biglam/cooper-hewitt-alt-text huggingface dataset:
Frieze
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper

flowers in a vase alternating with ribbon tied bouquets, scalloped band at bottom. Printed two borders across the width.
Frieze
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, liquid mica

On light gray ground, clusters of green vines and white and pink flowers in arch form with staggered yellow butterflies.
Border, lower
, 1800–1820
Block-printed on handmade paper

Bottom border for wall panel. Base of column between floral sprigs, alternating with anthemion. Printed in tan, mauve, green and black on tan ground.

H# 315A
Sketchbook Page: Sketch of Flower
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Sketch of flower from above and side. 
Verso: Sketches of maple leaves.
Chintz panel
, 18th century
cotton Technique: mordants for reds and purples applied over resist by brush and pen; madder dyed; blue applied by brush over resist; yellow applied by brush; chintz on plain weave

Shaped cartouche pieced from a palampore. Background of red and white chintz. Green and white braid applied to outline the edges of the shape.
Printing block
, late 19th century
wood

One from a set of five blocks for printing textiles. This presumably would have been the fourth in the series to have been printed.
Carceri Series, Plate III
Giovanni Battista Piranesi, Italian, 1720–1778, 1745
Etching
Print

Vertical rectangle. A vaulted chamber, in the center of which is a large stone tower, approached by stairways and bridges. Upper right, calcografia number 351.
Demon Mask
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, 1884
Silver
Matchsafe

Oblong, rounded corners and sides, with pronounced concave indentation at bottom, featuring demon's mask, identical on front and reverse; lid with irregular edge deliniated above demon's brow, hinged at side. Striker on bottom in indentation.
Cross-section of the Théâtre de l'Ambigu Comique in Paris
Jacques Ignace Hittorff, German, 1792–1867, ca. 1825–40
Pencil, pen and black ink, pink and green watercolors on tan tracing paper
Drawing

Cross-section of a theater with domed roof. Inscribed at top. Scale at bottom. The theater was part of the amusement park Cirque des Champs Elysées.
Design for a Painted Porcelain Plate, La Balance (Libra) from le Zodiaque Travesti (The Farcical Zodiac) Service
Jean Charles Develly, French, 1783 - 1849, 1824
Pen and brown ink, brush and brown wash, white gouache, pink, tan watercolor, red crayon, graphite on cream laid paper mounted on cream laid paper, image bordered in pen and brown ink
Drawing

Design for a painted porcelain plate, square format. A large scale dominates the foreground in front of a two-story house, center background. Figure of a man stands on the left balance of a scale pointing to his wife who stands on the right balance and is pulled toward the ground by a crouching man, lower right corner.  The German says, "My wife weighs more than I do."  A young boy stands next to the central post of the scale while two figures, left middleground, look on.
Fragment
, 1250–1370
cotton Technique: resist-dyed and block printed on plain weave

Horizonal band of Mihrabs each enclosing a simple floral motif with narrow pearled borders and a continuous pearled baseline.  Below is another pearl band off-setting the scrolling floral pattern.  Red, blue and aubergine (blue over red) and reserved areas of white.
Sample sheet
, ca. 1750
paper and wool Technique: felted plain weave

Folded paper with twelve samples in very bright colors mounted on thin board. Probably used for uniforms. Samples are mounted in equal two columns with a number next to each one.
Excerpt from The White Tigress from Illustrations for Short Stories: A Magazine of Fact and Fiction (XIX, No. 1, May 1895, p. 8, 9)
Frederick Stuart Church, American, 1842–1924, 1895
Printed in black ink on paper
Ephemera

Excerpt from a story of a man meeting a Russian ivory carver who then tells the story of the inspiration and creation of a sculpture the narrator was interested in.
Design for a panel decoration showing a ewer, for a plate in the "Recueil d' Ornements"
Gilles Paul Cauvet, French, 1731–1788, ca. 1775
Black chalk, pen and ink, brush and wash
Drawing

A thyrsus is fastened to a pitcher by a festoon. The pitcher shows bacchic scenes; water pours from the dolphin forming the handle. A grape vine grows around it. Plates and fruit on the base.
Fragment
, late 18th–early 19th century
pineapple fiber (warp); silk (weft); tempera Technique: printed and painted on gauze

Cream-colored ground with slender intersecting serpentine stems and blossoms of various types and colors, some tied with ribbons in red, dark pink, green, blue, brown, purple, yellow, gray and iridescent paint.
Plan of Sepulchral Building
Giuseppe Barberi, Italian, 1746–1809, 1780-1790
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

A transept. Squared with some numbers.
Stage Design, Stone Interior with Stairway
, early 19th century
Pen and gray-brown ink, brush and gray wash on laid paper
Drawing

Horizontal rectangle. Interior of Gothic building with barred windows and staircase.
Fragment
, 15th century
silk Technique: cut supplementary warp pile in a 4/1 satin foundation (velvet) Label: Silk cut velvet

Voided design of the ferronerie type based on the pomegranate form.
Decoration de Lambris d’une Chambre de parade du côté de la Cheminée
André Basset, French, active 1749 – 1787, ca. 1765
Etching and engraving on laid paper
Print

An interior wall elevation with a central chimneypiece, a tapestry mounted to the wall to the right, and a set of double-doors with an over-door painting and paneling decorated with rococo ornament. The paneling is decorated with acanthus leaf, shell, c-scroll, strapwork, and floral motifs. The over-mirror and over-door paintings are set into oval frames. The tapestry depicts a landscape set into a woven rococo frame with cartouches in the corners with a framing diaper pattern. Part of a fluted pilaster with a Corinthian capital is depicted in the far right. A plain dado level with molding below. The plate is titled, and details depicted in the elevation are lettered with a legend below, along with a scale.
View of a Morning Room Interior
Unknown, ca. 1820–25
Pen and ink, brush and watercolor on white laid paper
Drawing

A room interior with two brown-draped, white-curtained windows at left and an open door at right. A dog sits at the foot of a central table, where an array of objects is displayed. Behind and partly obscured by the table, a woman wearing a black bonnet sits just to the left of a dark gray fireplace. A mirror hangs above the mantelpiece, which is decorated with a clock flanked by two vases, all in bell jars. In the front of the room on the left, another woman, dressed in a white gown, sits at a dressing table, her image reflected in the mirror.  Additional furnishings include a chest placed between the windows; a sofa, ottoman and chair on the right; and framed drawings hung on the walls.
Hirokoji Avenue (Shitaya Hirokoji) No. 13 From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1856
Woodblock print in colored ink on paper
Print

This procession of merchant class tourist are all heading to view the cherry blossoms. The rosy pink cloud in the distances is the subtle tell. Women are all carrying identical parasols while the men are wearing Western pants. In the foreground are three young samurai, showing off the new western fashion while carrying their traditional double swords.
Study for a dancing women, “Moods to Music,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1893–1895
Pen and ink, graphite on laid paper
Drawing

Sketch of women dancing figures. At top, a crowd with linked hands encircles a female figure dancing at the center. At lower right, studies of individuals and pairs of female dancers in motion.
Textile
, 17th century
silk, linen Technique: plain compound satin, brocatelle

Urn, crown holding vines together, animals, birds in red and yellow with touches of blue.
Wallpaper Design
, 1835–50
Brush and gouache, graphite on white paper
Drawing

A dado is shown at the bottom, and a high entablature on top. The panel is rose, and divided into stripes by vertical rows of palmettes. Two alternative suggestions are made for the white motifs decorating the stripes: lozenge motifs connected by curved boughs and complicated motifs consisting of rosettes, halves of petals, leaf boughs. On top is an oak garland, the upper part of which is shown against a dark background.
Sketches from Newfoundland and Labrador, Canada
Frederic Edwin Church, American, 1826–1900, July 6, 1859
Graphite and white gouache on light brown paper
Drawing

Mixed sketches from Newfoundland and Labrador, Canada, showing views of a bird in right profile at upper left; a man rowing a boat with one oar, viewed from the the stern at center left; a craggy, sheer iceberg or coastal cliff at upper right; and along the lower margin, a view of snow patches on a rugged, mountainous coastline, as seen from rippling ocean waters.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Rocaille design for two quarters of a ceiling with alternate suggestions divided by a central rosette.
Tower Falls, Yellowstone
Harry Fenn, American, 1845–1911, late 19th century
Wood engraving on cream wove paper
Print

Waterfall from high cliffs into river below; figure on rocks motioning to waterfall with arm raised.
Dado
, 1800–1820
Block printed on handmade paper

A purple urn containing bouquet of black foliage, flanked by griffons, printed in grisaille, seated on foliage scroll. Outside these, pilaster with interlacing foliage design or guilloche in a purple inset panel, and acanthus leaves about capital. Printed on a terra cotta ground. Horizontal rectangle in neoclassic style.
Chair
Duncan Phyfe, American, 1768–1854, ca. 1812
Mahogany, cane, cotton.

Mahogany; caned seat covered with upholstery.  Rounded and reeded seat rail; rounded and reeded tapering legs. Top rail carved with "thunderbolt" design tied with bow. Below top rail, two diagonal, crossing bars, reeded.  Set covered with green cotton velvet.
Design for a Man's Waistcoat
, 1780–1790
Graphite, brush and gouache on paper
Drawing

Design for the embroidery of the left bottom part of a man's waistcoat. The decoration consists of leaf and flower boughs and of a plant suspended from the central bottom point of the edges of the pocket. Ovoidal panels with blossoms and leaves and zigzag bottom edges are shown in the top center of the flag of the pocket and beneath its two bottom segments.
Box
, 1830
Painted tôle

Circular; hinged top, slightly rounded. Green field; bands of gilt ornament on black; and on cover, landscape in brown monochrome
Two Designs for Altar Frames with Alternative Suggestions
Luigi Righetti, Italian, 1780 - 1819, early 19th century
Pen and ink, brush and sepia wash, yellow and red watercolor, graphite on paper
Drawing

Horizontal rectangle. Two designs for two frames, probably for altar tablets, each with alternative suggestions, probably intended to be executed in white marble and gilded bronze. At left, design for a frame with three compartments. On top of both an oval medallion with alternatively garlands or cherubim outside. In the appliques below are suggested either garlands with vine leaves or entwined bands. If finials are applied, a star with eight points is proposed. At right, design for a frame with one compartment with the same decorative motifs.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1737-1749
Etching on laid paper
Print

Ovoid vase with two handles that merge together and with the body of the form near the narrowed foot. A mascaron is carved at the point where the handles merge. On the outer side of the handles are two sirens. The foot of the vase is decorated with acanthus leaves, and has an egg and dart pattern at the bottom. The vase is elevated on a short, square base. The print is lettered but is missing the numbering found in earlier editions.
Autre Veuë de la Cour des Fontaines et de la Gallerie d’Ulisse à Fontaine-bleau
Gabriel Perelle, French, 1604–1677, 1660–1703
Etching on laid paper
Print

A view of the palace of Fontainebleau to the right, gardens to the left with formal parterre planting and sculptures on plinths with a pond or canal and boats between the gardens and the palace. In the foreground are figures, and a horse-drawn carriage with trees framing the scene. The plate is titled, and details are lettered with a legend below.
Design for a Trophy
Mathurin Cherpitel, French, 1736 – 1809, 1755–68
Etching on laid paper
Print

Design for a hunting trophy hanging from a tied ribbon. The trophy includes, a deer's head, bird, horn, net, purse, rifle, powder flask and foliage. The plate is signed.
Border
, early 19th century
linen Technique: bobbin lace, Mechlin style

Straight border of Mechlin lace with a design of small square ornaments sprinkled over field has border of detached motifs of flower and leaves above row of flowerheads.
Textile
American Print Works, founded 1835, 1870s
cotton Technique: printed on plain weave

White fabric printed in a design showing red eagle heads in diagonal lines.
Design for the Embroidery of a Man's Waistcoat, Unfinished
, 1780–1790
Tracing, brush and gouache, white on paper
Drawing

Unfinished design for the embroidery of the left bottom corner of a man's waistcoat. A palmette frieze with moss bunches is underneath the pocket. Another palmette frieze along the rising edge. Over the bottom edge fantastic plant forms.
Designs for Vertical Friezes or Pilasters
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Three designs for vertical panels or pilasters decorated with, from left to right: an ornamented fasces with dragons; Apollo with a lyre under a baldachin; and a grotesque design with a putto holding attributes of painting at the top. The plate is signed and numbered.
Teapot with Chinoiserie Vignettes
Royal Porcelain Manufactory, Berlin, German, established 1763, ca. 1770
hard paste porcelain, vitreous enamel, gold
teapot

1938-57-651-a,b: A white rounded teapot with very delicate spout an...;     T1938-57-650/656: Hard paste porcelain tea and coffee service consis...;     T1938-57-651-a,b: Hard paste porcelain. 
Rounded teapot with Chinoi...
Sidewall
, ca. 1750
Leather, stamped, painted, silvered

Varnished silver, green, red and black; arabesque of carnations, tulips, and lilies, with a bird.
Design for a sedan chair
, ca. 1775
Pen and ink, brush and various watercolors on paper
Drawing

Shown from the rear right corner with two bars.  The panels are decorated with frames of garlands.  An ovoid medallion with a Cupid is in the center of the panel beside the window. Tassels hang from the corners and between the window and the neighboring panel.  On top is a pineapple plant.
Designs for Rocaille Scrolls
Georg Leopold Hertel, German, active ca. 1780, mid- 18th century
Etching on off-white paper
Print

Sheet filled with variations on rocaille scrolls and rinceaux. The plate is signed and numbered.
Fragment
, mid–late 18th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Narrow fragment (portion of belt with buttonhole at one end) of uncut "droguet" velvet. Narrow stripes of pale orchid pile in lozenge-shape alternating with minute blossoms of green, rose and browns on white silk foundation.
Fragment
, 14th century
silk, metallic Technique: two integrated structures; plain weave plus plain weave

A band of affronted and addorsed birds, band of pomegranates and band of small animals in rose and gold.
Drapery Study for "A Magdalen"
Daniel Huntington, American, 1816–1906, 1852
Graphite, white chalk on gray wove paper
Drawing

Drapery study for the train of a dress, center.
Back of an Army Wagon
Winslow Homer, American, 1836–1910, 1862
Graphite, brush and gray wash on pasteboard
Drawing

Vertical view of the back on an army wagon, with a man looking over the tailboard.
Saint Paulinus Preaching
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1780
Etching
Print

First state, before the number
Valance
, late 17th century
silk Technique: silk and velvet appliqué

Horizontal panel with scallops at the lower edge. Green velvet with appliquéd ornament in the design of conventionalized flowers in blue, red, yellow and white.
A Sheet with Two Projects and Sketches
, ca. 1790
Graphite, pen and ink on paper
Drawing

At top, a horizontal frieze with grapevine design. At center, elevation of a vase with dancing women. Surrounding sketches.
Design for two andirons
Lefebvre Manufactory, Tournai, 1800–1825
Brush and yellow, red, green, black watercolor, graphite, on cream laid paper
Drawing

Above: front panel shows head of Medusa, flanked by sphinx heads atop pilasters, a flower head on center block and festooned legs below. 
Below: elongated panel, two female spirits kneel beside a flaming tripod. Caducei decorate pilasters. On top of left pilaster, a sauceboat. At right, a bowl on stand.
Design for a Monument Commemorating Systematization of Weights and Measures in France
Jean-Jacques Lequeu, French, 1757 – 1826, 1795–1800
Pen and black ink, brush and gray, red and blue wash on paper, joined at center
Drawing

A series of monuments lined side by side.  At the center, Liberty and a tricolor with the inscription "LIBERTE" are on top of a pedestal in the shape of a prison tower; laterally are statues representing weights and measurements and columns with attributes referring to science.  A snake, topped by an "X" is wound around the left column under a lozenge, representing Night: the top of the column is surrounded by a railing and carries a burning-glass; a thermometer and a weather-cock, "S" and "N" are at the right; the sculptures are shown against the parapet bordering a terrace; behind it rise two cranes, and parts of structures with loggias in Romanesque style.
Illustration for the Poem 'Ode on the Spring'
Thomas Gray, British, 1716 – 1771, 1753
Etching on laid paper
Bound print

Full-page illustration for the poem ‘Ode on the Spring'. A male figure sits on a log within a wooded landscape with a fortified castle in the background. The scene is framed by a decorative arabesque border, with draped swags of fringed textile hanging from C-scrolls, with acanthus leaf scrolls and palm leaves. In the center above the scene, a crown of laurels within sun rays with a canopy suspended above. Seated on our hanging from the border/frame is a putto, a cat playing the lyre on a dolphin, a monkey holding a string instrument and a monkey painting at an easel. Trophies of musical instruments hang suspended from each side. The decorative border is supported by two plinths, The left plinth, sculpted in relief with rams' heads and the right plinth with the letters EMS. In front of the plinths, a skull and shovel and a lyre and garland of flowers. The plate is signed.
Genets
Charles-Germain de Saint-Aubin, French, 1721–1786, 1757–68
Hand-colored etching on paper
Print

A floral bouquet of broom, two intertwined sprigs with flowers and leaves. The plate is titled, numbered, and hand colored. The flowers are yellow, and the leaves are green.
Sash
, 19th century
silk Technique:

Fringed red sash has thick and thin horizontal stripes of red, blue, white, and yellow.
Print

Bed design with bed draperies and pelmet
Sidewall
, ca. 1850
Block and machine printed

a/e) The field is printed from engraved metal rollers to simulate grained wood. An assymetrical rose pattern is printed from woodblocks over the grained wood background; f) A photograph of the interior of the bathroom where the above paper was used in the Horace Loomis House built 1800 in Burlington, Vermont; g,h) Two photographs of hallway in the above house showing wallpaper on walls.
Fan leaf
, early 19th century
Silk embroidered with silk and metallic yarn and sequins

Unmounted pleated fan leaf, embroidered with silk and metallic yarns in the shape of a tulip, sequins.
Project for a Painted Drawing Room
, 1750–1775
Graphite, pen and ink, brush and wash on paper
Drawing

At top, a partial design for a painted ceiling with a trompe-l'oeil balustrade and sky. 
Below, a wall elevation with alternative moulding suggestions. At center, a pilaster with military trophy. To the left, a landscape; to the right a seascape.
Monk's Head
Francesco Bartolozzi, Italian, active England, 1727–1815, 1796
Stipple engraving in sanguine ink on white paper
Print

The young man shows the collar of a monk's habit, and his head is tonsured. He looks down to the right.
Fan leaf
, early 19th century
Silk net embroidered with spangles, pressed metal, paste jewels, metal foil, silk fringe

Unmounted pleated fan leaf, silk net with spangles, pressed metal, paste jewels and metal foil in stylized floral design. Yellow silk fringe along upper edge.
Design for the organ case of S. Gregorio in Bologna
Giovanni Battista Natali III, Italian, 1698 - 1765, ca. 1730
Incised lines, pen and brown ink, yellow and brown washes, red chalk on paper
Drawing

Embeded and fluted Ionic columns rise from brackets and support the entablature and a triangular pediment. A high central arch and low lateral ones show an ornament as a buttress.
Bandbox
, ca. 1830
Block-printed paper, pasteboard support

Blue field, with trees; and horse and rider on sides, and dog and rider on cover.
Panel with the Letter "B" from the "Newes ABC Büechlein"
Lukas Kilian, German, 1579 – 1637, 1627
Engraving on off-white laid paper
Print

Two caryatids form the vertical column and lower curvature of the B, with various attributes of sculpture and trophies throughout.
Girl Shelling Peas
Winslow Homer, American, 1836–1910, ca. 1873
Brush and oil paint on canvas
Painting

Horizontal view of a porch with a girl, facing right and looking down at bowl held in her lap, seated at left middle ground; at right middle ground outside edge of porch filled with boxes, dog house, bench covered with plants etc. is visible.  A door behind her in far wall gives a view of the distant sky in background.
Design for Doors for a Porte Cochère
Louis Crépy, French, 1680?–1760, 1680-1718
Etching and engraving on laid paper
Print

Elevation of a set of double doors for a porte-cochère decorated with ornament motifs including scrolls, rinceaux, shells, and branches.
Section of the House and Proscenium
Saverio Avesani, Italian, b. 1690, ca. 1720
Engraving on paper
Print

Horizontal format architectural illustration. Plate II, upper part, left, similar to 1938-57-1385. At right is the left edge of an imaginary sheet, with the beginning of the lines of the heading of the engraving. The first line beings with "Siccome," the last with "di profe..." Above, left of the imaginary sheet of plate II: "Tan / II." Interior architectural details with decorated columns.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Pedestal design with the series title printed in the center, surrounded by anguipeds and topped with a man playing the pan pipes. The plate is numbered but not signed.
Chambranle à Consoles
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation of a console frame. Either side has a bracket with a vertical bead course and a ram's head on top; across the top shelf is a guilloche of branches with leaves. Below the elevation is a scale bar of four French feet ("4 Pieds"). The profile of the console brackets is on the right of the plate; the cross section of the top shelf is at the top of the plate. The plate is signed and numbered.