biglam/cooper-hewitt-alt-text huggingface dataset:
Waistcoat
, late 18th century
silk Technique: twill weave

Green silk fabric woven for a waistcoat has a scene with a woman in a fruit tree, lowering her basket down a man below. Space above the pocket flaps has rows of garland. Vertical repeat of a women lowering a fruit basket to a man with a long hook fills spaces next to the buttons and button holes.
The Mystic Marriage of St. Catherine
, late 16th–early 17th century
Gilt bronze, ebonized wood
Panel and frame

(a) Relief plaque. The Virgin seated at the right, in front of a pillar base, holding the Christ Child who slips the ring on the finger of St. Catherine, at left; (b) wooden frame, flat except for molding on inner edge, painted black.
Band
, 16th century
silk on linen Technique: embroidered in back and counted stem stitches on plain weave; woven tape with weft fringe attached

Symmetrical design of curving branched with acanthus leaves, each branch forming a large horizontal S-shape. One end of each branch turns into a grimacing beast whose tongue is being grasped by a standing winged cupid. The positive space in the design is the natural linen foundation; the negative space is solidly worked yellow silk long-legged cross-stitch. The design is outlined and accented by blue silk outline stitch, and there is a short thick blue and yellow silk fringe on three sides.
Shoulder cloth
, 19th century
silk Technique: stitch-resist (tritik) on plain weave

Large silk shoulder cloth, colored by resist method known as tritik, in red, orange, green and natural.
Frieze
, 1905–1915
Machine-printed paper, liquid mica

Circular tri-lobed motifs containing anthemion with c-scrolls alternating with circular motifs over lined square borders. Printed in beige, tan, and white on beige ground.
Borders
, 1820–25
Block printed on handmade paper

Floral border printed three across, containing yellow and blue rope twist or cable modling at bottom edge, frieze of roses and other flowers in red, yellow, blue and green on a white ground.
Saint Anthony the Hermit
Hans Sebald Beham, German, 1500–1550, 1521
Engraving on laid paper
Print

Figure of Saint Anthony is represented seated, at right, writing in a book. His head is slightly upturned toward the left, regarding a crucifix which is set in a tree stump at left. At lower left, in a tablet, the artist's monogram and the date 1521.
Fork Tines with Threaded Screw Base
, early 17th century
steel
fork tines

1985-103-253-a: Small case for six implements, stamped leather wit...;     1985-103-253-b: Oval rat-tail spoon bowl with round neck and screw...;     1985-103-253-c: Plain straight handle with finial on top, can be s...;     1985-103-253-d: Waisted steel handle inlaid with mother-of-pearl, ...;     1985-103-253-e: Slightly curved upper edge, lower edge curving tow...;     1985-103-253-f: Waisted handle inlaid with mother-of-pearl, four r...;     1985-103-253-g: Three straight tines, rounded shoulders and plain ...
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Enjoined circles composed of floral swags, quatrefoil medllion in center of each. Printed on honeycomb-patterned light green background.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, textured

On textured tan ground, vertical rinceaux with floral beads interspersed.
Sketchbook Page: Nude Female Figures
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Three sketches of nude female figures, with two standing and one laying face down. Additional indistinct sketches..
Wedding knife
, early 17th century
Steel, silver, iron, ivory

Blade straight-sided and tapering to a point. Hollow bolster, silver ferrules with geometrical and circular pattern. Ivory handle in honeycomb pattern. Silver cap has rounded end, slightly projecting at the sides, cap decorated with geometrical and circular pattern.
Frieze
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, textured ground

Borders printed two across. Floral bouquets of pink, blue and cream flowers encircled by foliate rinceaux. Top band of stripes and palmette pattern. Bottom band of stripes. Ground is beige and textured. Printed in pink, blue, cream, tan and metallic gold. Printed in selvedge: "Cresswell & Washburn. Phila 0.636".
Textile
, 1850–99
cotton Technique: printed by engraved roller

Two fragments with brown ground showing a striped pattern of curved columner design in dark brown, over printed in yellow, in a pattern of cornucopia and wheat.
Beach with Small Waves Breaking
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Beach in foreground with small waves breaking on shore.
Border
, 1750–99
linen Technique: needle lace, 6-sided reworked grounds

Border with floral spray edging on one side. Remaining area powdered with small three leaf branches.
Fragment
Fils et Bompar, early 19th century
cotton Technique: block printed on plain weave

Half-drop repeat of a scene of three children with a bow and arrow suspended from floral pendants.
Textile
Nixon & Co., 1705 - 1765, 1751–56
linen warp, cotton weft Technique: Printed by engraved copper plate

Plate print in red on a white ground. Main motif includes a momument supporting an urn containing a large leafed plant, a cockatoo seated at the base of the monument, a sheep standing in in front of another pedestal in the background; a tall tree with a flowering vine twined around its trunk, a cockatoo perched on a branch of the tree. A second small motif has a country cottage with 2 sheep grazing in the foreground and a birdhouse behind the house. A third motif has a cockatoo in a tree stump entwined by grape vines with a large cluster of grapes on the ground
Censer
, probably 18th century
Bronze

A panelled octagonal foot resolves into a twisted knop to a round gadrooned bowl, the upper rim of which bears four pierced lugs to receive chains.  The lugs are matched on the base of the pierced top which is in the general form of an octagonal tower with voluted beam ends and an imbricated faceted roof.
Yellow-Billed Coucal, Plate 19 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

A blue bird with large dark blue tail on a branch in dense jungle foliage. Title and artists' names below.
Sidewall
, 1800
Block printed on handmade paper

Imitation of marble or stone, gray on gray, arranged in brick or ashlar block pattern. One full rectangle to the width of the paper. Mortar covered with scrolled green bands or beading, with circular bosses at intersection.
Design for the South Wall of the Music Room, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, ca. 1817
Brush and gouache, graphite on cream wove paper
Drawing

Elevation of the south wall, with the wall decoration composed of a large central panel of a seascape, with a pagoda and trees to left and right, terminated at top by winged dragons in low relief. The scene is flanked by painted columns entwined by serpents. Narrower sections of wall on either side contain painted panels of bamboo trees.
Cap crown
, 1700–1750
linen Technique: bobbin lace, Brussels style

Cap crown with densely placed floral motifs emanating from a cartouche.
On the Border-land of Crime
John Tinney McCutcheon, American, 1870–1949, ca. 1896
Pen and black ink, graphite on illustration board
Drawing

Illustration showing four men seated, expressing various attitudes of dejection. All wear hats.
Design for a Chaise Lounge
, ca. 1810
Brush and watercolor, graphite on white paper
Drawing

Elaborate rocaille design for an upholstered chaise lounge, with textile drapery at sides, a vegetal finial at the top, and a book stand with candle holder to one side. A woman is represented in the background.
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, 1754–1758
soft paste porcelain, vitreous enamels
plate

A plate with a wavy, brown-edged rim, painted with a papaya (Carica papaya), two sprays of flowering millet grass, and several insects.
Plate 398, Modes de Paris (Paris Fashion), Petit Courrier des Dames, Journal des Modes (Little Ladies' Mail, Fashion Journal)
Samuel and Joseph Fuller, London, England, July 5, 1826
Engraving, hand-colored with brush and watercolor on cream paper
Print

Fashion illustration featuring a woman on the right standing and facing forward, wearing a long, pink, off-the-shoulder dress with repeating triangular details around the base and a white collar. On top of her brown curls, she wears a large pink and white hat, topped with numerous white feathers and tied in a pink bow underneath her chin. She holds a white shawl with a colorful paisley pattern and white fringe at the base. A woman in a light green and white dress and matching hat sits on the left in a brown chair with a blue seat, with her back turned towards the viewer. The style of her dress resembles that of the pink dress, and she also wears a similar hat, with an elaborate collection of white feathers at the top.
Textile
, 17th–18th century
linen, cotton, wool Technique: embroidered

Breadth of soft course cloth with two squares of embroidered decoration: in one square, mythological beast (related to Mude jar lion (?) ) with palmate feet, long tail with leaf ending , stylized mane, etc., in dark brown wool; white eye and white bird with spread wings, composite flower, in brown wool; white leaf embroidered on breast; white collar. Squares outlined in simple checkered border, with checks rounded on three sides in dark brown wool.
Sketchbook Page: Caricature
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Caricature of a man with a mustache, facing frontally.
Verso: Indistinct sketch, possibly of a landscape.
Design for a Lobby, Possibly the Ante Room to the Music Room
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor, pen and ink on paper
Drawing

Vertical rectangle. Design for the Royal Pavilion, Brighton. Perspective view of the end of the corridor, with a doorway flanked by half-round columns on the wall facing the spectator, a section of another doorway visible on wall at left, a long window on wall to the right. A blue marbleized design covers the walls.

Original album associated with this collection still exists.  See 1948-40-1 accessory
St. Mark Writing
Gaetano Monti, Italian, ca. 1750–1824, 1800–1824
Pen and brown ink on cream paper
Drawing

Within an oval line frame St. Mark is shown seated in right profile at his writing desk. His lion is asleep at his feet.
Knife with Porcelain Handle (Paired with Fork)
, 18th century
silver, gold plated; porcelain, vitreous enamel, gold
knife

Leaf-shaped silver-gilt blade with straight edges. Angular bolster. Banded ferrule. White porcelain handle, irregularly shaped, with polychromed decoration; on front, a young woman sitting in front of a tree holding a flower wreath in one hand. On back, a young man running. Floral decoration at end of handle.
Fragments
, 13th century
silk on linen Technique: embroidered

Four fragments with narrow bands of Kufic inscription and multicolored borders on top and bottom.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper, liquid mica

Quatrefoil-like motif centered within a larger square framework composed of acanthus scrolls. Printed in shades of blue and white mica on a light tan ground.
Chintz fragment
, 18th century
cotton Technique: mordant painted and dyed plain weave

Circular motif from a cover or a palampore. Peacock on a mound.
Band
, 16th–17th century
linen Technique: needle lace

Fragment of band with a floral tab fringe.
Design for a Doorcase
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

A plain door frame, having on top a frieze with three escutcheons, connected by festoons. Above the frieze is an entablature, upon which stands a prelate's escutcheon between two cornucopias upon a plinth. The central escutcheon in the frieze is also a prelate's one, the one at right has a crown on top, the one at left with a mantling and a hat on top. The wall is colored.
LA PLACE DAUPHINE
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the Place Dauphine (Dauphine Square) in Paris, with the river Seine, bridges, and buildings on either side. In the foreground, stalls, figures, sedan chairs, horseman, and carriages. Details are lettered with an explanatory key below. A description of the square is lettered below. The plate is titled and signed.
Croisée en plate bande
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a casement window with an awning featuring a band of bound leaf and central rosette. The profile of the window is at left. The plate is signed.
Stage Design, Flood
, early 19th century
Pen and brown ink, brush and wash on white wove paper
Drawing

Horizontal rectangle. Flooding river near mountain town. In foreground, three figures with arms raised on riverbank.
Rugged Mountain Peak, Mexico
Frederic Edwin Church, American, 1826–1900, 1889
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a rugged mountain peak in Mexico. Dominating the composition at center and isolated from any other forms, the mountain has a sharp, serrated peak with multiple pinnacles. The left side of the mountain and its summit are in shadow, while the rocky ridge on the right flank is brightly lit.

Verso: Landscape sketch showing a view of a valley in Mexico bound by overlapping mountain ridges that extend into the distance. Relatively flat, loosely rendered terrain extends across the foreground, while, at left, an extremely steep mountainside rises to the upper left corner. Behind it, a rugged, serrated mountain ridge is prominently visible before quickly descending to center, where overlapping ridges extend into the background. At right, several steep mountainsides are layered on top of each other, leading to a view of a pointed peak in the background at right.
Rank badge
, mid- 19th century
silk and metallic embroidery on silk foundation, coral beads Technique: embroidered in satin and couching stitches on satin weave

Rank badge for a civil official. Embroidered silk and metallic yarns showing a bird facing a sun disk, on a ground of clouds.
Man
Robert Frederick Blum, American, 1857–1903, 1883–1884
Graphite on wove paper
Drawing

Sketch of a male figure wearing a top hat and coat.
Summer on Earth
Felice Giani, Italian, 1758–1823, ca. 1800
Pen and brown ink, brush and brown wash, traces of graphite on cream laid paper
Drawing

Ceres and Cybele seated on mound in center. Kneeling girl offers her grain. Group composed of girl and two young men embracing each other, stand at left. Cupid standing behind Ceres pointing bow at group. Woman sleeps upon sheafs of grain.
Doorframe
Giuseppe Barberi, Italian, 1746–1809, 1775-1785
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Shown slightly oblique, without the bottom part. Moulded frame. Triangular pediment supported by brackets. Festoons in the panels between them. Putti sit upon cornices of the couped pediment on top of the triangle. Alternative suggestions are made for their gestures. In the center is the eschutcheon of a cardinal. Colored background.
Button
, 19th century
Brass, silver plated

Convex button showing ornament of oval shield with three birds above perpendicular reed, with mantling (ermine?) and drapery held by a crown. On reverse:  "Brevete Bruelles HA". Brass back and shank.

On card i80
Icebergs near Cape St. John, Canada
Frederic Edwin Church, American, 1826–1900, July 5, 1859
Graphite and gouache on brown wove paper
Drawing

Seascape sketches showing two views that each include two icebergs, recorded off the coast of Newfoundland island near Cape St. John, organized into two stacked rows. In the upper row, two large, rugged, and amorphous icebergs float in close proximity--possibly two peaks of a single berg. In the lower row, two similar icebegs--possibly the same as those in the upper row--stand at a greater distance from one another while ice fragments float in the water between them. The iceberg at left has a distinctly sharp, serrated contour.
CUILLIERES ET FOURCHETTES
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Designs for three spoons and two forks with Empire style motifs including masks (mascarons), cornucopia, cartouches, wheat, birds, foliate branches, star, rosettes, corn, sea creatures, a star, satyrs/fauns, fleruons, deer head, rosettes, and scrolling leaves. The plate is titled, signed, and numbered.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two plates printed next to one another. The left plate is a title page, with the title printed in the center, surrounded by a grotesque frame comprised of a mascaron with bat wings at the top, spindles, scrolling acanthus leaves, garlands, ribbons, snakes, and horn-blowing angels. At the bottom of the plate is a female winged figure seated on a cloud, with quill to a blank slate, and with flags, shields, and a helmet surrounding her. The right plate has designs for four trophies, with attributes of Hercules (upper left), the arts (upper right), animal masks (lower left), and wings (lower right). The plate is not signed, but is numbered.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. Design scheme similar to 1938-88-847, disk above and three drops below connected by a round diamond at center above a knotted bow with blossoming stems at left and right. Bevelled corners.
Hercules and Nemean Lion
Felice Giani, Italian, 1758–1823, ca. 1805
Pen and brown ink over traces of graphite on cream laid paper
Drawing

Hercules shown from right back.
Fragment
, mid- 18th century
silk Technique: damask weave

Fragment of silk damask. White and coral showing a symmetrical design of flowering plants with twisting tendrils. Two pieces sewn together; one selvage present.
Arabesque Ornament Design
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

A horizontal plate with arabesque ornament designs featuring Neoclassical and Empire style motifs, a vase in the center flanked by mythological figures surrounded by scrolling acanthus and foliage motifs, rams, hippocamps or seahorses, fleurons, palmettes, fruit, acorns, and rosette motifs. With repeating pattern friezes along the upper and lower sections featuring similar floral motifs. The plate is numbered.
Profil du dedans de la Cour de la maison de Monsieur Roland A Paris
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of an exterior façade of a Parisian hôtel particulier (grand house) with a part sectional view of the interior on the left, and a scale below. The façade features windows, arches, pilasters, cartouches, and an overdoor roundel portrait. There are numbers (measurements) on different details. The plate is titled and signed.
Sketch for an Interior
, ca. 1800
Pen and brown ink (iron gall ink), traces of graphite on paper
Drawing

At bottom, a frieze with a roundel and panels showing architecture (?). Above, diamonds containing sketches of dancing figures and laurel wreaths.
Forgiveness
, 1750–1775
Brush and watercolor, gold on paper, mounted
Print

Printed from two plates. Two duellers embrace. The sword of the one at right lies on the ground. A boy flees to the right. In an open landscape, with a few trees at left. Narrow border of rocaille motifs and flowers. Bottom: "V. OPUS MISERICORDIAE SPIRITUALIS / CONDONARE INJURIAS" and "LA QUINTA OBRA MISERICORDIA SPIRITUALE / PERDONAR LAS INJURIAS". The same wide border as in 1921-22-256.
Circular Pedestal in the Dionysus Theater, Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 1869
Brush and oil paint, graphite on tan paperboard
Drawing

Architecture and landscape sketch showing a view of a circular pedestal in or near the Dionysus Theater in Athens, Greece. Prominently situated in the foreground at center, the pedestal is decorated with carved, bearded faces with exaggerated laughing expressions. One face is frontally viewed at center, while another is visible in right profile along the right edge. Each face is connected by a hanging wreath with a floating rosette above it. The base of the pedestal is ornately carved. A small plant is visible at the right of the base, rendered in greater detail than the terrain around the pedestal, which is made of up a loose collection of green and brown brushstrokes that indicate grass and soil.
Water color; A Neapolitan watermelon shop
Saverio della Gatta, Italian, 1777 - 1829, 1828
Pen and black ink and yellow, red, blue, green, brown, gray water colors on wove paper.
Drawing

Horizontal rectangle. The business goes on in front of the storeroom, which is in the basement at the corner of a house. A man is busy cutting a melon, another raises two halves and shouts. A boy carries two trays with pieces of melons. Children eat or await their shares. A boy tries the ripeness of a melon, a child searches among the peels. A boy is shown eating in the left corner. Framing line. The signature is in the lower right corner: "Gatta f. 1828."
On Board Ship
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Watercolor on rough heavy paper
Drawing

View of the deck of a sailing ship. A sailor sits in front of a door leading to quarters. A lifeboat is shown in the right foreground.
Studies of Two Children
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, ca. 1780
Crayon-manner with red ink on laid paper
Print

Studies of the heads and upper torso of two children, side-by-side, from a series of figure studies for the education of artists and amateurs, printed in red ink in the crayon manner. Left - a young child seen from the front with their head leaning to the left, wearing a hat with feathers and a ribbon. Right - an adolescent girl, seen from the left, wearing a ribbon in her hair. The plate is numbered.
Ornamental Vase Designs
Théodore Bertren, active in France, 18th century, 1772
Engraving on paper
Print

Two vases, one above the other. The top vase has two s-curve handles and a garland of leaves draped through a ring and around the neck. Below the shoulder of the vase is a mascaron with drapery. The lower vase has two looping serpentine handles. The body of the vase is fluted with a shell pattern. A garland of flowers is draped around and across the vase. The plate is signed and numbered.
Study for a woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Black, white pastel crayon on grey paper
Drawing

Center left, sketch of a figure female leaning over a pedestal; Upper right, Sketch of a female figure's head. The study of the entire figure fills the left side. In the upper right corner is a sketch of the lower part of the head with the left ear shown and of a part of the body.
Album of prints: Public Celebrations Given in Paris on the Occasions of the First and Second Marriages of Monseigneur le Dauphin in 1745 and 1747
Jean François Blondel, French, 1681–1756, 1751
Book

Album containing the two series of prints made after the celebrations in honor of the marriage of Louis Dauphin and Maria Teresa, Infanta of Spain in 1745 and, after the death of Maria Teresa, of Louis Dauphin with Marie-Josephe of Saxony in 1747. Both print series were published in 1751. 
Accession numbers for pages with text were assigned long after pages with engraved images had been established. The sequence for subsequent text pages are as follows:
Text pages 1921-6-207-31/35, after engraving 1921-6-207-2
Text pages 1921-6-207-36/38, after engraving 1921-6-207-3
Text pages 1921-6-207-39, after engraving 1921-6-207-22
Text pages 1921-6-207-40/45, after engraving 1921-6-207-23