biglam/cooper-hewitt-alt-text huggingface dataset:
Kanaya, Travelers Crossing the Oigawa, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print in colored ink on paper
Print

Travelers crossing the farther portion of the ford on the river. Lower left, daimyo's litter is supported by a large group of coolies. A light bridge is thrown over the last arm of river. Mountains in distance.
Sidewall and border
Ferrouillat, 1790–1800
Block-printed on handmade paper, fabric lining

Vertical rectangular panel with applied border on four sides. The panel consists of quatrefoil medallions alternately enclosing urns and musical symbols. Between medallions are stylized bellflowers radiating around a core. Red, orange, black and white on a light blue ground. Border pattern is Grecian honeysuckle in white on brown ground with red-orange, white, and blue butterflies. Printed on sheet paper in three lengths with wide margin in center of panel.
Toddy lifter (syphon)
, 18th–19th century
Cut glass

Long faceted neck, faceted knop middle and at end, 3 triple prism cut rings double bubbled base, the top one faceted the lower diamond cut; holes at both ends.
Boats in Trouville
Arnold William Brunner, American, 1857–1925, 1883
Brush and watercolor on paper
Drawing

Sailing boats harbored, left, with houses visible beyond them. A bridge extends across the center of the composition.
Sidewall
, 1860–80
Machine-printed paper

Multicolor bouquets of carnations printed over gray striped ground.  Bouquets alternate with smaller lavender carnations.
Scarf sample
, mid-19th century
silk Technique: printed on plain weave

Quarter of a printed scarf in magenta, tan, white, and black. Field of plain magenta and wavy-edged border with medallions.
Infant's cap
, mid-18th century
silk and metal-wrapped silk thread embroidery on silk; linen backing Technique: embroidered in stem, satin and knotted stitches using silk; stem, satin and couched work using metal-wrapped silk core yarns; plain weave foundation; bobbin lace trim

Infant's cap of silk embroidered in colored silks and silver metallic yarns. Pattern of heavy flowers, in reds, blues, greens, with centers and accents in metal. Gold bobbin lace edging.
Sidewall
, 1830–50
Block-printed, distemper colors, machine made paper

Realistic red roses in clusters joined by slender scrolls of stems and foliage, over a black-dotted shadow of the pattern
Floor plan, Episcopal church at Friendship, N.Y.
John C. Wolf, 1890–1900
Graphite, brush and brown watercolor, pen and black ink on heavy off-white paper
Drawing

Plan of a church with exteriors in brown.
Cottage with a White Paling
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1642
Etching on white paper
Print

A thatched cottage, surrounded by a high white paling and shaded by two trees stands at the border of a pool in which two ducks are seen swimming.  In the right distance is a farm wagon, and two horses; in the left distance, a windmill.
Fragment
, 14th–16th century
cotton Technique: resist-dyed and painted on plain weave

Fragment of tightly spun, loosely woven cotton plain weave with all over pattern of very simple scrolling stems, carnation-like flower heads reserved on deep blue ground, with accents and details painted in red.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Red and purple flowers, green leaves on white ground decorated with a black dotted pattern.
Textile
, 16th century
silk Technique: slashed satin

Olive green satin slashed in a pattern of intersecting diagonal lines.
Plate in Nouveaux Livre de Paysages (New Book of Landscapes)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

In the foreground, a large tree provides shade for two figures playing with a dog, and an amphora. In the background, an arcade with niches, a body of water, and more figures with a dog.
Jeremiah Draper's Book
Jeremiah Draper, American, active 1800s, 1800
Pen and black ink on laid paper
Manuscript

Small handmade booklet used by the author for practicing penmanship exercises.  Multiple sheets are inscribed with the author's name in cursive script followed by the date 1800.  Book cover is made from a sidewall fragment dating to ca. 1790s.  The cover design consists of two horizontal registers of running leaves and small floral motifs separated by a band of small, rectangular-shaped forest-green checkerboards.  The upper register of leaves is highlighted with white and black flowers.  The lower register is composed entirely of small black and white flowers on vines.
Two-tined Fork with Brass Handle
, ca. 1690
brass, steel
fork

Fork has two straight two tines. Rounded shoulders, baluster-shaped neck plain brass handle, round in section.
Our Watering Places – Horse Racing at Saratoga
Winslow Homer, American, 1836–1910, August 26, 1865
Wood engraving in black ink on paper
Print

Crowd in the grandstand at the races, with horses at lower right.
Miniature Vase
Mennecy Porcelain Manufactory, French, active 1735 – 1773, 1755–1765
soft paste porcelain, vitreous enamel
vase

A molded footed vase. Hand-painted floral spray on body; pink at rim. Spiral molding on foot.
Elevation of a Proposed Mausoleum
R. H. Robertson and R. Burnside Potter, Architects, American, ca. 1920
Brush and watercolor, graphite on heavy board
Drawing

A view of the approach to the chapel from within the court.
Edging
, late 16th–early 17th century
linen Technique: bobbin lace, continuous braid-like

Band of six tabs with has rosettes.
Wild Bull Hunt
, 1820–50
Block-printed paper on pasteboard support
bandbox fragment

Man holding a spear on horseback, directly behind him a wild bull snorts and flips a small dog. Printed in shades of pink, white and black on yellow ground.
Otter Cliffs
Arnold William Brunner, American, 1857–1925, 1879–80
Graphite and white heightening on gray paper
Drawing

Enclosed scene of mountains, top. Bottom, larger scene looking out to sea, lower right two figures sitting.
Border
, 1815–35
Block printed on handmade paper

Consists of ogival ovals with quatrefoil-enframed paterae centers. The ovals are separated by acanthus leaves. Printed in shades of beige, brown and blue on gray ground.
Band
, 16th century
silk, linen Technique: woven

Woven band in green and cream. Design of confronted lions, a fountain and a castle.
Fragment
, 16th–17th century
linen Technique: couching stitches on plain weave

Fragment of a wide border of white linen embroidered in white in a design showing a symmetrical, ogival pattern with conventionalized floral motifs. Couching stitches produce a cable-like effect. Knots symmetrically placed to form part of the design.
Sampler
Micaela Garsia, 1870
wool, silk, and cotton embroidery on cotton foundation Technique: embroidered in cross stitch on plain weave foundation Label: cotton embroidered with wool, silk, and cotton in cross stitch

Large square sampler embroidered in bright colors with floral pattern bands, confronted birds, and spot motifs including a monk, a nun, a pair of hunters, a ship, and the seated Aztec prince, Itzcoatl.  Text "Ni me presto ni me doy" and "solo de mi dueño soy."
Eight of Clubs from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Eight of Clubs from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
cribbage board
, ca. 1880–1900
wood

Tartanware
Possibly for export market
Hull
, 1813–14
Block printed on handmade paper
Sidewall

Commemorates Commodore Isaac Hull and the battle between the "Constitution" and the "Guirriere". Portrait roundel of Hull at bottom, personifications of Victory and Fame on either side. Fame holds a laurel wreath over Hull's head, while Victory is playing a trumpet.  A scene of ships appears above this, near top. Blue ground diapered with six-point stars. Foliate or laurel bands along right and left margins.
Muchoirs D’instruction Militaire
E. Renault, 1874
cotton Technique: printed on plain weave
Handkerchief

Red cotton handkerchief printed with black design on cream ground showing military activities. At center are instructions on the stripping and assembly of the 1886M93 Lebel rifle. Printed at top: Muchoirs D'instruction Militaire (military training handkerchief).
Lobo Showed the Pack How to Kill Beef
Ernest Thompson Seton, American, 1860–1946, 1898
Wood engraving in black ink on white paper
Print

Trial proof for illustration. Wolves are seen felling cattle, while others flee in the distance.
Sampler
Catharine Parsells, American, 1825
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Within a strawberry vine border, four sets of alphabets and numerals, and the inscription: 
Worked by Catharine Parsells, aged 10 
New York Female Association School No 2 March 1825
Border fragment
, 17th century
linen Technique: knotting (macramé)

Fragment of a border with knotted oval tabs.
Two Soldiers and a Kneeling Woman
Eustache Le Sueur, French, 1616–1655, 1800–20
Black chalk, graphite on paper with prepared tan ground
Drawing

Two standing soldiers in Roman uniform, left, gaze at a seated woman, upper right, kneeling. Her hands are clasped and her head is turned in an attitude of supplication. A faint sketch of a quarter-length drawing of a man wearing a hat appears on the lower left. The top corners are chamfered.
Border
, 1860–1900
Block-printed on machine-made paper

Matte finish with metallic gold highlights. Centered on this border is an undulating foliate vine. The edges are striped. Printed in green, metallic gold, ochre, tan and brown.

H# 193
Sampler
, 19th century
silk embroidery on cotton foundation Technique: embroidered in four-sided running, cross, and coral stitches, with bands of withdrawn element with needle-made fillings on plain weave foundation

Sampler divided into two columns. On the left, bands of withdrawn element work in white on white; on the right, withdrawn element, and spot motirs in red on white.
Miser's purse
, early 19th century
silk, metal Technique: knotted netting with beads

Knotted netting in dark green silk ornamented with cut steel beads in diamond patterns; side opening controlled by two faceted cut steel rings.  Filigreed cut steel drops at each end.
Assunta
Hans Meyer, German, active in Italy, 1846 - 1919, 1871
Etching in dark brown ink on white satin
Print

Bust portrait of an Italian peasant girl, seen frontally. She wears her hair long down the back in a pigtail, and looks to the left.
Jug
, ca. 1800–10
glass

Straigh-sided oval body with shaped lip, pouring spout, notched loop handlesides cut with sallow faceting under lip, then bands of diamonds, vertical flute, diamonds and wide flutes; a star on the bottom; glass bubbly, bluish
Cover
, 17th century
linen Technique: withdrawn element with darned motifs

Cover with three stags inside squares. Above stags is a wide border with stepped diamonds enclosing geometric snowflake patterns and a single bird motif. Narrow border stags has alternating curving vine and diamond-shaped pattern.
Waistcoat fragments
, 1750–1775
silk, metallic thread, sequins, colored foil, Technique: embroidered with bobbin lace inserts

Fragments of a gentleman's waistcoat include two pockets and a portion of the front just above one pocket. Cream-colored silk is heavily embroidered in a floral vine pattern with scrolling leaves made with metallic bobbin lace inserts. Body of the waistcoat has a diamond lattice pattern that encloses flower sprigs.
Shawl
, mid-19th century
linen, cotton Technique: plain weave embroidered in eyelet, outline, and satin stitches with inlays of net

White shawl with white embroidery on three corners and two sides in floral design arranged on three borders.
Frieze
, 1905–1915
Machine-printed paper

Frieze featuring large and small fleur-de-lis made of acanthus leaves and connected by a lace-like, scalloped border. The fleur-de-lis repeat horizontally, and rise up from the bottom of the panel. The top is bordered by a thin line of repeating curvilinear shapes, below which is a faint, horizontal pattern of vegetal c scrolls. Design is printed in gold, tan and olive green on a beige ground.
Domino paper
, ca. 1720
Block-printed and stenciled on handmade paper

A wallpaper fragment of domino pattern removed from a house in Paris, c. 1720. THe design on this paper is a ghost image from 1984-61-1.
Border
, 1700–1750
linen Technique: needle lace with ground of loop and twist with twist return

Narrow border of Point de Venise à Réseau with floral blossoms in asymmetric pattern. Fond: réseau. Modes: fond de neige, portes, gaze quadrillée.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

On textured gray ground, staggered square motifs in turquoise containing three-leaf clover, with three pendants in a vertical row topped with four gold and brown roses.
Border fragment
, 17th century
linen Technique: continuous braid-like bobbin lace

Fragment of a border of three pendants showing circular motifs divided into symmetric sections.
Tea Kettle and Stand
William Fawdery, British, active 1698 – 1727, 1711
silver, wood
teakettle-on-stand

(a) Bulbous body with molded neck, paneled covered spout and pivoting-shaped handle with turned wood centerpiece. Side engraved with scrolled arms. (b) Molded cover with wood knob; (c) stand on three baluster legs on square plinth with large ring for kettle, smaller for lamp; (d) cylindrical lamp with (e), cover with inner spout and hinged top to cover it.
Carpet fragment
, 1878

No catalog card.
Reading Chair
, ca. 1720–30
Turned and joined walnut, leather, brass, tin
chair

Form with square tapering seat and tall narrow back upholstered in dark brown nailed leather; back with horizontal U-curved arms at top fitted with hinged, adjustable wooden book rest on back; retractable tin candleholder in left arm, small retractable sectioned tray in right arm; drawer in seat; cabriole front legs with pad feet, turned stretchers, rear feet square in section; small brass caster on each foot.

A) chair
B) drawer
C) bookrest support
Valentine Greeting
, ca. 1875
Gold and rose ink printed on embossed paper
Greeting Card

Poem, "Forget me not" of four lines within a Baroque Revival frame.
Designs for Firearms Ornament and Fittings
Claude Simonin, French, ca. 1635 – 1721, 1705
Engraving on laid paper
Print

Plate eleven from a pattern book with designs for firearm fittings and ornament featuring grotesque motifs, fantastical creatures, putto, birds, mascarons (masks), commedia dell'arte character, possibly after Jacques Callot's Balli di Sfessania (Nancy, ca. 1622), foliate scrolls, rosettes, and scrolling leaves (rinceaux). The plate is numbered and signed.
Fragment
, 17th century
silk and metallic thread Technique: continuous supplementary wefts in a satin foundation

Floral shapes, scrolls, and diagonal grids in silver and salmon. Two directional.
Sketches, The Virgin and Child
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

Various sketches of the Virgin and Child; that in lower right (perpendicular orientation) being the most complete. Architectural sketch on verso.
Grille de jardin de château &c
, ca. 1775
Etching on off-white laid paper
Print

Design for a gate by an anonymous artist. The plate is numbered but not signed.
Stretcher Bearers Carrying a Soldier
Winslow Homer, American, 1836–1910, ca. 1862
Graphite on paper
Drawing

Horizontal view of stretcher-bearers carrying a wounded soldier across the ground containing tree-stumps, with army wagons in background.
LA PLACE DU PONT-NEUF
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the Pont-Neuf Square in Paris, with the equestrian statue of the King Henri IV in the center, surrounded by a fence, with the river Seine, bridges, and the city in the background. In the foreground, figures, sedan chairs, horseman, stalls, and carriages. A short description of the square and statue is lettered below. Details are lettered with an explanatory legend below. The plate is titled and signed.
Mt. Katahdin from South Turner Mountain, Maine
Frederic Edwin Church, American, 1826–1900, 1877–78
Oil and graphite on paperboard
Drawing

Landscape study showing a view of Mt. Katahdin in Maine from Turner Mountain to the east. Trees and a nearby rocky prominence are visible in the immediate foreground at right. Across a loosely-rendered and heavily wooded valley with a pond (likely Whidden Ponds) in the middle distance, the rugged and steep eastern face of Mt. Katahdin rises into the sky. Possibly shown at sunrise, the mountain is bathed in the bright light of the rising sun, which pours over the darkened ridge at right, casting Katahdin's peak in hues of orange and yellow. Above, the blue sky is filled with wispy cirri clouds, variously illuminated by the sun at right.
Trophy with Ecclesiastical Objects
Romolo Achille Liverani, Italian, 1809 - 1872, 1830–1850
Black crayon, pen and dark ink, brush and gray water color on paper
Drawing

An assembly of a mitre, a prelate's hat, a crozier, an archbishop's cross, altar objects, and processional pennon.
Floral and Fruit Ornament Designs
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Six ornament designs with floral and fruit arrangements, including foliate branches, flowers, fruit, grapes, pears, a basket and vase of fruit and flowers. The plate is numbered and signed.
Elevation of a Kaffeehaus
Giuseppe Barberi, Italian, 1746–1809, 1788-1789
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Dado zone with flights of stairs flanking a fountain. From the corners of the ground floor rise columns with statues. The main storey shows loggias flanked by windows. Mansard with windows. Lantern and dome on a couped pyramidal roof.
Divers Couronnemens de Panneaux de Menuiserie
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

First state of designs for panels, rondels, and sconces. See 1921-6-285-103.
Frame
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Frame.
Button
, late 18th century
Stoneware

1925-2-30: Octagonal mount in the style of Wedgwood Jasperwar...
Button
, 19th century
Brass

Circular convex button with shield bearing arms of the City of Paris and words "Garde Republicaine".

On card 57
Gnarled Tree Trunks and a Grape Vine, Catskill, New York
Frederic Edwin Church, American, 1826–1900, September 1844
Graphite on off-white wove paper; verso: graphite
Drawing

Botanical sketches from Catskill, New York, showing views of gnarled and twisting tree trunks, at upper left and upper right, and two views of grape vines at lower left. All forms finely rendered.

Verso: Landscape sketch showing a view of the sunset behind the Catskill Mountains, as seen from the village of Catskill, New York. Wide crepuscular rays (also known as sun rays, sun beams, or God rays) radiate into the sky from behind the mountain range.
Title Page and Arabesque Panel Designs
Juste-François Boucher, French, 1736 – 1782, 1768–75
Etching on paper
Print

Two vertical arabesque panel designs printed on two separate plates featuring female figures, vases, flowers, baskets, festoons of leaves, scrolling leaves (rinceaux), fleurons, rosettes, mascaron (mask), egg, lamb's tongue running pattern moldings, and gadrooning. The panel design to the left includes the title for the series. The plates are numbered.
Plate 8, from Diverses pièces de serruriers (Various Designs for Locksmiths)
Hugues Brisville, French, active ca. 1663, after 1662
Engraving on laid paper
Print

Vertical rectangle showing an escutcheon surrounded by scrollwork. Perched above is a bird with fruits and masks. Above, symmetrical arabesques with greenmen.
Design for an Escutcheon
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1625–1650
Pen and ink, brush and bistre on paper
Drawing

Design for a coat-of-arms escutcheon with a helmet. Placed on the corner of a building.
Sidewall
, 1870–80
Block-printed paper

Small-scale vine pattern against plain ground divided by irregularly-placed yellow lines. Printed in red, yellow and brown on neutral green ground.
Deer Hunt with Nets
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1590 – 1599
Recto: pen and brown ink, brush and brown wash over black chalk on laid paper Verso: pen and brown ink over black chalk on laid paper
Drawing

Recto: Landscape with hunters on horseback, accompanied by their hounds. They have driven two stags into a wide net.  
Verso: Two scenes from the life of St. Giovanni Gualberto, separated by dividing lines that run vertically through the center of the page. Left: in the foreground men unload sacks and baskets from horses. In the background more men carry the goods up into the porticoed entrance of the monastery at Vallombrosa, where the monks receive the bounty—which miraculously arrives during a famine. Right: In the interior of a chapel, a sick woman named Adalassia lies on the floor before the tomb of St. Giovanni Gualberto. She will be miraculously healed of her illness.
Sidewall
, 1875–85
Machine-printed and embossed

Full width, giving one and one-half repeats of an all-over pattern of dense foliage with clusters of cherries and other fruit, in colors of diminished intensity, against a blue-black field, the leaves outlined in neutral tan. Paper embossed in raised vertical strokes, set in chevron bands. (Cheviot paper).
Mirror with Flowers and Horn of Plenty
, 19th century
silver, glass
mirror

Scalloped circular silver frame engraved with leaves and flowers holding mirror glass. Reverse allover repoussé design of floral border and horn-of-plenty bouquet at center.
View of Shiba Coast (Shibaura no fukei) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1856
Woodblock print in colored ink on paper
Print

This print contains many examples of the use of perspective. Three groups of seagulls are placed in the background, middle ground, and foreground. Two large wooden structures of the left side presented in the same compositional technique also convey depth within the print. Lastly, four boats decreasing in size as they float further into Edo Bay attempt to support this composition.
Frames
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Frames.
Chestnutting
Winslow Homer, American, 1836–1910, September 29, 1870
Wood engraving printed in black ink on paper
Graphic design

Two boys and two girls holding a blanket into which a third boy, in a tree, shakes down chestnuts.  Hillside in background, with another group of children to the right gathering chestnuts.
Beggar Girl in Rome
Daniel Huntington, American, 1816–1906, 1843
Black crayon on grey-green wove paper
Drawing

Study of the face of a young girl. Verso: Effaced head of a woman.
Textile
, late 18th–early 19th century
silk Technique: compound cloth, brocaded

Ground striped vertically with extra warp, white satin, and white horizontal ribbing. Red satin border stripes on either side. Large floral sprays brocaded in red, green, and brown silks. Component 'a' has both selvages present. Component 'b' has right selvage present.
Project for a Doorknocker
, 18th century
Pen and ink, brush and wash on paper
Drawing

Design for a doorknocker with interlace work.
Sketches Relating to Amsterdam Theater
, ca. 1820
Pen and ink
Drawing

Vertical rectangle. Sketch of stage and notations of proportions.
Ornamental Medallion Designs
P. J. Bertren, active 18th century, 1768
Etching on paper
Print

Two oval designs, one above the other. The upper oval is decorated with doves, roses, an arrow quiver, and a torch. The lower oval is decorated with laurel leaves, roses, doves, a torch, an arrow shaft, and musical instruments. The plate is signed and numbered.