biglam/cooper-hewitt-alt-text huggingface dataset:
Waistcoat fragment
, 1800–1850
silk Technique: cut supplementary warp pile (velvet) in a woven foundation

Fragment of black velvet with a brocaded pattern of couples, dancing and seated, with musicians performing.
Purse
, 1640–1700
silk, gold-wrapped silk, horsehair (ID: lab) Technique: tapestry woven with continuous and discontinuous wefts

Oblong flat pouch with silk and metallic thread showing a design of "the Fox and the Grapes," in red, green, shades of blue and yellow on dark background. Same pattern on both sides.
Adam and Even, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–1511
Woodcut on paper
Print

Adam and Eve stand at right, their arms about each other. Eve holds an apple in her left hand which she proffers to a snake entwined about a tree, left. Monogram of Dürer on tablet, lower right.
Cavemen Chasing Elephants, plate 3 from the Venationes Ferarum, Avium, Piscium series
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or after
Engraving on paper
Print

Horizontal rectangle. In center foreground, an elephant is attacked from the rear by one of the pygmies, while two others prepare to leap from the tree, left. In the background, the Troglodytes are cutting up and carrying off the carcass of an elephant. At left center: "Ioan. Stradanus invent. / Ioan Collaert Sculp"; right of center, below: "Phls. Galle excud." Below: "Trogloditae insidijs Elephantem."
Border
, 1750–1800
linen Technique: needle lace

Border in a pattern of small allover floral sprays.
Little Putney Bridge
James McNeill Whistler, American, 1834–1903, 1879
Etching and drypoint on paper
Print

Thames River is spanned by a wooden bridge with an iron center section. At the right are a group of houses and a square church tower. The shore is seen through the arches.
Ornament Design, Roman Altar Dedicated to Mars and Roman Standards
Michel Angelo Pergolesi, Italian, active ca. 1760–1801, 1776
Pen and ink, brush and watercolor over graphite on laid paper
Drawing

Brightly colored ornament design with, at center, a three-sided altar decorated with an image of a putto carrying accessories of the Roman god Mars, ornately decorated with rams' heads, garlands, etc. The altar is lit, with flames and smoke at top.  At left and right are roman standards.
Sidewall
, 1905–1915
Machine-printed paper

Floral stripe design. Stylized square rose set within foliage, all forming vertical stripe. Printed in red, pink, green and brown on tan ground.
Sketchbook Page: Seated Figure
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

At left, seated figure reading papers, in his right hand, with his left hand to his temple.  At right, sketch of a head with hair down.
Study of seashore, Rhode Island
William Trost Richards, American, 1833–1905, ca. 1877
Graphite on paper
Drawing

Sketch of a marsh with trees along the horizon.
Sampler
, 1771
silk embroidery on cotton foundation Technique: embroidered in running (pattern darning), rococo, cross, tied cross, satin, and eyelet stitches on plain weave foundation

Five darning crosses, four darning corners, central patch.  Initials along outer edge, date in center.
Border
, ca. 1812
cotton Technique: block printed (red and black) and immersion-dyed (yellow) on plain weave

A field of shells within scrolls. Border stripe of fretwork containing alternating shell and flower motif.
Interior of the Palais Royal, Plate 27 of Vues Pittoresques de Principaux édifices de Paris
L. Roger, French, active 18th century, 1792
Engraving, brush and watercolor on paper
Print

Three small groups of people in the empty name of the cathedral of Notre Dame in Paris. Below, the title, the artists' and publisher's names, and a short commentary.
Knife with Spiral Pattern Handle
, ca. 1760
steel
knife

Saber-shaped blade with curved end. Pistol-butt handle with overall spiral pattern. End decorated with molded concentric rings and central button.
Waistcoat
, 1770–1780
silk, linen Technique: embroidery of satin, stem and running stitches in 16 colors of silk; appliqué of silk 5&1 satin, silk machine-made net and silk chenille

Gentleman's waistcoat with floral design concentrated at front opening and at pocket area, with small sprigs forming an open lattice in the ground. Small standing collar.
Decorative Panel for July Festival
Félix Duban, French, 1797 - 1870, 1835
Brush and watercolor, gouache, pen and black ink, graphite on cream paper mounted on cream laid paper
Drawing

Design for square panel with circular field with concentric scalloped borders in yellow, lavender, and green and yellow stripes.  Space outside of central field occupied by floral motif on red ground. Four white circles with yellow borders at four corners of panel.
Decorative panel
, 1800–1825
Block printed on handmade paper

Bacchus's female companion, Thyiades, dances and wears a long flowing robe while holding grapes and a cup. Figure is centered in an octagon-shaped frame.  Shades of brown and blue, green.
Sketchbook Page: Portrait of Man with Beard
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Portrait of man with a beard, facing slightly to the left.
Verso: Outline of architectural detail.
Band
, 1550–1600
linen Technique: grid of withdrawn element work with needle lace, reticella style

In this border are two alternating motifs, 1) St. George and the dragon; 2) a decorative pedestal flanked by winged sphinxes, supporting the figure of St. Margarete standing on a dragon. Modes: brides, portes.
Design for Stained Glass Window
Graham Somervell, Scottish, b. ca. 1819, ca. 1860
Brush and watercolor, pen and ink, graphite on paper
Drawing

Three tall vertical panels, with pointed arches, each containing figures. Three decorative panels above. Figures rendered in color, with the remaining details in graphite. Coat-of-arms of Graham Somervell below central panel.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Scattered floral sprigs on white ground.
Wall Decoration (West) Wall, Music Room, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1817
Graphite on paper
Drawing

Elevation of a wall, with a mantelpiece indicated in the center. The walls to left and right are covered by painted panels, contained in wide decorative borders. At left, a seated Chinese lion and fling dragons. At right, a Chinese lion within a circular pendant and flying dragons.
Snap-the-Whip
Winslow Homer, American, 1836–1910, September 20, 1873
Wood engraving in black ink on paper
Print

Nine barefoot boys play snap the whip.  Seven boys are holding onto each other's hands while two boys have broken away on the left.  On the right middle ground is a school house.  On the left, children can be seen in the background.
Portrait of Willem de Vos, from the Icones Principum Virorum
Anthony van Dyck, Netherlandish, 1599 – 1641, 1660
Etching on paper in black ink
Print

A half-length portrait of Willem de Vos. He is bare-headed and his coat loosely hangs on his shoulders. With his left hand, he holds his coat loosely.
Cup and Trembleuse Saucer
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1770
hard paste porcelain, vitreous enamel, gold
cup and saucer

Large, curved cup with scrolled handle. Curved saucer with an interior perforated flaring flange. Decorated with overglaze rust red flower bouquets. Gold edges and accents on handle, partially worn.
Grape Bunch-Shaped Covered Bowl
, 18th century
faience
dish

A) Dish in the shape of a bunch of grapes, with vine and leaves on cover. B) White inside, mottled bluish purple on outside; leaves green.
Maple Leaves Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Maple leaves, also known as "frog's hands" (kaede) as well as "become crimson leaves" or "baby's hands" (Momiji). In Japan, maple trees are believed to have spirits who live in the trees. Kyoto is particularly known to be a popular viewing location where tourists flock in the fall to view the brilliant red leaves.
Standing Cup
, 1847
silver
standing cup

A) Waisted bowl with three fantastic animals and dog in repousse; knopped stem, scalloped where it fits over domed and stepped foot with two flying birds holding ribbons of festoons in beaks and three scrolled cartouches.   B) Domed and rimmed cover pierced and incised with floral design; finial is floral head of pin which holds round plate inside cover.
Decor Chasse et Peche
Desfossé et Karth, French, 1863, 1859–65
Block-printed paper
Border

Two borders to be cut out and used to frame panels at top and bottom. They simulate ornamental wood carving, the larger of the two having, in addition, a lambrequin of deep blue.
Large Rocky Cliffs and Choppy Ocean
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Choppy ocean in foreground with waves breaking on two sections of large, tall cliffs at right.
Sampler
Izelle Shaw Adams, American, 1821
silk embroidery on linen foundation Technique: embroidered in counted cross, long-armed cross, satin, stem, daisy and eyelet stitches on plain weave foundation

Seven bands of alphabets and numerals at the top; two verses, and an inscription in an oval medallion flanked by urns of flowers.
The verses read: 
Proverbs
Favour is deceitful and beauty is vain but a woman that feareth the Lord she shall be praised,  
Give her of the works of her hands and let her own words praise her in the gates

Education
In education forms the common mind just as the twig is bent the trees inclined,
With pleasure let us own our errors past and make each day a critic on the last
Sampler
Lydia Stocker, American, 1785 - 1841, 1798
silk embroidery on linen foundation Technique: embroidered in cross, stem, satin, running and overcasting stitches on plain weave foundation

The small square field has an alphabet in four bands at the top and a landscape at the bottom with a house, tree, man and woman, dog, and deer. The deep border has an urn of flowers in each corner and flowers, butterflies and birds between. The inscription reads: 
Lydia Stocker Age 13 1798
Happy is the Man that hath a friend
Form'd by the God of Nature
Well may he feel and recommend 
Friendship to his creator

Embroidery covers the entire surface.
Creamer
, ca. 1838
silver, gold, wood
creamer

1980-76-1: Bulbous low footed gilt teapot with long spout. Ba...;     1980-76-2-a,b: Footed urn-shaped gilt bowl with mascaron handle o...;     1980-76-3: Footed gilt silver cream pitcher with wide and ope...
Pair of mirrors
, 19th century
Carved and gilded wood, mirrored glass

In Louis XVI style. Each mirror with vertical frame, almost square, carved and gilded with bowl of grapes and grape leaves at center top and a spiral in circle on square at each corner. Frame molding comprised of squared outer band, guilloche band in center and ribbon twisted around rod at inner edge. Mirror in each.
In the Harbor of Catania
Arnold William Brunner, American, 1857–1925, ca. 1881
Graphite on paper
Drawing

Upper and center, sketches of boats with cargos and figures sitting or standing. Below, sketches of men with poles in boats.
Sampler
, 19th century
silk embroidery on linen foundation Technique: embroidered in counted running (pattern darning) stitches on plain weave

Darning sampler, very faded, with eight square holes filled with pattern darning in various weaves, and one corner tear.
THÉATRE FRANÇOIS
Charles-Germain de Saint-Aubin, French, 1721–1786, 1753-1757
Etching on laid paper
Print

Vignette of two butterflies on a platform under a canopy made of vines, scrolls, and reeds, and woven together at the top by a spider. The butterfly on the left is standing and holds a knife in its right hand; the butterfly at right kneels and holds a tissue. Below the center of the platform is a cartouche with the words "Théatre François" printed in the middle. Trailing vines of leaves hang from the platform and connect with the cartouche. The plate is signed but not numbered.
Border
, ca. 1870
Machine-printed paper

Small portion of a paper, probably for a border, showing a band of vine with grapes, leaves and flowers. Printed in yellow, orange, brown and black.
Trophée à la Gloire des Princes
Henri Sallembier, French, ca. 1753 - 1820, 1775–76
Etching and engraving (crayon manner) in red ink on laid paper
Print

A design for an ornamental trophy honoring the glory of the French princes, with military and artistic attributes on a base with an obelisk rising above. The attributes include cartouches, shields, the royal cipher, eagle wings, spears, a palm tree, chains, flags, a drum, leaves, fruit, scythe, palette, paintbrushes, easel, and a column. The plate is titled and signed.
Fragment
, 13th century
linen Technique: block printed using pigment on plain weave

Fragment of printed linen with teardrop-shaped medallions containing pairs of addorsed, regardant gazelles and plant forms in blue on natural.
Sidewall
, 1825–35
Block-printed on handmade paper

Paper shows design of flowering stems with flying and perching birds. Border in design of flowers arranged in panels with scrolls. Printed in color on blue ground.
Design for an Elevation and Plan of a Doorway Leading into a Park
Filippo Marchionni, Italian, 1732–1805, 1750–75
Graphite, pen and black ink, brush and gray watercolor on laid paper
Drawing

Vertical rectangle. At top, the elevation of a doorway. The doorframe is oblong; door opening has shape of semicircle. The entablature with a triglyph frieze projects laterally and is supported by an embedded column and pilaster on each side. The supports are Doric and consist of blocks and points. Above is an attic with a papal escutcheon in front of its central part with view of the park. Plan depicted at bottom.
Two Frieze Designs
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Two details of frieze designs, one above the other, featuring winged putto, a satyr/ faun, scrolling leaves (rinceaux), foliate scrolls, grapes, festoon of leaves, mask (mascaron) of Greek and Roman god Hermes/Mercury with his winged helmet and caduceus. The plate is numbered.
Cup and Saucer
Meissen Porcelain Manufactory, German, active from 1710 to the present, 1840–1850
hard paste porcelain, gold
cup and saucer

Cup with rounded foot and round bottom marked by ridge, and convex sides; flattened handle with scrolls. Saucer paneled, like upper part of cup, with eight alternately wide and narrow panels. Crisp Rococo revival relief decoration of scrollwork and flowers gilded. Gold band and inside of cup.
Three Gueridons (Candlestands) Designs
Alexis Loir, French, 1640 - 1713, ca.1660–1703
Etching on paper
Print

Three designs for gueridons (candlestands) featuring supporting putti with fish tails, masks (mascarons), eagles, foliate scrolls, scrolling acanthus leaves, fluting, masks, wave pattern, gadroning, dolphins, and griffins. The plate is signed by the publisher.
Title Page for "Comic Fables, Out of The World"
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Various animals, camel, elephant, monkeys, frog, kangaroo, lizard and birds. Center, profile of figure with beard, glasses, and hat, surprised. Man, in so much shock, drops umbrella and labelled book. Center background to center, line of turtles wearing billboard signs, labelled.
Button
, ca. 1820

1931-59-50: Button on ornament of crossed cannon and "grade ci...
Portrait of Cornelis de Witt
Jacobus Houbraken, Dutch, 1698 - 1780, ca. 1760
Engraving on paper
Print

Half-length portrait of the mayor of Dordrecht, in frontal view, head turned toward right in three-quarter view.
Fragment
, late 18th century
silk Technique: compound cloth with supplementary warp pile (velvet), warp-printed

Velvet fragment. White ground with horizontal stripes and sawtooth lines in supplementary yellow warp. Vertical blue stripes of cut pile showing design of floral vines, and a large central band showing a partial portrait medallion with florals.
Three Putti
François Boucher, French, 1703–1770, 1749–61
Etching on laid paper
Print

Three winged putti in the clouds holding a feathered helmet with a bird on top and a piece of fabric wrapping around them. The plate is signed and numbered.
Cuvettes à huile
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Designs for oil trays. The plate is signed and numbered.
Lambris d’antichambre du dessein de Mr. Mollet architect
André Basset, French, active 1749 – 1787, ca. 1765
Etching and engraving on laid paper
Print

An interior wall elevation featuring a central mirror flanked by double-doors with overdoor paintings framed in rococo paneling. The over-mirror panel features a cipher within a cartouche frame of acanthus leaf, fleurons and shell motifs, which also feature in the mirror frame and overdoor paneling. There are blank vertical panels on either side of the doors and a dado level below. The plate is titled and includes a scale below, along with the publisher's address.
Design for a Brooch
, 1815–25
Graphite brush and watercolor on paper
Drawing

Four radially disposed shells form an escutcheon, containing a big diamond in the center; below, a hanging pear-shaped pearl. Smaller pearls between the shells.
Sketches of a Man's Head and Floating Iceberg, Canada
Frederic Edwin Church, American, 1826–1900, June-July 1859
Graphite on white wove paper
Drawing

Seascape and figure sketch showing views of a distant, craggy iceberg floating on the ocean at lower center beside a sketch of the head of a bearded man wearing a hat, shown in left profile at lower left.
Sketch of the Sky
Frederic Edwin Church, American, 1826–1900, 1860–75
Graphite on off-white wove paper
Drawing

Atmosphere sketch showing a view of a partly cloudy sky. In the foreground at left, the outline of a rectangular structure is visible, beside a slightly undulating horizon. At center, a dotted line circumscribes layers of long clouds and likely indicates the sun's glow.
Studies of a dragon
, ca. 1560–1600
Brush and watercolor, pen and black ink on laid paper; verso: black chalk, pen and ink on laid paper
Drawing

Two winged snake-like dragons and six heads of each are shown.
Verso: two men on horseback in classical armor, fleeing from a burning castle in Romanesque style.
Project number 1599 of the Fabrique de St. Ruf, for Gentleman's Embroidered Waistcoat
Mademoiselle Bailieu, French, active ca. 1785, ca. 1785
Pen and brown ink, brush and gouache on off-white laid paper
Drawing

Waving boughs and flowers decorate the pocket flap and lower left corner of waistcoat. Framing border with tiny boughs. Reverse: sketches of bowl in wreath and festoons and corner motif.
LA FAISANDERIE DE CHANTILLY
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Bird's eye view of the gardens at Chantilly, canal in the foreground with boats. Three basins with jets of water (fountains), wrought-iron gate, buildings in the background and trees on either side. Figures (courtiers) throughout the grounds. The plate is titled.
Trophée à Bachus
Henri Sallembier, French, ca. 1753 - 1820, 1775–76
Etching and engraving (crayon manner) in red ink on laid paper
Print

A design for an ornamental trophy to Bacchus, the Roman god of agriculture, wine, and fertility. A vignette of a landscape with trees, grapes and vine leaves, a barrel with wine flowing, foliage, a jug, baskets, planks of wood, and a herm with the face of Bacchus, and a cartouche. The plate is titled and signed.
Sketch of a Tree
Daniel Huntington, American, 1816–1906, ca. 1840
Graphite on cream wove paper
Drawing

Sketch of a tree with bare branches, at right, and an upper branch with foliage, at left, all extending upwards.
The Virgin and Child
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite, impressed lines on paper
Drawing

The Virgin kneels upon her left knee, her hands invitingly outstretched. The Child, recumbent, extends his arms toward her. Behind the Child is an urn. The scenery is that of ruined classical structure. Framing line.
Elévations d'alcoves avec portes de degagement
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Split elevation of an interior alcove with scrolling acanthus leaf (left) and an oval rondel with garland (right) at upper center. Above the door on the left is a rondel framed with bound leaf, and with floral garland above and crossed branches below. The overdoor at right features a vase with flowers, rosettes, and an acanthus leaf bracket with leaf garland. The plate is signed.
Two Alcove Designs with Isaac Blessing Jacob
Jean Le Pautre, French, 1618–1682, 1665
Etching on laid paper
Print

Two half scenes with beds and figures in alcoves. To the right, a biblical scene with Isaac lying in bed and blessing Jacob who kneels on the floor, and a female figure to the right. The alcove is framed by fluted columns, a frieze above, and a lidded vase in a niche on a plinth. The scene to the left, features a man lying in a canopy bed with many male figures standing next to the bed. Another bearded man to the left, holds up a small bottle. The alcove and wall are framed by leaf molding, a cartouche, and carved overdoor paneling with a festoon of flowers and a medallion portrait. The plate is signed.
Orfèvre Bÿoutier
J.R. Lucotte, French, 1733 – 1784, 1762
Etching and engraving on laid paper
Print

Plate with eleven designs for silver or gold objects including cane handles, and different sides of boxes. The objects are decorated with floral motifs and trophies and are each numbered. The plate is titled, numbered, and signed.
Two Representations of Saint Luke Making a Portrait of the Virgin and the Child
Fortunato Duranti, Italian, 1787 - 1863, 1800–1825
Pen and ink on paper
Drawing

As if seen from outside through a window. The Child is in the center, supported by the Virgin; he is in profile, turned toward right. The Virgin is at right, Saint Luke at left. The composition varies slightly below, the main difference being the child kissing Mary. Beside, at right, is a sketch of the head of the child.
Textile fragments
, 19th century
silk, paper with applied gold foil Technique: plain compound twill

Navy blue twill ground with woven supplementary weft pattern of large scale dragons and flying clouds in rust, white, yellow, green, and sky blue silk threads with metallic paper threads.
Six Designs for Alcove Elevations
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Each with a central main entrance and two lateral lower ones. The lower part of the ceiling is vaulted. Left row, above: beside the central opening are two Ionic columns; laterally are door openings in somewhat projecting walls; above is an entablature with, on top, figures. Figures standing above the columns and sitting putti at the ends, connected by festoons. Below: the central opening has the shape of that in a circular tent with a bunch of feathers on top. Laterally are door openings in walls. Central row, above: laterally are door openings in walls. Central row, above: laterally are doors with a panel as overdoor. The entablature of the central part is supported by two pillars. Curtains, held up. Above the entablature, laterally, are balustrades, in the center sitting figures beside a pedestal with a vase. Below: a variation of above, with a triangular pediment in front of the balustrade, in the center. Right row, above: another variation without overdoor and frieze. The cornices of the entablature are supported by consoles. Above it, in the center, are two putti sitting beside a sphere. Below: a variation of the one before mentioned. The central entrance has the shape of an arch between two gaines. On top a putto, sitting, raising a sphere. Colored background.
Last Judgment Scene
, 17th–19th century
Pen and ink, brush and gray wash on paper
Drawing

Last Judgment scene.