biglam/cooper-hewitt-alt-text huggingface dataset:
Fragment
, mid-19th century
cotton Technique: printed in red on plain weave

Fragment shows a scene of a woman seated in a chair reading a letter to a gentleman who stands before her. Three children are next to her chair. They are dressed in sixteenth century style clothing. A caption at the bottom reads "Le casse chez sa soeur." In red on white.
Design for Doors for a Porte Cochère
Etching and engraving on laid paper
Print

Elevation of a set of double doors decorated with panels of ornament motifs including wave pattern, lamb tongue, a crowned cartouche, trophies, guilloche, mascaron, ribbon, and monogram,
Sarcophagus
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

At the upper edge are strokes belonging to -1267. The left half of the elevation is shown. A bathtub form with a cover supported by a base, with a trophy of arms in front of its upper molding. A displayed eagle supports a bracket. Colored background.
spoon
, 19th century
silver

Oval bowl, the shaped and reeded stem embossed at mid-stem with C-scroll surrounded indented oval cartouche with baluster foliate terminal below the lozenge shaped crusher.
Mt. Katahdin from Togue Pond, Maine
Frederic Edwin Church, American, 1826–1900, probably 1878–1879
Oil and graphite on paperboard
Drawing

Landscape sketch showing a view of Mt. Katahdin from the southern shore of Togue Pond in Maine, looking northwest. The nearby wooded shoreline is shown at lower left--its sandy beach curves from the foreground to the middle distance, where it comes to a point. Yellow fall foliage is shown in the distance on the opposite shoreline at center. Behind, two pointed prominences are visible in front of Katahdin--Abol Mountain and left and Rum Mountain at center. In the background, the wide, sprawling form of Mt. Katahdin stretches across the horizon, bathed in the pink light of what is probably the sunrise. The sharp peak at center is Baxter, while Pamola is visible beside it at right.
Ornamental Vignette
, 18th century
Etching and engraving on laid paper
Bound print

Small vignette of a young man in a hat, running, playing a large drum. Emerging from the background, a woman holds her hands to her ears, while a dog looks into the distance. The scene is set aloft a rocaille platform of grass and scrolls. The plate is not signed or numbered.
Roman Compagna
George Loring Brown, 1814 – 1889, November 3, 1843
Graphite on paper
Drawing

Recto: Horizontal view of a winding road in hilly country with a tower rising in the right central distance and a group of buildings in the further left distance.
Verso: A donkey is shown from behind at center, with parts of others shown at right.  At left, vertically, and in opposite direction respectively: three lower parts of legs of donkeys.
Feu à l'Anglaise
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for an andiron with an anguiped, a mascaron, and a flaming vase. The plate is signed.
Title Page
Christophe Huet, French, 1695 – 1759, 1741
Etching and engraving on laid paper
Print

Title page for a series of six designs for hunting trophies. The title is lettered within a rococo cartouche decorated with shell and foliate scrolling motifs, within a landscape with a tree behind it to the left. A speer and large net are draped over the cartouche with the head and paws of a dead boar hanging over the top, with a bird's wing along the right side. Below the cartouche, on the ground, is a dead rabbit and bird. A dog to the right, looking at the dead animals and a standing monkey holding a large gun to the left of the cartouche. The monkey is wearing a purse with interlaced L's. The plate is numbered and signed.
Design for the Embroidery of a Man's Waistcoat of Pattern No. 1117 of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

A left bottom corner with slightly rising bottom edge. Hatching and rinceaux, composed of bends and leaves along the outer edge. The pocket is bordered by strings of beads and mossy arches forming ovoids. Leaf boughs hang into the pocket and into the field beneath it.
Study after an Antique Statue of a Seated Woman
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Female figure seated on bench, left hand holds dry bough of tree.
Design for an Inkstand
, 1805–1820
Brush and watercolor, black wash, graphite, on cream laid paper
Drawing

Rectangular box on cushion feet, drawer in open position, at right. Front panel decorated with swans, scrolling leaves and masks. Top of box shows a center urn flanked by half-cupids, covered cups at either end.
Girandole à 2 branches orné de Rinseaux de feuille
Richard de Lalonde, French, active 1780–96, 1788–1796
Etching on off-white laid paper
Print

Design for a sconce with two branches (a two-arm candlestick) decorated with ornament motifs including rinceaux, urn, rosette, portrait medallion, lancet leaf, bound leaf, spiraling, and bead course. The plate is numbered.
Four Sketches of a Young Woman
, ca. 1880
Brush and black ink on paper
Drawing

Vertical rectangle. Four sketches of a young woman wearing a robe, shown from the front, sitting and holding an open book toward the spectator. At least one of the pages of the book contains illustrations, visible in the sketch at left.
South American Landscape
Frederic Edwin Church, American, 1826–1900, 1853
Oil and graphite on tan paperboard
Drawing

Landscape sketch showing a view of a town in the mountains of Colombia or Ecuador. In the foreground at left, a stone bridge ornamented with terra cotta tiles traverses a stream that extends to the right along the lower margin. The stream's banks are muddy and lightly wooded. The numerous buildings of a town are shown across a grassy pasture at center right. A church with two belltowers is discernable among the other buildings made up of white stucco walls and red terra cotta roof tiles. Foothills rise behind the town and ascend to a range of rugged and misty mountains that grow faint as the extend into the distance. The sky above is warm and hazy.
Front Elevation of the Newport Country Club, Harrison Avenue, Newport, Rhode Island
Whitney Warren Jr., American, 1864–1943, 1893–94
Brush and water-colors over graphite on heavy cream illustration board
Drawing

Elevation, executed in delicate watercolor washes, showing the front entrance, walkway, tented sunporches on second story at left and right, and suggested landscaping. Below image, a scale and numerical annotations.
Studies for the Entombment of Christ
Giuseppe Passeri, Italian, 1654 - 1714, 1775–1800
Red and white chalk on blue paper
Drawing

Studies of kneeling man with raised arms; details of arms.
Trophy Design
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

An ornamental trophy of arms framed within an arch featuring the winged figure of victory blowing a horn standing on and surrounded by arms (weapons) and armor, shields, spears, banners, quivers of arrows, helmets, seated male prisoners, and flying putti. The plate is numbered, and the publisher's address is lettered below.
Architectural Elevation of La Retraite within its Landscape
François de Cuvilliés the younger, German, 1731 - 1777, 1771
Engraving and etching on paper
Print

An exterior elevation for a garden building set within its landscape surrounded by trees. The building features domes, a cupola, a bell, festoons, vase finials, sculptures, a pediment, columns, and a fountain. Latin text lettered above with a profile portrait in the center. The plate is signed, dated, and numbered.
Console table and vase
Giuseppe Barberi, Italian, 1746–1809, ca. 1785–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

On top, horizontally, a rough sketch of a woman in a plant. Design of the left side of a console table, supported by a chimera with an armless female bust with a capital on top. The frame is a frieze with an entwined ribbon. Above, at left, is a winged female chimera, seen in profile. In the center below is a foliated post. A sketch is drawn over both table and post. The sketch is a panel between columns. Below, at right, a vase. Part of the backgruond colored brown.
Pemigewassett Bridge, West Campton, New Hampshire
Daniel Huntington, American, 1816–1906, September 12, 1855
Graphite, white and black crayon on green-grey paper
Drawing

Sketch from the bridge, looking up the Pemigewasset River.  Banks at left and right with rocks and trees, and mountains beyond.
Study, Abbey at Rimoli, near Florence
James DeVeaux, American, 1812 - 1844, ca. 1840
Graphite, black crayon, white heightening on strong paper
Drawing

Horizontal rectangle. Fortified abbey situated in the left central plane, at the edge of a river. A waterfall is in the foreground. An artist is seated at the edge of the fall, at right, possibly sketching. At left, a man stands in a rowboat. Hills fill the right middle plane.
Frame with Dolphins
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Upright frame design for a mirror or painting, rectangular form, topped with two dolphins. Figures of putti hanging onto the tails of dragons at left and right. Trumpets and weapons below.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Two quarters of a rocaille ceiling with a central rosette. and ornamental borders.
The Marriage Feast at Cana
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1589 or before
Recto: pen and brown ink, brush and brown and black washes over black chalk on laid paper Verso: pen and brown ink on laid paper
Drawing

Recto: Interior view dominated by a large table around which are seated several figures. Christ appears at the table to the left, with wine casks beside him in the foreground. The bride and groom are seated under the canopy at center. A sideboard with dishes appears in the background at right.
Verso: Italian inscription.
Fragment
, 18th century
silk, metallic thread Technique: plain satin weave with supplementary weft

Magenta satin ground with horizontal rows of a floral cone with a bird perching on the stem. Motif alternately turns left and right and is brocaded in blue, green, white, taupe and gold metallic thread.
Fireboard Decorated with 'Le Chien du Regiment'
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1805–1830
block printed paper, flocked paper, wood faced, distemper colors
fireboard

Horizontal rectangle. Battle scene, in the style of Horace Vernet. In center foreground, two infantrymen attending a wounded dog. To left, legs of a dead soldier, to right, ruined wall. In the second plane, to left, standing soldier; in center, heads and bayonets of four soldiers seen above smoke clouds, with other heads dimly indicated in background. Central panel is adhered to wood backing, and set within separate adhered floral borders. On left and right sides, wide borders include two bands of vertical floral decoration, while the bottom border is comprised of one band of horizontal floral decoration. Top border is flocked with a different pattern of two overlapping flowers set upon foliage background, with red arabesque pattern band.
Stage Design, Egyptian Temple
, ca. 1825
Pen and ink, brush and wash on paper
Drawing

Horizontal rectangle. Egyptian temple hall, richly decorated. Painted papyrus columns, large sculptures, decorative friezes. Possible decoration for Masonic temple.
Vase en plomb bronzé de la piece de Neptune à Versailles
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a vase from Neptune's Fountain at Versailles. The vase is decorated with acanthus and laurel leaf ornament and friezes with an open-mouthed mascaron in the middle and two smaller mascarons on the sides of the vase. The description is lettered on either side of the foot, with a scale below. The plate is signed.
Basilica of S. Lorenzo fuori le Mura, "Le Vedute di Roma" (1745-1778)
Giovanni Battista Piranesi, Italian, 1720–1778, 1748–78
Etching
Print

View of the Basilica S. Lorenzo seen from the west; in the foreground are several stone monuments. Small-scale figures are in front of the church and to the right.  Inscribed on a scroll in lower center: Veduta della Basilica di S. Lorenzo fuor delle mura"; lower left: Via Tiburtina; lower right: Piranesi F.
Sampler
Helen Grindlay, 1808
silk, wool Technique: embroidered in cross stitch

Religious sampler with a strawberry vine border has two lengthy inscriptions on the left side. Alphabets along the top with the Ten Commandments below on the left. Alongside is a box containing a series of initials. On the lower left is Genesis Chap XXII, the story Abraham and Isaac, illustrated in embroidery just below.
Designs for Armchair Covers (Back and Seat)
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for upholstered armchair covers (for the back and seat) featuring floral motifs, flowers, and leaves. Each design is labelled, the plate is numbered and signed.
Panel
, 19th century
silk, metallic thread Technique: embroidered on satin weave

One  small panel of black satin embroidered all-over in pointed bands of fret design with gold metal thread couched on with red silk thread.
Textile
, 1790s
cotton Technique: block printed on plain weave

Four different scenes; women gathering fruit, women setting fire to a boat, two men on a rocky promontory and older man and younger male and female couple at a table. The text in French under the last scene says' Telemachus, son of Ulysses'.
Textile
, 1775–85
cotton Technique: block printed on plain weave

Polychrome of small motifs - animals, birds, butterflies, people and flowers - on a picotage ground.
OEUVRES CONTENANT UN RECUEIL DE TROPHÉES, ATTRIBUTS, CARTOUCHES, VASES, FLEURS ORNEMENS Et plusieurs Desseins agréables pour broder des Fauteuils; Composés et dessinés par Ranson, et graves par Berthaut et Voysard
Pierre Ranson, French, 1736–1786, 1778
Print

Album of ornament prints including decorative trophies, frames, medallions, cartouches, vases with flowers, and seat covers all with floral motifs by Pierre Ranson. The album includes twenty series of six prints, each with their title pages, bound with a title page for the whole Oeuvre (Works) published by Esnauts et Rapilly, Paris, dated 1778.
Album of Cartouche and Vignette Designs
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Album

Album with three suites of cartouche and vignette designs featuring blank heraldic shields, after P.P. Choffard, published by the Geneviève-Marguerite Chéreau or her son Jacques-François Chéreau. The plates are numbered.
Page from Ackermann's "Repository of the Arts, Science etc,"
, 1809
c.) paper and textile swatches (fibers not identified)

Component "c" is a page from Ackermann's Repository, September 1809. Page contains printed graphics and three textile swatches: one printed, one gauze, and one woven.
Elevation and Plan for a Staircase Model in the English Style
Françoise Gillet, French, active 1830s, 1836
Pen and black ink, brush and pink, yellow, and grey watercolor on cream wove paper
Drawing

Sectional elevation (above) and plan (below) for a twenty step "English Style" spiral staircase. Starts as a single flight, and then splits into two curved sections before rejoining to form a single flight at the top.  Numbered annotations on each step.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-cm: Aesthetic style design. Dense all-over pattern rem...
Design for Six-legged Sideboard with Five Central Drawers
A.N. Davenport Co., 1900–05
Graphite, blue pencil, and pen and red ink, on thin cream paper
Drawing

Rectangular sideboard on six tapering, fluted, and turned legs; tripartide front with convex central section with three horizontal drawers flanked by two vertical drawers; low backsplash at back of top.
Textile
, ca. 1800
cotton Technique: printed by engraved copper plate on plain weave

Three scenes of amorous couples, one of a woman leading a goat with a castle in the distance.
Album of Trophy Designs
Jean-Baptiste Huet, French, 1745 – 1811, 18th century
Album

Album of trophy designs etched in the crayon manner and printed in red ink.
Alternate Design for Memorial Window, Beecher Memorial Church, Brooklyn, NY
Alice Cordelia Morse, American, 1863–1961, 1889–90
Brush and watercolor, graphite on off-white wove paper, mounted to paperboard
Drawing

Stained glass window-style decoration with lobes in blue a Chi-Rho symbol, brownish arcs and circles in a vertical pattern; rounded top with concentric circles, and border.
Textile
Herman A. Elsberg, American, 1869–1938, ca. 1915
silk Technique: complex woven

Silk textile with crepe woven, purple ground  has a staggered repeat of satin woven, large purple roses.
Study of Thistle Plants
Sophia L. Crownfield, American, 1862–1929, early 20th century
Graphite, pen and ink on yellow tracing paper
Drawing

Study of thistle plants in various stages of blooming.
Textile
Herman A. Elsberg, American, 1869–1938, 1919
silk and metallic threads Technique: cut and voided supplementary warp pile in a plain compound foundation (velvet)

Black velvet ground with an allover design of deeply looping lines in metallic gold. Four different colors of metallics - blue, orange, violet and green - in the ground.
La Triple Y Vresse
Claude-Louis Desrais, French, 1746–1816, ca. 1775-1760
Engraving on paper
Print

A scene of debauchery in an inn, showing two soldiers carousing with women at a table, while a third soldier has fallen into a drunken stupor.
Fragment
, 17th century
silk Technique: damask weave with supplementary weft (brocaded)

Green satin background with pattern, much worn away, of floral shapes in polychrome.
Fragment
, late 19th century
silk Technique: printed on satin weave and cut supplementary warp pile (velvet)

Irregular fragment with design of polychrome roses and foliage.
Fragment
, 18th century
silk, metallic Technique: supplementary warp forming raised pile (velvet)

Checkered pattern in pink and grey
Trimming
, 17th century
silk, metallic thread, metallic strips Technique: woven

Design with a simple, undecorated center bordered with metallic strips and diagonally placed blocks.
Panel
, 18th century
linen Technique: bobbin lace, Brussels style

Panel in large scale floral pattern interspersed by stylized vase shapes.
Portrait of Claude Hamilton, Earl of Paisley
Edward Harding, British, 1755 - 1840, 1800
Stipple engraving on paper
Print

Half-length portrait of Claude Hamilton, Earl of Paisley (ca. 1543-1622), dressed in half armor, doublet and cape, a feather trimmed velvet beret on his head. He faces frontally, turned slightly to the right. Below, inscription, engraver's and publisher's names.
Salome Receiving the Head of John the Baptist
Francesco Rainaldi, Italian, 1770 - 1805, 1796
Engraving on paper
Print

Before a large door, Salome receives the head of John the Baptist on a platter from a half-nude executioner. At left, another woman.
Cord
, after 1850
silk, metal thread and cotton

Strands of silk and metal thread woven in an ornamental pattern around a cotton core. a] black silk and silver thread - b and  d] silver thread - c and e] gilt thread - strands of silk and metal thread wrapped around a small core are twisted together to form a larger cord.
State Coach
Giovanni Paolo Schor, 1615 – 1674, 1650–60
Pen and brown ink, gray wash, over black chalk Support: beige laid paper (see notes below)
Drawing

Design for back of state carriage Elaborate rinceaux with cupids among them
Pocket
, 18th century
wool embroidery, linen foundation, cotton backing Technique: embroidered on plain weave

Woman's pocket of cream-colored linen, backed and lined with cotton, bound with linen tape, and furnished with tape at top for securing around the waist. Slit opening in the front to allow entrance of hand is bound with linen tape. Embroidered in colored wools with a vase of flowers and flowering vine motifs.
Fragment
, 18th century
linen Technique: bobbin lace (Brussels-style)

Fragment with an elaborate scrolling design and a slightly scalloped edge. Variety of openwork stitches with picoted bars.
Design for a Carved Motif
Gilles Paul Cauvet, French, 1731–1788, 1725-1750
Red crayon on paper
Drawing

Foliage and flowers comprise it.
Square
Harmony Society, est. Butler County, Pennsylvania, 1805–1905, 1839
silk Technique: jacquard woven

Woman's kerchief with a dark blue center has an allover diaper pattern of stars and rosettes in short loose warp floats, weft on the reverse. Four side borders in white and red.
Fragment
, 17th century
silk, linen Technique: woven

Plant forms in white and yellow ochre.
Fragment
, late 17th–early 18th century
silk Technique: plain weave with discontinuous supplementary weft patterning (brocaded), bound in twill

Fragment of brocaded silk with white symmetrical floral and lace-like pattern on orange ground. Supplementary weft floats of yellow, green, blue and cream. Wide selvage, warp-corded and striped.
Fragments
, 15th century
silk Technique: 4&1 satin pattterned by plain weave (lampas)

Broad ogee bands containing blossoms in green, red, yellow and white on blue.
Fringe
, 18th century
silk, gold foil on silk core Technique: woven

Fringe in red and gold with a plain-woven heading. Skirt has red and gold threads, looped and twisted, that are arranged in groups.
Textile
, 18th century
silk, metallic thread Technique: plain weave with supplementary weft

Solid gold and silver brocade. Design of serpentine branches with blossoms, grapes and wheat. Grapes and blossoms are in high relief.
Fragment
, before 1906
silk Technique: ikat velvet

Scaled and blurred medium-scale geometric design in crimson, gold, rust, white, and green on ground in shades of deep blue. Two crimson twill selvedges with paired white pencil stripes.
Design for Tabernacle, from "Tabernacles"
Jean Le Pautre, French, 1618–1682, ca. 1660
Etching on paper
Print

A = Jombert 73, 1, without Jombert's address. B,C = J. 73, 2, 3, without numbers.
Old Court, Lincoln's Inn
Joseph Pennell, American, active England, 1857–1926, 1905
Etching in brown ink on paper
Print

View of the court, flanked in foreground by section of a building at left; a tree is at right.
Textile
, 19th century
cotton Technique: printed on plain weave

Green, grey and white stripes with conventionalized ornament in ogival frames.
Textile
, 17th century
silk, metallic threads Technique: complementary weft patterning with brocade

a) Two broad vertical strips, one gray and one red, each with an all-over pattern of small gold palmettes. The two areas are separated by a narrow orange stripe with a floral serpentine brocaded in polychrome silks and metal thread.  
b) Red ground with gold palmettes, with a portion of the brocaded floral band sewn to one side. Composed of four pieces sewn together, with metal fringe at the bottom.
Textile
, 15th century
wool Technique: slit tapestry

Long panel in bright clear colors: many shades of yellow and buff, with pink, cherry and dark red, eggplant, and some white, and a little black for outlining. Horizontal pattern of white central row of small squares arranged on diagonal, either containing a stylized bird in a contrasting color, or divided into two stepped triangles of contrasting colors. Plain bands of buff, yellow and brown separate center from flanking outer rows of angular fretted running-wave pattern. Continuous guard-bands of red, yellow and buff on both edges. Wefts: unspun or weakly Z-spun, very closely packed. Warp: 2-ply tightly S-twisted undyed wool, about 25 per inch. The long sides are loom-endings. Panel made up of two equal lengths, stitched together, indicating tapestry loom about 24.5" wide. All selvages present. Reversible.
Fragment
, 17th century
silk Technique: 4&1 satin damask

Birds and animals in white silk damask