biglam/cooper-hewitt-alt-text huggingface dataset:
Design for an Embroidery or Woven Fabric of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1815
Brush and light blue, white, and brown gouache on glazed tracing paper
Drawing

Bottom: Three feathers form a horizontal row. From behind rise three more. Upon the left one stand two more in diminishing sizes and of opposite directions in alternate horizontal rows.
Project for an Elevation of Garden Architecture (Entrance to a Villa or Garden)
Unknown, Italian, 1725–75
Pen and brown ink, brush and watercolor, black chalk on white paper
Drawing

Design for a garden pavilion or decorative wall.  A wall with an arched opening at the center.  It is flanked by two pairs of embedded columns; the flanking parts of the wall are divided by columns into two panels which are decorated with oblongs with floral motifs.  Pilasters are at the corners.  Above is an entablature with frieze with triglyphs and trophies of weapons.  Balustrades with two vases with plants are above the lateral walls.  Above the central part is an attic, consisting of a central part with a tablet for an inscription, flanked by two parts with niches.
Frieze with Bear Hunt
Theodor Bang, German, 1575 - 1630, ca. 1600-1617
Engraving on white laid paper
Print

Horizontal rectangle showing a symmetrical grotesque design composed of scrolling arabesques and a bear being attacked by hounds. On either side, a rider with spear.
Design for an Earring
, early 19th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. The center has the shape of a fantastic urn from which are springing an ovoid and two lateral flower stems. Below, three fantastic pavilions without base are hanging, with small pendants in the intervals. In general, bands and rows of disks are alternating, a jour. Bevelled corners.
Woman
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of a seated female figure with a small dog on her lap.
Two Children
François Boucher, French, 1703–1770, 1775–90
Red chalk on cream laid paper
Drawing

Two children are seen in a garden setting, with their animals—a dog and two lambs—about them.
The story of Telemachus
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink,brush and wash, on cream laid paper
Drawing

Top: Telemachus and his companion Minerva disguised as Mentor invited by Calypso into her lodging.  She is shown from the right back walking, in the center.  An altar is in the right forground.  The servants prepare the meal in the right distance.  Caption:
"1 Mentore Talemaco alogiati/dalla Dea Calipso."  
In the right margin is a pen sketch for a slightly altered pose of Calypso.  Bottom Calypso seated at dinner with her guests give orders to a group of singers and a lyre player standing at left to cheer up the guests.  Telemachus leans his head in his right hand. Servants bring plates in the rear.  Caption:
"Convito fatto da Calipso/ a talemaco."
Putto on a Sea Elephant
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Pen and ink, brush and sepia wash on paper
Drawing

The putto holds a helmet with his left hand. Framing ink lines. Narrow paper margins.
Damascus, View from the Mountains
Frederic Edwin Church, American, 1826–1900, May 1868
Oil and graphite on paperboard
Drawing

Landscape study showing a view of Damascus, Syria, and its surrounding environs from the eastern foothills of the Anti-Lebanon Mountains. In the foreground at left, the rocky, rocky slopes of nearby hills descend to a lush green valley in the middle distance at center and right, where the city of Damascus is situated. At right, a winding river snakes toward the city, which is largely indistinct but punctuated with white towers. Beyond, the green valley floor extends to the background, where barren mountains fade into a haze.
The right forearm of the same woman
, 1850–1900
Black crayon and white heightenings on paper that has been colored grey
Drawing

Horizontal composition of a sitting woman's right forearm (the same woman as (1901-39-2774). The ruff-like trimming of her sleeves covers her elbow.
Billowing Cloud at Sunset, Hartford, Connecticut
Frederic Edwin Church, American, 1826–1900, 1850–51
Brush and oil and graphite on tan paperboard
Drawing

Landscape sketch showing a view of a billowing cloud at sunset--a scene witnessed in Hartford, Connecticut, and painted at a later point. In the foreground, a placid lake extends into the middle distance at center right as it reflects the ruddy tones of the wooded hills that flank it at left and right. Just above the hill ridge at left, the immense column of a billowing cloud towers into the sky and casts an inverse shadow on the bank of clouds above it. Dominating the sky, these clouds reflect the red and orange tones of the setting sun, which has just dipped below the rolling horizon in the background at center. Patches of greenish blue sky are visible at upper right and just above the horizon.
Fragment
, 3rd–4th century
Warp: S-spun linen. Weft: S-spun linen, S-spun wool Technique: slit tapestry with supplementary weft wrapping

Large tapestry-woven leaf.  Monochrome type, purple wool and undyed linen. Purple nine-lobed leaf with two down-curving volutes from the stem and purple dots between the lobes on an undyed background. Embroidery defines the veining of the leaf.
Border
, 1840–60
Block-printed on continuous paper

Double interlace of cables. Printed two across with another single band separating. Resembles fancy gimp. The top border is shorter in length. Printed in blue, yellow ocher and brown on a tan ground.
Project for the Decoration of a Frieze
, 1815–1823
Graphite, pen and ink on paper
Drawing

One motif unit is shown. A half-figure of a winged genius with acanthus rinceaux, form framed by candelabra. A raised hand holds the ribbon of a festoon.
The Philosopher, After Raphael
Felice Giani, Italian, 1758–1823, 1813–18
Pen and ink, brush and brown watercolor washes on laid paper
Drawing

On verso: two studies of ceilings with grotesques.
Trees near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, July 3, 1868
Graphite and white gouache on brown laid paper
drawing

Botanical and landscape sketch showing a group of evergreen trees near the town of Berchtesgaden, Bavaria, in present-day Germany. At center, a tall, mostly symmetrical conifer stands out in front of at least three other, shorter trees of the same type. At left, another tree is visible in the distance. Above, the top of the foremost tree is backdropped by a white, puffy cloud.
Men on Horseback
Constantin Guys, French, 1802 – 1892, ca. 1860
Pen and brown ink, brush and tan wash on paper
Drawing

Horizontal rectangle, bevelled corners. Five gentlemen on horseback. Male figure in foreground riding a white horse. Three riders in front row, two in the background. All men wearing tight trousers and high silk hats.
Ornamental Panel
Flaminio Innocenzi Minozzi, Italian, 1735 – 1817, 1806
Pen and brown ink, brush and gray wash on three sheets of paper joined vertically, lined with cardboard
Drawing

Design for an ornamental panel.  Horizontal design with Acanthus rinceau/scrolls, the stem being held by a satyr, situated at the left side of the sheet. The pattern terminates at right with a scroll, touched by a female figure with fishtail legs and a plant sprouting from her head.  Intended to be the center of the entire frieze.  Three putti and a bird placed in the areas free of the Acanthus motif.  Framed on all sides.  Signed at the lower left corner.
Portrait of Pietro Metastasio (1698-1782)
Paolo Caronni, ca. 1820
Engraving on paper
Print

Half-length portrait of the middle-aged Metastasio. He is wearing a dark losed jacket.
Tsuba
Heianjo-Zogan School, Japan, 1595–1615
Iron, engraved brass inlay

Tsuba are disk-shaped metal sword guards that prevent the palm of the hand from slipping past the hilt and onto the blade. This tsuba was made during the Keichō period (1596-1615), a time when metalsmiths were beginning to transition from the production of Kyoto swords (old swords in traditional vernacular styles), and began to produce Shinto swords (new swords). 

This iron tsuba is shinmaru gata (a true circle) in shape, has a migaki (smooth) surface, and is decorated with an inlaid brass design of a kakiwaki kiri (branch of the paulownia tree) with parted foliage.

The inlay technique known as tetsu was a specialty of the Heianjo school of brass inlay in a region of which Kyoto is the center. The suemon taka zogon inlay is high relief with thin, linear carving lines resembling hair.

At the center is the nakago-ana, an opening through which the sword passes. On either side are ryo-hitsu, openings for the kozuka (utility knife) and the kogai (skewer tool). At left is sashi ura, the side which faces the blade, whose opening takes the hangetsu-kei (half moon) shape. Opposite is the more elaborately decorated sashi omote side, which faces the sword hilt. Its tri-lobed opening is of the suhama type, and symbolically represents the coastline of Horai, the holy island of the Immortals. Surrounding these openings, is the seppadai, a flat oval area that is migaki (burnished). The rim of the tsuba is angular, or kaku-mimi.
Birds in a Landscape
Charles Dagomer, French, active 1750 – d.1766, 1775–76
Etching and engraving (crayon manner) in red ink on paper
Print

Landscape with birds and chicks on the ground with one flying above. The plate is signed and numbered.
Project for Stucco Decoration
, 1750–1775
Graphite, pen and ink, brush and wash on paper
Drawing

Upper divided into four panels, each within its own frame. Below, two doors with overdoor decorations in the form of floral baskets. Between them, a blank panel topped with alternative designs for festoons.
Wall fountain with cover and basin
, ca. 1760
Tin-glazed earthenware

Main body of fountain is broadly v-shaped with c-curves and rocaille. At top, a seated figure sits on a shell and blows a conch shell. A putto holds the spout at bottom. The basin is in the form of a scalloped shell.
Button
, 1852–70
Brass, gold plated

Convex button ornamented with letter N surmounted by crown with ribbons. Back and shank of brass. On reverse: A,B) "A Bonnardot & Cie Feur de l'Empereur" and incised ornament similar to that on button C) "C & Cie Augte Dusantoy Feur de l'Empereur" and incised ornament similar to that on button.

Component -a is on card i80
Component -b is on card 45
Component -c is on card C
Bandbox
, ca. 1835
Block-printed on handmade paper, pasteboard support

A woman wearing Grecian attire, possibly Nemesis, is racing in a chariot drawn by two griffons. The griffons have the upper body of an eagle and the lower body of a lion. An urn or ewer containing a single flower stem rests on its side beneath the beasts' feet. Trees frame this vignette. Printed in pink, red and two shades of green on a blue ground.
Designs for paintings in Montmorency: The Nine Muses and two masks, Tragedy and Comedy
Felice Giani, Italian, 1758–1823, 1813
Pen, black ink, and grey/ brown wash on rough grey paper
Drawing

Horizontal rectangle. Written top left corner: "S E Aldini Parisi/ terza camera ossia, sale diptinta/ a Monmorosi/ 4 Gennaio 1813." Women, seated. Top row left: History shown in profile turned toward right and writing on a tablet. A trumpet leans against the stool. Written on top: "l/ clio storia." Left center: Tragedy holding a mask and a sword. Written on top: "2/ tragedia/ melpomene" and "3/ Talia comedia," respectively. Right center: shown holding a music sheet; a flute leans against the stool. Written on top: "4/ Euterpe musica." Right: Dance, shown in profile turned toward left, playing the harp. Written on top: "5/ Tersicore danza." Between "four" and "five" is a pen sketch for a different pose of Euterpe, holding a scroll in her lap and a flute in her left hand. Second row, left: Lyric poetry shown in profile, turned toward left, holding the lyre; Cupid speaks to her. Written on top: 6/ Erato poesia lirica." Left center: Eloquence, shown in profile, turned toward left, holding an open book. A trumpet and books lean against the stool. Written on top: "7/ Calliope Eloquenza." Center right: Astronomy holding a sphere. Written on top: "8/ urania astronomia." Right: Rhetoric, raising her right hand and holding a trumpet with her left hand. Bottom: a tragic and a Faun's mask.
Fragment
, late 18th century
cotton Technique: block printed on plain weave

Large flowers and diagonally moving stems. Pattern reserved (white) in printed red.
Sidewall
, ca. 1850
Block-printed paper

Rococo-revival style floral stripe design. Assymetrical scrollwork and floral bouquets. Printed in gray, white, blue and pink on gray ground.
Textile
, early 19th century
cotton Technique: roller printed

Length of printed fabric designed to resemble knots in a piece of wood. Printed in two browns on off-white ground.
Sidewall
, ca. 1880
Machine-printed paper

Vaguely Aesthetic Movement pattern repeated in off-set columns; two motifs repeated vertically; one a large bouquet of foliage with two ears of wheat and a large flower; one a small stylized motif; vertical band between each column consisting of a repeated arrow-like symmetrical motif composed of abstract elements, highly stylized leaves, and cobweb; this motif somewhat reminiscent of Dresser in its treatment of leaves; color scheme of orange-red highlighting on the vertical elements; floral motifs highlighted with dull gold and pale orange as well as white; pale blue-grey ground.
Plate
Olérys-Laugier Factory, France, founded 1738, ca. 1750
Tin-glazed earthenware

Circular form with scalloped edge; decorated with flowers and foliage, Callot-style figures on staggered terraces. Green and ochre on white ground.
Plate
, ca. 1760
Gilded tin-glazed earthenware

Plate with floral bouquets on marly and gilded rim. At center, ruins in a landscape.
Border with Floral Medallions and Vines
, 1845–1860
machine-printed paper
border

Printed two across the width. One half of oval medallion containing a floral bouquet, vining foliage wraps around. Printed in monochrome taupe with deep green background, off-white ground, cotton rag paper.
Sidewall
, 1875–85
Embossed and gilded

The design is composed of continuous parallel diagonal bands of ornament. There are eight different bands before the repeat. Each band is of Chinese inspired motifs, largely of fret work designs, small floral motifs and geometric patterns. This paper is made from the pulp of the bark of the mulberry tree. It is covered with Dutch foil which is gilded and lacquered.
Dress fragment
, mid-18th century
silk Technique: painted over printed outline on woven gauze

Fragment of a dress length. Design of exotic flowers and berries.
Frieze
M.H. Birge & Sons Co., 1834, 1900–1915
Machine-printed paper

Frieze for a crown decoration. The top of a picket fence-like trellis covered with red and pink climbing roses. Printed in green, red and pink on a yellow-green ground.
Via crucis - Station X, Jesus Despoiled
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, ca. 1749
Etching on cream laid paper
Print

Only state
Fragment
, 18th century
linen Technique: bobbin lace, continuous tape with bars added

Serpentine tape with bars added.
Last Unction
, ca. 1840
Wood engraving on paper
Print

A priest beside a dying young woman lying in a bed, before which two girls are and behind which the weeping husband stands.
Christ Falls Under the Cross
, 1840s
Wood engraving on paper
Print

The fallen Lord is pulled by a man; another lifts the cross. The Virgin talks to Christ.
Ceiling, from "Plafonds Modernes"
Jean Le Pautre, French, 1618–1682, ca. 1650
Etching on paper
Print

A = Jombert 38, 6. B = J. 38, 10, either with the address ''Le Blond Auec Priuilege.''
Sketch for "Night"
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Black crayon on paper
Drawing

Nude female figure shown from the rear seated without an indication of the right leg. The left hand is intended somewhat lower than the right one.
Fringe
, 16th century
silk Technique: woven

Red and yellow fringe with a decorative heading and skirts threads arranged to form stripes.
In the Deluged Marsh - The Shepherd (Au marais inonde - Le berger)
Auguste Lepère, French, 1849 - 1918, 1911
Etching in black ink on cream-colored paper
Print

Vertical rectangle. Flat landscape with boatman during flood-time. In the foreground, a farmer ferries sheep. Two empty skiffs seen near-by. Pollard willows and a thatched cottage in the background.
page Three from "Cinquième Livre Contenant des Cartouches Inventés par G. M. Oppenort Architecte du Roi et Gravé par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Three cartouches in a sequence. The first two of irregular shapes. The first with a man's head looking from behind it at left. The second with a board's head at right, a woman's head at left. Third: cartouche as a bench with a dog. Inscribed, upper left: "E"; upper right: "3"; lower left: "Oppenort inv."; center: "Avec privilege du Roi"; lower right: "Huquier sculp. et excudit".
Fragment
, late 18th century
silk Tewchnique: woven

Polychrome floral on white ground.
Sketch of Angels
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on cream laid paper
Drawing

A group of figures, flying towards the right.
Hanging
, 19th century
silk, gilded paper, cotton lining Technique: cut velvet

Flying phoenix holding curving sprays of tree peony in deep blue cut velvet on a rectangular foundation of tarnished gold. Border of stylized lotus and leaves reserved in gold on deep blue cut velvet ground. Narrow horizontal panel overlaid across top with two vertical pleats. Circular dragon medallions flanking lobed central medallion with lucky monogram. Faced with blue cotton.
Fragment
, late 17th–early 18th century
linen Technique: bobbin lace

Binche-style fragment with delicate floral design with many rectangular dots forming geometric ornaments. "Cinq trous" ground.
Shawl
, 1790–1825
wool Technique: tapestry weave

Square shawl made from shawl fragments and pieces. Central square is made of two border fragments, each with two rows of floral cones and small birds in profile on a light yellow ochre ground. Surrounding central square is a narrow border made from fragments with red and yellow flowers and blue and green leaves and stems on a white ground. Outer border is comprised of two rows smaller floral cones on a light yellow ochre ground. Shawl is made up of many fragments, especially the outer border.
Muse
J. Carroll Beckwith, American, 1852–1917, ca. 1900
Graphite on paper
Drawing

Sketch of a seated female figure, in drapery, with head turned to right.  Arms extended, with left hand holding a faintly indicated cello and right hand drawn as though it held a bow.
Sampler
, 1774
silk embroidery on linen foundation Technique: embroidered

Alphabets, numerals, flowers, symbols of the Crucifixion, and figures, with geometric borders, arranged in horizontal rows.
wall fountain
, 1774–1793
Tin-glazed earthenware

Flat at back, the bowed front tapering toward the top. Dolphin head spout with figures of infants in relief surmounted by Poseidon brandishing a trident and a wreath. Molded geometric and floral forms.
Project for a crest
, 1700–1750
Pen and brown ink with brown wash and traces of graphite Support: off-white paper on secondary paper support
Drawing

The right half of a broken pediment is shown. A boy seated before the cornice holds a standing escutcheon. A garland drags behind him. Rough sketch of the base of a column, pencil; vertically.
Textile
, 18th–19th century
raw silk Technique: plain weave; Z-twist warp and weft

Small piece of firmly woven cloth in shades of green that vary from blue-green to yellow-green. Slubs and variations in the yarn thickness.
Design for Embroidery, Corner of Gentleman's Waistcoat
Jean-François Bony, French, 1754–1825, ca. 1780
Brush and gouache, watercolor on cream laid paper
Drawing

Design for the square corner of a waistcoat or gilet featuring pink, purple, and blue flowers. A lyre and quiver of arrows can be seen along the bottom left border. A grey pegasus with blue and yellow wings appears in the bottom left corner.
Fragment
, 18th century
silk, metal Technique: compound woven with supplementary weft patterning (brocaded)

A pattern of scrolling tendrils is formed by the white plain woven foundation fabric and the supplementary silver weft floats. There are three varietials and sizes of flowers in gold, pink, green, yellow, and blue.
Fragment
, late 19th century
silk Technique: machine lace

Full three-quarter length sleeve of fine silk machine embroidered with a floral pattern in white silk floss and gathered to a small straight white satin cuff.
Design for a coronet
Felice Giani, Italian, 1758–1823, 1800–1820
Pen, brush, sepia. Paper
Drawing

Horizontal rectangle. Below a compartment in the shape of a curved pediment; inside lozenges with diamonds are connected by a round diamond, framed above and below by volutes. The cresting consists of scrolls and round diamonds; those in the lower row have above the cresting of a pediment. On the back is a sketch, representing two women in clouds, with the indication of the colors, black crayon.
Poppy
Gustav Stickley, American, 1858–1942, ca. 1905
linen foundation, linen applique, linen and mercerized cotton embroidery Technique: plain weave foundation; appliqué of plain weave and embroidery using stem, satin and bottonhole stitches
Table runner

Long and narrow rectangle with appliqued and embroidered stylized poppies and branches at each end. Pale yellow and beige on off-white. Hemmed on four sides.
Album of Designs for Decorative Paneling
François Marie Isidore Queverdo, 1748 - 1797, 1788
Print

An album with two series of designs of decorative panels featuring arabesque motifs, pastoral and mythological figures and attributes. The plates are signed, numbered, and dated.
A Woman Turned in Profile to the Right
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1775–1790
Stipple engraving on paper
Print

The woman wears a turban-like affair with a fringe at the ends, and supported by a head band. She has long hair.
The Boccia Game
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

Two players at left, three at right are shown against a wall over which two classical temples and trees rise.
Box with Arabic Inscription
, ca. 1860
gold, diamonds, white metal
box

Box and cover with diamond decoration in corners and cartouche framing the central design, possibly an inscription in Arabic. Gold foliate motifs along the periphery of the cover as well as on the sides of the box. Classical motif on each corner of the box and center of the front separated by rectangular forms encasing small circular pattern.
Fragment
, late 19th century
linen Technique: needle lace with ground of loop and twist with loop and twist return

Border fragment with a design of flowering sprays above ribbon swags filled with flowers and having flowers below.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, ca. 1910
Machine-printed paper

74 rolls of paper plus five pieces of grasscloth14 rolls accepted by committee60 to be returned via Registrar
Frieze
American Wall Paper Manufacturers' Association, 1879–1887, 1879–1887
Machine-printed paper

Anglo-Japanesque or aesthetic-style. Large-scale flowers on stems fill the entire surface area, from bottom to top. Printed in red, tan, brown on tan ground. Narrow band of molding along bottom edge.
Philanthropic Society, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

High wooden pulpit, center right. Balcony and pews on floor filled with people. Choir loft, rear. Title, artists', and publisher's names below.