and tooled glass

Rounded body of greenish glass with iridescence. Vessel has contracting concave neck, continued in eighteen vertical ribs at the center of the vessel's body.  Design shows derivation of Lotus-petal design.
Dessert Fork with Slug
Charles Victor Gibert, French, ca. 1890
silver
fork

Four tined fork with thin tines. Plain narrow stem, continues to form twisting leaf. Slug applied perching on base of leaf with head outstretched and tail curling along reverse side.
Seascape with Large Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Waves coming into shore in left foreground. Tall cliffs in left at distance, nearest with pointed top. Miscellaneous pen strokes in margin at right of image.
Bandbox
, 1801–11
Block-printed on handmade paper, cardboard support

Very small oval-shaped bandbox. Paper is probably wallpaper: chalky-white flowers and leaves picked out in bright green. Small black dots are sprinkled over a portion of the design. The cover is edged with a fluted design, shaded with dark gray.
Drapery Study for "The Active Life," Lunette in the Administration Building, Oberlin College, Oberlin, OH
Kenyon Cox, American, 1856–1919, 1914
Graphite on cream laid paper
Drawing

Paper squared off. Seated figure facing frontally with knees turned slightly to the left. Drapery filled in and shaded. Arms and breastplate indicated only.
Pipe bowl
, 19th century
Fired and polished earthenware

Black earthenware form of trumpet-shaped bowl with beaded and knurled band above a projecting circular stage, the whole attached to a flaring stem similarly decorated.
Bedcover
, 1750–1800
cotton, wool Technique: crewel embroidery on linen

Bedcover in cream-colored cotton with crewel embroidery in blue wool. Diamond-shaped center design framing flower clusters; detached designs of flowers and foliage. Wide borders for sides, vine and birds, and a separate drop for the foot of the bed in the same design.
Carrying cloth
, 1000–1450
cotton Technique: plain weave with warp floats, crêpe spun; four selvedges Label: crepe-spun cotton plain weave with warp floats

Carrying cloth of loosely woven, crepe-spun, indigo-dyed cotton, with stripes of brown and natural off-white cotton.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Rinceau motif in haphazard shapes. Bottom border edge wave molding with colors to look like a foamy sea. Top border edge of beaded motif shaded to look 3-dimensional. Printed in brown, white, gold, gilt, tan and greenish-yellow on green field.
Sidewall
, 1840s
Block-printed paper

White foliate scrolls and flowers, roughly symmetrical in arrangement. Straight-across match.
Architectural Fantasy with Tomb and Ruins, Plate from "Rovine Inventione de Giovan. Loren, Legeay Architet. Intagliate da lui stesso in Luce 1768"
Jean-Laurent Legeay, French, ca. 1710–86, 1768, published 1770
Etching
Print

Architectural fantasy.  A number of architectural elements scattered across a hilly landscape.  In the foreground, at left, is a large scale tomb.  A female figure stands in front of the entrance.  Next to the altar, at the center, is a pedestal with a statue of Sphinx.  Behind it, is an obelisk.  To the right of the pedestal, in the foreground, is a semi-circular structure, possibly a fountain.  There are figures sitting on top of it.  In the far distance, at different elevations, are ruins of classical temples.  Tree trunks and tree branches partially cover the structures, esp. towards the edges of the image.
Border corner
, 1830–45
Block-printed

Corner for border used to frame panel or dado. Band of plaited purple ribbon and white straw with white rosette at the corner. Also outer bead molding.
Plate 49, Costume Parisien (Parisian Costume), Magazine of Female Fashion of London and Paris
R. Phillips, British, active early 19th century, February 1802
Etching, hand-colored with brush and watercolor on cream paper
Print

Fashion illustration featuring a woman on the left in a floor-length dress that includes a long, white skirt and a knee-length top layer that opens and features black dots against a pink background. Her curly, brown hair is covered with a matching pink and black hat with feathers emerging from the top. She appears in profile, facing another woman on the right who wears a long, white gown and a red shawl or wrap with a colorful pattern at the ends that incorporates paisley motifs. The woman on the right also wears long, yellow gloves and a red and yellow hat that sits on top of her brown hair. Both women wear white, pointy shoes and stand on top of a grey ground.
Band
, 16th–17th century
linen, silk, metallic thread Technique: embroidered, darned and withdrawn elements

Fragment of a narrow band with birds and geometric motifs. Natural linen is drawn, cut and wrapped with dark brown silk and embroidered with metallic thread accents.
Fashion Plate
, 1851
Engraving, brush and watercolor on paper
Print

Left, woman sits in chair at small table. Three women, center, with caps above their heads. Man at right, with a cigar and wearing tall silk hat.
Border
, 1805–20
Block-printed on handmade paper

Imitation lace is superimposed at intervals over the fret at the bottom of the design. Above, sections of lace alternate with groups of three three-petaled flowers and foliage. Printed in gray, white, green and black on dark brown ground.

H# 445
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1885–90
Machine-printed on paper

Ceiling paper, motifs of four foliate scrolls set within a laurel circle. Printed in green and pink on ochre ground.
Ceiling paper
Henry Gledhill & Co., 1889 – 1900, 1905–1915
Machine-printed paper

On beige ground, clusters of light green vines and leaves with pink flowers.