biglam/cooper-hewitt-alt-text huggingface dataset:
Sketchbook Page: Standing Nude
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Recto: Three-quarter view of standing female nude, shown from behind. 
Verso: Sketch of buildings, with trees in the distance.
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

Repeating motif of bouquet of flowers in vase. The vase sits on a medallion, which are joined by foliage swags. Printed in brown on tan ground.
Africa from "The Continents" series
Delicourt, ca. 1850
Block printed on paper, combed ground
Decorative panel

Female personification of Africa wearing Egyptian dress standing in contrapposto stance, holding up jug in right hand. Printed in monochrome ocher on a wood grained or faux bois background simulating oak.
Sampler
, 1808
linen embroidery on linen foundation Technique: embroidered in cross and satin stitches, deflected element work and withdrawn element work on plain weave foundation

Small white work sampler with two columns of pattern bands in solid and open work embroidery.
An American Officer Indicating Directions to his Wife ("Amerikajin"), from "Japanese Translations of Barbarian Words ("Bango wakai")
Yoshitora Utagawa, Japanese, active 1850 - 1870, 1863
Woodcut on paper
Print

Standing man and woman in western costume. He is shown in a Naval uniform; he is show in a Naval uniform. Lengthy inscription in Japanese at top, on a scroll. Yokohama print; censor seal: Kiwame.
Border
, 1805–25
Block-printed on handmade paper

a) A continuous repeating pattern of a daisy-like flower against a vertically striped background. Beneath this, there is a stylized floral band, and the bottom edging is dentilled; b) Upper dentils and a central striped background over with s-shaped foliate forms with floral centers alternate with dots. The bottom edging consists of a stylized floral/dot pattern above dentilling.
Table cover
, 18th century
linen, silk Technique: plain weave embroidered in satin, running, and wrapped double-running stiches; drawnwork with wrapping and interweaving, bobbin braid, hem-stitching at each end of fabric.

Rectangular linen cover dominated by a complex border of four panels combining drawn work and embroidery. The inner section is made up of alternating squares of embroidery and drawn work with geometric floral vine guard stripes. The border is completed on the inside and outside by continuous narrow bands of drawn work in alternating light blue and orange, from which stems elaborate leaf or flower-like forms, alternating in blue and orange. The outer edge is trimmed with a randa of continuous bobbin braided trim in orange and blue.
Great Subscription Room at Brooks, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolor on paper
Print

A well-appointed room with card tables along the walls and men playing cards around them. Title, artists', and publisher's names below.
Cushion Cover
, 18th century
silk embroidery on linen foundation Technique: embroidered in counted running stitches on plain weave foundation Label: Silk embroidery on linen

Cushion cover of heavy, hand-woven linen, dyed in indigo. Embroidered with red, white and buff silk in a geometric design of star and leaf forms. The motifs have saw-tooth edges, and contain smaller plant motifs reserved in blue linen.
Ornament
, 1850–99
Sugar

Round purple plum.
Textile
, 1850–59
cotton Technique: printed by block and engraved roller on plain weave

On light brown ground with delicate diaper pattern from engraved roller, a polychrome pattern of wreaths and garlands of roses, thistle, ivy, etc. One wreath contains a fleur de lys of three white feathers, said to be a symbol of the Prince of Whales. The green is dark and bright, a "solid" or direct green.
Sidewall - fragment
, 1800–1850
Block-printed

Brown vine with two kinds of blue flowers and parts of bleeding heart on polished gray background. Mounted on heavy gray paper.
Bonad
, 1700–1725
Hand painted and flocked canvas

Horizontal rectangle with fragmental pattern of vase with scrolled handles, filled with stylized flowers and flanked by a stylized tulip border. The design is in yellow on brown flock. Exterior border of scrolled leaves in brown flock on yellow ground.
Quick Sketch of Waves on Beach
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Calm ocean with waves coming onto beach.
The Bronzes
, 1800–1825
Block-printed paper
Scenic - panel

All four scenes have figures and ornaments cut and pasted onto marbled background. 1-4) One adult male and one adult female figure supporting basket containing young child. Bunches of grapes forming columns down sides, with delicate draped ribbons across top center. Printed on marbled ground.
Frieze
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper

Rose bouquet enclosed within acanthus foliage and floral arch above. Adjacent medallions are connected by fleur de lys. Tellis work along bottom. Printed on tan ground.
Soup Spoon from Rockledge Service
George Washington Maher, American, 1864–1926, 1911–12
silver
spoon

Soup spoon, part of flatware service designed in "Martelé" silver for "Rockledge Estate" in Winona, Minnesota. Round bowl with narrow base and join, leading to thick flat handle, with gently rounded sides, widening towards terminal. Obverse side decorated with lily motif within border, stemming from join of handle, continuing up handle with three sets of mirroring leaves on either side of central stem, terminating in mirroring lily blossoms encasing mongram 'EKG.' Terminal in form of segmented or flat arch, with slight upturn at tip. Reverse side of handle undecorated with plain textured hammered suface. Textured hammered surface visible throughout tines and handle.
Purse
, 1640–1700
silk, gold-wrapped silk (ID: Lab) Technique: tapestry woven

Small purse of deep rose silk with a pattern in greenish-white, shot with metal. Pattern is a symmetrical arrangement of a crown in the center with highly stylized vine forms. Same pattern front and back. Purse is an envelope shape with a silk loop and button to fasten. Blue taffeta lining.
Saucer
Royal Worcester, English, established 1751, ca. 1770
soft paste porcelan, vitreous enamel
saucer

Round saucer on circular foot. Blue floral decoration at center. Double line on inner rim.
Christmas Greeting
, ca. 1890
Chromolithograph on paper, with attached ribbon
Greeting Card

Simulated fan of f ive sections, each with a scenic madallion. Under the first medallion is the season's greeting, and under the second, a poem.
Fragment
, 14th–15th century
cotton Technique: block-printed on plain weave

Checkerboard layout of squares with stylized floral rosette in dull red on undyed ground alternating with dull red square with line reserve of profile lotus and leaf rising from triangle base.
Sidewall
, 1835–45
Block-printed on machine made paper

Vignettes of country pursuits, printed in tones of brown and white on tan background.
Ceiling of Courtroom, Federal Building, Cleveland, OH
Arnold William Brunner, American, 1857–1925, ca. 1917
Graphite, pen and black ink, brush and gray wash on paper
Drawing

At center, image of female figures in the clouds, all robed, some winged. One being shown a scroll to read. Ceiling decoration composed of scrolling foliage.
Vase
Maria Longworth Nichols, American, 1849–1932, 1879–1880
Glazed stoneware with gilding and applied hand-modeled dragon

Dragon vase (first kiln - in red); cast, cream colored stoneware body with hand-modeled dragon encirling the shoulder and neck in high relief with one leg freestanding. Cobalt blue underglaze and red overglaze decoration; gilt highlights. On reverse, fan-shaped panel of pale underglaze blue painted in overglaze brown with birds flying above cattails and rushes. Allover highly stylized, partially gilded wave pattern. Clear glaze.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Pink stylized foliate medallions connected by stylized pink floral wreaths and white flower swags. Beige ground. Printed in pinks, greem, white, yellow and pink mica. Printed in right selvedge: "S.A. Maxwell & Co. New York & Chicago 18". Printed in left selvedge: "Exclusive Design 2489".
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

On gray crackled ground, alternating large and small motifs of green acorn and standing plant with nautilus-like leaves; above these, garlands of white roses. Two borders printed across the width.
Teamwork Builds Ships
William Dodge Stevens, American, 1870 - 1942, 1918
Lithograph on paper
Poster

Poster features steelworkers bolting the hull of a ship together.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Large and small C scrolls are joined together to form a loose trellis pattern. Printed in red and white mica on light tan ground.
Partie de la Cité vers la fin du XVIIe Siècle
Charles Meryon, French, 1821–1868, 1861
Etching in dark brown ink on paper
Print

Paris shown as it may have looked in the late 17th century. An embankment with a bridge on which are houses, at left. A wharf with barrels and half-timber houses directly facing the observer, and figure in small boats in the foreground.
Ceiling paper
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper, liquid mica

On gray-blue ground, treillage in light brown-green with floral motifs composed of four pink tulips and green at interstices.
Sidewall
, 1830–80
Block-printed

Woman sitting in rope swing within floral diaper pattern. Printed in pink, green and white on black ground.
Box or Snuffbox Design
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a rectangular box or snuffbox showing, from top to bottom, the elevation of the lid, with band of lamb tongue ornamentation; the top view of the lid, with a trophy of musical instruments on it; and a slightly angled front view of the box, with lid open at the hinge, and which features a trophy of a quiver and a torch bound with a wreath, and a lozenge pattern on the side. The plate is signed but not numbered.
Wooded Island, near Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, September 1878
Graphite on white wove paper
drawing

Landscape sketch showing a loosely rendered view of a heavily wooded island on a lake near Millinocket, Maine. Tall, seemingly evergreen trees are visible at center, as the sun shines behind them. Above, layers of wispy cirri clouds hang in the sky.
Fragment
, 14th century
silk, metallic Technique: lampas (two interconnected structures, plain weave plus plain weave)

a) Head of a long necked bird with a metallic head against a patterned green and brown background.
b) A fragment from the heading or the footing.
Buttons
, 1815
Silver

Flat button with ornament of cartouche with fleur-de-lis shown against six crossed flags with four lightning bolts and a helmet with plumes.

Component -a is on card H
Component -g is on card 57
Component -h is on card B, was not originally labeled with component
Plate 12, 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 interlacing arabesques. At center, a female nude whose body terminates in an acanthus leaf.
Design for a Boat-Shaped Vessel, possibly intended as a Festival Float
Giulio Romano, Italian, 1499–1546, 1533
Pen and brown ink, brush and brown wash, black chalk on off-white laid paper
Drawing

A ship-shaped bowl, supported by two mermaids, is surmounted upon a base representing the sea. The bowl is flanked by two high columns with mermaid finials connected to each other by a pole entwined with ribbon. Traces of framing lines are visible at the edges of the sketch.
The Elevation of a Church Doorway
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

Obliquely disposed wall panels with niches in which a female saint stands at left, St. Paul at right. Vaulted and coffered ceiling. Laterally, low doors. Section of the masonry. Colored background.
Garden Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two designs for ornamental gardens with scrolling designs and topiary. The plate is numbered but not signed.
Design for a cloth as place of an inscription
Carlo Marchionni, Italian, 1702–1786, 1750–86
Graphite, brush and gray watercolor on laid paper
Drawing

Genii are supporting a cloth; they are winged with heads of fallen warriors with a helmet and laurel wreath respectively. The center is Saturn pointing with the handle of the scythe in his right hand at the intended inscription, and raising with the left hand the hourglass. As counterweight for his right hand serves a skull and a garland at the upper right edge of the cloth. A trophy of weapons in background.
Designs for an Iron Gate
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a tall iron gate, decorated with a crowned coat of arms with palm fronds,garland, and trophies at the the top of the gate. The plate is signed.
Plans et Elevations de deux Bibliothèques aux côtés d'une Croisée
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation of a library with casement window in the center. The interior is decorated with pilasters with Corinthian capitals, pedestals for busts, and ornament motifs including wave pattern, portrait medallions, and garland. The plate is signed.
Diana and Actaeon [above]; Dido and Aeneas Shelter from the Storm [below]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1589 – 1605
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, above:  Diana and four of her maidens, bathing in a pool, are surprised by the appearance of a hunter, Actaeon. As a punishment, the goddess has causes him to be changed into a stag; he is shown in the process of transformation, with his head already turned into that of the animal.  
Recto, below: Huntsmen on horseback, with dogs, hunting wild boars. In the background beyond, figures huddle in a cave. Slanted vertical lines over their heads suggest rain. The whole composition is struck through. 
Verso, above: Bust-length images of two men, one old and bearded (on the left) and the other young and beardless (on the right). 
Verso, below: Two scenes from the Life of the Virgin in architectural settings. The Meeting of Anna and Joachim appears at left, and the Circumcision at right. On the other half of the page are two heads, one of an old man, the other of a youth.
Design for Lunette with Apollo, Mnemosyne and Jove
Felice Giani, Italian, 1758–1823, 1812
Pen and brown ink on laid paper
Drawing

In center, standing figure holds tablet or book in left arm.  Figure is flanked by two seated figures; the left one holds a torch (?), while the right one writes on tablet  Written in ink beneath: "Appolo Menemosine Giove."
Portrait of Thomas Howard, Earl of Arundel, after Anthony van Dyck
Pierre Lombart, French, ca. 1613 - 1682, ca. 1650
Engraving on paper
Print

Half-length figure of Thomas Howard, Earl of Arundel (c. 1562-1639), in armor, standing before a landscape, holding his baton in his right hand, at his side. Engraver's name cut off at bottom.
Project for an Ewer and Basin
Luigi Righetti, Italian, 1780 - 1819, ca. 1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

Design to be executed in partial gilt silver. Edge of the basin is shown, from which the ewer rises. Shown in profile with spout at right. Lower portion of the body decorated with leaves.
A Peasant in a High Cap, Standing Leaning on a Stick
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1639
Etching on off-white laid paper
Print

Full-length figure of a man, standing, facing right. His right hand rests on his walking stick, gestures with his other hand. He is bearded, wears a tall cap.
Escutcheon, from "Recueil Nouveau de Differens Cartouche"
Jacques de Lajoüe, French, 1687–1761, ca. 1732
Etching on paper
Print

Plate 5. A tablet before a rocaille escutcheon with water plants and cascades. Framing, etc., similar to 1921-5-158.
Mustard Pot with Birds
, 1735
silver, glass
mustard pot

Cylindrical cage (a) with animals and birds among leafy scrolls, in cut-out silver. Strap handle, flat on top. Hinged cover with shell thumbrest, and hole for spoon. Cylindrical, dark blue glass insert (b).
Two Designs for Fireplaces in Plan and Elevation, Plate 6
Jean Mariette, French, 1660–1742, 1660–1742
Engraving on paper
Print

Two designs for fireplaces in plan and elevation, plate 6.
The Vision, Illustration for Century Magazine (XVI, No. 6, October 1878, p. 771)
Frederick Stuart Church, American, 1842–1924, October 1878
Etching on paper
Ephemera

Right, profile of figure facing left, playing the organ, looking upward towards cross.
Iceberg and Ice Flower, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Brush and oil paint, graphite on tan paperboard
Drawing

Landscape sketch showing a view of a tall, sharp iceberg and a frozen formation resembling a flower or whale's tail in the waters off Newfoundland and Labrador, Canada. Dominating the composition at center, the iceberg is roughly pyramidal in shape with sharp, pointed top and bands of aquamarine ice at its midpoint and its base. Affixed to this berg at left is a small, frozen formation resembling a flower or the tail of a marine mammal. Dark, purple-brown ocean waters ripple around it. On the horizon at left, another immense iceberg captures the pinkish orange glow of the setting sun. A long bank of clouds hangs above the horizon in a sky gradating from pink to greenish blue.
Haystacks and Children
Winslow Homer, American, 1836–1910, 1874
Brush and oil paint on canvas
Painting

Horizontal view of two boys holding chains of a drag on which three boys are seated at center foreground.  In background, barn, trees, fencing, two haystacks, two horses and chickens.
Title Page
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

Title page for a series of arabesque, ceiling, furniture, vase, and ornament designs. The title is lettered in the center of a vertical panel framed by arabesque ornament featuring mythological figures, winged men, acanthus leaf scrolls, vases, fleurons, palmettes, drapery, winged lions, herms, chestnuts, beads, scrolling foliage, figure of Apollo, a lyre, seated figure in a roundel, rosettes, festoons of flowers, miniature profile portraits in roundels, fruits in baskets, and flaming torches with smoke. The plate is numbered, signed and with the publisher's address below framed by an arabesque cartouche.
Bull and Landscape Sketches, Catskill, New York
Frederic Edwin Church, American, 1826–1900, August, September, and October 1844
Graphite on off-white wove paper; verso: graphite
Drawing

Mixed sketches showing views of bulls and landscape elements in and around Catskill, New York and Hartford, Connecticut. At upper left, a bull lying down and a bull's head are both shown in left profile. At upper right, a tree stump is rendered in detail. At center, a loose sketch depicts several bulls in a stream beneath a double-arched bridge. The "H" on the bridge likely indicates that this specific scene was witnessed in Hartford, while the others were viewed in Catskill. At lower left, a large boulder is shown with a crack through the middle.

Verso: Sketches of yoked oxen in Catskill, New York, likely at Thomas Cole's property and farm, Cedar Grove. At center, a yoked ox lies down in left profile. To its right, the hind legs of the same ox are rendered in detail. At lower center, a pair of yoked oxen are viewed from behind.
Alpine Lake, Bavaria
Frederic Edwin Church, American, 1826–1900, June - July, 1868
Oil and graphite on paperboard
Drawing

Landscape study showing a view of the surface of an emerald lake in Bavaria, possibly the Königssee or Obersee. In the immediate foreground, a rowboat is moored on a shoreline that is out of view. The teal-emerald waters of the lake extend from foreground to background, where they meet the steep, wooded mountain slopes that form the opposite bank. In the middle distance at left, two curving, rocky banks jut into the lake.
Profil du dedans de l’église du Novicial des Jesuistes
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

An architectural section of a church interior; details include a frieze. The plate is titled.
Handscreen
Louis XV, King of France, 1715–1774, late 18th century
Engraved, hand-colored and painted paper leaf, turned wood handle

Obverse: on left, a warrior in a helmet with lance and shield next to a leopard; on right, a warrior with laurel wreath exiting a tent, next to a lion; tributes to Louis XV above; surrounded by scroll border. Reverse: tributes to Louis XV, surrounded by hand-painted motifs.
Design for Crèche (Nativity Scene)
, ca. 1770
Pen and brown ink, brush and brown wash on white paper
Drawing

Horizontal rectangle.  Interior of a cavern, with the Madonna and Child and St. Joseph seen in center, middleground.  A shepherd kneels to left of group.  Above: the Risen Christ, surrounded by angels.  Figures at extreme left and right, in the foreground.  Landscape at right.
Design for an Andiron
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation and plan of an andiron decorated with ornament motifs including pine cone, spiral fluting, acanthus leaf, mascaron, garland, urn, and claw feet. The plate is signed and numbered.
Impériale du lit à double Voussure
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for the construction of a double-arched canopy, for the "lit à la Polonoise" (1921-6-331-8). The plate is signed and numbered.
Saint Sebastian
Felice Giani, Italian, 1758–1823, 1810–20
Graphite on white laid paper
Drawing

Study for or after image of Saint Sebastian. Saint figure appears in loin cloth before column set within an arch described at left. In background, view into city street with foreshortened building at right and partial view of building at left.  Verso: studies of women's and children's heads with separate studies of hands.
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a vase decorated with fluting and a Greek-key frieze, with two handles in the shape of elephants' heads, two nude female figures sit on top of their heads, holding their trunks. A tasseled textile hangs between them with a garland of laurel leaves. The plate is signed, dated and numbered.
Design for Doors
Pierre Lepautre, French, 1652–1716, 1686–1716
Etching and engraving on laid paper
Print

Third plate from a series of designs of portes-cochères (doors), newly made for various French royal houses. Highly ornamented arched double doors with carved panels, the upper panels are blank framed with repeating patterns. Below, smaller rectangular panels. The right panel features a roundel with the royal cypher (crowned interlaced L's), topped with a mask and a festoon of flowers. The left panel features a coat of arms, flanked by lions. Below, each door has large vertical panels framed by a repeating pattern. The doors feature s-scrolls, fleurons, and acanthus leaf ornament. The plate is numbered and signed, with a scale below the design.
Design for an Earring
, early 19th century
Pen and black ink, brush and gray, green, yellow watercolor on light green paper
Drawing

Jewelry design for an earring. The ring has two slopes. On the larger, a disk is fastened, intended to be enameled like the drop and the drapery. The disk and the drop are framed by a row of beads. Both are connected by a floral motif and a drapery festoon. The disk above has a palmette at top, a green diamond drop, framed by two laurel branches fastened below by a ring. Chains with beads are hanging from the ends of the drapery to the ends of the branches.