biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Tapestry: Allegory of Africa
Gérard Audran, French, 1640–1703, 1660-1680
Brush and brown ink, black wash, white gouache,over black chalk on laid paper. Framing lines in pen and black ink.
drawing

A central group of women are flanked at left by a river god and at right by three figures.  The Queen of Africa, crowned with ostrich feathers is shown seated holding a mace. At her right stands a woman who carries a sheaf of grain with her left arm and holds aloft a feather or offering with her raised right hand. She wears the head of an elephant as a headdress; a lion accompanies her. A third woman is seated beside the Queen and looks toward her while pointing to the left.
Border
, ca. 1860
Block-printed and flocked paper

Passementerie design with central cream stripe overlaid at top and bottom by brown repeating shield motif; bordered above and below by wide brown stripes of graduated intensity, overlaid by regularly spaced bosses. Brown stripes are printed in flock.
Fragment
, 17th century
silk Technique: cut supplementary warp pile (velvet)

Long narrow fragment of red cut velvet.
Ecce Homo (copy)
Lucas van Leyden, Netherlandish, ca. 1494–1533, after 1510
Engraving on white laid paper
Print

A town square. In foreground, groups of people. In middle distance, on a raised level, Christ is presented to people. There are people also in background.
Church in the Mountains of Mexico
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite on light green paper; verso: graphite
Drawing

Landscape and architecture sketch showing a view of a church in a mountainous landscape in Mexico. Situated in the middle distance at center, the Church has a tall, square belltower at right with a pointed roof. A group of bushes or other vegetation is visible beside it at right. Behind it, a barren and rugged mountain range with many ridges and furrows extends across the horizon.

Verso: Landscape sketch showing a view from Mexico of a distant mountain range across a plain. Grass is visible in the immediate foreground at center while the middle distance is an empty expanse representing a plain. In the background, a serrated mountain range stretches across the horizon, beneath low, puffy clouds and falling sunbeams, visible along the upper margin.
Coat
, late 19th century
silk Technique: embroidered on satin weave

1940-93-63-a: Coat with long sleeves and rounded neckline closin...;     1940-93-63-b: Straight trousers as part of suit. Lined with pink...
Design for a Candlestick
Italian, Italian, possibly Roman, ca. 1780
Pen and brown ink, brush and wash, gray wash, yellow watercolor, graphite on cream laid paper
Drawing

Base of candlestick has a burning heart above a flame. The shaft is designed as a high decorative vase with knots and  garlands at base and surrounding the body, ending in a baluster with an eight pointed star.
Design for a Woven or Embroidered Corner Motif
, 1810–30
Brush and gouache on oiled translucent paper
Drawing

Fantastical flower arrangement, featuring a bunch of light purple flowers emerging from the center of a red and yellow flower, positioned on top of a group of green, red, yellow, and white leaves. Other flowers and leaves in red, yellow, green, and purple are distributed around the main arrangement.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of crossing ribbons enclosing six-petal flowers; in yellow on blue ground with red borders.
Design for Four Bow Knots
, 1825–50
Pen and brown ink, brush and gray wash on white laid paper
Drawing

Two rows; those above and below at right with a hanging pearl, those at right with a round diamond in the center.  The ribbons intended to be covered with diamonds. A framing graphite line.
View of the Sorrento Peninsula and Capri, Italy
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on light green wove paper
drawing

Landscape sketch showing a view in Italy of the Sorrento Peninsula and the island of Capri, from the coast near Pompeii. Flat, low-lying, and lightly wooded terrain extends across the foreground, while the island with ruins known as Scoglio di Rovigliano is visible just off the shore, in the middle distance at center. At left, the various peninsulas and capes along the dramatic northern coast of the Sorrento Peninsula extend obliquely into the background, where the rugged island of Capri is visible along the horizon at right.
Console Designs and Pastoral Scene
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

The page has two plates printed on it. The upper plate features designs for consoles on which set a variety of vases. The lower plate depicts a scene of well-dressed individuals in a rural setting. Both plates are signed.
Seated Bedouin Figure
Frederic Edwin Church, American, 1826–1900, 1869-1870
Oil paint on brown paper
Drawing

Figure study of an individual outfitted in Bedouin clothing. Seated, the figure leans back and crosses his ankles as he holds a long rifle that is propped against his shoulder. He glares out of frame to the left. Although wearing the flowing headdress and draped clothing of the Bedouin people, this individual is actually Benjamin Bellows Grant Stone, Church's neighbor who he dressed up to serve as a model. Foreground and background are indeterminate and hastily painted.
Design for a Woven Corner Motif
, 1825–1850
Brush and white, beige, yellow and black gouche on oily tracing paper; on verso: white netting
Drawing

A lace cloth suspended from blossom rosettes fills the corner obliquely. Parts of a flower bough stick through vertical stripes of the cloth. A triangular crest border forms the corner.
Design for a Bookcase on a Stand, with Alternate Suggestions
, ca. 1805
Pen and black ink, brush and watercolor on paper
Drawing

A bookcase on a stand, showing alternative treatments of doors and stand. Stand in the form of a knee-hole desk.
Study for Portrait of Mr. Winthrop
Daniel Huntington, American, 1816–1906, May 13, 1885
Graphite on paper
Drawing

Man seated facing frontally, his coat open. His left hand repeated twice, upper right. Surrounded by notes on colors and details.
Venus and Cupid, Study after Annibale Carracci
Felice Giani, Italian, 1758–1823, 1821–22
Pen and ink, brush and brown wash over black chalk on heavy white paper
Drawing

Upper drawing of Venus seated on clouds, holding apple(?) in left hand; at left, Cupid with his bow and quiver of arrows. Lower drawing of two putti at left, posed like caryatids, holding draperies. Background shows balustrade with suggestion of coat-of-arms at right.
A Medal of Napoleon Bonaparte as President of the Italian Republic, verso; Hebe Gives Immortality to Hercules's Charioteer
Felice Giani, Italian, 1758–1823, 1802–04
Pencil. Pen. Brush. Dark brown.
Drawing

Horizontal rectangle. Obverse: the head is turned toward the left. Inscription: "BONAPARTE R[eipublicae] I[talianae] PRAESES."* With pencil the length of the square with sides tangent to the medal is indicated at right as pa ("a" superscripted) 3 3/4. Above in the center the caption: "destra." On the other side is the reverse, caption written by Giani with pencil - as the other - "Ebe da l'imortalità a Origa** d'ercole." Hebe sitting embraced probably by Ares upon a couch, holds a pitcher and the bowl, from which the kneeling Hercules is drinking immortality.  In the background is the biga, with a genius holding the horse. Dimension written as at the other side.  
* R - I may stand for Re d'Italia (PDM '79)
**Origa (chariot driver) 
The verso may be variant for a similar subject in the palazzo Gessi, Faenza 1813 (PDM 79) 
[Written on original catalogue card: Giani light source symbol in black chalk at upper right.]
Design for the Embroidery of the Left Side of a Man's Waistcoat of the "Fabrique de St. Ruf," "Gilet" Design"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

A greenish edge and six buttonholes are shown at left. A flower stem rises beside it. Undulating rising boughs with thorns and leaves decorate the field.
Study of a Right Hand
Daniel Huntington, American, 1816–1906, 1850–60
Graphite, white chalk on brown wove paper
Drawing

Study of a lowered with hand with thumb facing the viewer and pinky slightly raised.
Tassel
, 18th century
metallic thread, linen, wood core

Tassel with a turned wooden core (vase shaped) has metallic thread and collars over a cover of yellow linen cloth. Skirt of twisted metallic threads with strands of spiral twist and ornaments formed of paillettes and rosettes. Loop of green silk and metallic cord.
Design for a Sedan Chair
, ca. 1775
Pen and black ink, brush and gray, brown, red, yellow and blue watercolor over graphite on cream laid paper
Drawing

Shown from the right rear corner with two bars. On top is a crown of an earl. From the upper corners hang tassels, at those in the height of the upper edge of the lower panels are ram heads. All the panels are decorated above with festoons. In the upper one of the back, below, are two conjoined coats of arms framed by garlands; right a bend sinister; left a Maltese cross. The window is divided into four panes by curved branches. Decoration of the bar and erasure similar to 1900-1-15. Written in the upper left corner with pencil: "Lady AEB".
Woman
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Female figure draped in fabric with her head covered.
Designs for Wooden Frames
, 1820–40
Pen and brown ink, brush and brown, yellow and blue wash on off-white laid paper
Drawing

Vertical rectangle. Designs for frames intended to be carved in wood for one of the roads in the stations of the Cross, with alternative suggestions. The left half of the design suggests an ovoidal shape of the painting, a cross on top, and a laurel festoon around the bottom; a scroll bears the inscription: "STAZI." The right half suggests an oblong moulded frame. A palmette motif is shown on top. Crossed palm branches form the frame for the inscription, at the bottom.
Suite du Jardin St. James
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a garden fire pump house and a vegetable garden cottage with elevations, sectional views, and floor plans, featuring Gothic and Romanesque motifs and ornament. The plate is titled, signed, and numbered.
Floral Trophy
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Floral trophy ornament design incorporating flowers, foliate branches, basket of fruit, a hat, festoon of leaves, bagpipe or musette, and sheets of music. The plate is numbered.
Palace
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Sketch of a palace.
Design for a Pendant, plate XXI, from the series Tabulae Gemmiferae XXIV
Peter Symony, Swiss, active 1603–1621, 1621
Engraving on white laid paper
Print

Four nosegays are in the corners beside a great symmetrically disposed nosegay. Those in the bottom corners are black moresques.
Porte-Cochère Design
Laurent Francart, French, active 1681-1690, 1707-1742
Etching and engraving on laid paper
Print

Design for a porte-cochère with a vase on a balustrade at the top.  At the bottom of the plate is a scale bar of six French feet ("6 Pieds"). The plate is numbered but not signed.
The Antikamnia Calendar, September and October, 1898: A Prodigal's Return
Louis Crusius, American, 1862 - 1898, 1897
Chromolithograph on paper with string binding
Calendar

September and October, 1898.
Plate with Blue Flower Pattern
Royal Worcester, English, established 1751, 1888
porcelain, vitreous enamel, gold
plate

1972-5-15-a: Blue floral marli and center medallion on white gr...;     1972-5-15-b: Plate with blue floral marli and center medallion ...
Floral Ornament Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Floral ornament design with a central basket of flowers framed by festoons of flowers, scrolling acanthus leaves (rinceaux), festoons of pearls, tassels, cornucopia of fruit, and a crown of laurel leaves. The plate is numbered and signed.
Plate 17 from "Stuben-Ofen"
Johann Jakob Schübler, German, 1689–1741, ca. 1728
Engraving and etching on off-white laid paper
print

Octagonal tower shaped stove on ball feet with circular door at front surrounded with stylized scrolling acanthus and crown with laurel leaves.  Upper section is stepped pyramid ending in an eagle standing on a globe surrounded with arrows. Stove is shown in a niche with a scallop shell head topped by a cartouche.
Page of Text, Printed on Recto and Verso
Marie F. Lattré, French, active eighteenth century, 1751
Engraving on laid paper
Bound print

Page of text with elaborate border decoration, printed on recto and verso. The text on the recto and verso describes the fireworks display (1921-6-207-30) for the celebration given by the city of Paris on February 13, 1747, on the occasion of the marriage of Louis Dauphin and Marie-Josephe of Saxony.
Sidewall
Jean-Baptiste Réveillon, French, 1725–1811, ca. 1795
Block-printed on handmade paper

Floral bouquet in a basket with arching peacock feathers, alternating with four putti and a goat surround a burning alter. Painted in polychrome on a deep brown ground.
Design for Glass-Top Display Case
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular, flat,  glass-top display case with pieces of china inside; raised on 4 straight, tapering legs terminating in brass feet.
Nouveau Livre de desseins de Portes Cocheres
Nicolas Guérard, French, ca.1648 – 1719, ca. 1715
Album

Album of six designs for doors (portes-cochères) featuring ornamental paneling and rococo motifs. Plates are numbered. Quarter binding with marbled paper covers and endpapers with red leather spine. ‘Guerard' lettered in gold on the upper spine.
Three Men, One Kneeling and Two Bowing
Raimundo de Madrazo, Spanish, 1841–1920, 
Graphite and black ink on paper
Drawing

Study of three figures (indigenous Americans). Two are bowing and hold bows, while one (far left) kneels. This study was made for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Palazzo Milzetti, Faenza;
, 1802–05
Pen and brown ink, brown wash, over black chalk on white laid paper
Drawing

Ceiling Design: A Vestal Virgin Buried Alive??? A Vestal lies upon a couch in a vaulted room with table with food, jars and lighted lamp at right.
Textile
, early 19th century
silk

Gold-colored border with Empire design in red.
Pin
, 18th century
Gold, silver, glass, gemstones

Gold and silver ser with paste rubies and diamonds in design of flowers and leaves.
Textile
, 17th century
silk, linen Technique: woven brocatelle

Scrolling leaves and central vase in red, white and yellow.
Fragment
, 17th century
silk, metallic Technique: supplementary wefts in plain weave foundation

Oscillating circular motifs on a red background.
Westminster
Joseph Pennell, American, active England, 1857–1926, 1893
Etching in black ink on paper
Print

View across the Thames, with two bridges shown. In the distance rise the towers of the Houses of Parliament. Small river craft in the foreground.
Descent from the Cross
G.L.D., ca. 1600-1650
Engraving on paper
Print

The scene shows the descent of Christ from the Cross, with the swooning Virgin in the left foreground. From Daniele da Volterra's painting in the church of S. Trinità ai Monti, Rome.
Waistcoat, uncut
, 18th century
linen, cotton Technique: embroidery

Right side of wite twill waistcoat with deep white embroidered border of scrolling floral and leaf patterns in variety of stitches. Pakcet flap missing and a couple of pieces of white embroidery appliquéed in its place.
Fragment
, 17th century
silk Technique: 5-harness satin damask

Small scale allover horizontal and vertical repeat of symmetrical sprigs framed by stylized leaves set at angles. One broad satin selvage of pinkish tan.
Fragment of tunic
, 6th–8th century
Warp; S-spun linen. Wefts; Z-spun linen, Z-spun wools technique; plain weave and slit tapestry weave

Fragment of a Coptic tunic with clavus bands and larger band.
Poncho
, 18th–19th century
wool Technique: plain weave with warp-patterned stripes

Shoulder poncho of two lengths of striped wool with bound slit for opening. In red, pink, purple, blue, yellow, and white wool and cotton on brown wool wefts, doubled. Multi-colored deep fringe on four sides.
Fragment
, 19th century
cotton Technique: crochet

Crocheted lace border with conventionalized floral repeated five times.
Border
, late 19th century
cotton Technique: stem, satin, and chain stitch embroidery

Coarse natural color cotton band embroidered in bright red in a three inch wide border along the bottom. Design of running vine of natural-size blossoms in full face with stylized leaves. Hemmed at bottom and selvage at top. Possibly a border for a bed valence or cover.
A Child Leaning Upon the Edge of a Quadrant
, 1798
Pen and ink on paper
Drawing

The head is turned toward the apex and shown in profile. Written below at left, "Rel Scrotigliani delino 1798."
Project for a Ballet Costume of an Oriental Jester
, ca. 1720
Lead pencil on paper
Drawing

Vertical rectangle. A man in Oriental costume is shown standing in three-quarter profile, turned toward left. The head is turned to the right. The right foot crosses the left one.
Fragment
, 17th century
silk Technique: 5-harness satin damask with additional patterning by supplementary wefts bound in 4/1 twill

Large-scale pattern in yellow of rows of floral forms in alternating vertical alignment. Sprigs of flowers in blue, red, green, or ivory.
Peep-show, Vue Perspective de L'Interieur de L'Eglise de St. Marc, à Venise
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
La Bergere Laborieuse
Jean-Michel Liotard, Swiss, 1702 - 1796, ca. 1755
Engraving on paper
Print

A barefooted young girl, a shepherdess, stands in flock of sheep spinning. In her right hand she holds a distaff, and in her left, a spindle. Beside her sits a small boy near a tree.
Calendar
, 1905
Silk

Depiction of ''The Storm'', 1880 by Pierre Auguste-Cot (1837-1883) ''1905'' Calendar divided in three parts; four months each. ''E IANSEN SON. PATTERSON N.J.'' woven in lower right. Green and black weft on white warp.
L'AVTOMNE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of a young couple in a landscape. The woman sits, holding a carafe of wine; the young man leans in toward her, a glass of wine raised in his hand. A basket of grapes is at their feet. The scene is surrounded by arabesque ornamentation, including leaves, wreaths, a portrait medallion, birds, scrolls, and cartouches. The plate is signed.
Sample book
Old Pacific Print Works, Lawrence, MA, USA, 1879
leather, paper, cotton Technique: printed on plain weave and warp-face 5&1 diamond twill, weft-float pattern based on a plain weave structure

Small notebook with handwritten formulas for dyestuffs to be used for printing textiles.  There are 253 samples of printed cotton fabrics in various patterns: geometric, flowers, stripes, checks.
Vase Design
Charles Dupuis, French, active 1760 – 1791, ca. 1763
Etching on paper
Print

Design for a vase decorated with fish and mermaids. The plate is signed and numbered.
Design for a Mass-Operational House Designed by Hector Guimard, Construction Directions for supports
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing construction for supports
L'AUTONNE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of a couple in a landscape; the woman reclines against the ground with a vase nearby and a glass of wine in her hand, while the stands before her and extends his wine glass toward hers. The scene is framed by ornament including branches, terms, smoking urns, trellis, scrolls, vines, and a cartouche. The plate is signed.
Cup and cover
Johannes Engelbrecht, German, 1673 – 1748, ca. 1698-1705
rhinoceros horn mounted in silver-gilt

Tapering cup covered with the figures of the Four Continents; Asia with turban and crescent sceptre; Africa with ostrich-feather headdress and parasol; Europe with imperial crown, orb, and sceptre; America with feather headdress and cape, and sceptre; step with two putti; foot with elephant and rhinoceros interlocked in battle, and eagle. Domed cover with six putti in relief and one, standing, as finial.
Border
, ca. 1770
linen Technique: needle lace with 6-sided reworked ground (Argentan)

Curving stem with flowers and fruits intertwined with a curving band. One edge finally scalloped and ground of buttonholed hexagons. Argentan style.
Fragments
, 16th–17th century
silk Technique: supplementary warp forming cut and uncut pile in a plain weave foundation (velvet)

Architectural and botanical ogives containg tripartite plant forms in pink, white and green.
Cup and Saucer, from a Miniature Tea Set
Du Paquier Porcelain Manufactory, Austrian, active 1719 – 1864, 19th–mid- 19th century
porcelain (probably hard paste), gold
cup and saucer

For the miniature set included in 1920-19-51 to -57. Cup has straight sides, dodecagonal on rounded foot; flaring opening, also dodecagonal. Saucer has ogee profile, and is dodecagonal.
Wine glass
, 18th century
Glass

spiral twist
Tile
, late 18th–early 19th century
Earthenware, glazed, high fire decorated

Kneeling man, with pointed hat and bare feet.
Cup and Saucer with Battle Scenes (Bataillen-Malerei)
Royal Porcelain Manufactory, Berlin, German, established 1763, 1870–1900
hard paste porcelain, vitreous enamel, gold
cup and saucer

Curving cup. Slightly compressed in lower part. Scrolling handle. Saucer slightly curved. Decoration similar to that of 1953-17-48. Neuzierat style.
Fragment
, 17th century
Technique: counted stitch embroidery

Fragment of an embroidered carpet with multicolored scrolling vine and leaf pattern.
.
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper
Frieze

Floral swag, with a large blue rose at bottom of swag. Swag is suspended from a yellow ribbon with a bow knot .Printed on blue background that shades from light to dark. Printed two across.
Pleated fan
, mid- 19th century
Paper leaf with hand-colored lithograph, pierced mother-of-pearl sticks with applied gold foil

Pleated fan. Paper leaf with hand-colored lithograph. Obverse: romantic scene of pleasure boat and figured in 17th century costume. Reverse: romantic pastoral scene showing shepherds and shepherdesses in country landscape. Guards and sticks of mother-of-pearl, pierced with quatrefoil design, engraved and applied with gold foil.
Button
Agostino Brunias, Italian, ca. 1730–1796, late 18th century
Gouache paint on tin verre fixé, ivory (backing), glass, gilt metal

Button depicting scene with three figures in a palm tree-filled landscape conversing. Two men wear native West Indies garments of skirts; one wears a red feathered crown; the other holds a bow and carries a quiver of arrows on his back. Woman on the left wears a Western skirt with no shirt and a red scarf on head; her back is towards the viewer and she carries a basket of flowers.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

Stylized tulip design, alternating between one tall and one low tulip. Printed in green, white, and metallic gold on tan ground.
Stained glass window
John C. Wolf, 1890–1900
Brush and watercolor, graphite on illustration board
Drawing

Design for stained glass window with leading in rhomboid pattern. Colorful border and center rhomboids containing yellow cross on pink circle and filled in with blue.
Plate XXXIV from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Cut-away view of two floors of a building. Upper left, a horse hitched to a machine for pulling large heavy blocks (of marble?) into the building on the floor below.
Border
, 18th century
linen Technique: bobbin lace, Mechlin style

Band with birds and branches.