biglam/cooper-hewitt-alt-text huggingface dataset:
Crawfish
Frederick Stuart Church, American, 1842–1924, 1877
Printed in black ink on blue paper
Ephemera

Top, short story. Bottom; smiling craw fish holding music sheet called By the Sad Sea Waves, and parasol; right, two birds facing front, make side-eye contact. Sea in the distance.
Trumpet Trees, Jamaica
Frederic Edwin Church, American, 1826–1900, May 1865
Brush and oil, graphite on paperboard
Drawing

Botanical sketch of five young trumpet trees in the Jamaican jungle. Trees comprise central focus, with some foliage and soil at their bases. Broad leaves rendered in white and green. Dark green ground visible in background.
Design for an Earring
, 1815–30
Pen and sepia ink, brush and gray watercolor on paper
Drawing

Design for an earring. Scrolls of ribbon connected by round diamonds create an oval frame. Inside is a vase with a blossom and three beads. On top is a palmette. Bevelled corners.
Sketch, the Virgin with the Child
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Brush and dark brown watercolor on light gray-brown paper
Drawing

The Virgin is seen frontally, kneeling on the ground, the suckling Child in her lap. Her left hand crosses his body. Behind her is a high altar-like structure, covered with a cloth, and an open book standing upon it. Framing line.
Frieze
Wm. Campbell Wall Paper Company, 1872, 1890–1900
Machine-printed, ingrain paper

Cocoa colored rough paper with quiver, conventional iris and lily and ribbon design, borders; mica finish. Made by W. Campbell and Co. No. 2285. Printed on ingrain paper.
Design for a Sculpture in the Form of a Ewer
, late 17th–18th century
Etching on laid paper
Print

Design for a sculpure of a ewer on a socle or plinth. The sprout, handle, body, and foot of the ewer are decorated with male mascarons and acanthus leaf and shell motifs. A seated male figure reaches up and holds the scroll end of the sprout, with a dolphin at his feet. The body of the ewer is decorated with a frieze of figures.
Table cover
, 1884
linen, mercerized cotton floss Technique: embroidery on plain weave

White linen table cover embroidered in red mercerized cotton with hunting scenes arranged as a border.
Second Carriage of Lord Castelmaine: rear view
Arnold van Westerhout, Flemish, 1651 – 1725, 1700
Etching and engraving on white paper
Print

Rear view of carriage: a group consisting of four seated children and a seated woman rises over the rear axle. The woman carries a bracket with four crowns upon her head.
Design for Wainscoting with a Mirror
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for wall panelling on either side of a mirror that is decorated with scrolls, vines, and mascaron. The panels feature ornament motifs including trophies of musical instruments and scrolls. The plate is signed and numbered.
Design for Baptismal Font
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The bowl is supported by a molded base. The lid has the shape of a pedestal which is decorated at the front with an oval medallion with the representation of the baptism of Christ, hanging from a bowknot in the frieze of the entablature. The oblique sides have volutes, with cherubim above the lower spirals. Above the entablature rises another pedestal, supported a cross above a globe. Beside it sits two angels, supporting with their hands a festoon and shouldering a lily stems. Usual background.
Willow on the Rhône, Geneva, Switzerland
Daniel Huntington, American, 1816–1906, August 1839
Graphite and black crayon on paper
Drawing

Study of a willow tree, nearly leafless, leaning towards the right.
Mount Chimborazo, Ecuador
Frederic Edwin Church, American, 1826–1900, June–July 1857
Brush and oil, graphite on tan paperboard
Drawing

Landscape sketch showing a distant view of the stratovolcano known as Chimborazo in Ecuador. The foreground is a loosely rendered assemblage of green vegetation, and lower center, and brown terrain with grass, at right. Dark brown, rugged foothills stretch across the middle distance and into the background, where the snow-capped peak of Chimborazo looms over the landscape. Ridges and rocky outcroppings are clearly delineated throughout the snowy, pyramidal summit. Above, gray and white puffy clouds hang in an otherwise blue and open sky. Creamy gray ground color visible along the lower margin.
Détails de la Sculpture du Confident
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for the carved details of the "Confidence" couch (1921-6-279-25). The carvings feature ornament motifs including rosettes, a trophy, a vase with bouquet, acanthus leaves, and fluted feet. The plate is signed and numbered.
Square
, late 19th century
cotton Technique: printed on plain weave

Uncut handkerchief fabric in brown on a white ground in a design of a wide white border and white dots.
Standing Male Nude
Daniel Huntington, American, 1816–1906, 1866
Black and white chalk on light brown wove paper
Drawing

Man standing facing frontally, head turned to the right, leaning on staff, to the left. Two seated male studies, at right.
Design for a Pendant with Leaf Volutes and Child's Head
, 16th century
Graphite, pen and ink, brush and sepia on paper
Drawing

An oblong diamond with architectural frame. At top, a mask and ring. Below, volutes, a rosette and festoon.
Thermometer
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and brown wash, graphite on cream wover paper
Drawing

Scale showing circular hole at the place of bulb. Three putti carry tablets, signs of Zodiac, Lion, Cancer, Capricorn, respectively. In background, clouds and rays. Verso: part of arch with same three signs, sketched in graphite.
Three Designs for Candlesticks
, 1802
Pen and ink, brush and yellow, red, gray watercolor, graphite on paper
Drawing

Horizontal rectangle. Three designs for candlesticks. At left: the feet of the candlestick consist of rumps of birds. Within the base is the inscription: qui ci va / lo stemma / di chi li fa fare; the shaft consists of four parts. In the lowest one the column rises from a calyx. In the second are festoons. The third is scalloped; the fourth fluted. Upon the capital stands a bowl, from which the socket rises. Center: the pedestal of the candlestick consists of lateral leaf scrolls and a central support at which is written: qui ci va lo stemma; the lower part of the shaft is a vase, above which two calyces rise. The upper one supports similar motifs to the left one. At right, the base is decorated with festoons supported by masks. The shaft is a foliated column. That at left is marked with a cross in ink. Each of the candlesticks are numbered with the letters D, E, F from left to right.
Two Frieze Designs
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

Two frieze designs with putti, scrolling leaves (rinceaux), female and male figures, armor, festoons of fruit and leaves, snakes, palm leaves, a shell, and a roundel with a male profile portrait. The plate is signed and numbered.
Stage Design: Side Wing
Giuseppe Barberi, Italian, 1746–1809, ca. 1675-1690
Pen and bistre on paper
Drawing

A left side. A fountain stands in front of a kind of colonnade with projecting side, where a gaine supports the entablature. Rocky stones are used in the structure. Trees are in the background. Framing line except at right.
Three Brooches
, 1825–50
Pen and ink, white heightening on paper
Drawing

Each consisting of an escutchwon with a hanging pear-shaped pearl.
Winemaking
Felice Giani, Italian, 1758–1823, ca. 1800
Graphite, pen and ink, brush and wash on paper
Drawing

Horizontal rectangle with classical figures. Woman at right harvesting grapes from the vine. Man at left pouring them into a vat, under the watchful gaze of theatrical masks.
Fragments
, 17th century
linen, wool Technique: float patterned

Fragments from a maniple. Ground divided into lozenges each containing a six-petaled flower.
Design for Wall or Ceiling Decoration with Bacchus, Hymen and Venus
Felice Giani, Italian, 1758–1823, 1790–1800
Pen and brown ink, brush and brown and gray wash, black chalk, graphite on off-white laid paper
Drawing

Hymen standing, embraces Dionysos with right arm and raises torch with his left arm. At left Dionysos sits upon throne, together with lion; he leans left hand upon pitcher, supports hand thyrsos with right.  At right Venus sits, holding a wreath with each hand. Upon clouds in foreground at left, the mask of satyr, with tamborine and other musical instrument on vine.  At right, two kissing doves. Below caption: "Imene Bacco e Venere." Verso: perhaps written by Giani, "26" and "44."
Design for a Reliquary for a Thorn of the Crown
, late 18th century
Pen and ink, brush and blue, green, rose watercolor, graphite on paper
Drawing

Vertical rectangle. The receptacle of the reliquary is shaped like a column, which is carried by a cherub who stands upon a base, which is supported by knobs. The top of the shaft of the column is surrounded by a crown of thorns, beneath which four cherubim are shown. At left and at right of the shaft are cherubim and leaf scrolls, the lower of which are connected with the cherub below by festoons. On top of the columns are a kind of onion dome and a cross. A cherub is very slightly sketched as a support of the reliquary.
Sunset at Sea, Ecuador, Part One
Frederic Edwin Church, American, 1826–1900, May 1857
Graphite on white wove paper
Drawing

Landscape and atmospheric study showing the first part of a panoramic view of the sun setting over the ocean near Ecuador. Water extends from foreground to horizon, where it meets the descending sun. Above, clouds of various colors stretch across an otherwise open sky. 

Verso: Mixed studies showing multiple views of buildings and plants in Ecuador. At center, two buildings are visible, including a church dome at left. Below them, and oppositely oriented, is the top of a palm tree. Along lower margin and in lower left corner, three different plant studies are shown, including a floating plant.
Croix pour l'oeuvre
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a cross decorated with ornament motifs including rinceaux, garland, and winged cherub heads on clouds. The plate is signed and numbered.
Button
, 19th century
France

Slightly convex button ornamented with a crown. Back and shank of brass. On reverse, "Superieur France 25M".

On card E
Two sketches for cartouches
Carlo Marchionni, Italian, 1702–1786, before 1775
Pen and sepia ink on laid paper
Drawing

Above: four laths are joined and two trees trailed over the mounting and the upper side. A motif below in the center is indiscernible. Below laths as above, trees trailed over the mounting, at their base dolphins; on top in center two flying birds. Below the remnants of the usual designation of a D, 1, h; (because of the available space it can only have been Di Carlo Marchionni.)
Birdcage
, 1735–96 and 1880–1910
Lacquered wood with inlaid bone,ivory, and ebony (base); carved and cut ivory, carved wood, carved jade, carved amber, cloisonné enamel, glazed porcelain

Hanging type, circular dome shape with tall finial, silver hanger.
Components:
1 cage
1 beaded ring
4 water bowls
1 cylindrical feeder
1 mini birdcage
1 coral feeder
2 hanging rings
2 perches
1 ivory ornament with metal bugs
2 jade clips
3 ivory clips
1 ivory stick
Designs for Two Cups
Joseph Anton Seethaler II, German, 1799–1868, 1827–35
Pen and black ink, brush and wash on paper
Drawing

At top, a cup on a base terminating in lion's feet and floral medallions.  The bowl is decorated with grapevine, and encircled about the brim with a stylized leaf motif repeating in alternation.  At bottom, a shallow vessel on a stem, whose handles are composed of snakes, issuing from the acanthus leaves and loosely coiled about the stem.
Uncut waistcoat
, late 18th century
silk, metallic thread, paillettes, colored foil Technique: embroidered on plain weave

Panel of white silk with embroidery intended to cut and made into a waistcoat. Field sprinkled with tiny sprays of pink flowers and green leaves. Edges and pocket flaps decorated with border of small flowers within lines of paillettes and ornaments worked in metallic thread and foil.
Woman with a Basket
Jean-Baptiste Pillement, French, 1728–1808, 1758
Etching on laid paper
Print

Plate from a series of chinoiserie prints depicting figures in landscapes. A woman in a landscape with a basket of linen on her head. In the background a fountain with water streaming out from a sculpted face into a shallow basin, with a plant in a vase on top. The plate is signed.
Ornamental Candelabrum
Daniel Hopfer, German, 1470 - 1536, 1520
Etching on white laid paper, lined
Print

Vertical rectangle showing candelabrum motif composed of a double-headed eagle, mask, cameo coins and fantastic creatures.
Spoon with Shell Form Bowl
, 18th century
silver
spoon

Spoon with shell form bowl. The tapering lower stem stamped with diagonal rope twist culminating in a ruffle-topped scroll at mid-stem. The flaring terminal engraved with a ruffle-enhanced scroll and topped with a bold stamped shell.
Design for a Woven or Embroidered Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805-1815
Brush and gouache on glazed tracing paper
Drawing

Four vine leaves and bunches of grapes are shown.
Two Chair Frame Designs
André-Jacob Roubo, French, 1739–1791, 1865
Etching on paper
Print

Two ornately carved chair frame designs. The design to the left has an oval back topped with flowers and a scrolling leaf clasp. The seat and back are decorated with laurel leaf molding and the legs with undulating leaves. The design to the right has a pear shaped back decorated with c-scrolls, scrolling leaves (rinceaux) with cabriole legs. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Beadwork picture
, early 19th century
cotton, glass beads Technique: embroidery and beadwork Label: Glass beads, cotton foundation

Design of vase and flowers.
Plan Coupe Elévation et Tombeaux Gothique, Construit au jardin de Mr. lacroy, près la Ville de Melun par l’Abbé Architect
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with designs for chapels and tombs with elevations, sectional views, and a floorplan with gothic style motifs. The plate is titled, numbered, and signed.
Tray
, ca. 1830
Painted tôle

Rectangular with flaring sides. Black ground with painted chinoiserie figures and flowers.
Textile
Herman A. Elsberg, American, 1869–1938, ca. 1915
silk Technique: complex woven

Silk textile with crepe woven, blue ground  has a staggered repeat of satin woven, large blue roses.
Plate Depicting Hendrik Durven, Governor General of the Dutch East Indies (VOC), and His Wife
, ca. 1740
porcelain, vitreous enamel, gold
plate

Flat concave dish, curved upturned sides, plain rim. Interior with floral and textile pattern border at rim; in red, black, and green enamel in center male and female European figures in a stylized landscape. At right a large tree with variegated leaves, in front a fence and stylized rock. To left, a dog and a small flowering plant. Horizon line bisects plate.
"Pifferari," Two Pipers from the Abruzzi in Rome
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Paper
Drawing

They are simliar to plate 23, loc. cit., standing at a street corner. A lamp burns before the image.
Woman Seated
Antoine Watteau, French, 1684–1721, 1723-1728
Etching on laid paper
Bound print

Seated, well-dressed woman, facing forward. Her left arm extends over a mound; her right arm is at her stomach. The plate is signed.
Design for a Mass-Operational House Designed by Hector Guimard, Foundation Plans
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard. This design shows the plan for the foundation.
Footed bowl
Louis Comfort Tiffany, American, 1848–1933, 1913–16
Mold-blown favrile glass

Pale green, shallow bowl on wide tapered pedestal base with occlusions of white flowers with yellow and white centers and dark green stems and dark blue leaves "floating" in solid glass. Ground pontil.
L’ESTÉ
François Boucher, French, 1703–1770, ca. 1754–86
Etching and engraving on paper
Print

An allegorical scene representing summer with six putti (children) harvesting wheat. A verse is lettered below. The plate is signed and titled.
Design for Woven Fabric:
Fabrique de Saint Ruf, Lyon, France, 1805–15
White gouache Support: varnished white laid paper
Drawing

Horizontal rectangle; bees staggered in alternate horizontal rows, six rows being shown. (RB '43)
Fragment
, 18th century
silk Technique: supplementary weft forming raised pile, then embossed.

Floral sprays on red ground.
Covered Broth Cup and Socketed Saucer
Manufacture de la Reine (Rue Thiroux, Paris), French, established 1776, ca. 1785
porcelain (probably soft paste), vitreous enamel, gold
cup and saucer

Cup circular, slightly flaring roward top; simple loop handle, forked at top and joining sides with foliate development. Cover domed, with knob in form of an apple. Saucer slightly concave, with deep circular well at centre to receive cup. Decoration, a series of polychrome floral swags and gilded foliate swags, with pendant cords and tassels at points of junction.
Study of Hands
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown paper
Drawing

Hands with palms facing each other, fingers pointed upwards, and wrists apart. The back of the left hand and the palm of the right hand are visible.
Design for a Decorative Panel
François Marie Isidore Queverdo, 1748 - 1797, 1788
Etching and engraving on paper
Print

A design for a narrow vertical decorative panel titled and featuring a Turkish-style pavilion in the form of a tent topped with a crescent moon finial and figures, trophies, scrolling leaves, incense burners, vases, pipes, flowers, meandering and scrolling leaf patterns. The plate is signed, numbered, titled, and dated.
Textile
Schwartz-Huguenin, mid-19th century
cotton Technique: printed by engraved roller and block printed; highly glazed

A) Thin cotton, ground striped in grey, white and blue with vernicular pattern in blue. Detached rose sprays, red with green foliage; blue stripes over-printed in vine sprays in grey sprays in grey and small white flowers. Floral patterns roller printed; ground by so-called ''molette.'' Piece highly glazed.
Fragment
, possibly 19th century
silk, metallic Technique: 5 harness satin patterned by plain weave

Parrots and affronted lions in gold and tan on a green satin ground.
Fan leaf
, 19th century
silk Technique: bobbin lace, Chantilly style

Black Chantilly style bobbin lace leaf with design of flowering sprays and scrolls.
Fragment
, late 19th century
silk Technique: compound twill weave

Fragment with white silk warp and green silk weft in an allover small-scale pattern of Buddhist motifs: coin, knot, cloud, jewel, etc. On one side of fabric design worked in warp; on reverse, design worked in weft.
Cap
, late 19th century
silk, metal spangles, beads, and threads Technique: embroidered

''Gold head'' with painted back and small crown in gold cloth, embroidered with metallic thread and paillettes.
Vignette, The Trinity
, 1800–1830
Glyphograph on paper
glyphograph

God the Father and Christ holding the cross are seated on clouds. The dove over them in half a sun.
Slop Bowl with Chinoiserie Vignettes
Royal Porcelain Manufactory, Berlin, German, established 1763, ca. 1770
hard paste porcelain, vitreous enamel, gold
bowl

Flat hemisphere, with cylindrical foot. Vignettes of Chinoiserie figures in landscape, with gilded and painted imbricated borders.
Costume Design: Male Dancer for a Ballet
, 17th century
Pen and brown ink, brush and violet watercolor, over black chalk
Drawing

Vertical rectangle. The hands are roughly sketched, in pencil. Shown in a dancing pose, frontally.
Design for a Necklace and earring
Giovanni Sebastiano Meyandi, Italian, active 1762 - 1794, ca. 1755
Pen and black ink, green watercolor, traces of graphite Support: cream-colored laid paper, mounted
Drawing

Horizontal rectangle. A garland of blossoms, naturalistic and fantastic leaves. In the center a kind of palmette from which an escutcheon and a palmette are hanging. Semicircular chain with similar pendants, is hanging down. At right: the earring: above a circular escutcheon, in the center a knot; below a palmette.
Saint Agnes
Leon Dabo, American, 1868–1960, 1892
Charcoal on cream wove paper
Drawing

Within oval format, saint is seen facing half-right, holding a lamb in her arms and the palm of her martyrdom in her left hand. Halo over her head, and gaze is directed downward.
Portrait of Robert Burns
William Nicholson, British, 1781 - 1844, 1819
Etching on paper
Print

Half-length portrait of the Scottish poet, Robert Burns (1759-1796), shown facing frontally, his gaze directed slightly to the left. His waistcoat is half unbuttoned, revealing a white linen stock.
Fragments from a chasuble
, late 18th century
silk, metallic Technique: plain weave with supplementary warps and discontinuous supplementary wefts.

Stripe and flowers on white ground.
Bag
, early 19th century
glass beads Technique: knitted

Light brown bag encircled by a white band with a floral vine in blues and greens, with guard bands of white stylized vines.
Peep-show, Entree de la Ville de Venise Venant de Chiogia Avec l'Isle de St. Georges le Majeur Sur le Côté
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Plaque
, late 18th century
tortoiseshell

framed
Textile
, 17th century
silk Technique: plain compound weave

Reversible fabric in green and tan silk in a pattern of alternating horizontal rows turning left and right. One row has a double branch with one side turning up and ending in a decorative blossom, the other side turning down and supporting a perched crested bird. Wide floral border rinceau border along right side and across top.
Ribbon
, 1887
silk Technique: taffeta grosgrain

Length of grosgrain ribbon in red and white stripes. Stripes gradually grow wider
Skirt fragment
, 18th century
silk, metallic thread, linen lining Technique: satin weave with warp pattern stripes and supplementary weft

Deep coral pink satin with serpentines of silver-gilt leaves, small pink and coral flowers; set off by broad vertical stripes of dark brown warp ribbing with cherry-patterned guard-strips.  Broad pencil-striped selvages with cloth outer edges with heavy silk warps.  Lined with undyed glazed linen.  Pocket.  Rows of buttonholed coral silk loops across upper and lower part.
Square
, 18th century
silk on silk Technique: embroidery on damask taffeta

Coat of arms of a Bishop of the Franciscan Order (Cross, crossed arms with stigmata, above a black bird on a mount against a blue ground) with Bishop's hat (green with six tassels) worked on white taffeta within a narrow border of brown and yellow silk.
Pair of pockets
, 1775–1825
linen Technique: plain weave, cut and sewn

Pair of pockets in brown striped linen on a linen base, held together with woven tape.
Designs for Armchair Covers (Back and Seat)
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for upholstered armchair covers (for the back and seat) featuring floral motifs, festoons of flowers, ribbons, baskets of flowers, and scrolling acanthus leaves (rinceaux). Each design is labelled, the plate is numbered and signed.
Tablecloth
Unknown, ca. 1905
silk, cotton Technique: embroidery and cutwork on plain weave

Round tablecloth has embroidery and cutwork in an elaborate design of irises and spider webs with spiders. Cutwork areas have spoked grey threads worked with thinner grey threads to create a spider web effect.
Button
, late 19th century
pearl shell, glass, steel

circular buttons showing imitation jewel [white glass] in steel setting on pearl disc with engraved radiating lines.

On card 29