biglam/cooper-hewitt-alt-text huggingface dataset:
Fragments
, 16th century
linen Technique: reticella needle lace

Wide borders of reticella and embroidery of serpentine ribbons and leaf forms resembling butterflies.
Adam and Eve
Albrecht Dürer, German, 1471–1528, 1504
Engraving on cream laid paper
Print

Adam stands at left, Eve, right, with tree between.  Eve holds the apple, receiving it from the serpent.  Adam holds a branch of the tree in his right hand, bearing a parrot and tablet inscribed: ALBERTVS DURER NORICVS FACIEBAT.
Figure Study for Seal of the University Club, New York
Kenyon Cox, American, 1856–1919, ca. 1898
Graphite on paper
Drawing

Two nude male figures holding hands. Each holds a staff.
Frieze
S.A. Maxwell & Co., 1905–1915
Machine-printed paper

A repeating design reminiscent of a hand mirror containing a three-flower group framed by four circles of dots contained within a dotted curved border. Connected by garlands and dotted curves to complementary design on an irregular striated background within bottom borders of garlands and horizontal stripes and top borders of dotted ornament. Printed in white, pale yellow, blue-green, gold, taupe and beige.
Amaryllis aulica
De Gouy, French, active 18th century, 19th century
Engraving on wove paper
Print

Single stalk with three red amaryllis blossoms and one leaf.
Sketches of Heads, a Hand, a Foot, and a Musician
George Charles Aid, American, 1872–1938, 1890–1900
Pen and black ink on cream wove paper
Drawing

In the center, a young man, wearing a kerchief on his head, is seen from the back playing a guitar. Additional sketches of six heads, the musician's left hand, a foot, and a shoe.
drapery study for costumed male torso
Elihu Vedder, American, 1836 – 1923, ca. 1890
Sanguine crayons, white chalk, on salmon-pink paper
Drawing

Detail study of the drapery of the jacket and torso for the figure in 1955-38-38-a
Crew of the U.S. Steam-sloop "Colorado," Shipped at Boston, June 1861, from Harper's Weekly, July 13, 1861, p. 439.
Winslow Homer, American, 1836–1910, July 13, 1861
Wood engraving in black ink on newsprint paper
Print

Horizontal group of sailors standing on the deck of the ship, facing the spectator.
Study of landscape, Sorrento
William Stanley Haseltine, American, 1835–1900, 1858
Brush and watercolor, graphite on paper
Drawing

Sketch of hillside and Bay of Naples.
Classical Antiquities
, 19th century
Glazed earthenware, transfer-printed decoration
Tray

Rectangular tray with angled corners and blue transfer print showing a classical scene of sacrifice. Scrollwork border with pottery and grape vines.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

On lined ground in red, blue, green, and white, three large pink flowers on wavy stems; silhouetted tan flowers coming from ground. Three pink buds against green stems.
Sampler
Love Bickford, American, 1780–89
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation, with borders of overcasting with deflected element

Three alphabets, two upper case and one lower case, all without the letter "J", ampersand, numerals and assorted trial letters, and the inscription: 
Love Bickford her sampler wrought in the 9 year of her age
Frieze
Hitchner and Yerkes, 1905–1915
Machine-printed paper

A repeating design of cartouches vases of roses all connected by complementery floral vines, all above a continous ancanthus-like vine design, upon an increasingly pale blue ground contained within borders of pale blue and dark blue.
Brooch
, ca. 1800
Gold, silver, diamonds

Brooch consisting of large spray of leaves done in 18 karat gold and paved in diamonds.  The stalks of what in this brooch are set on thin wires that vibrate easily with the wearer's movements.
Sarong
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

Red and blue batik sarong. Shows "ceplokkan" pattern: flowers or blossoms, symmetrically distributed over surface, stylized, star-like,and contained within a geometric shape. Borders show batiked on fringe.
Sketchbook Page: Historic Portrait No. 2 (Self-Portrait)
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Self-portrait of the artist in his undershirt.
Textile
, 1803–1805
Technique: relief printed on plain weave (lapis-style printing)

Vertically curving vines with roses on a blue background covered with red dots.
Sidewall
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

Floral stripe design. Repeating motif of bouquet with four roses at top of "v" formation of rose foliage. The rose stems form the outside edges of the stripe. A pair of leaves appears on either side of the stripe mid way between to bouquets. Printed in metallic gold and green pigments and brown on tan background.
Front Elevation of a House for Mr. John Gregory
Thomas Chawner, English, 1775 – 1851, 1807–10
Graphite; pen and black ink; brush and gray, green and yellow wash on off white wove paper
Drawing

Front elevation of a house. Inscription in brown ink below image.
Sidewall
, 1875–1900
Brushed or machine-printed ground on rag paper

Solid light green in a mint or pistachio shade.  There is no design printed on the ground.
Sampler
Mary Milner, English, 1694
silk and linen embroidery on linen foundation Technique: embroidered in cross, long armed cross, Montenegrin cross satin, back, double running, herringbone, fern, and detached looping stitches on plain weave foundation. Two bands of withdrawn element work with needle-made fillings; looping, looping with a twist, wrapping and interlacing.

Bands of polychrome pattern alternate with text and whitework.  Text: Dear child delay no time/ But with all speed amend/ Thee longer thou dost live/ the nearer to thy end./ Yesterday is gone/ Tomorrow's none of thine/ This day thy life/ to virtuous acts incline./ Sweet children wisdom invites/ To heave to Hur (sic) voice/ She offeres to you rare delights/ Most worthy of your choice./ Eternal blessings in hur wayes/ You shall be sure to find/ Of therefore in your youthful dayes/ Your great creator mind./ Young Isaacs who lifted up their eyes and mediate in fields/ Young Jacobs who the blessings prizes this age but sildom (sic) yeelds few/ Samuels leavings their playes two temples resigned/ Few do as these their great creator mind.
Scarf sample
, mid-19th century
silk Technique: printed on plain weave

Quarter of a printed scarf in two purples, two yellows, tan, brown, and black. Plain dark brown field and leafy vine border.
The Judgement of Solomon
, late 17th century
silk embroidery on silk foundation with metal, wood, seed pearls, mica Technique: embroidered in flat satin, stem, and back and knot stitches on seven and one satin foundation. Relief by a variety of looping, wrapping, and braiding and silk wrapped flexible coils.
Embroidered picture

Solomon enthroned with sage before him on left.  Two women with baby on ground and baby held up by sword-wielder on right.  Two castles in background, sun and clouds, tree with squirrel, lion, parakeet in tree, fishpond, other bird in tree, leopard in foreground.  Scattered floral and insect motifs overall.
Folding Fork From Traveling Cutlery Set
, ca. 1720–50
brass, steel
fork

Fork has two long tines, slightly bending outwards. Decorative chiseling at the joint. Flat tapering neck. Pistol-shaped brass handle with scrolled end. Brass scales with dogs, deer, a boar, a fox and a bird. Trees and acanthus scrolls against a matte background. Fork folds partly into the handle.
Bamboo
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Stencil

In Japan, bamboo (take) is a symbol of prosperity. It is also a symbol of purity and innocence. This stencil has remnants of dye and shows that it was previously used or tested. Some of the silk threads have been damaged and worn away.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Cross-shaped floral motifs composed of light green, red, and lavender leaves and flowers, small flowers interspersed, on tan ground.
Sampler
Betsy Goddard, American, 1828
silk embroidery on wool foundation Technique: embroidered in counted cross and satin stitches on plain weave foundation

A verse and inscription in the center are surrounded by a symmetrical arrangement of trees, flowering trees, fruit baskets, and birdbaths. With a strawberry vine border. 
The verse reads: 
Tis religion that can give
Sweetest pleasure while we live
Tis Religion can supply
Solid comfort when we die
After death its joys shall be
Lasting as Eternity
Sidewall
, ca. 1885
Fiber composition, embossed

Imitation leather. Small, closely set motifs of varying shapes and sizes ornamented with geometrical, floral and foliate designs. The ground color, a yellowish brown, is used for these motifs and the apparent ground color, a dark brown is actually a "choke."
Band
, 16th–17th century
silk on linen Technique: embroidered

Band fragment with a tassled border showing a geometric vine in blue and yellow silk on a linen ground.
Sampler
, early 19th century
silk embroidery on linen foundation Technique: embroidered in counted cross stitches on plain weave fountation

An unusually wide rectangular sampler, with alphabets in which each letter is repeated several times.
Shaker
, early 19th century
Tin-glazed earthenware

Cylindrical body with domed top, on flaring foot. Open bottom. Sponged decoration in cobalt blue, and panted with green leaves and red berries on vine.
Textile
, 1875–1900
cotton Technique: printed by block and engraved roller on plain weave

Design of oversized flowers, tulips and roses in shades of red, blue and greens.
Sidewall - fragment
, 1840–70
Machine-printed

Gray diamonds, blue ovals with flowers.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Medallion stripe design. Medallions on stripe are linked together with foliage swags. Printed in blue, green and tan on off-white patterned ground.
Bench
Peter Times, 19th century
Cast and painted iron

Iron bench for three people painted white. Heart-shaped pattern on apron. Scrolling and crowned backrest.
Rendering of a Mausoleum
R. E., 1920
Graphite and white chalk on tracing paper mounted on board
Drawing

An octagonal domed mausoleum, in the Renaissance style, stands on a terrace approached by a wide flight of steps, flanked by two urns. The lintel and pediment are unadorned.
Bottle and cap
, 18th century
Glass

Tear-drop shaped bottle in opaque white glass with slightly blue cast, has horizontal cobalt blue swirling lines.
Study of waves
William Trost Richards, American, 1833–1905, ca. 1877
Graphite, chalk on paper
Drawing

A sketch of the rolling sea with white caps in the foreground.
Sketchbook Page: Draft of Letter
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on paper
Sketchbook folio

Recto: Draft of letter in French, a continuation of the previous page.
Verso: Sketches of three standing, draped figures.  The two figures, above, appear to wear togas, each draped differently.  Below, the figure, possibly a soldier, wears a waist-length cloak and helmet.
Cap streamers
, 1700–1750
linen Technique: needle lace

Cap streamers in a design showing an intricate pattern of floral and foliated forms in complex garland design.
Woman
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of a seated female figure wearing a dress.
Hummingbird heads
, late 19th century
Hummingbird heads, gold; imitation leather, velvet, satin
Earrings

a,b: Each earring made of head of hummingbird set in oval gold frame, with three oval pendants set with feathers. c: box designed to hold earrings; covered with black imitation leather, lined with blue velvet and white satin.
Design for an Embroidered Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1790–1800
Brush and gouache, incised lines on glazed tracing paper
Drawing

A raspberry stem rises beside a pole around which a fantastical leaf plant winds. Written on top, in ink: "Pon 233".
View of a Village in Mountainous Country
Carlo Marchionni, Italian, 1702–1786, 1770–86
Pen and black, gray ink, black chalk on off-white laid paper, laid down
Drawing

A small village is lightly drawn in the middle distance, flanked by trees rising from left and right foreground. A small figure is sketched in the foreground walking along a road.  Mountains are visible in the distance.
Project for a Ceiling Frieze
, mid- 17th century
Pen and brown ink, brush and brown wash, white heightening on off-white laid paper
Drawing

Trapezoid. At left is half a medallion with the face of a lion circled with a laurel wreath. 
At right, two putto tie garlands of flowers onto volutes.
Botanical Sketches of Ferns and Bamboo, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Graphite on gray wove paper
Drawing

Botanical sketches of ferns and bamboo in Jamaica. At upper right, a small sketch of a grove of bamboo trees is visible. At left, four views of fern plants are shown, with an emphasis on their leaves.
Design for Woven Shawl with Paisley Motifs
, 1825–50
Brush and gouache on brown oiled translucent paper
Drawing

A paisley motif, also referred to as a Persian cone, is formed by flower blossoms of various sizes and colors (pink, red, yellow, blue) and a few green leaves and stems. A red rectangular base decorated with flowers is at the bottom center of the composition. Beside the motif, a cluster of flowers and two red blossoms appear; a flower garland and a red blossom are at the right top. The lower right part of the design appears unfinished, with some of the flowers only outlined in white.
Porte d'Appartement avec son Profil.
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Apartment door design. The cornice is decorated with fluting, lamb's tongue, and egg and dart ornamentation. The frieze of the door has rosettes set within acanthus leaves. The borders along the door have lamb's tongue framing, and vertical panels of leaf and bead design. The plate is signed and numbered.
Mountain Ridge with Clouds, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Graphite on gray wove paper
Drawing

Landscape sketch showing the tops of billowing clouds, at center and right, partially visible above the silhouette of a rugged mountain ridge in Jamaica.
Stage Design, Interior of Church
Pietro Narducci, Italian, active 1809 - 1841, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Interior of church with two groups of people in foreground. At left, group of nuns. At right, man gestures with extended arm, woman watches him and listens to him tell a story.
Diana
Felice Giani, Italian, 1758–1823, 1804
Graphite, pen and ink, brush and watercolor on paper
Drawing

Diana shown as a huntress seated on the ground. She reached into her quiver with one hand. Beside her a hunting horn. A dog at her shoulder.
Figure Studies
François Boucher, French, 1703–1770, 1735
Etching on paper
Print

Figure studies / sketched on a single plate. A woman seated, her head in her hand, a man's head, a young man leaning against a stick and holding a jug, and two other studies of heads. The plate is signed and numbered.
Fragment
, 15th century
silk, metallic Technique: supplementary warp loops in plain weave foundation (velvet) with brocaded supplementary weft

Fragment with pomegranate motif. Velvet in two heights and gold and silver threads.
Mariko, from the series, "The Highest Ranking Geisha's Journey"
Keisei Eisen, Japanese, 1790 – 1848, ca. 1830
Woodblock print in colored ink on paper
Print

Covered from head to toe is this well-dressed woman facing the viewer but looking downward sheepishly. Combs fill her hair, which signals her high ranked status as a courtesan. Each of her kimono layers is decorated with various floral motifs. The pink and green variations highlight the autumn maple leaves, which decorate the lower half of her garment. Above her is a window into a cold winter scene. The city and mountain peaks are covered with snow. Circumventing the figure contains various groupings of calligraphy.
Column Capital and Head of a Camel, as-Samu, Palestine
Frederic Edwin Church, American, 1826–1900, February 15-17, 1868
Graphite on white wove paper; verso: graphite
Drawing

Architectural and figure study of column capital and the head of a camel in the town of as-Samu, Palestine. At left, an ancient column capital with two rows of acanthus leaves is visible. At right, the head and neck of a yoked camel is shown in profile.

Verso: Architectural study of a fragment of an ancient entablature, with sculptured frieze and moulding, in the town of as-Samu, Palestine. Grape vines, or vine rinceaux, spring from a bowl, beside which two ornamented medallions flank a wreath with a shell.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Six designs for trophies incorporating leaves, flowers, branches, fruit, distilling apparatus, shells, trident, net, spear, and fish. The plate is numbered.
Trousers
, 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...
Brooch
, 19th century
Glass brilliants in silver

Brooch in the form of a flower with a white center, eight yellow petals and a small white stone set between each two petals.  Pin is a replacement.
Fragment
, 17th century
silk, linen Technique: combination of two integrated structures

Fragment with an incomplete pattern of a large-scale symmetrical design. Broad scrolling bands meet in the center are joined by a palmette motif. From center bands curve outward to form ogives. Leaves and incomplete pomegranate buds between bands.
Textile
, 13th century
linen, silk Technique: embroidered on tapestry weave

Small repeating design of lozenges and repeating border
Ceiling Design
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

Design for a ceiling with arabesque and neoclassical ornament featuring mythological figures, female nudes, acanthus leaf scrolls, vases, fleurons, palmettes, drapery, chestnuts, beads, scrolling foliage, palmettes, masks, Apollo's head, incense burners, putti, animals, rosettes, festoons of flowers and beads, friezes, roundel with a winged putto, and a trophy with a vase. The plate is numbered and signed.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-10: Part of a set of Italian Minchiate playing cards.50
Cheyenne Youth
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1880
Brush and watercolor, black crayon on paper
Drawing

The youth is shown standing, slightly obliquely from the front.
Spoons
, 1825–50
Pen, sepia, brush, gray water color
Drawing

At the transition of the bowl into the handle, on the front, is the head of a woman.  The handle is terminating in a herm representing the figure of a woman.
Man's waistcoat
, 1750–1775
silk, metallic yarns and sequins, colored foils, paste jewels Technique: embroidered on silk plain weave with continuous metallic supplementary weft

Gentleman's waistcoat of silver metallic cloth ornately embroidered in a multicolored floral design.
Title Page
Jean Le Pautre, French, 1618–1682, 1656–57
Etching on laid paper
Print

Title page for a series of designs for Alcoves in an ‘Italian style'. The title is lettered in the lower center within a round cartouche framed by female figures, putti, festoons of fruit and leaves, and scrolling leaves. Behind, an alcove featuring a bed in the center, flanked by columns, fluted pilasters, portrait busts on plinths within niches and statues on plinths. Leaf molding above, with festoons of leaves and fruit and a central roundel with a profile portrait. Stairs leading up to the alcove, with ornately carved dado paneling and a hanging tapestry along the back wall. The plate is numbered and includes a scale below.
Handscreen
, mid- 18th century
Painted paper leaf, turned wood handle

Handscreen with a hand-painted paper leaf. Obverse: a colorful bouquet of flowers. Reverse: blue trumpet shaped flowers resembling Gentiana Acaulis. Turned wood handle.
A Ballet Dancer, Mademoiselle Marie Allard
Louis Carrogis, called Carmontelle, France, 1717 – 1806, ca. 1766
Pen and brown ink, brush and brown, pink, and gray wash over graphite on white laid paper
Drawing

Vertical rectangle. The actress Marie Allard (1742-1802), dressed in a Polonaise, is seen frontally, about to execute a pas de deux.
Frieze
, 1815–20
Block-printed on handmade paper

Horizontal rectangle. Simulated architectural frieze ornamented by a motif showing a woman attended by putti, and a basket of flowers with green leaves; against a gray field.
Two Friezes with Women and Sea Monsters
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and dark brown ink, brush and sepia wash over black chalk on off white laid paper
Drawing

Sea horse with enormously long sea body, conducted by rein of flying putto. Above sea horse's long back, woman lying apparently supporting a dish. Upon one of scrolls of body, sits putto. Below, woman with casket, resting upon sea ox.
Study of White Daisy, Chamomile Stem with Two Petals, and a Chamomile Petal
Samuel Colman, American, 1832–1920, 1875–90
Graphite, greasy black crayon, brush and gouache on brown paper.
Drawing

Recto: Four dandelions at left, and a yellow moth at top right. Verso in opposite direction: Horizontal view of a white daisies in blossom, parts of which are drawn over the lateral designs at center; a forked stem of cammomile with two petals at left, and a cammomile petal with part of the stem, shown from above, at right.
Tile
, 17th century
Tin-enameled earthenware

Square tile, blue on white. Soldier with helmet and breastplate standing with back in three-quarters view. Left arm akimbo, right hand at side, holding gun. Symmetrical scroll ornaments in the corner.
Seated Soldier
Winslow Homer, American, 1836–1910, 1862
Graphite on pasteboard
Drawing

Horizontal slight sketch of a soldier sitting asleep before a fire.
L’EAU
François Boucher, French, 1703–1770, 1749–61
Etching on laid paper
Print

Allegorical print representing water with three putti among the clouds with water below them. The three putti are sitting and leaning on a dolphin. A small crab at their feet in the foreground. The plate is plate is signed, titled, and numbered.
Design for a Square with a Palace
Giuseppe Barberi, Italian, 1746–1809, 18th century
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Large classical style palace in bare landscape; fountain on right, obelisk on left, and some carriages with figures in the foreground.
Fragment
, 16th–17th century
silk, metallic Technique; woven

Formal pattern of pointed ovals containing tulips and other plants. Predominantly in red and gold. both selvages present.
Design for Escutcheon
Antoine Jacquard, French, active ca. 1616 – d. 1652, 1616
Engraving on laid paper
Print

Design for an ornate keyhole escutcheon. At top, smiths with mallets and a fire; below, a pair of sphinxes holding a jeweled pendant.
Project for a Sepulchral Monument
, 1600–1625
Pen and ink, brush and watercolor on paper
Drawing

Vertical rectangle. Retable scheme. Below are a base and a dado. A sarcophagus with the tablet for the inscription between its legs stands below in the center of the upper part. Above it is a niche with a broken pediment and flanked by embedded columns. A statue of a man in classical armor with a lance stands in it. In front of the lower lateral panels are statues of women, a nude one with a cloth at left, a mourning one at right. Framed by the outlines of a bay in a church. Project intended to be executed in white and colored marbles.