biglam/cooper-hewitt-alt-text huggingface dataset:
Flaying of Marsyas
Jean-Baptiste van Loo, French, 1684 - 1745, 1725–1745
Red chalk with traces of graphite, brush and green and black watercolor on laid paper
Drawing

Marsyas is tied to a tree, at left. Apollo, standing at right, directs one of his servants, who is shown in from behind, to flay the prisoner.
Design for Ceiling Decoration, a Barrel Vault
Giuseppe Barberi, Italian, 1746–1809, 1790–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Caryatids support the entablature in the center and below the arch, at left. An urn stands between the pair in the center. Painting similar to -1534; with pendentives as wedges. A conch is shown over the entablature. The central painting is octagonal.
Designs for Pedestals
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Page printed with ten pedestal designs. The plate is signed and numbered.
Madonna and Child
, 1580–1610
Black chalk, pen and ink, brush and wash on paper
Drawing

The standing virgin holds the Christ Child in her arms. He blesses and carries a globe.  Part of a niche is shown above.
Title Page
Jean-Baptiste Pillement, French, 1728–1808, 1772-77
Etching on laid paper
Bound print

A title-page from a series of eight prints (including title-page) of designs for fantastical chinoiserie-style flowers. The title is lettered on a large leaf, stemming from a flowering branch.
Panel
, 18th century
silk embroidery, linen foundation Technique: embroidered on plain weave

Closely spaced, all-over design of lozenges separated by red leaves with an eight-pointed star and the intersection, in green, yellow and taupe silks.
Design no. 632 for a Man's Waistcoat
, 1780–1790
Graphite, brush and gouache on paper
Drawing

Design for the emrboidery for the bottom corners of a man's waistcoat. Leaves and flowers rising from the edge, and pending from the bottom edge of the pocket, from which festoons are suspended.
Mezzaro (shawl or headcovering)
, 1800–1850
cotton Technique: printed on plain weave

Mezzaro in a multicolored design on a white ground. Center shows a large-scale tree with many different blossoms. Small flanking tree on either side. Floral sprays, insects, birds and animals over the ground. Floral border with small inset landscapes with animals.
Study of Grass and Plants
Walter Clark, American, 1848–1917, 1884
Graphite on paper
Album page

A low plant with big leaves at  the edge of water.
Study of a Woman's Head for "A Magdalen"
Daniel Huntington, American, 1816–1906, 1852
Graphite, white chalk, brown pastel crayon on green wove paper
Drawing

Head of a young woman, turned to the right, gazing upward.
Sconce
, early 19th century
Tiin, glass

Candle socket on arm with circular, concave mosaic mirror reflector.
Design for the Decoration of Ceiling and Boxes of Ornani Theater, Rome
Giuseppe Barberi, Italian, 1746–1809, 1784
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Sketch showing decoration of outside of boxes and several details.
Designs for Cartouches
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Page printed with two cartouche designs: on the left, the cartouche is at the top of a pediment and flanked by acanthus leaves, topped with a crown, and afixed with a medal at the bottom; on the right, the cartouche has braided branches and dragons. Both plates are signed and numbered.
Caricature Silhouettes with German Verses for Children
Gustav Weiss, Swiss, 1886 - ?, ca. 1870–1880
Lithograph on paper
Print

Fourteen silhouette vignettes of children and animals illustrating verses under each in German. At top left, "Deutsch Bilderbogen".
Panel
, 1750–1800
silk, metal wire, flat metal strips, metal shapes, metal-wrapped silk Technique: plain weave with supplementary warps and continuous and discontinuous supplementary wefts; appliqué of spangles and metal threads; bobbin-made lace at all four edges

Fabric with floral sprays in pinks, greens and metallic heightened by metallic applique. Panel finished with gold colored metallic bobbin lace.
Border
, 19th century
linen Technique: bobbin lace

Border of bobbin lace has deep scallops in a circular spoked design.
Textile
, late 18th century
silk Technique: stencil resist (katazome) on plain weave crepe

Design of scattered fruits in white showing crackle of paste reserve on a dark purple ground.
Hercules and Tole
Felice Giani, Italian, 1758–1823, 1813
Pen and brown ink on light blue paper
Drawing

Horizontal rectangle. Hercules is shown kneeling upon the bull (into which Achelous was changed) and giving his right horn to a kneeling nymph. Others approach with gifts for him.
The Council in Heaven; Illustration to Milton's "Paradise Lost" (After Hogarth)
Jane Ireland, British, ca. 1790
etching on paper
Print

Vertical rectangle. God and Christ seated upon clouds surrounded by little angles. Below, upon another cloud an orchestra of angels. In the background two arches of a building. In lower right the suns.
Fragment
, late 19th century
silk and metallic thread Technique: woven

Trimming (galloon) with design of scrolls in silver on gilt ground; furnishing trim.
Old Beggar Woman
, ca. 1800
Brush and opaque watercolor on pin-pricked paper
Pin-prick picture

Early 19th century pin-prick picture after an engraving. The face and hands painted in watercolor.
Portrait of Jean Paul Marat
Jean Paul Marat, French, 1743 - 1793, ca. 1800
Engraving on paper
Print

Bust-length portrait of the French revolutionary leader, Jean Paul Marat (1743-1793), shown facing slightly to the right, his gaze directed over his right shoulder. He wears a flowing stock and fur-trimmed coat.
Fan leaves, Eighth and ninth plates of the set, "Divers Desseins de grands Eventails, Encrans, et autres Ornamens, inventés et gravés par Nicolas Loire"
Alexis Loir, French, 1640 - 1713, ca. 1670
Etching, engraving on laid paper
Print

Paris of lovers before a fountain with a statue of Venus having taken the arrow from Cupid. Putti holding umbrellas and riding upon dolphins, on pedestals.
Bracelet, comb and earrings
, ca. 1875
filigree, silver

Parure: comb, tortoise shell and filigree; bracelet, filigree; pair of earrings, silver.
Fragment
, late 19th century
silk Technique: compound satin weave

Large scale design of slender stems in white on gray.
Band
, late 19th century
silk Technique: darning stitch on loomed width of gauze weave

Woven net embroidered in matting stitch in pattern of angular band with leaves. Needlework on gauze
Textile
, ca. 1740
silk Technique: compound weave with supplementary weft

Repeating pattern of a small landscape scene with a house and trees is surrounded by a garland flowers. These are surrounded by undulating bands of fur and feather crossed with ribbons.
Anne, Princess of Orange
John Faber the younger, Dutch, active England, ca. 1695 - 1756, 1735
Mezzzotint engraving in dark brown ink on paper
Print

Facing frontally, her gaze directed to the right, Anne, Princess of Orange (1709-1759) is shown with pearls entwined in her hair and an ermine robe over her left shoulder; curtain to right.
Fragments
, 17th century
silk, linen, metallic Technique: woven

Green and gold large cartouches.
Peep-show, Vuë Perspective du Palais de Ruspoli, à Rome, No. 2
, ca. 1750
Engraving in ink with watercolor washes on paper, mounted on scrapbook page
Print

Peep-show print
Fragment
, mid-18th century
silk Technique: brocaded

Incomplete fragment of ribbed silk with a light beige ground brocaded in shades of caramel, beige, red, green and blue. Design shows pagoda, bridge, large palm in chinoiserie style. Both selvages present.
Fire screen with sliding panel
, 1750–60
Carved and painted wood; silk

a) Vertical contoured frame, painted gray, enclosing (b) sliding silk-covered panel. Frame (a) has molded edges, two roses with leaves carved top center on both sides; foliage and scrolls on sides; flowers, foliage and scrolls at center bottom and on sides of scrolled cross feet. Sliding panel (b) covered with floral-and-ruin patterned silk on blue ground, has contoured top and weighted pull on blue silk cord. Panel enters frame through slot at top of frame.
Fragment
, 16th century
linen Technique: grid of withdrawn element with needle lace (reticella style)

Insertion of reticella with large central circle with outer rim formed by triangles. Flanked by semicircles.
Square
, 19th century
Technique: darning stitch on hand knotted net

Pink and yellow flowers on a net ground.
Fragment of a cartoon for cotton printing: Apollon et Muses
Petitpierre & Compe., (Nantes, France, founded 1770, 1785–95
Graphite, pen and black ink, brush and grey wash, white heightening on white paper
Drawing

Apollo is seen seated in chair near fountain being cared for by six muses. Upper right, cupid flies overhead.
Fragment
, late 18th century
silk Technique: compound weave with discontinuous supplementary weft patterning (brocaded)

White satin ground with design of a branch with a cluster of fruit, worked partly in continuous supplementary wefts of green and rose, and partly in discontinuous supplementary wefts of gray silk.
Standing Youth and Seated Magus with Monkey on Leash, plate 18 from the Scherzi di Fantasia
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750-60
Etching on laid paper
Print

First state, before the number
In the center, a young man with bare breast and arms stands next to a large urn with a satyr head. To the left, a crouching old man with a monkey on a leash. In the foreground, a sunken tomb with a relief. In the background, an ox.
Altar frontal
, 16th–17th century
linen Technique: withdrawn element; bobbin lace

Heavy linen altar frontal with a wide border showing a large-scale design of blossoms or pomegranates within curving circular bands reserved in linen. Narrow border of simple strapwork in the same technique. Edging of heavy bobbin lace in a scalloped design.
Textile
, ca. 1700
silk, metallic Technique: lampas, combination of two structures, satin and twill

Complex metallic patterning with two side by side repeats. this fabric is of the style called 'bizarre'.
Inner Harbor
Childe Hassam, American, 1859–1935, 1917
Lithograph on paper
Print

Scene looking across a body of water with sailboats and houses along the far shore. Probably Gloucester, Massachusetts.
Fragment
, ca. 1780
cotton Technique: block printed on plain weave

Diagonal bands with fret and leaf patterns create diamond shapes that are filled with floral bouquets. Background of small circles with a stipple pattern. Predominantly in shades of red, blue, mauve, brown, and black.
Fragment
, 17th–18th century
wool on linen Technique: embroidered

Four natural linen rectangular fragments sewn together, each embroidered in brown wool showing a bird in a scrolling branch with exotic blossoms. Two panels the mirror image of the other. Length of weft-loop fringe of about 3" sewn to three sides.
Coronation of the Virgin
Master of the Die, Italian or German, 1530 - 1560, 1530–1560
Engraving
Print

The Coronation of the Virgin: Virgin and Christ seated at center, flanked by two angels who draw back curtains. God the Father in upper register. Saint Jerome at right, with lion. At left, Saint John the Baptist. Two putti in foreground.
A Figure with Drapery, Perhaps Dante
Peltro William Tomkins, British, 1760 - 1840, 1806
Stipple engraving in sanguine ink on brown paper
Print

A male figure, wrapped in cloth. He stands with his body facing slightly left, his eyes looking slightly to the right. The number 215 to the left, above his knees.
Sample
Eleanor Mabel Sarton, English, 1878–1950, 1915–20
cotton Technique: embroidered on plain weave

Upholstery sample in stylized flowers designed in a square of multi-colors and stitches on yellow. Pencil drawn square around design.
Escutcheon
, ca. 1790
brass

Rectangular with indented corners; simple border of beading in repousse.
Fragment
, 17th century
linen Technique: bobbin lace, discontinuous tape

Triangular-shaped fragment of discontinuous bobbin lace.
Border
, 1775–99
Block printed on handmade paper

Pompeian-style motifs within medallions, printed three borders across the width. A diamond-shape medallion containing a seated winged figure alternates with a round medallion containing a winged horse or griffon. Between each of these motifs is a small urn in a rectangular framework. Printed in colors on a white ground.
Textile
, early 18th century
cotton Technique: mordant painted, resist painted and dyed (chintz) on plain weave; glazed

Rich and involved design of flowers and cords in reds, blue, purple, black and green on a khaki background.
Fragment
, 19th century
silk Technique: painted

Multi-colored flowers, leaves and columns on a white watered silk ground.
Design for Dark Oak Dining Room Table
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Round molded table top raised in fluted columnar support, sitting atop molded octagonal base terminating in 4 splayed legs on casters.
Album of Floral Designs
Jean-Baptiste Pillement, French, 1728–1808, mid- 18th–late 18th century
Print

Album of designs for fantastical chinoiserie sprays of flowers after Pillement, from different series of prints. Some are signed and dated.
An Artist's Studio
Julie Bayer, German, active 1850, ca. 1850
Brush and watercolor, graphite on white paper
Drawing

A woman seated on a sofa reading a book; may be a self-portrait of Julie Bayer in her studio. An easel stands in the center of the room, and a palette and brushes are placed on a table at the right. Portraits decorate the walls; a cuckoo clock and casts of an antique bust and medieval figure are seen; and the floors are bare. A view of church spires appears through the curtainless window.
No. 103
Theophil Hansen, Dutch, 1813 - 1891, 1866
Mouth-blown crystal, cut and polished ornaments
Rhine wine glass

Mouth-blown crystal wine glass, cut and polished ornamental engraving in the "Greek" style in green.
Design for a Five-Legged Dark Oak Dining Table
A.N. Davenport Co., 1900–05
Graphite and red and yellow colored pencil on thin, cream paper
Drawing

Round and molded table top with a dividing stretcher running across the center; is raised on a plain column-like support sitting atop a molded base on splayed legs with brass sabots on casters indicated by yellow color pencil.
Fables of Fontaine
, ca. 1810
cotton Technique: printed by engraved roller on plain weave
Textile

Four scenes(each captioned in French) illustrating one of the fables. In red on white.
Allegorical Figure of "Africa"
Meissen Porcelain Manufactory, German, active from 1710 to the present, 18th–19th century
hard paste porcelain, vitreous enamel, gold
figure

1960-1-29-a/d: (a): Standing female figure, wearing jeweled mantl...;     1960-1-29-c: Standing female figure, wearing feather skirt, man...
Punch
, late 19th century
Painted wood, cotton, other materials
Puppet

Brightly painted head in a tall striped bicorn hat. Black boots. Flowered suite with half white and half striped vest. Rosy cheeks and exposed teeth.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, graphite on paper mounted on tan illustration board
Drawing

Rectangular design; central rectangle containing twisted blue vines in circular form, central circle with solid blue circle and red dots.
Plate 36, from Neüw Grotteßken Buch (New Grotesque Book)
Christoph Jamnitzer, German, 1563 - 1618, 1610
Engraving on laid paper
Print

Four human heads with wings wearing various hats and clothing. Also shown are a flying snake, insect and spoon.
Royal Exchange, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Rectangular outdoor courtyard; cloistered walk below, around it. Statue in niches above. Many people in groups, conversing. Title, artists', and publisher's names below.
Edging
, early 18th century
Technique: bobbin lace

Bobbin lace edge, curves with plants; early 18th century Brabant
Sidewall
, 1760–65
Block-printed on handmade paper

a) long narrow strip of wallpaper: on chocolate brown ground, large, repeating pattern: flowers, fruits, inspired by painted Indian cotton motifs, in greenish-blue, oranges, reds; b) Border, attached at top, architectonic pattern green on black.
Panel
, 18th–19th century
silk and wool on cotton Technique: embroidered on plain weave

Rectangular with a repeating design of eight-pointed stars.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Landscape frieze, containing two separate borders on top and bottom. The top border is mainly a landscape design with trees in foreground, hills in background, with meandering river running amidst peninsulas. The bottom frieze contains a boat in the river and an automobile in the foreground, with an airplane flying overhead. Printed in greens, browns,  and red on tan ground.
Half-length portrait of a man
, 1820–1830
Graphite on paper
Drawing

A balding man is shown half-length, frontally, and turned slightly to the left. His elbows are raised and his hands are clenched before him.
Sidewall - fragment
, 1825–35
Block-printed

This is a rainbow or irise paper. Printed in yellow and blue stencil-type flowers.
Textile
, 19th century
cotton Technique: plain weave, indigo dyed, resist applied with stencil (katazome)

Three columns of lobed diamonds alternating with rosettes, in ivory on blue.
Stage Set for Il Trionfo della Pietà
Giovanni Francesco Grimaldi, Italian, 1606 – 1680, 1658
Engraving in black ink on paper
Print

Horizontal rectangle. A rocky landscape opens to the sea, with the setting sun. Castles at either side, with figures gesticulating from the ramparts. On a cloud in the center, the figure of "Plenty." Banners from the casltes, inscribed: "PIACE SE LICE" and "LICE SE PIACE." Artists' names below.
Frieze
Keystone Wall-Paper Company, 1905–1915
Machine-printed paper

Two mirror-reversed bands of a repeating floral and acanthus design tied together at the bottom by floral swags; separated and bordered by thin horizontal strips on a solid ground. Printed in ivory, scarlet, taupe, dusty pink, brown and olive green.
Textile
, 17th century
silk Technique: float patterned satin; 7&1 satin patterned by weft floats bound on the front as a 1&3 twill

Length of blue silk with a pattern of flowers, leaves and scrolls in pink and light blue. Leaves and scrolls have diaper patterns.
Stole fragment
, 18th century
linen Technique: withdrawn element with needle-made fillings

End of a stole with a design of floral forms and ribbons.
Sidewall - fragment
, 1785–95
Block-printed on handmade paper, joined

A mandorla containing an adult robed classical figure with a small puto climbing the figures robes against a blue ground, framed by brick and pink colored border and then rinceaux border. Above and below, crisscrossing rinceaux in white, blue and pink. All this on a cream ground.
Death of Adonis
Antoni Waterloo, 1618–1677, ca. 1650
Etching on white laid paper
Print

In foreground, left, lies dead Adonis, his dog sits next to him and laments. Next to him a large tree behind which is a boar followed by two dogs at right. The ground descends towards left. A fence surrounding trees seen at left middle distance.
Study of seascape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite on paper
Drawing

Sketch of a seascape with coastal cliffs.
Border
, 1835
Block-printed on handmade paper

Wide band of foliage and flowers, continuously clustered. Two varieties of blue tulip, white daisies, other white and yellow flowers on brownish-red flocked ground shaded with black. Between green edging lines: at bottom, wide green band with yellow border lines and continuous black stencil pattern of leaves and flowers.
Border
, 17th century
linen Technique: grid of laid cords with needle lace, reticella style; edge of punto in aria

Border with a lattice of circles alternating with leaf shapes supports pointed tabs containing simple floral forms.
Toast rack
, ca. 1840
Enameled and gilt tôle

Seven rack dividers, the central one looped to provide a handle. Base, on ball feet, molded and decorated in gold and colors with scrolls, leaves and flowers. The release of two wire bolts under the base permits the dividing section to be removed.
Decor Pastoral
Jules Desfossé, French, active 1851 - 1863, 1863–65
Block-printed paper
Frieze

a) Horizontal rectangle. In grisaille, a series of animals is arranged horizontally: cows, donkeys, goats, lambs, dog and geese. Yellow ocher scrolling architectural bands along top and bottom; b) Small piece having gold where yellow is used in "a".
Sidewall
, 1905–1915
Machine-printed paper

Design of closely spaced foliate medallions. Printed in shades of blue on striped blue background.
Campion
Morris & Company, Decorators Ltd., 1875–1941, late 19th century
wool Technique: compound weave
Carpet

Length of so-called "Kidderminster" or ingrain carpeting with a single repeat of a large-scale symmetrical pattern. An ogival framework with acanthus leaves, twining stems and flowers in shades of green with pale blue and brick red on a dark blue ground.  Two narrow plain weave selvages.
Towel end
, 16th–17th century
linen Technique: knotting (macramé), withdrawn element work, needlemade filling stitches

Towel end of float-patterned linen has narrow bands of geometric patterning made with needlemade filling stitches. Towel is finished with a fringe of fine macramé.
Drawing
, 1817
Brush and gouache on pre-printed squared laid paper

At center, grouping of pink blossoms, orange and pink buds, and blue flowers on green and yellow grass, bordered by blue band with orange and yellow flowers.
The Rosemount
, ca. 1900
Block-printed paper, glazed
Sidewall

On white ground with traces of glazing large yellow roses on pale green trellis. Straight repeat, drop match. Printed in left margin: "The Rosemount".
Fragment
, 1700–1725
cotton Technique: mordant and resist painted and immersion dyed on plain weave (chintz)

Imbricated palmette rise from a central point. Other pieces have been added to the fragment which shows parts of another design.  Fragment is seamed in center, pieced at bottom.

The portion of pattern seen is composed of two large palmettes of imbricated design in red, and purple, with green central stem.  They slant right and left from the center and appear to emerge from a cluster of leaves, of yellow, and red, outlined in black.  Right and left, projecting from the palmettes are clusters of narrow, sharply pointed leaves in green, red and yellow.  Below these are leaves in blue with heavy black outlines.  The whole pattern is outlined in a fine, dark wavy line, drawn about 1/8 inch from the leaves.  A glaze remains on the material.
Frieze
, 1905–1915
Machine-printed paper

Alternating large and small medallions on a simulated textile weave. Two borders printed across the width.
"Holy Mudder, Dis Time Sabe François," Illustration for Mooswa & Others of the Boundaries (William Briggs, 1900, p. 175)
Arthur Henry Howard Heming, American, b. Canada, 1870–1940, 1900
Ink on paper
Print

Trial proof for illustration. Snow scene at night. An Indian hunter stands arms upraised in an attitude of alarm, gun in hand. Beside him are his snowshoes. In the background, wolves peer from amongst trees.
Study of landscape, Baveno, Lago Maggiore, Italy
William Stanley Haseltine, American, 1835–1900, September 1857
Brush and watercolor, graphite on paper
Drawing

Sketch of a mountain trail.
Narcissus, Plate 12 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Narcissus" from A. C. Van Eeden's "Flora of Haarlem."
Fashion Plate from Le Journal des dames et demoiselles
Jules David, French, 1808 - 1892, ca. 1857
Hand-colored engraving on paper
Print

Fashion plate from Le Journal des dames et demoiselles, published by Lamoureux, Paris.
Study of Sun over Choppy Ocean
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Choppy sea in foreground with waves on rocks at right. In sky at center,  the sun through the clouds is reflected on the ocean.