biglam/cooper-hewitt-alt-text huggingface dataset:
Costume Design: Poetry for a Ballet
, ca. 1720
Lead pencil, pen and ink on paper
Drawing

Vertical rectangle. A woman is shown, standing, with a trumpet in her right hand, the left hand holds the neck of a violin-cello. Her coat is decorated with rows of stars. Written on top, in pencil: "La siga Cecilia," in the upper left corner: "Nobilta/o Poesia," in the upper part of the bodice, and in the left sleeve: "Biancho," in the lwoer part of the bodeice, and in the skirt: "Turchino." Written above, in ink (over pencil): "La poesia vestita di azurro celeste sopra ivi saranno/molte stelle coronate di alloro."
Skyscrapers, New York
Leon Dabo, American, 1868–1960, ca. 1907–08
Pastel on grey paper
Drawing

View of lower Manhattan from the Hudson in the evening mist.
Fragment
, 17th century
linen, silk, wool Technique: warp-faced plain weave patterned by weft faced plain weave

Small scale design of eight-pointed stars and lozenges in blue and white.
Sampler
S. H., English, 1669
silk and linen embroidery on linen foundation Technique: embroidered in satin, chain, four-sided canvas, double running, buttonhole, long-armed cross, detatched looping

Bands of white cut work and multi-color embroidery, an alphabet, animals, birds, reversing floral bands and human figures. With the inscription and date: S. H. 1669.
Le Buveur (the Drinker)
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1770s
linen warp, cotton weft Technique: block printed on plain weave
Textile

Fragment of Le Buveur (the Drinker), a half-drop repeat of a floral frame enclosing a man holding a glass and a jug. The source for the figure is an engraving by Pierre Alexandre Aveline (French, 1702-1760), after Watteau. Very fine picotage for the pattern and ground.
Textile
, 1800–1810
cotton Technique: block printed on plain weave

Striped pattern consisting of large leaves, in two variations and one above the other, between narrow stripes of fern-like leaves. Yellow and white pattern on dark brown background. The minimum is repeated approximately as "quarter drops."
BACCHUS
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of term of the god Bacchus set upon a pedestal wound with ivy. Two urns are at the feet. The term is placed under an ivy-wound trellis, and on a pedestal supported by meanders, acanthus leaf scrolls, and birds. The plate is signed.
LE CHASSEUR CONTENT
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of two figures in elegant costume reclining in a landscape, with two hunting dogs emerging from the background. The man of the pair reclines and gestures to the background, while the woman, sitting more upright, holds a bird on her finger. The scene is framed by ornament including branches, an animal head with scrolls behind it, vines, guns, captured rabbits, birds, and a horn. The plate is signed.
Le char de l'aurore, (copy # 1)
Petitpierre et Cie, Nantes, France, 1770–1848, ca. 1800
cotton Technique: printed by engraved copper plate on plain weave
Fragments

Copy of the Petitpierre design, 'le char de l'aurore'. Three pieces which when overlapped do not make the full repeat.
Arrow Design
, late 19th–early 20th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Two rows of giant arrows are separated by smaller rows of tiny arrows alternating in the opposite direction. The larger chevron shape is decorated with thin stripes. In Japan, the arrow (yagasuri) represents good luck. There is a saying that once an arrow is fired, it never returns.
Pompe funèbre de Polixène de Hesse-Rhinfels Reine de Sardaigne en l’église de Notre de Paris le XXIV Mars M. DCC. XXXV.
Charles-Nicolas Cochin the elder, French, 1688–1754, 1756
Etching and engraving on laid paper
Bound print

Interior view inside the Cathedral of Notre Dame in Paris, France during the funeral ceremony for the Queen of Sardinia. Highly decorated interior space with high ceilings and long drapery. Skulls throughout decorative scheme. At center, the queen's body raised up on a monument and covered by a shroud, underneath a large covered structure. Before her, a trio of three sculptures leading up the steps to her sarcophagus. Angels at either side form the bases of large candelabra and torches that illuminate the space. At their sides stand figures of men armed with swords and rifles, viewed from the back. At center, a sculpture of a winged man holding a scythe stands upon a sphere. Surrounding him are groups of objects, including a skull, helmet, crown, and pieces of a broken column. At front, a row of monks sit facing towards the body. At either side, rows of figures sit for the funeral ceremony. The plate is signed.
The Grenadier and the Nun
, 1849
cotton Technique: printed by engraved roller on plain weave
Textile

Two scenes, captioned in french, showing a nun and a grenadier within a grid of branches, leaves and berries. In brown on white.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-cff: Fragment of Aesthetic all-over pattern of stylized...
NOUVEAUX TROPHÉES OU CARTOUCHES Représentant Les Arts et Les Sciences Composée avec les Artributs qui-les caractérisent INVENTÉS ET DÉDIÉS A MR MORLOT PEINTRE par Son Elève et Son Ami MARILLIER
Clément Pierre Marillier, French, 1740 – 1808, 1759–80
Album

Album of seven allegorical vignettes from a series of twelve (including title page) representing the arts and sciences, designed by Marillier. The plates are titled and signed
Tile
Grueby Faience Company, Revere, Massachusetts, 1895–1908, ca. 1905
Press-molded glazed terra cotta (red earthenware)

Press-molded low relief decoration in earth color against a yellow background. The second tile depicts a figure of a worker (perhaps a potter).
Border
, 1800–1850
Block-printed

Selection of narrow borders, each object is a different design.
Variant Design for Side Serving Table with Cabriole Legs
A.N. Davenport Co., 1900–05
Pen and black ink on thin, cream paper
Drawing

Alternative to -.96: Table surface with curved skirting supported by four cabriole legs.
Plan de l'Ecritoire de Porcelaine [Design for Porcelain Writing Set, Plan, 2nd pl.], pl. 45 in Oeuvre de Juste-Aurele Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Etching on off- white laid paper
Print

1921-6-212-15-a: Design for a writing set with a central cartouche ...;     1921-6-212-15-b: Porcelain writing set in plan consisting of a larg...
Border
, 1910–15
Machine-printed, embossed, die-cut

Red flower sporting two leaves occupies lower pendant section, alternating with smaller flower centered between two larger leaves. Printed in very washed out colors on a tan ground. Heavy metallic gold outline around different elements. Bottom edge of border is cut out around border design. Hole punches along top edge.
Chair
George Jakob Hunzinger, 1835 – 1898, ca. 1869
Maple, cord, cloth-covered metal

Patented chair with black incised bamboo-look frame, with woven cord seat, vertical slat pierced back, the underseat frame of two demi-lune arches descending to the stretcher.
Nouveau Cahier de Rampes
Alexandre Tessier, French, active 1800 – 1830, early 19th century
Album

Album containing staircase balustrade designs. The designs are titled, and the plates are numbered.
Fragments
, 1815
Medium cotton Technique: printed by engraved roller on plain weave

Six fragments of a red pattern with birds, flowers, and baskets of flowers contained within two S-diagonal unjoined ogee bands. Height of repeat: 30cm (11 ¾"); no repeat within width of fabric. Selvage present on A & B.
Sampler
Rosalie le Marchand, Italian, 1827
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave

Alphabet introduced by Maltese cross followed by isolated motifs, predominantly religious, contained within floral border
Fragment
, 9th–12th century
silk on linen Technique: embroidered on plain weave

Early Islamic embroidery fragment. Silk on linen showing multicolored fish, pairs of birds and other animals embroidered with dark outline. Allover designs of scrolls and palmettes. Scattered geometric ornament in blue. Upper border of geometric scrolls outlined in dark brown. Backed with linen. Large areas of loss and fading.
God the Father
, 1700–50
Brush and oil on laid paper
Drawing

God the Father is seen descending in a beam of light, with a portion of his robe flying above his head. A cherub, upper left, and numerous seraphs suround him.
Towel
, 17th century
silk on linen Technique: stitch using silk: double running; cut out areas filled with metal-wrapped silk secured by buttonhole stitch

Towel showing a floral band with needlework insets at each end and a floral border all around. Fringe at each end. Red silk on linen, insets in metallic thread.
Carpet bag
, 1860–69
wool pile on linen foundation, leather Technique: woven with supplementary warp looped pile

Wide envelope bag with turnover flap; loop handles of leather. Floral pattern in taupe, pinks and reds on a brown ground.
Carceri Series, Plate XVI
Giovanni Battista Piranesi, Italian, 1720–1778, 1745
Etching
Print

Horizontal rectangle. Arcades with staircases in the background, before which are monuments bearing pseudo-Latin inscriptions. Numerous figures in the scene. Upper center, Calcografia number 364.
Ten of Hearts
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Ten of Hearts playing card from a pack of transformation playing cards. Vertically, eight figures depicted in bust view arranged in pairs, red hearts integrated into their faces, chests, and arms. At upper left, two gentlemen facing each other. At lower left, a man and woman facing away from each other. At upper right, two gentleman arguing, one sticking out his tongue. At lower right, an amorous couple.
Pleated fan
, 1770
Painted paper leaf, carved ivory sticks, glass stone at rivet

Pleated fan. Front and back leaves of painted parchment showing Italian pastoral scenes. Sticks of carved and pierced ivory; glass stone at the rivet
Decanter with Stars and Vesica
Cork Glass Company, 1783–1818, ca. 1783–1818
glass
decanter

Bulbous body, molded vertical fluting around bottom of sides, an engraved border of vesica motif with cross-hatching and stars above; 3 double neck rings, notched; wide flat lip; target-shaped stopper with molded waffle pattern; maker's mark ringing pontil mark on bottom.
Snail motifs
Whiting Manufacturing Company, 1866 – 1926, ca. 1900
Silver
Matchsafe

Oblong, with asymmetrical curved sides and corners, featuring abstract snail motifs, one snail with antennae on lower left corner, has attached wavy tendrils that move up case body. Second snail coiled at front end of lid, has several wavy tendrils that extend toward hinge side. Upper parts of case has mottled, hammered surface. Ornament identical on reverse. Lid hinged on side. Striker on bottom.
Border
, 1800–1850
Block-printed on machine-made paper

Ribbon twist or guilloche with strung bead in center. Solid band and beaded band along edge. a, b) Orange, gray and white on blue ground; c, d)  Two shades of orange and green on black ground.

H# (A) 625
H# (B) 626
A Cadet Hop at West Point
Winslow Homer, American, 1836–1910, September 3, 1859
Wood engraving in black ink on paper
Print

Couples dancing a polka at a large ball. The men are in uniform.
Architectural Details
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Left, fireplace in sale de chevaliers; right, a gargoyle.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Trellis or grid pattern formed by irregular lines, larger geometric shapes at intersections. Printed in pink, green, and tan with white mica highlights, on light tan background covered with white mica hash marks.
Stormy Ocean with Dark Sky and Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Delicately hatched sketch of dark, rough ocean crashing against rocks in bottom right. At left in distance, dark protruding land mass, with cloud covered sky. Miscellaneous pen strokes in all margins outside image.
Textile
Bannister Hall Printworks, 1815
cotton Technique: block printed on plain weave

Continuous pattern of one motif repeated as a straight half-drop: a pheasant standing on a broken branch of a palm-like tree growing on a small mound covered with flowers. A flowering shrub or tree on each side of mound. Pattern in strong colors on a light-brown background.
Textile
, early 18th century
wool on cotton Technique: crewel embroidery on twill weave

Border from the bottom of a skirt, of heavy twill weave cotton, embroidered in polychrome wool. A formal arrangement of stylized enframements, with foliage flower clusters, and lattice-like forms between. Worked in chain stitch, knots etc. Skilful shading of blues, reds and greens in larger areas. Material is 17 1/2 " wide and three selvages present, on reverse; band is 1m long and 22cm top to bottom.
Nightcap
, 18th century
wool embroidery on linen and cotton ground, silk binding, silk and metallic tassel Technique: embroidered using chain, buttonhole and stem stitches on plain weave Label: linen and cotton embroidered with wool in chain, buttonhole and stem stitches; silk binding, silk and metallic tassel

Man's nightcap made of four panels of undyed ribbed cotton with fairly deep cuff, piped along four seams and top of cuff with blue silk; topped with silk and metallic tassel.  Embroidered with bright crewel wool yarns in chain stitch with symmetrical flower spray in each panel, floral scroll along cuff.  Unlined.
Figures paying homage to a knight
, ca. 1600
Pen and ink, brush and gray wash, white heightening on gray paper
Drawing

Vertical rectangle. A standing knight holds a large floating banner on a standard. All about his are figures kneeling in an attitude of devotion (possibly represents St. Liberale).
Drawing
M. Levy, 19th century
Brush and gouache on pre-printed squared laid paper

At center, a violet shell-like cornucopia filled with flowers in orange, white, blue, red, purple, and yellow; below, a blue short footed vase with flowers in pink, orange, blue, and yellow.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Swag of large flowers and leafs. Background fades from brown at the bottom to light green at the top. Printed in beige, burgundy, and shades of brown and green.
case
, ca. 1700
leather, silk, metal

Rectangular case covered in leather with stamped triangular pattern. Inside covered with red damask. Hinges on the back, small rings and hooks on the front.
Hospital, Middlesex, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolor on paper
Print

Bare room, with occasional beds along the walls, holding female patients. Fireplace left, and two doctors, right foreground. Title, artists', and publisher's names below.
Three putti
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Three putti. Two seated at right. Possibly part of a mirror image behind the third.
Sketchbook Page: Historic Portrait No. 3 (Self-Portrait)
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Self-portrait of the artist looking pensive.
Francis, Duke of Bedford
Samuel William Reynolds, British, 1773–1835, 1802
Mezzotint on laid paper
Print

Seated man facing to the left, his hand holding a booklet on a table, a portfolio on the floor lower right.
Shawl fragment
, early 19th century
wool Technique: interlocked twill tapestry weave

Against pale blue-green ground, a fine symmetrical design of cones and foliage in black, green, yellow, orange, red, and violet, with much free-shuttle outline. Triple guard border with small foliage details and cones indicates the edge of one design compartment. One extremely skillful horizontal mend.
Edge
, late 18th century
linen Technique: bobbin lace (late Valenciennes ground)

Border of floral motifs along side edge.
Carceri Series, Plate VIII
Giovanni Battista Piranesi, Italian, 1720–1778, 1745
Etching
Print

Vertical rectangle. Piers separate large arcades, spanned by wooden bridges, and a broad staircase rises in the center middle distance. Four figures in the left center foreground. Upper right, Calcografia number 356.
Bookpaper
, 1750–1770
Gilt leather, paper

Vertical rectangle. Brown leather binding, tooled in gold with coat-of-arms surmounted by a crown, with curvilinear decoration (on both front and back). End papers of "Dutch gilt" with stylized flowers and fruit in brick red.
Shawl
, 19th century
silk, cotton Technique: twill weave

Long scarf of crimson silk twill brocaded in multicolored cotton with deep end borders of a horizontal row of large close-set paisley shapes or "cones." Stylized floral bands, top and bottom, and smaller detached "cones" in close-set horizontal rows on body of scarf. Silk and cotton floral galloon applied up long sides, which have been cut.
Study of two hands reaching
Elihu Vedder, American, 1836 – 1923, ca. 1890
Pencil, chinese white, on blue-gray paper
Drawing

Study of two hands
Cravat end
, ca. 1695
linen Technique: needle lace, 6-sided reworked grounds Label: linen needle lace

Needle lace cravat end with a delicate all-over floral design and figures, including a figure dressed as a warrior, wearing a helmet in form of a double-headed eagle, standing on a trophée flanked by kneeling warriors; the scene surmounted by a royal crown and surrounded by dolphins, winged putti, warrior figures and foliated sprays.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Grid of stylized four-petal and five-petal floral motif, dots, and beaded circles. Ground is light brown. Printed in browns, white. Missing corner.
Printed in selvedge: "S. A. Maxwell & Co." "1897"
Textile
, 18th century
cotton Technique: mordant for two reds applied by brush over resist; blue applied over resist; background achieved by yellow over blue; chintz on plain weave

Design of exotic flowers in pinks and blues on a green background.
Fragment
, 18th century
silk Technique: woven with supplementary warp pile (velvet)

Silk velvet textile showing pattern of green and yellow arabesques with flowers and birds on a red ground. Right selvage present.
Sketchbook Page: Columbine
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Sketch of leaves with lacey edges. Abstracted outline, upper right.
goblet
, ca. 1810–25
glass

Short, straight-sided bowl raised from circular knop base. Short stem with blade knop and broad circular foot. No engraving.
Border
, 1875–1906
Block-printed

Wallpaper roll.
Red and gold on mustard.
"Marienbad"
, late 19th century
Lacquer inlaid with mother-of-pearl and various stones
Matchsafe

Rectangular, rounded corners, in book form, featuring central oval reserve with various inlaid stones, inscribed horizontally "Marienbad"; reserve framed by mother-of-pearl floral decoration; book spine or bottom side embellished with mother-of-pearl decorative motif; reverse features mother-of-pearl floral sprig . Flip-top lid on simple metal pin on right side. Striker on top and left sides.
Sidewall
, 1905–1915
Machine-printed paper

Stylized tulips arranged in vertical lines that are offset. Each flower has two petals, and there is circular floral vining in the resulting negative spaces. Background is covered with black dots and light green vertical lines. Ungrounded. Printed in greens, blues, black.
Miser's purse
, 1800–1810
silk, gilt foil Technique: netting

Crocheted in light green with floral bands of darker green and cerise silk, ornamented with bands of gold-colored beads. One gold ring controls opening, gold drops at each end.
Border
, 1860–80
Block-printed on machine-made paper

Flocked and highlighted with metallic gold ink. A row of simple rosettes decorates this band with a flocked, shaded background and striped edgings. Printed in maroon flocking, metallic gold, ochre and black flocking.

H#6
Soldier in antique dress with profile studies
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Soldier in antique dress, with two profile studies at upper right.
Handkerchief
, late 19th century
silk Technique: block printed on plain weave

Yellow silk handkerchief with printed border in brown and yellow on cream showing a flowering vine on a stippled ground. Hemmed on the two ends.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Alternating circles and squares. Each is made up of vining foliage and contains a floral sprig in the center. Each is outlined in metallic gold.
Altro spaccato per longo della stessa bottega, ove si vedonofra le aperture del vestibolo le immense piramide, from Diverse Maniere d'adornare i cammini
Giovanni Battista Piranesi, Italian, 1720–1778, 1769
Etching on paper
bound print

A compartmentalized scene with several Egyptian figures and caryatids. Upper register depicts a cow in profile, along with birds, a crocodile, a cat, and a hawk. The central register depicts three areas, two of which show figures before a landscape with pyramids and other structures. At the center, two figures hold stelae inscribed with hieroglyphs, with another stela in the center. The lower register contains smaller depictions of figures, some winged, sphinxes, snakes, and other Egyptian characters.
Dessert Fork with Bird on Handle
Charles Victor Gibert, French, ca. 1890
gold plated, silver
fork

Four tined fork with thin tines. Plain narrow stem, continues to form leafy branch with gold plated bird perching on branch.
Yui, Summit of Mount Satta, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print in colored ink on paper
Print

Left, steep crags with pine trees and three travelers. Center, trunks of two pine trees cross above flat-topped rocks. Right, bay with four sailing boats and beyond that is Fuji flecked with gray on lower slopes.
Title Page, Nouvelles Cheminée faittes en plusieur en droits (New Designs for Fireplaces)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

A fireplace decorated with lions flanking an escutcheon with a crowned roundel. Two urns and a bust of a Roman emperor sit on the mantelpiece. Above, oval-shaped cartouche with title and a Doric entablature. Scale below.
The Beheading of the Roman Judge Papinian, Plate 5 from "Thronus Justitiae"
Willem van Swanenburg, Dutch, 1580 - 1612, 1609
Engraving on laid paper
Print

Interior view of a rectangular room. The beheaded body of Paparian lies obliquely in central foreground. Seven men surround it. In mid-distance a door into adjoining room where another man is being killed. Inscribed, lower left: "Stichem excud et editore J. Wtemwael inv. G. Swaneb. sculp."; lower margin: "Fratre trucidato Caracalla..."
Stage Design, Palace Interior
, early 19th century
Pen and ink, brush and bistre wash, graphite on paper
Drawing

Horizontal rectangle. Staircase in palace with portico at top of stairs. Some details in graphite only, possibly unfinished.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1737-1749
Etching on laid paper
Print

Design for a vase elevated on a pedestal. The foot of the vase is fluted. The vase has a wide body, and the handles are formed by two dolphins that connect the shoulder of the vase to the thick lip, the point at which the dolphins' mouths are attached. The shoulder of the vase has a band of vegetal ornament decoration; there is also a thin, raised band of ornamentation around the neck of the vase. The print is lettered but is missing the numbering found in earlier editions.