biglam/cooper-hewitt-alt-text huggingface dataset:
The Entrance of Charles V Into Antwerp
Adolphe Lalauze, French, 1838 - 1905, 1879
Etching on vellum
Print

A large gathering witnesses the entry of Charles V on horseback. He gestures to a nude female slave nearby.
Dianthus Hybridus Multiflorus, Plate LI from Edward George Henderson's "The Illustrated Bouquet"
E. G. Henderson and Son, English, ca. 1859 - 1886, ca. 1857–1864
Chromolithograph on paper
Print

Dianthus Hybridus Multiflorus, Plate LI from Edward George Henderson's "The Illustrated Bouquet."
Sewing sampler
, 1810
silk embroidery on cotton foundation Technique: embroidered in chain, cross, back, and knot stitches with needlelace on plain weave foundation

Nine plackets of needlelace surrounded with decorative stitching.  In the center a crown over the letters I A C E D.
Louis XVI Pattern Demitasse Spoon
Joseph E. Birmingham, ca. 1909
silver
spoon

Integral construction. Oval bowl. Pronounced shoulder, stem of rectangular line ending in shouldered, rectangular fiddle terminal embossed with oval wreath with ribbon bow, enclosing monogram. Slight upturn at end of terminal.
Sampler
Sarah Tallman, American, 1830
silk embroidery on linen foundation Technique: cross and satin embroidery stitches on plain weave foundation

Family record of John and Clarissa Tallman and their children, Esther, Hannah, Sarah, Margaret, Clarissa, and John. In the lower third, a gazebo flanked by two willow trees, with women and children. A border of roses frames three sides.
Prestre de la Loy (The Priest of the Law), plate 9 from the series Caravanne du Sultan à la Mecque (Caravan of a Sultan Going to Mecca)
Joseph Marie Vien, French, 1716–1809, 1748
Etching on cream laid paper
Print

Bearded man in Turkish costume sits in front of low wall, with legs crossed. His torso is turned so that he faces frontally, his hands at waist. He wears plumed turban, with strings of pearls looped on fronts.
Sidewall - sample
Gledhill Wall Paper Co., New York, New York, founded 1900, 1906–07
Machine-printed

Fancy vertical stripes, repeating every seven inches. The stripes of leaves and vines, 1 1/2 inches wide, run unbroken through the design. Crisscross fine lines cover the background. Printed in white and yellow.
matchsafe
, late 19th century
Porcelain

Figure of man wearing eyeglasses. Figure also wears short brown coat and orange tie.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

A repeating scrolling, flowering vine design above a lesser scrolling acanthus design. Upon a ground that is overlaid with a water-like design that becomes denser toward the base of the panel. Printed in cream, umber, green, brown, gold and bronze.
Ceiling paper
National Wall Paper Co., National Wall Paper Company, 1893 - 1900, 1905–1915
Machine-printed paper, liquid mica

All-over scrolling foliate motif of varying sizes on cream ground. Printed in light grey, blue-grey and white liquid mica. Printed in selvedge: "National Wall Paper Co." pattern number "431.
cabinet
, ca. 1810
wood, lacquer, ivory

Small cabinet of lacquered wood painted in different tones of gold, pale green, and red.  The cabinet is made up of three rows of drawers set above a single long drawer, the three rows are hidden behind a pair of doors which peek out; the cabinet rests on a detachable footed stand.  The face of the doors and long drawer have a recessed rectangular panel each with curved edges and rolled curves. The panels are ornamented with scenes of figures grouped about buildings set in elaborate landscapes.
Valance
, early 17th century
silk, metal wrapped silk on linen Technique: couching, long armed cross, cross, double running, stem, and satin stitches on a plain weave foundation

Multicolor embroidery showing St Catherine, St Barbara, the Cross, the face of Christ, the sacred monogram, the symbols of the Evangelists, and the figures of monks and nuns. With the exception of individual details the design is symmetrical on a vertical axis. Pattern is divided into three compartments by four vertical bands of embroidery; two of a scrolling vine, two of the faces of cherubs. The bottom and sides of the cloth are trimmed with a five-strand braid of yellow silk to which tassels of colored silk are attached every two inches.
Carpet fragment
, 19th century
wool Technique: compound twill, triple cloth

Large-scale floral design in red, yellow and ivory.
Countryside with Trees, Haystacks, and Distant Village
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Countryside with grass in foreground, trees at right in middleground. In distance at left, additional trees and a town.
Valance
, 18th–19th century
silk embroidery on linen foundation Technique: embroidered on plain weave

Wide valance of linen in two parts, joined horizontally by a narrow band of ribbon. Lower half is embroidered with horizontal rows of stylized leaves, almost square in form, alternately red and green, with borders of smaller leaves. The upper section has one border of the same leaf design.
Curtain paper
Jeffrey & Co., 1836–1930 London, England, 1872
Machine-printed paper, embossed. Components a/p mounted on muslin, components s,t machine stitched threads, r) metal rings, s) brass eyes

"a/q": Embossed in small-scale diamond-diaper pattern, vertical stripes: alternating white and bright blue backgrounds with short repeat floral and leaf patterns, symmetrical along vertical axes; strong multicolors, especially red, outlined in yellow. Stripes separated by black band between yellow lines, with string-of-beads pattern; "r/u": tie backs of blue background striped, hemmed ends folded into points, metal fittings "v" Narrow blue background strip with nail holes.

a/s) originally, part of paper hung as two pairs of curtains, part hung on wall with nails. Purshased, Paris, 1964, backed with muslin and hung by donor on apt. walls. holes in e, g, o. 

v) In margin printed twice; in blade: Registry mark of 29 July, 1872 (image in leger)
Tassel
, 17th century
linen Technique: braided and knotted

Tassel of linen, braided and knotted. Single loop attached to short stem which terminates in pear-shaped tassel from which hang elaborately knotted elements which in turn terminate in small fringed tassels.
Fragment
, 16th–17th century
linen Technique: withdrawn element work

Cutwork fragment, no wrapping or embroidery.
Sample sheet
, ca. 1750
paper and wool Technique: fulled plain weave

Sheet of paper pasted with a double row of twelve samples of fulled woolen cloth in greens, purples, blues, orange, red and black. Intended for export to the eastern Mediterranean region.
Frieze
, 1815–20
Block printed on handmade paper

Lavender silk satin drapery swag caught up with tasseled orange cord. Festoons of flowers below. Green ground.
Corner Design for Mosaic Floor
Frederick Krieg, American, b. Germany 1852–1932, ca. 1900
Brush and watercolor, black gouache, graphite on white wove paper
Drawing

Design for mosaic floor, corner border with floral ornament.
Border
, 16th–17th century
linen Technique: withdrawn element work

Cutwork border with geometric bird motif.
Bracelet
Carlo Giuliano, Italian, 1831 - 1895, ca. 1890
Gold, diamonds, rubies, pearls, enamel

Wide gold and enamel bracelet with 100 cabochon rubies, 55 round diamonds, and 88 half pearls.
Sketchbook Page: Historic Portraits Nos. 4, 5, & 6 (Self-Portraits)
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Slef-portraits of the artists in various moods.
Station-House Lodgers
Winslow Homer, American, 1836–1910, February 7, 1874
Wood engraving in black ink on paper
Print

View of a men sleeping on the floor as the jailor looks in the door.
Monastery on a River
, ca. 1780
Aquatint on paper
Print

Monastery on a River.
Spoon
, late 17th century
Bronze

Cast oval concave bowl. Polygonal stem terminating in hoof. Tapered rib on reverse of bowl.
Interior at Chenonceaux
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Window, with ledge, low ceiling, in the old tower at Chenonceau.
Textile
, 1810–20
cotton Technique: block printed on plain weave with blue applied by brush

Printed length of light brown fabric with offset clusters of flowers enclosed by swags and tassels. Same design as 1981-10-3.
Fragment
, 16th–17th century
silk, metallic thread Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Small fragment of rose-colored cut and uncut velvet on a white foundation shot with metallic threads in an undulating vine pattern.
Cromwell and His Men Singing the 117th Psalm at the Battle of Dunbar
Frank Craig, English, 1874–1918, 1899
Brush with black, grey, and white gouache, graphite on illustration board
Drawing

Cromwell, dressed in armor but bare-headed, is seen on horseback, his cavalry troops lined up behind him.
Decorative Project: Three Trapezoids with Flora and Zefiro
Felice Giani, Italian, 1758–1823, ca. 1815
Pen and ink on cream laid paper
Drawing

Three Trapezoids with Flora and Zephyrs; nymphs with wreaths; nymphs and shepherds with wreaths.
Studies of the Left Arm and Right Hand of a Woman
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Black crayon on paper
Drawing

Top: the right hand, hanging, shown from the inside. Bottom: a left arm with the hand lying on a lyre, shown frontally.
Two Alternative Designs for Altars
Juan Dolívar, Spanish, active in France, 1641–1692, 1690
Etching on paper
Print

Two alternative designs for ecclesiastical altars, split down the center. The design to the left features a large carved or painted altarpiece within an arched alcove featuring angels, clouds, a cross, roundels, scrolling leaves, mascarons (masks), draped textiles and festoons of leaves. A male figure stands to the left with arms outstretched in awe with another male figure on his knees with hands together. The design to the right features a two-tiered baroque altar with sculpted roundels, friezes, pilasters, angels, festoons, mascarons (masks), and scrolling leaves. In the upper right corner, there are detailed alternatives for sculpted pedimented altarpieces. There are scales below each alternative design. The plate is signed and numbered.
Figures in Lee of Building with Ocean Beyond, Cullercoats, England
Winslow Homer, American, 1836–1910, 1881
Charcoal, graphite on off-white wove paper
Drawing

Recto: Group of figures in the lee of a building, with a railing in the middle distance and a view of the ocean beyond. Written color notations  across bottom margin beside a sketched fisherman's hat.
Verso: Groups of figures and two small framed sketches in graphite.
The Virgin With the Child
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Brush and brown watercolor on paper
Drawing

A: The Virgin stands in front of a high and large throne, the seat of which is covered with a cloth. She is seen from the front, carrying in her right arm the Child, and in her left lowered hand a book. B: The motif of the group is variated, in opposite direction. The Child puts his right arm around the neck of the Virgin. Below, at right, a helmet. The background is shaped like a niche, the upper part of which is like the sun with rays. Framing line.
CONFLANS
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

A view of a castle or country house with its garden in the foreground featuring parterre, planted vases and fountains. The garden is filled with people and the view is framed by trees. The plate is titled with a short description of the castle.
Embroidery sample
, ca. 1790–1800
silk, metal wire, foil, sequins, glass and paper Technique: embroidered on cut voided supplementary warp pile (velvet)

Floral design embroidered with silver and gold wire, gold and green and blue sequins, foil and bits of clear glass on a black and purple ground of small vertical zigzags.
Buttons
, 19th century
Cut and drilled horn

Two circular beige to tan buttons; each with four holes.
Title Page and Gate Design
Caillouet, French, mid-18th century, 1775–87
Engraving and etching on paper
Print

Title page and gate design from a series of designs for townhouse garden wrought-iron gates. The gates feature three sets of double doors, separated by fluted pilasters, and decorated with scrolling and geometric bands with scrolling leaves (fleurons), and beads. The gates are topped with an oval cartouche, and foliate branches. The plate is titled, signed, and numbered.
Sidewall
, 1920
Block-printed and flocked

Symmetrical design, classic influence. Oval medallion containing a pair of affronted doves with laurel bough in mouths. At bottom of oval is simulated fringed, festooned drapery held in place by cords and tassels. At top of oval in either side is a pair of cornucopias filled with roses. It is inspired from a late 18th century design. The design is printed in deep red flock while the field is an old red strie finished in a dull glaze.
View of the Castel Sant'Angelo, Claude's Villa, and St. Peter's, Rome, Italy, Part One
Frederic Edwin Church, American, 1826–1900, March 18, 1869
Graphite on gray-green wove paper
Drawing

1917-4-594-b: Landscape sketch showing the first part of a panor...;     1917-4-594-c: Landscape sketch showing the first part of a panor...
Study for "The Sources of Wealth," Union Trust Company Building, Cleveland, OH
Kenyon Cox, American, 1856–1919, ca. 1902
Graphite on paper
Drawing

Sketch of a caduceus staff, showing half of the design with a snake twisted around the staff and part of a wing.
Fragment
, 15th century
linen Technique: block printed pigment on plain weave

Fragment of printed linen with a small-scale, all-over design in back and red.
"The Foliage of Berenice:" from Callimachus
Felice Giani, Italian, 1758–1823, 
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

The Foliage of Bernice: From Callimachus. Two Bacae.
Stage Design, Street with Procession
Pietro Narducci, Italian, active 1809 - 1841, early 19th century
Pen and sepia ink, brush and wash on blue paper
Drawing

Horizontal rectangle. Procession of figures carrying crosses and crucifix moving across street, church in background.
Designs for Chinoiserie Flowers
Jean-Baptiste Pillement, French, 1728–1808, 1760
Etching on laid paper
Bound print

Two designs for fantastical chinoiserie-style flowers, from a series of eight prints (including the title-page). The designs feature flowering sprigs with different types of flowers and leaves originating from shared and connected stems. The plate is signed and dated.
Dog, Shown from Behind
Frederic Edwin Church, American, 1826–1900, July 1844
Graphite on white wove paper
Drawing

Figure sketch of a standing dog shown from the rear, situated at left. Its paws are not shown.
Portrait of Jules Aurele Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1742–50
etching and engraving on paper
Print

Third state. Portrait bust of J. A. Meissonnier facing three quarters to his right in oval frame on which is written "JUSTUS AURELIUS MEISSONNIER ARCHITECTURAM UNIVERSAM LIBRIS IV TRACTAVIT." The portrait is surrounded by a cartouche consisting of a shell (lower center), a globe (lower left), book (lower right), and acanthus leaves (flanking portrait).
Bullfight, Spain
Robert Frederick Blum, American, 1857–1903, 1883
Pastel crayon on wove paper
Drawing

Sketch of a male figure on horseback and a bull.
Ornamental Frieze Designs
D. Antoine Pierretz, French, active 1647, 1648
Etching on laid paper
Print

Four ornamental frieze designs featuring geometric and foliate motifs including scrolling leaves (rinceaux), acanthus leaves, rosettes, cornucopia, fruit, and s-scrolls. The plate is numbered.
Buttons
, 18th century
silk and wood

1931-59-449-a,c: four buttons made of wooden molds covered with sil...
Ornamental Panel Design
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

A rectangular ornamental panel design with a central octagonal landscape scene with a building in the background and trees in the foreground. Surrounding the scene are two different designs featuring figures, putti, a sphynx, mascarons (masks), festoons of leaves and fruit, and scrolling leaves (rinceaux). The plate is signed.
Cypress Trees of Chapultepec, Mexico
Samuel Colman, American, 1832–1920, March 14, 1892
Black crayon, pen and brown ink, brush and watercolor on dark-gray colored paper.
Drawing

Vertical view of a group of trees including the lower portion of an enormous trunk at right and a buttressed wall in the right background.  High bottom margin.
Mountains and Valley, Mexico
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white wove paper
Drawing

Landscape sketch showing a loosely rendered view of rugged mountains, likely including Iztaccihuatl, around a valley in Mexico. A small hill is visible in the foreground at left, while another hill with bushes extends out of view at right. Across a flat valley in the middle distance, a small range of hills at left is dwarfed by a wide mountain with rugged, serrated peaks, looming over the scene in the background at center (likely Iztaccihuatl). Multiple snowfields and ridges are visible along the mountain's flank.
Designs for Tapestry Chair Seats, Plate 2 from "Cahier de Cartouches et Ornemens de l'Oeuvre de Ranson"
Pierre-Gabriel Berthault, French, 1737–1831, 1778
Engraving on paper
Print

Two curvilinear chair seats showing flowers in cartouche framework.
Plans et Elevations de deux Bibliothèques aux côtés d'une Porte
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation of a library with a door in the center. The interior is decorated with pedestals for busts, and ornament motifs including portraitt medallions, garland, and a vase. The plate is signed.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Title plate, design for two quarters of a rocaille ceiling with alternate suggestions divided by a central rosette.
Sampler
Trntie Doddes, 1777–78
silk embroidery and linen overcasting on linen Technique: cross, back and eyelet and overcasting stitches on plain weave

Ten alphabets, some very elaborate and detached motifs. Hemstitching on three sides.
Doorway for a town mansion
Giuseppe Barberi, Italian, 1746–1809, 1786
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Vertical rectangle. Executed is the left half. Rustic work. Above is an escutcheon. The opening is, above, hemi-circular. Inscription: "DOMVS", and indistinctly, at right: TRINIB (?). Inscribed dimensions. A plan is below. Caption at right: "portone p[er] il Palas / so abbotato dalla / Msa Girolama Lepi, quale si dovette slongare / perche il Tirrone / di Mge depriere / non ci copea / Lvgli (luglio) 1786/Mg [monsignore] Ruffo / allora Tesore / re", and some accounting.
Figures
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Ten partial sketches of both male and female figures.
Sketch of a Woman seen from Behind
, 1775–1790
Black and white chalk on grey paper
Drawing

Upper part of a women with loose sleeves and her hair tied up, viewed from behind.
Bishop Saint Adoring Christ Child
Corrado Giaquinto, Italian, 1703 - 1765, ca. 1725–50
Pen and brown ink, brush and gray wash, graphite on cream laid paper
Drawing

Kneeling saint is looking up at a vision of the Christ Child holding a cross in one hand and an orb in another. In the lower right, an undressed older woman is crying out in despair and tearing at her hair.
Mountain Landscape, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Graphite and white gouache on gray wove paper
Drawing

Landscape sketch showing a mountain ridge in Jamaica. In foreground at right, a steep mountain ridge extends to the middle distance, where it rises to the tallest visible peak. Rocky prominence is visible in foreground at left. A cloud sky backdrops the ridge. Slopes on the high peak and in the foreground are highlighted in white gouache.
Chaises à draperies / Fauteuils à draperies
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on paper
Print

Four designs for chairs (lower two: armchairs) upholstered with floral motifs and decorated with hanging drapery and tassels. The frames are carved with a leaf running pattern and rosettes. A scale below. The plate is titled, numbered, and signed.
Title Page, Part 9, from an Album of Drawings belonging to Don Gaspero Méndez de Haro y Guzman
Gasparo Mendez de Haro y Guzman, Spanish, after 1682
Pen and brown ink, brush and blue-gray and brown wash, black chalk on heavy brown laid paper, lined
Drawing

Vertical format architectural drawing. Two stories, the lower one with pilasters of Doric order, the upper one with pilasters of Ionic order. The door frame shows a broken pediment with an escutcheon in the center, with a winged skull on top. Laterally are niches showing statues of DEATH in front of trophies, the left one referring to worldly power, the right one to ecclesiastical dignitaries. In the central panel of the upper storey is a circular window. In the lower wedges are represented souls in Purgatory, in the upper ones two Blessed ascending to Heaven. Figure of St. Michael stands upon the Devil, recumbent, upon the entablature of the lower story. In the lateral panels are windows, with volutes below, in front. On top is a triangular pediment. In its front and in that of the entablature is the Virgin with the Child, sitting upon clouds. The base of the Cross is shown above.
Window Cases with Alternate Suggestions
Filippo Marchionni, Italian, 1732–1805, 1750–70
Graphite, red crayon, brush, and gray watercolor on laid paper
Drawing

Above: entablature is curved; in the panel above the window frame are two festoons over a low broken pediment. Center: at left: surbased pediment and part of a balustrade as the upper part of the outside frame; at right: a curved hipped roof, and the baluster motif. Central row: broken pediment as a motif for the inside of a pediment. At right: motif in the center of the window frame of the project in the center right has been changed and projected on a larger scale. The scheme is that of a broken pediment consisting of scrolls, and a kind of shell in the center above. Below: left: another small broken pediment as a cresting of the window frame. Above it outlines of scrolls for a similar motif. Right: the upper left side of a window case as a variation of the design. Above the window frame is a pediment similar to central row, at right. a plan of the moldings is inside.
Study of a female figure
Kenyon Cox, American, 1856–1919, ca. 1900
Graphite on paper
Drawing

Sketch of a female figure seated with her legs crossed.
Design for an Oil Lamp
, early 19th century
Black crayon, brush and red-brown watercolor on paper
Drawing

Vertical rectangle. Lower part of lamp support has the general shape of a stork's leg, dividing in the middle into two fantastic half-figures of animals with one scroll horn supporting the round bowl, with a bigger central, and two smaller lateral spouts, burning. From spirals at top hang chains, supported by the protruding tongues of the animals, supporting the tools.
Fragment
, 18th century
silk Technique: silk

Funerary textile with a zigzag band of Kufic script in red and white.
Jardin de la Maison de Mr de St. Poange ruë des petits Champs, de l’invention de Monsr. Le Nautre
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Plan view (from above) of a garden featuring parterre planting framed by topiary, plants and lined on either side with trees planted in square boxes and vases. A circular basin with a sculpted fountain featuring cupid/putto riding a dolphin and a jet of water. At the top, a semi-circular trellis/lattice wall/portico featuring a central niche decorated with pilasters and a pediment with statues on plinths, trees beyond. The plate is titled and signed.
Fragments
, 18th century
silk Technique: woven

White flowers on blue ground.